A bit about myself…
I am a College Fellow at Harvard University, where I recently began teaching after completing a PhD in Music Theory at the Schulich School of Music at McGill University in Montreal. My dissertation—”Sounds, Signals, Signs: Transductive Currents in Post-Spectral Music at IRCAM”—examines the relationship between contemporary compositional practices, technological development, and psychoacoustics within the context of post-spectral music created at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris, France. Drawing on recent scholarship in sound studies and media theory, I propose an analytic of transduction aimed at rethinking the question of sound in light of new media, adopting a post-disciplinary approach to analyzing the complex interconnections that bind music’s sensuous effects, its manifold representations, and its material bases of production.
Beyond my dissertation research, I have recent and forthcoming articles in Music Theory Online, Circuit: musiques contemporaine, and Nuove Musiche, where I consider music by Kaija Saariaho, Georg Friedrich Haas, Zosha Di Castri, and Panayiotis Kokoras, as well as a chapter in the soon-to-be-published Oxford Handbook of Time in Music, where I trace the technocultural origins of rhythm quantization as a widespread practice in digital studio production.
Feel free to contact me with questions: firstname.lastname@example.org
[Image by artist Michael Theodore, “Circuit” series, ca. 2013]