|
M.A., New York
University, 2006; B.A., B.M., Oberlin College, 2003
Advanced Certificate, Poetics and Theory
2004-5 Andrew W.
Mellon Fellowship in the Humanities
I am broadly
interested in the intellectual history of music. My dissertation
studies musical modernism as a movement inseparable from influential
currents in German and French philosophy. Through the twin concepts of
"technicity" (marking the ambiguity between technique and technology)
and "transcendence" (a particularly modernist brand of utopian
aesthetics), I analyze and compare the work of Ernst Bloch, Theodor
Adorno, Vladimir
Jankélévitch, Roland Barthes, and Gilles Deleuze. My
analyses proceed in dialogue with works by Schumann, Schoenberg, Ravel,
and Boulez.
At
Oberlin College, I received the John Elvin Piano Prize for my
performance of Boulez's Première Sonate, performed
and recorded (in Dolby 5.1) Stockhausen's Kontakte with percussionist Ross
Karre, and premiered over 30 new compositions including the commission
of a new piano quintet by Scottish composer, James Dillon. I maintain
an active performing career in New York playing accordion in the
alt-country band, Tatters &
Rags, and organ in the psychedelic noise band, Starring.
Selected
publications:
Invited Review: À l'écoute by Jean-Luc
Nancy, trans. Charlotte Mandell. Current Musicology 86, Fall 2008,
pp.157-166.
"Is There a
Deleuzian Musical Work?" Perspectives
of New Music 46/2
(Summer 2008), pp. 93-129.
"Between the Sonorous Bloc and the Refrain: Problems in Deleuze's
Philosophy of Music," in Radical
Difference: Deleuzian Perspectives on the Theory and Philosophy of Music,
ed. Brian
Hulse and Nick Nesbitt (Forthcoming, Ashgate
Press).
"Technics, Consciousness, and the Impossible Musical Object" in
Music
and Consciousness, ed. Eric Clarke and David Clarke
(Forthcoming, Oxford Unviersity Press).
"Sacred Music You Can't
Consume" (February 2009)
|
