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CCM, Composition, Musicology and Theory
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Student Achievements

Presentations and Publications by CCM Music Theory Students, 2006-Present

Listed in reverse chronology, then alphabetically by author (with publications preceding paper presentations)

William R. Ayers, “Recomposition of Chopin and Narrative Design in Double Fine’s Stacking,” paper presented at the North American Conference on Video Game Music (Youngstown, OH), 2014; and at the Music and the Moving Image Conference (New York, NY), 2014.

Jesse Kinne, “Playing with Music: Building Soundcastles in the Sandbox,” paper presented at the North American Conference on Video Game Music (Youngstown, OH), 2014.

Daniel E. Mathers, review of Experiencing Stravinsky: A Listener’s Companion, by Robin Maconie, Notes [Journal of the Music Library Assoc.] (forthcoming).

Daniel E. Mathers, review of The New York Composers’ Forum Concerts, 1935–1940, by Melissa J. de Graff, Music & Letters (forthcoming).

Daniel E. Mathers, “Unambiguously Old School: Copland’s Studies with Rubin Goldmark,” paper presented at the Society for American Music (Lancaster, PA), 2014.

Steven D. Mathews, review of Harmony in Haydn and Mozart, by David Damschroder, Notes [Journal of the Music Library Assoc.] (forthcoming).

Steven D. Mathews, review of Mozart’s Grace, by Scott Burnham, Notes[Journal of the Music Library Assoc.] (forthcoming).

Steven D. Mathews, “Integrating Form and Voice Leading in Select ‘Type 2’ Sonatas by Mozart,” paper presented at the Third Mannes Graduate Student Conference (New York, NY), 2014.

Jayme Wagner, “Rhythmic and Metric Dissonance in Brahms’s Liebeslieder Walzer, Op. 52,” paper presented at the Indiana Univ. Annual Symposium of Research in Music (Bloomington, IN), 2014; and at Music Theory Southeast Annual Conference (Tampa, FL), 2014.

William R. Ayers, “Alterations to Cadential Formulae in the Officium Hebdomadae Sanctae by Tomás Luis de Victoria,” paper presented at the Symposium on the Music of Tomás Luis de Victoria (Univ. of Cincinnati, College-Conservatory of Music), 2013.

William R. Ayers, “Borrowed Hymn Tunes, Polychordal Sonorities, and Melodic Scale-Degree Qualia in ‘At Sea’ by Charles Ives,” paper presented at Music Theory Southeast (Boone, NC), 2013; and at the South Central Society for Music Theory (Tuscaloosa, AL), 2013.

Owen H. Belcher, “Exploring Form and Motive in Victoria’s Lamentation 7,” paper presented at the Symposium on the Music of Tomás Luis de Victoria (Univ. of Cincinnati, College-Conservatory of Music), 2013.

Owen H. Belcher, “Harmonic Conflict and Transformation in Two Mussorgsky Songs,” paper presented at the Rocky Mountain Society for Music Theory Conference (Flagstaff, AZ), 2013.

Carl Burdick, review of A Theory of Music Analysis: On Segmentation and Associative Organization, by Dora Hanninen, Music Research Forum 28 (2013): 101–105.

Carl Burdick, “Mature Stylistic Features of Pierre Boulez’s Douze Notations(1945),” paper presented at the Rocky Mountain Society for Music Theory Conference (Flagstaff, AZ), 2013; and at Music Theory Midwest (Norman, OK), 2013.

Meaghan Heling, “A Comparison of the Thematic and Structural Borrowing Procedures in the Parody Masses of Tomás Luis Victoria,” paper presented at the Symposium on the Music of Tomás Luis de Victoria (Univ. of Cincinnati, College-Conservatory of Music), 2013.

Daniel E. Mathers, “More than Child’s Play: Aaron Copland and Tin Pan Alley,” paper presented at the American Musicological Society (Pittsburgh, PA), 2013; and at the Second Biennial LSU Music Colloquium (Baton Rouge, LA), 2013.

Steven D. Mathews, review of Audacious Euphony: Chromaticism and the Triad’s Second Nature, by Richard Cohn, Notes [Journal of the Music Library Assoc.] 70/1 (2013): 113–116.

Steven D. Mathews, “Victoria’s Harmonic Bass Lines,” paper presented at the Buffalo Graduate Student Symposium on Music (Buffalo, NY), 2013; at Music Theory Midwest (Norman, OK), 2013; at the Symposium on the Music of Tomás Luis de Victoria (Univ. of Cincinnati, College-Conservatory of Music); and [as “Victoria’s Secret: Harmonic Bass Lines?”] at the Society for Music Theory (Charlotte, NC), 2013. 

Jeffrey Schaeffer, “Understanding Tonal Ambiguity in Liszt’s Death Pieces,” Journal of the American Liszt Society 64 (2013): 35–62.

David Byrne, “Bernhard Ziehn’s Models of Voice Leading and Chord Succession in Chromatic Music,” Music Research Forum 27 (2012): 27–52.

David Byrne, “Frederick Delius’s The Song of the High Hills (1912): Two-Dimensional Sonata Form, Cumulative Variation, and ‘the wide far distance,’” paper presented at Music Theory Midwest (Ann Arbor, MI), 2012.

Jennifer Kitchen, “‘Schenkerian Analysis is Architecture’: Enhancing the Understanding of Metaphors in Music-Theoretical Language through the Study of Neural Processes,” paper presented at the conference of the Music Theory and Musicology Society of the College-Conservatory of Music (Cincinnati, OH), 2012.

Steven D. Mathews, review of Tonality and Transformation, by Steven Rings, Notes [Journal of the Music Library Assoc.] 68/4 (2012): 788–790.

Steven D. Mathews, “Musical Process and Rhetoric in Arnold Schoenberg’s Violin Phantasy,” at the Univ. of Cincinnati’s “Works in Progress” Interdisciplinary Graduate Student Conference (Cincinnati, OH), 2012.

Steven D. Mathews, “Transformations and Musical Form: Oriented and Disoriented Networks in Two Concerti by Alexander Glazunov,” paper presented at the 22nd Annual Pacific Northwest Graduate Music Student Conference (Vancouver, Canada), 2012; at Rocky Mountain Society for Music Theory (Greeley, CO), 2012; and at CUNY Graduate Students in Music Conference (New York, NY), 2012.

 

David Byrne, “Does Nature Seek Closure? Sigfrid Karg-Elert (1877–1933) on ‘Equal’ Divisions, Enharmonicism, and Tonal Unity in a Song by Liszt,” paper presented at the Society for Music Theory (Minneapolis, MN), 2011.

Breighan Moira Brown, guest lecture given as part of the “Recital Forum” series at Saint Mary’s College (Notre Dame, IN), 2011.

Daniel E. Mathers, “Scenes from Adolescence: Aaron Copland and Tin Pan Alley,” paper presented at the Society for American Music (Cincinnati, OH), 2011.

Steven D. Mathews, review of Analyzing Jazz: A Schenkerian Approach, by Steve Larson, to be published in Music Research Forum 26 (2011) [forthcoming].

Jeffrey Schaeffer,  “Hypermeter, Metrical Dissonance, and Metrical Ambiguity in the Waltzes of Joseph Lanner,” paper presented at the Music Theory Society of the Mid-Atlantic (Washington, DC), 2011.

Katherine L. Campe, “A Critical Review of the Neuromusicological Research in Subjects with Williams-Beuren Syndrome,” paper presented at the Rocky Mountain Society for Music Theory (Tucson, AZ), 2010.

Steven D. Mathews, “Representing Linear Intervallic Patterns in Schenkerian Notation and Pedagogy: Problems of Presentation and Prolongation,” paper presented at the Rocky Mountain Society for Music Theory (Tucson, AZ), 2010.

Brett Clement, “A New Lydian Theory for Frank Zappa’s Diatonic Music,” paper presented at the Midwest Graduate Music Consortium (Chicago, IL), 2009; at the Rocky Mountain Society for Music Theory (Boulder, CO), 2009; and at Music Theory Midwest (Minneapolis, MN), 2009.

Brian D. Hoffman, “The Development and Use of the Suspended Chord in Modern Musical Theatre,” paper presented at the “Sound, Stage, and Screen” conference at the Univ. of
Maryland (College Park, MD), 2009.

Samantha Inman, “The Act of Interpreting J. S. Bach’s Allemande for Solo Flute,” paper presented at Music Theory Midwest (Minneapolis, MN), 2009.

Janel Long, review of Essays from the Third International Schenker Symposium, edited by Allen Cadwallader, published in Music Research Forum 24 (2009): 63–67.

Jessica R. Barnett, “Integrating Piano and Theory Skills: A Music Theorist’s Perspective,” paper presented at the Southwest Ohio Music Teachers Association (Cincinnati, OH), 2008; and at the National Group Piano and Piano Pedagogy (GP3) Forum (Norman, OK), 2008.

Breighan Moira Brown, “Tchaikovsky Chats,” a series of pre-concert lectures given as part of the 2008 Tchaikovsky Festival, University of Cincinnati, College-Conservatory of Music, 2008.

David Byrne, “Sonata Form and Tonal Structure in the First Movement of Bruckner’s Fifth Symphony,” paper presented at the Society for Music Theory (Nashville, TN), 2008; Music Theory Midwest (Bowling Green, OH), 2008; and the conference of the Music Theory and Musicology Society of the College-Conservatory of Music (Cincinnati, OH), 2008.

David Byrne, review of After Sibelius: Studies in Finnish Music, by Tim Howell, published in Music Research Forum 23 (2008): 88–92.

Javier Clavere, “Existential Irony in La Pasion segun San Marcos by Osvaldo Golijov,” paper presented at Music Theory Midwest (Bowling Green, OH), 2008.

Javier Clavere, “The Semiosis of Piano Transcriptions and Stylistic Appropriations,” paper presented at the 33rd Semiotic Society of America Annual Meeting (Houston, TX), 2008.

Javier Clavere, “Parody and Ironic Ethos in La Pasion segun San Marcosby Osvaldo Golijov,” paper presented at Music Theory Southeast (Greensboro, NC), 2008.

Brett Clement, “Rhythmic Dissonance in the Music of Frank Zappa,” paper presented at Music Theory Southeast (Greensboro, NC), 2008.

Brian D. Hoffman, “S-Based Tonic Returns: A Schenkerian and Rotational Study,” paper presented at Music Theory Midwest (Bowling Green, OH), 2008; and at the conference “Conversations: Music Scholarship in Dialogue” (Univ. of Michigan), 2008.

Brian D. Hoffman, “If I Loved You: Problems and Solutions in the First-Act Love Songs of Hart and Hammerstein,” paper presented at the conference on “American Musical Theatre” at the Graduate Center, City Univ. of New York, 2008; and at the American Musicological Society Midwest (Kalamazoo, MI), 2008.

Daniel E. Mathers, “Copland’s Earliest Score and Borrowing: ‘I’m On My Way to Mandalay,’” paper presented at the American Musicological Society (Nashville, TN), 2008.

Breighan Moira Brown, review of Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter, edited by L. Poundie Burstein and David Gagné, published in Music Research Forum 22 (2007): 81–87.

Breighan Moira Brown, “‘First-Order Metric Parallelisms’: A Schenkerian Approach to Rhythm and Meter in Tchaikovsky’s Valse (Symphony No. 5 in E Minor, III),” paper presented at Music Theory Midwest (Lawrence, KS), 2007; and at the conference of the Music Theory and Musicology Society of the College-Conservatory of Music (Cincinnati, OH), 2007.

Javier Clavere, “The Paradigm Shift Theory, the Sacred Sign, and Worship Systems,” paper presented at the 32nd Semiotic Society of America Annual Meeting (New Orleans, LA), 2007.

Brett Clement, “Rhythmic Dissonance in the Music of Frank Zappa,” paper presented at Music Theory Midwest (Lawrence, KS), 2007.

Michael Kelly, “An Exploration of Pitch Organization in Krzysztof Penderecki’s Passion According to Saint Luke,” paper presented at the conference of the Music Theory and Musicology Society of the College-Conservatory of Music (Cincinnati, OH), 2007.

Brian Christopher Moseley, “Transpositional Combination and the Analysis of Musical Form in George Crumb’s Lux Aeterna,” paper presented at Music Theory Southeast, 2007; Music Theory Midwest (Lawrence, KS), 2007; and West Coast Conference for Music Theory and Analysis (Salt Lake City, UT), 2007. Winner of “Best Student Essay” award, Music Theory Southeast.

Jessica R. Barnett, “Motivic Composing-Out in Ginastera’s Piano Sonata No. 1, Third Movement,” paper presented at the McGill Univ. Graduate Student Symposium, 2006; and at Music Theory Midwest (Muncie, IN), 2006.

Breighan Moira Brown, “Plagal Markedness in the Music of Piotr Ilyich Tchaikovsky,” paper presented at the Recital Forum Lecture Series, Saint Mary’s College (Notre Dame, IN), 2006.

Brian Christopher Moseley, “Transpositional Combination and Collectional Interaction in George Crumb’s Vox Balaenae,” paper presented at the Florida State Univ. Music Theory Society Forum, 2006; and at Music Theory Midwest (Muncie, IN), 2006.