Grisey’s Time and its Conceptual Implications

Spectralisms, IRCAM, 13 June 2019 This paper illustrates how three of Gérard Grisey’s essays—“Réflexions sur le temps,” “La Musique: le devenir des sons,” and “Tempus ex machina”—accord with Henri Bergson, Gilles Deleuze, and Jean-Jacques Nattiez on the structure of perception. Instead of purporting to prove direct influence, exploring their common ground clarifies and elaborates three […]

A Hermeneutics of Recovery: Recovering Hermeneutics

Society for Music Theory, 10 November 2017 This paper offers a narrative account of Darius Milhaud’s cantata Le Château du feu and draws from the writings of Ludwig Wittgenstein, Gilles Deleuze, and Lawrence Kramer in order to critique the epistemological relation of description to music’s ontologies. The Lacanian notion that knowledge is mediated by language hearkens […]

Music in Hegel’s Aesthetics: Toward a Phenomenology of the Subject

Boyer College Graduand Student Forum, 24 April 2016 This paper investigates the phenomenological model of subjectivity that undergirds the theoretical descriptions of melody, harmony, and form in G. W. F. Hegel’s Aesthetics. While scholars such as Philip Alperson and Martin Donougho have denounced the Aesthetics for uninformedly devaluing instrumental music, the text’s explicit references to […]

“Canto Gregoriano”: Paul Creston’s Adaptation of Plainchant as Topic

Music Theory Society of the Mid-Atlantic, 8 April 2016University of Michigan Graduate Music Research Conference, 20 March 2016 This study explores the hermeneutic efficacy of topic theory in the context of 20th-century American music by theorizing Paul Creston’s adaptation of contemporary plainchant practice as a recurring topic in his compositions. The paper considers the definitions […]