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C. Catherine Losada

Title: Professor of Music Theory
Office: 4225L Emery Hall
Tel: 513-556-9567
Email: losadacc@ucmail.uc.edu

Professor Catherine Losada, PhD., is a music theorist whose research interests include post-tonal music, the music of Pierre Boulez, advanced serial techniques, transformational theory, the musical collage, and music written after 1950. At CCM, Losada regularly teaches tonal theory, twentieth-century theory and analysis, set theory, a seminar on transformational theory, and other seminars involving recent developments in the application of mathematical approaches to music theory and analysis. She has been published in Music Theory Spectrum (2009 and 2014), Journal of Music Theory, Mitteilungen der Paul Sacher Stiftung (2018), Music Analysis, Music Theory Online (2007 and 2019), Music Theory and Analysis, Journal of Mathematics and Music, Quaderni di Matematica and Twentieth-Century Music and Mathematics. She has served on the Executive Board of the Society for Music Theory and as president of Music Theory Midwest. She is currently working on a monograph on serial techniques in the music of Pierre Boulez.

Losada is the recipient of a Fulbright Specialist Grant, the Outstanding Publication Award from the Society for Music Theory, a Third Century Faculty Research Grant, a Publications Subventions Grant from the Society for Music Theory, a Paul Sacher Foundation Grant, a University Research Council Grant, and a University Research Council Faculty Summer Fellowship for research conducted at the Sacher Foundation in Basel, Switzerland. She delivered a keynote address at the 9th International Conference on Arts and Humanities (Queretaro, Mexico, 2019), as well as papers at international events including a special symposium, "Concepts of Harmony in Musical Composition 1945-1975" (Venice, 2019), "An International Symposium and Workshop Series in Music Theory at the China University" (Beijing, 2018), EuroMAC (Strasbourg, France, 2017), IMS (the conference of the International Musicological Society, Stavanger, Norway, 2016), KeeleMac (the conference of the Society for Music Analysis, Keele, UK, 2015), the McGill Workshop on Italian Serialism of the 1950s (Montreal, 2010), the First International Conference of the Society for Mathematics and Computation in Music (Berlin, 2007), and the Fourth Biennial International Conference on Twentieth-Century Music (University of Sussex, 2005). She has also presented her research at the annual meetings of the Society for Music Theory (Seattle, 2004; Cambridge, 2005; Los Angeles, 2006; Minneapolis, 2011; New Orleans, 2012; Charlotte, 2013; Milwaukee, 2014; Vancouver 2016), the American Musicological Society (2019), as well as many regional conferences.

Education

  • BM, Rutgers University.
  • Ph.D., City University of New York.
  • MM, University of Michigan, Ann Arbor, MI (Music Theory).
  • MM, University of Michigan, Ann Arbor, MI (Music Performance).

Research Information

Research Interests

Dr. Losada will present a keynote address at the International Conference for Arts and Humanities (Queretaro, Mexico, 2019) as well as the annual meeting of the American Musicological Society (Boston, 2019). During the summer of 2020, she will doing research on the music of Colombia, thanks to a Fulbright Specialist Grant, as well as research on the music of Pierre Boulez at the Paul Sacher Foundation in Basel, Switzerland.

Publications

Peer-reviewed Publications

  • Catherine Losada (2014). Complex Multiplication, Structure and Process: Harmony and Form in Boulez's Structures II. Music Theory Spectrum, 36 (1).
  • Catherine Losada (2009). Between Modernism and Postmodernism: Strands of Continuity in Collage Compositions by Rochberg, Berio and Zimmermann. Music Theory Spectrum, 31 (1), 57.
  • Catherine Losada, Guerino Mazzola, Florian Thalmann and Schuyler Tsuda (2009). Topos Theory for a Creative Analysis of Boulez's Structures. Quaderni di Matematica (23), 234.
  • Catherine Losada (2008). The Process of Modulation in the Musical Collage. Music Analysis, 27 (5), 97.
  • Catherine Losada (2008). Isography and Structure in the Music of Pierre Boulez. Journal of Mathematics and Music, 2 (3), 135.
  • Catherine Losada (2007). K-nets and Hierarchical Structural Recursion: Further Considerations. Music Theory Online, 13 (3).
  • Catherine Losada (2017). (In Press). Between Freedom and Control: Composing Out, Compositional Process and Structure in the Music of Boulez. Journal of Music Theory, 61 (2).
  • Catherine Losada (2018). (In Press). The “Prismes” of Figures Doubles Prismes. Mitteilungen der Paul Sacher Stiftung, 31.
  • Catherine Losada (2019). Boulez and Mathematics. Twentieth-Century Music and Mathematics.
  • Catherine Losada (2019). Middleground Structure in the Cadenza to Boulez's Eclat. Music Theory Online, 25 (1).
  • Catherine Losada (2019). (In Progress). The Need for an Aesthetic Orientation: Developmental Techniques in the Music of Boulez. Music Theory and Analysis.
  • Catherine Losada (In Progress). Stravinsky and Boulez: Compositional Process, Form and Development. Proceedings of the 9th European Music Analysis Conference (EuroMAC).

Presentations & Lectures

Invited Presentations

  • Catherine Losada (2013). Between Freedom and Control: Composing-Out, Common Subsets and Structure in an Open Work by Boulez Annual meeting of the Society for Music Theory, Charlotte, NC.
  • Catherine Losada (2012). Complex Multiplication, Structure and Process: Harmony and Form in Boulez's Structures II Annual meeting of the Society for Music Theory, New Orleans, LA.
  • Catherine Losada (2011). Transformational Networks as Representations of Systematic Intervallic Interactions in Berio's Sinfonia Annual meeting of the Society for Music Theory, Minneapolis, MN.
  • Catherine Losada (2011). Transformational Networks as Representations of Systematic Intervallic Interactions in Berio's Sinfonia Annual meeting of the Music Theory Society of New York State, Buffalo, NY.
  • Catherine Losada Simplifying Complex Multiplication.
  • Catherine Losada Between Modernism and Postmodernism: A Strand of Continuity.
  • Catherine Losada The Process of Modulation in the Musical Collage.
  • Catherine Losada (2016). Middleground Structure in the Cadenza to Boulez's Éclat Joint Meeting of the Society for Music Theory and the American Musicological Society; Music Theory Midwest.
  • Catherine Losada (2015). Pierre Boulez and the Aesthetics of Proliferation KeeleMac, Keele, England.
  • Catherine Losada (2014). Pierre Boulez and the Aesthetics of Proliferation Annual meeting of the Society for Music Theory, Milwaukee, WI.
  • Catherine Losada (2017). Stravinsky and Boulez: Compositional Process, Form and Development 9th European Music Analysis Conference (EuroMAC), Strasbourg, France.
  • Catherine Losada (2016). The Musical Sketch as Artifact Conference of the International Musicological Society (IMS), Stavanger, Norway.
  • Catherine Losada (2019). Keynote Address: América Latina y la Vanguardia Europea Después de la Segunda Guerra Mundial International Conference on Arts and Humanities, Queretaro, Mexico.
  • Catherine Losada (2019). The Diagonal Dimension: Concepts of Harmony in the Music of Boulez Concepts of Harmony in Musical composition 1945-1975, Venice.
  • Catherine Losada (2019). The Diagonal Dimension: Concepts of Harmony in the Music of Boulez American Musicological Society, Boston, MA.
  • Catherine Losada (2018). Developmental Techniques in the Music of Boulez An International Symposium and Workshop Series in Music Theory at the China Conservatory, Beijing, China.
  • Catherine Losada (2017). Sketches, Compositional Process and Form Autographs and Archival Documents Interest Group meeting at the annual meeting of the Society for Music Theory, Arlington, VA.
  • Catherine Losada (2017). The Concept of Development in the Music of Pierre Boulez Carrigan Lecture Series at the University of Michigan, Ann Arbor, MI.

Lectures

  • (04-13-2010). Transformational Networks as Representations of Systematic Intervallic Interactions in Berio¹s Sinfonia. Montreal, Quebec, Canada.
  • (01-30-2008). Isography and Structure in the Music of Pierre Boulez. Philadelphia, PA.
  • (03-09-2007). Musical Structure and its Relationship to Compositional Process in the late 20th Century. Rutgers University.
  • (01-30-2007). Simplifying Complex Multiplication. London, Ontario, Canada.
  • Chromatic Saturation and the Significant Gap as Unifying Devices in the Musical Collage..

Honors & Awards

  • Research Grant, Paul Sacher Foundation, 2010 to 2012.
  • URC Faculty Summer Research Fellowship, University of Cincinnati College-Conservatory of Music, 2008.
  • Faculty Development Awards, University of Cincinnati College-Conservatory of Music, 2005 to 2007.
  • URC Research Grant, University of Cincinnati College-Conservatory of Music, 2005. For research conducted at the Paul Sacher Foundation in Basel, Switzerland.
  • SMT Minority Travel Grant, Society for Music Theory, 2004. For paper presentation at the SMT conference.
  • Herbert Colvin Award for outstanding student paper, Texas Society for Music Theory, 2003.
  • Third Century Faculty Research Grant, 05-2017.
  • Publication Subvention Grant from the Society for Music Theory, 2014.
  • Outstanding Publication Award, Society for Music Theory, 2016.

Experience & Service

Other Experience and Professional Memberships

  • 2013 to 2015 ,President, Music Theory Midwest
  • 2013, Co-founder, SMT Post-1945 music analysis special interest group
  • 2013, Member of the Program Committee, Conference of Music Theory Midwest
  • 2013, Session chair, Music Theory Midwest conference
  • 2013, Session chair, Conference of the Music Theory Society of New York State
  • 2013, Member of the Scientific Board, Conference of the Society for Mathematics and Computation in Music, Montreal, Quebec, Canada
  • 2012, Member of the Program Committee, Conference of the Music Theory Society of New York State
  • 2011 to 2013 ,Member of the Publications Subvention Grant, Society for Music Theory (SMT)
  • 2011, Member of the Executive Board, Music Theory Society of New York State
  • 2011, Member of the Scientific Committee, Conference of the Society for Mathematics and Computation in Music
  • 2011, Session chair, Conference of the Society for Mathematics and Computation in Music, Paris, France
  • 2010, Editorial Board Member, Music Theory Online
  • 2010, Session chair, Conference of Music Theory Midwest
  • 2016, Session chair, Music Theory Midwest conference
  • 2008, Editorial Board Member, Journal of Music Theory
  • 2015 to 2017 ,Member of the Executive Board, Society for Music Theory (SMT)
  • 2008, Member of the Program Committee, Conference of the Society for Music Theory
  • 2015, Session chair, Annual Meeting of the Society for Music Theory
  • 2008, Session chair, Conference of Music Theory Midwest
  • 2015, Member of the Scientific Board for the 2015 conference, Society for Mathematics and Computation in Music, Paris, France
  • 2007, Member of the Executive Board, Music Theory Midwest
  • 2015, Session chair, KeeleMAC
  • 2004, Member of the Program Committee, Conference of the Music Theory Society of New York State
  • 2004, Member of the Program Committee, Conference of the Texas Socity for Music Theory