A bit about myself…
I am a music theorist who studies technological mediation in 20th- and 21st-century sonic practices, focusing on electroacoustic sound, timbre, and experimental aesthetics in both “popular” and “art” music genres. More broadly, my research aims to draw music and media studies into a cross-disciplinary dialogue that tracks the transductive flow of sounds across diverse media environments.
Recent publications include an article in Music Theory Online, where I present lost sonic artifacts and archival sketches for early computer-based music by Finnish composer Kaija Saariaho, and a pair of articles in the journal Circuit: musiques contemporaine, where I offer detailed analyses of works by Canadian composer Zosha Di Castri and Austrian composer Georg Friedrich Haas. Looking ahead, I have a chapter in the Oxford Handbook of Time in Music (in press), which outlines a general history of rhythm quantization in digital music production, examining its attendant technologies and its reception within the context of different musical genres. I also have a piece on music by Greek composer Panayiotis Kokoras coming out in Nuove Musiche (in press), a contribution to a printed symposium on Nina Sun Eidsheim’s The Race of Sound in the ethnic studies journal Kalfou (in press), and an audio publication on how the idea of timbre is constructed in computer-assisted orchestration software planned for the inaugural season of SMT-Pod, the official podcast of the Society of Music Theory.
Currently, at Harvard, I teach core courses in the undergraduate theory sequence, as well as upper-level courses and graduate seminars on Analyzing Musical Media, Timbre at the Crossroads, Popular Music Analysis, and Sound Studies. Before arriving at Harvard, I taught as a course lecturer at McGill University in Montreal, Quebec, where I also completed a PhD under the co-supervision of Robert Hasegawa (music theory) and Jonathan Sterne (sound studies).
Feel free to contact me with questions: firstname.lastname@example.org