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"Schenkerian analysis."
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A Foretaste of Heaven: Musical Teleology in Mozart's Ave verum corpus , k 618
In June 1791, having composed almost no church music for ten years, Mozart wrote the short motet Ave verum corpus , k 618, a setting of the Latin medieval eucharist hymn. The theological teleology in the text introduces a process-like aiming at a goal that cannot, however, be reached. This study is about how teleology operates in the motet – the ways in which the text's ultimately unfulfilled goal-directed processes operate in Mozart's music. The music is approached from a variety of analytical perspectives that reflect different aspects of this theme: the new Formenlehre and phrase structure, topic theory, and the analysis of voice-leading structure, register and hypermetre. Together, these approaches elucidate the multiplicity of musical processes that, as in the motet's text, announce a goal but fail to reach it.
Journal Article
Redrawing Analytical Lines
This article contemplates the lines that animate our work as music theorists—from the music-analytical systems that shape sound into knowledge to the disciplinary divisions that distinguish us. To begin, I theorize these lines with Karen Barad’s concept of agential cuts (2007). For Barad, making agential cuts at once produces knowledge (epistemology), constitutes its objects (ontology), and fosters particular attitudes toward them (ethics)—which she expresses with the term “ethico-onto-epistem-ology.” Bringing this perspective to music theory, I frame analysis as not only a form of knowing, but also of relating and world-making.
Journal Article
When All You Have is a Hammer
This article interrogates and reimagines the approach to reductive music analysis characterized by spatial metaphors (like “underlying” harmony). Such language portrays analysis as the process of discovering a structure “beneath” a piece’s “surface.” I argue that this picture downplays the multifaceted, varied processes that go into creating musical reductions. Examining details of several different kinds of relationships between “surface” and “depth,” I show that while the traditional characterization is analytically apt in many cases, it encourages false equivalences in others. Borrowing Schoenberg’s description of music theory as being based in “good comparison,” I suggest that such an alternative conception might better suit some of our engagements with reductive analysis. Moreover, adopting this alternative might encourage different kinds of engagements, altering our perspective in a way that makes constructing reductions a much more flexible—and potentially more powerful—approach than has hitherto been the case.
Journal Article
An Examination of Different Explanations for the Mere Exposure Effect
This article investigates two competing explanations of the mere exposure effect—the cognition‐based perceptual fluency/misattribution theory (PF/M) and the affect‐based hedonic fluency model (HFM)—under incidental exposure conditions. In two studies, the classical mere exposure effect is replicated in the context of banner advertising. The findings rule out the cognition‐based PF/M and suggest that the spontaneous affective reaction resulting from perceptual fluency is a crucial link between fluency and evaluation. The studies provide strong evidence that the spontaneous affect influences evaluative judgments through a more complex process, likely by coloring the interpretation of the fluency experience and the nature of resulting metacognitions relating fluency to liking. Theoretical and managerial implications of the findings are mentioned.
Journal Article
Are All Units Created Equal? The Effect of Default Units on Product Evaluations
Previous research on attribute framing has shown that people often infer higher quantity from larger numbers, usually with the assumption that the units used to specify this information elicit the same meanings. Drawing on literature on categorization and numerical cognition, the authors challenge this assumption and show that consumers often have preset units for attribute levels that strike an optimal balance between a preference for small numbers and the need for accuracy (study 1a). As such, these default units appear commonly (study 1b). Specifying positive attributes in default units renders products’ evaluation more favorable, even if such specification lowers the nominal value of the attributes (studies 2–4). This effect disappears if participants attribute metacognitive feelings generated by default units to an irrelevant source (study 3). Study 5 shows that a default unit effect is more likely in single evaluation mode, but a numerosity effect may reemerge in joint evaluations.
Journal Article
Harmonic Function in Rock Music
In this article, I advocate for a syntactical definition of harmonic function in rock music such that function is acquired not by a chord's scale-degree content but by its role in the context of a song's form. In rock songs, the syntactical role of dominant, for example, is often played by chords unrelated to V, such as IV, ii, ♭VII, or even versions of I. A theory of harmonic function rooted in chord category—e.g., ascribing dominant function to any chord related to V—inadequately accounts for rock's harmonic organization. I argue that syntactical elements underlie many existing conceptions of harmonic function, but theories rooted in common-practice repertoire nearly always involve chord category to some degree. Separating syntactical and categorical elements not only leads us to a fuller understanding of rock's harmonic idiom, but also reveals similarities between rock music and common-practice tonal music that many theorists insist do not exist.
Journal Article
Fifth-Grade Students’ Digital Retellings and the Common Core
Multimodal composing is part of the Common Core vision of the twenty-first-century student. Two descriptive studies were conducted of fifth-grade students’ digital folktale retellings. Study 1 analyzed 83 retellings in relation to the types and frequencies of modal use, such as image, sound, movement, and written text, as well as their retelling accuracy. Students composed within a scaffolded digital composing environment which comprised the PowerPoint authoring/presentation tool and a researcher-developed story frame. All students’ retellings included writing and visual design, 80% included animation, and 70% included sound. Retelling accuracy scores averaged 54%. Study 2 was conducted with a new group of 14 fifth-grade students who had previous digital retelling experience. The retellings included the same types of modal use, but at a higher level of frequency. In their retrospective design interviews, students expressed design intentionality and a metamodal awareness of how modes work together to create an appealing story.
Journal Article