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Classes |
Autumn term 2007 Winter term 2008 Spring term 2008 | |||
Publications |
“Musical Gesture and Musical Grammar: A Cognitive Approach,” in New Perspectives on Music and Gesture, ed. Anthony Gritten and Elaine King (Ashgate Publishing Ltd) [in preparation]. “Music, Language, and Multimodal Metaphor,” in Multimodal Metaphor, eds. Charles Forceville and Eduardo Urios-Aparisi. (Berlin: Mouton-de Gruyter, 2007) [in press]. “Dance Topoi, Sonic Analogues, and Musical Grammar: Communicating with Music in the Eighteenth Century,” to appear in Communication in Eighteenth Century Music, ed. Danuta Mirka (Cambridge: Cambridge University Press) [in press]. “Cognitive Science, Music Theory, and Music Analysis,” in Musiktheorie im Kontext: V. Kongress der Gesellschaft für Musiktheorie, ed. Reinhard Bahr and Jan Philipp Sprick [in press]. “Metaphor and Music,” in The Cambridge Handbook on Metaphor, ed. Ray Gibbs, Jr. (Cambridge: Cambridge University Press) [in press]. | |||
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“The Cognitive Tango: Music, Mind and Brain,” in The Artful Mind: Cognitive Science and the Riddle of Human Creativity, ed. Mark Turner (New York: Oxford University Press, 2006). “Aspects of Meaning Construction in Music: Toward a Grammar of Music,” Almen Semiotik 17 [in press]. “Music Theory, Multimedia, and the Construction of Meaning” (invited review of Nicholas Cook’s Analysing Musical Multimedia), Intégral 16/17 (2002/2003) [published summer 2005]: 251-268. “Modelling the Groove: Conceptual Structure and Popular Music,” the Journal of the Royal Musical Association 129/2 (December 2004): 272-297. Review of Taylor Aitken Greer, A Question of Balance: Charles Seeger’s Philosophy of Music, Music Theory Spectrum, 26/2 (Fall 2004): 305-313. | |||
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Conceptualizing Music: Cognitive Structure, Theory, and Analysis, AMS Studies in Music (New York: Oxford University Press, 2002). Conceptualizing Music was winner of the Society for Music Theory's 2004 Wallace Berry Award. “Des Herzraums Abschied: Mark Johnson's Theory of Embodied Knowledge and Music Theory,” Theory and Practice 22-23 (1997-98; published Autumn 2000): 1-16. “The Blossoms of 'Trockne Blumen': Music and Text in the Early Nineteenth Century,” Music Analysis, 18/3 (October 1999): 307-345. “Musical Coherence, Motive, and Categorization,” Music Perception 17/1 (Fall 1999): 5-42. | |||
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“Seeger's Unitary Field Theory Reconsidered,” in Understanding Charles Seeger, Pioneer in American Musicology, edited by Bell Yung and Helen Rees (University of Illinois Press, 1999), 130-149. “Metaphor and Music Theory: Reflections from Cognitive Science,” in Music Theory Online 4/1 (January 1998). “Conceptual Models and Cross-Domain Mapping: New Perspectives on Theories of Music and Hierarchy,” the Journal of Music Theory 41/2 (Fall 1997): 193-225. “Musical Concepts and Categories,” Music Theory Online 1/4 (July 1995). “Cooperative Learning in the Music Theory Classroom,” with Dr. Charles K. Long; the Journal of Music Theory Pedagogy 8 (1994): 135-157. Review-article on Eugene Narmour’s The Analysis and Cognition of Basic Melodic Structures for the Journal of Music Theory 37/1 (Spring 1993): 177-206. | |||
Performance |
Although most of my energies are directed toward classical guitar, I've explored somewhat lighter fare as a member of the South Side Swedes, led by John Berquist. | |||
Contact |
Department of Music Copyright © 2007 Lawrence M. Zbikowski |