Areas of Interest

• Form, counterpoint, and harmony in the music of the Modernist period, especially Gustav Mahler, Richard Strauss, and Alban Berg

• Transformational and post-tonal analysis, literature, and memory in the music of Henri Dutilleux

• Pedagogical approaches to musical form and teacher training

• Aesthetics and Adorno’s philosophy of music

• Analysis of commercial uses of music, advertisement jingles, and borrowed music

• Memory and perception of musical organization

• Approaches to phrase form, text, and meaning in Spanish zarzuela

Peer-Reviewed Publications

“Types and Applications of P3,0 Seventh-Chord Transformations in Late Nineteenth-Century Music”

Music Theory Online 22.2 (June 2016)

This co-authored paper examines one class of parsimonious voice-leading transformations between tetrachords in which one of the chord members is held in common while each of the other three moves by half step. We focus on aspects of these “P3,0” transformations to examine 1) their place in the broader context of neo-Riemannian voice-leading transformations; 2)…
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The working title for my dissertation is “Problems of Aesthetics, Coherence, and Large-Scale Form in Germanic Music, 1905–15.” The corpus of works under scrutiny includes Gustav Mahler’s late symphonies, the tone poems of Richard Strauss, and two early modern string quartets: Arnold Schoenberg’s op 7 and Alexander von Zemlisnky’s op 15…
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Upcoming Conference Presentations

The “Rondo” and the “Burleske” in Mahler’s Rondo-Burleske

2020 Society for Music Theory 43rd Annual Conference

Virtual Conference | November 2020

2020 Music Theory Southeast 29th Annual Conference

Virtual Conference | August/September 2020

Winner: Irna Priore Prize for Graduate Research

Titles speak volumes. For Eric Drott (2013, 4), titles serve “a ‘rhetorical’ or communicative function, in addition to a taxonomic one.” Gustav Mahler’s label for the third movement of his Ninth Symphony, “Rondo-Burleske,” establishes the work’s semantic and interpretive context, prompting the analyst to evaluate whether the movement is a rondo at all. Its title summons generic and formal expectations; yet, Mahler’s Rondo-Burleske is unlike any rondo before it…
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Past Conference Presentations

Jingle Function in Contemporary Commercial Advertisement

2020 Society for American Music 46th Annual Conference

Virtual | 18 July 2020 | 3:45pm Central Time Session title: “Popular Music and Commercial Recording” | Session Chair: Paula Bishop

A functional, multimedia approach to commercial jingles must account for many intersecting parameters. Roland Barthes provides a useful perspective for such analysis in “Rhetoric of the Image” (1964)—a complementary relationship between text and image…
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Graduate Instructor Peer Observation in Music Theory Pedagogy

2019 Pedagogy into Practice

Co-Presented with Alyssa Barna
Santa-Barbara, California | 25 May 2019 | 1:30pm Session title: “Expanding our Approach” | Session Chair: Crystal Peebles

Peer observation is a valuable mechanism for faculty development. It helps teachers to be more self-reflective (Peel 2005) and can serve the purposes of both professional development and judgment regarding advancement. Additionally, reciprocal observation is effective for observer and instructor alike (Cosh 1998) and helps “foster colleagueship and community” among peers (Edgerton 1996, 17). Our review of the field finds that scholarship is available at the faculty level but virtually nonexistent for graduate instructors…
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The Transgressive Modernism of Berg’s String Quartet—as Told by Adorno

2019 Music Theory Midwest

Cincinnati, Ohio | 10 May 2019 | 9:30am Session title: “Historical Readings” | Session Chair: Jonathan Guez

Many of Theodor Adorno’s essays on music constitute a blend of criticism and analysis; in truth, the author links them as forms immanent to the artwork itself. In this paper, Adorno’s analytical vignette for the first movement of…
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The Hybrid Forms of Mahler’s Late Symphonies

2018 Society for Music Theory 41st Annual Conference

San Antonio, Texas | 4 November 2018 |9:00am Session title: “Wagner and Mahler” | Session Chair: Matthew Bribitzer-Stull

The problematic status of sonata form in Mahler’s late symphonies has been well documented. Monahan (2015) argues that neither the opening movements of the Ninth nor the Tenth “feels much like a sonata” (29). All six outer movements of the late symphonies project varying degrees of dialogue with sonata form, and they do so by…
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Memory in Music Analysis: Referential Appeals to Proustian Memory in Dutilleux’s Ainsi la Nuit

2017 European Music Analysis Conference (EuroMAC IX)

Strasbourg, France | 28 June 2017 |2:00pm Session title: “Leading Figures of Modernity (I): Messiaen, Dutilleux, and Kurtág” | Session Chair: Yves Balmer

The Connective Role of the Parentheses in Dutilleux’s Ainsi la Nuit

2017 Music Theory Society of New York State 46th Annual Meeting

Geneva, New York | 1 April 2017 | 1:30pm Session title: “Collections and Recollections” | Session Chair: Deborah Rifkin

In conversation with Roger Nichols, Henri Dutilleux described the method of composition that produced his lone string quartet, Ainsi la nuit: ‘There are small cells which develop bit by bit. This may perhaps show the influence of literature, of Proust and his notions about memory’ (Nichols 1994, 89)…
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