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Theory & Composition

Theory & Composition News

We are very pleased to announce the appointment of two new faculty members within our area as of Fall 2019…theorist Gilad Rabinovitch and composer Liliya Ugay. Currently an Assistant Professor of Music Theory at Georgia State University, Gilad Rabinovitch completed a Ph.D. in Music Theory in 2015 and a Ph.D. in Composition in 2013, both from the Eastman School of Music. His recent research re-evaluates Robert Gjerdingen’s model of galant schemata; other interests include history of music theory, counterpoint, historical improvisation, and music cognition. He has publications in Music Theory Online and the Journal of Music Theory, with others coming soon in Music Theory & Analysis, Theoria, and Engaging Students. He has presented papers at annual meetings of the Society for Music Theory, the European Music Analysis Conference (EuroMAC), the International Conference on Music Perception and Cognition, and various regional conferences including the Music Theory Society of New York State and the FSU Music Theory Forum.

Liliya Ugay recently completed her doctoral dissertation at Yale University and has had compositions performed around the world. Recipient of the 2016 Charles Ives Scholarship from the American Academy of Arts and Letters and the 2017 Horatio Parker Memorial Prize from Yale, she has collaborated with numerous symphony orchestras as well as prominent soloists and ensembles. Her music has been featured at many festivals including Aspen, Norfolk, CULTIVATE, American Composers, New York Electroacoustic Music, June in Buffalo, and Darmstadt, as well as the 52nd Venice Biennale. She was a prizewinner in the Molinari Quartet International Composition Competition, the Edvard Grieg International Composition Competition, the “Pre-Art” International Composition Competition in Zurich, and an international competition for young composers sponsored by the Moscow Conservatory. Liliya is also a prizewinning pianist and is the founder and artistic director of Silenced Voices, a concert series that promotes the music of neglected Soviet composers. 

Faculty Scholarly and Compositional Activity

FSU is home to one of the most productive music theory and composition areas in the world. Members of our faculty have written many recent textbooks as well as numerous articles in our field’s major journals; we are always well represented at the annual meetings of the Society for Music Theory and other major national and international scholarly organizations. This is a partial list of the faculty’s publications, recordings, and lectures.

List of Activities

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Books
  • Jane Piper Clendinning, Elizabeth West Marvin, and Joel Philips. The Musician’s Guide to Fundamentals, third edition, W. W. Norton, 2017.
  • Jane Piper Clendinning and Elizabeth West Marvin, The Musician’s Guide to Theory and Analysis, third edition, W. W. Norton, 2016. With anthology and workbook.
  • Paul Murphy, Joel Phillips, Jane Piper Clendinning, and Elizabeth West Marvin, The Musician’s Guide to Aural Skills: Sight Singing, third edition, W. W. Norton, 2016.
  • Paul Murphy, Joel Phillips, Jane Piper Clendinning, and Elizabeth West Marvin, The Musician’s Guide to Aural Skills, Volume II: Ear Training and Contextual Listening, third edition, W. W. Norton, 2016.
  • Douglass Green and Evan Jones, The Principles and Practice of Modal Counterpoint (Routledge, 2010).
  • Douglass Green and Evan Jones, The Principles and Practice of Tonal Counterpoint (Routledge, 2015).
  • Rachel Lumsden and Jeffrey Swinkin, eds., The Norton Guide to Teaching Music Theory (Norton, 2018).
  • Evan Jones, ed., Intimate Voices: The Twentieth-Century String Quartet (University of Rochester Press, 2009).
  • Evan Jones and Matthew Shaftel, with Juan Chattah, Aural Skills in Context: A Comprehensive Approach to Sight Singing, Ear Training, Harmony, and Improvisation (Oxford, 2013).
  • Nancy Rogers and Robert W. Ottman, Music for Sight Singing, 9th Edition (Pearson, 2014).
Articles and Book Chapters
  • Michael Buchler, “Musical Structure, Dramatic Form, and Song Pairings in Cole Porter’s ‘Kiss Me, Kate’,” Journal of the Society for American Music 12/1 (2018): 37-54.
  • Michael Buchler, “A Case Against Teaching Set Classes to Undergraduates,” in Engaging Students: Essays in Music Pedagogy vol. 5 (2017).
  • Michael Buchler, “Are There Any Bad (or Good) Transformational Analyses?” Intégral 30 (2017): 41-51.
  • Michael Buchler, “Licentious Harmony and Counterpoint in Porter’s ‘Love for Sale’,” in S. Weiss, M. Shaftel, and D. Randel, eds., A Cole Porter Companion (University of Illinois Press, 2016), pp. 207-221.
  • Michael Buchler, “Direct Stepwise Modulation and its Dramatic and Structural Roles in Frank Loesser’s Songs,” Music Theory Spectrum, vol. 30, no. 1 (2008): 35-60.
  • Michael Buchler, “Reconsidering Klumpenhouwer Networks,” Music Theory Online, vol. 13, no. 2 (June 2007). [Eight responses to this article appear in Music Theory Online, vol. 13, no. 3., and a rejoinder (“Reconsidering Klumpenhouwer Networks One More Time”) appears in Music Theory Online, vol. 14, no. 1.]
  • Michael Buchler, “Every Love but True Love: Unstable Relationships in Cole Porter’s ‘Love for Sale’” in PopMusicology, Christian Bielefeldt and Rolf Grossmann, eds. (Luneberg, Germany: Transcript Verlag, 2008).
  • Michael Buchler, “‘Laura’ and the Essential Ninth: Were They Only a Dream?” Em Pauta, vol. 17 (2006): 5-25.
  • Clifton Callender, “Geometry, Iterated Quantization, and Filtered Voice-Leading Spaces,” in Mathematics and  Computation in Music (Springer Berlin Heidelberg, 2015).
  • Clifton Callender, “Performing the Irrational: Paul Usher’s Arrangement of Nancarrow’s Study No. 33, Canon 2^0.5 : 2,” Music Theory Online 20/1 (2014).
  • Clifton Callender and Elaine Chew, “Conceptual and Experiential Representations of Tempo: Effects on Expressive  Performance Comparisons,” in Mathematics and Computation in Music (Springer Berlin Heidelberg, 2013).
  • Clifton Callender, Ian Quinn, and Dmitri Tymoczko, “Generalized Voice-Leading Spaces,” Science 320 (April 18, 2008): 346-348.
  • Clifton Callender, “Interactions of the Lamento Motif and Jazz Harmonies in György Ligeti’s Arc en ciel,” Intégral, vol. 21 (2007).
  • Jane Piper Clendinning, “Teaching Popular Music in the Music Theory Core: Focus on Harmony,” in C. X. Rodriguez, ed., Coming of Age: Teaching and Learning Popular Music in Academia (Maize Books, University of Michigan Press, 2017).
  • Jane Piper Clendinning, “Teaching World Music in the Music Theory Core,” in R. Lumsden and J. Swinkin, eds., The Norton Guide to Teaching Music Theory (Norton, 2018).
  • Jane Piper Clendinning, “György Ligeti’s String Quartets,” in Intimate Voices: The Twentieth-Century String Quartet (vol. 2), ed. Evan Jones (University of Rochester Press, 2009).
  • Jane Piper Clendinning,”Contextual Listening for the AP Music Theory Classroom” in AP® Music Theory Curriculum Module: Building AP Music Theory Skills from the Ground Up, Melissa Cox, ed. (New York, NY: The College Board, 2007).
  • Jane Piper Clendinning, “Bibliography and Resources for Teachers of AP Music Theory,” in the Teacher’s Guide to AP Music Theory, edited by David Lockart. Published by Educational Testing and The College Board, 2006.
  • Evan Jones, “Dynamics and Dissonance: The Implied Harmonic Theory of J. J. Quantz,” Intégral 30 (2016): 67-80.
  • Evan Jones, “An Experiential Account of Musical Form in Xenakis’s String Quartets,” in Intimate Voices: The Twentieth-Century String Quartet (vol. 2), ed. Evan Jones (University of Rochester Press, 2009).
  • Evan Jones, “Two Facets of Eighteenth-Century Performance Practice: A Dialogue Between Melodic and Harmonic Dynamic Prescriptions in Quantz’s Versuch,” in Performance Practice: Issues and Approaches, ed. Timothy Watkins (Steglein, 2009).
  • Evan Jones, “Motivic Design and Coherence in the First Movement of Schubert’s Arpeggione Sonata, D. 821,” in Keys to the Drama: Nine Perspectives on Sonata Forms, ed. Gordon Sly (Ashgate Press, 2009).
  • Evan Jones, “Lowinsky’s Scarlet Letter: Contrapuntal and Transformational Perspectives on Lasso’s ‘Carmina Chromatico,’” Journal of Schenkerian Studies, vol. 2 – special issue on intersections between Schenkerian and transformational analysis (2007): 105-140.
  • Rachel Lumsden, “Enriching Classroom Discussions: Some Strategies from Feminist Pedagogy,” in R. Lumsden and J. Swinkin, eds., The Norton Guide to Teaching Music Theory (Norton, 2018).
  • Rachel Lumsden, “‘The Pulse of Life Today’: Borrowing in Johanna Beyer’s String Quartet No. 2,” American Music 35/2 (2017): 303-342.
  • Rachel Lumsden, “‘You Too Can Compose’: Ruth Crawford’s Mentoring of Vivian Fine,” Music Theory Online 23/2 (2017).
  • Rachel Lumsden, “‘The Music Between Us’: Ethel Smyth, Emmeline Pankhurst, and ‘Possession’,” Feminist Studies 41/2 (2015): 335-370.
  • Rachel Lumsden, “Uplift, Gender, and Scott Joplin’s Treemonisha,” Black Music Research Journal 35/1 (2015): 41-69.
  • Rachel Lumsden, “Waltzing With Thurber: Gender and Humor in Doris Humphrey and Vivian Fine’s Race of Life,” Studies in American Humor (new series) 4/1-2 (2015): 218-254.
  • Rachel Lumsden, “An Eighth-Century Female Sufi: Rabi’a al-Adawiyya,” in T. K. Wayne, ed., Feminist Writings from Ancient Times to the Modern World: A Global Sourcebook and History (Greenwood, 2011), pp. 27-31.
  • Rachel Lumsden, “Women’s Leadership in Western Art Music Since 1800,” in K. P. O’Connor, ed., Gender and Women’s Leadership (SAGE, 2010), pp. 917-925.
  • Joseph Kraus, “Sibelius’s ‘Internal Voices’: Structure and Process in the Quartet in D Minor (“Voces intimae”), Op. 56″ in Intimate Voices: The Twentieth-Century String Quartet (vol. 1), Evan Jones, ed. (Rochester: University of Rochester Press, 2009).
  • Nancy Rogers, “Hearing an Old Story in a New Way: An Analysis of Loewe’s Erlkönig,” Intégral 30 (2016): 31-40.
  • Nancy Rogers, Jane Clendinning, Sara Hart, and Colleen Ganley, “Specific Mathematical and Spatial Abilities Correlate with Music Theory Abilities,” in Proceedings of the 14th International Conference on Music Perception and Cognition (2016): 537-543.
  • Nancy Rogers, “Engaging Musical Expectation Research in Pedagogy of Musical Form and Phrase Structure,” in Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music (2012): 853-856.
  • Nancy Rogers, “Modernizing the Minuet Composition Project,” in Journal of Music Theory Pedagogy, vol. 27 (2013): 71-110.
  • Nancy Rogers, “How Structured Improvisation Can Improve Sight-Singing Performance (and More),” in AP® Music Theory: Teaching Sight Singing (part of the Special Focus series), Ken Stephenson, ed. (New York: The College Board, 2008): 49-58.
  • Nancy Rogers, “Solmization Expertise Correlates with Superior Pitch Memory,” Em Pauta, vol. 18 (2007): 131-152.
  • Nancy Rogers, “Teaching Tonal Sight-singing” in AP® Music Theory Teacher’s Guide, David Lockhart, ed. (New York, NY: The College Board, 2007): 154-161.
  • Nancy Rogers, “Interpreting and Harmonizing Melodies: Some Formulas for Success” in AP® Music Theory Curriculum Module: Building AP Music Theory Skills from the Ground Up, Melissa Cox, ed. (New York, NY: The College Board, 2008).
Major Composition Performances and Recordings
  • Clifton Callender, Metamorphoses II recorded by Emily Hanna Crane and Hui-Ting Yang and released by Parma/Navona Records (Pendulum) in 2014.
  • Clifton Callender, Point and Line to Plane, recorded by Jeffrey Jacob and released by New Ariel Records in 2010.
  • Clifton Callender, Point and Line to Plane, recorded by Hui-Ting Yang. Score and recording published in Musical Perspectives, Spring 2009.
  • Clifton Callender, elegy, John Donald Robb Composers’ Symposium, University of New Mexico, March 26-29, 2017.
  • Clifton Callender, Canonic Offerings, FSU Festival of New Music, February 2-4, 2017.
  • Clifton Callender, Point and Line to Plane, Hui-Ting Yang: Sichuan Normal University, May 21, 2015; Nanjing Normal University, May 25, 2015; Nanjing University of Art, May 28, 2015; Shandong University of Weihi, June 1, 2015. Guangzhou University, June 4, 2015.
  • Clifton Callender, gegenschein, Piotr Szewczyk, Friday Musical, Jacksonville, FL, July 17, 2015.
  • Clifton Callender, Canonic Offerings, T’ang Quartet, Yong Siew Toh Conservatory, Singapore, February  14, 2015.
  • Clifton Callender, gegenschein, FSU Festival of New Music, Piotr Szewczyk, January 31, 2015.
  • Clifton Callender, Metamorphoses II, Parma New Music Festival, Emily Hanna Crane and Hui-Ting Yang, Portsmouth, NH, August 15, 2014.
  • Clifton Callender, Metamorphoses, Florida State University DIGITECH, Evan Jones, March 28, 2014.
  • Clifton Callender, Point and Line to Plane, Hui-Ting Yang, Steinway Gallery,  Birmingham, AL, December 12, 2013.
  • Clifton Callender, Reasons to Learne to Sing, Colorado State University Choirs, ARIES Festival, Fort  Collins, October 20, 2013.
  • Clifton Callender, Canonic Offerings, Quinetique Quartet, Bridges International Conference on the Arts and  Mathematics, Enschede, The Netherlands, July 27-31, 2013.
  • Clifton Callender, Metamorphoses II, Violin Futura, Piotr Szewczyk, Weill Recital Hall, New York, May 6, 2013.
  • Clifton Callender, Metamorphoses, SCI National Conference, Evan Jones, Ohio State University, Columbus, February 16, 2013.
  • Clifton Callender, elegy, Florida State University Festival of New Music, Benjamin Sung and David Kalhous, Tallahassee, February 1, 2013.
  • Mark Wingate, Sombras for piano and digital delay to be included on Americans in Rome: Music by Fellows of the American Academy in Rome, Vol. I-IV, a CD project of premiere recordings currently in production for Bridge Records and performed by pianist Donald Berman.
  • Mark Wingate, new joint commission with Christopher Theofanidis premiered by the Austin Symphony Orchestra in September 2008.
Scholarly Presentations
  • Michael Buchler gave the keynote address at the 2018 Indiana University Graduate Theory Symposium and was on the Society for Music Theory’s 2017 anniversary plenary session.
  • Michael Buchler, “Making Sky Masterson More Marlon Brando.” American Musicological Society, Rochester, NY, November 2017.
  • Michael Buchler, “‘So In Love,’ ‘Were Thine That Special Face,’ and the Play of Love and Hate in ‘Kiss Me, Kate’.” Music Theory Southeast and South-Central Society for Music Theory, Atlanta, Georgia, April 2016.
  • Michael Buchler, “When You Wish Upon A Star Your Melody Ascends: Aspirational Disney Songs and the Ascending Urlinie.” Society for Music Theory, St. Louis, MO, November 2015.
  • Michael Buchler, “When You Wish Upon A Star Your Melody Ascends: Aspirational Disney Songs and the Ascending Urlinie“ Music Theory Southeast, Tampa, FL, March 21-22, 2014.
  • Michael Buchler, “Understanding Ornamentation in Atonal Music” International Conference on Music Perception and Cognition, Thessaloniki, Greece, July 27, 2012.
  • Michael Buchler, “Thinking about Musical Phrases, Not Merely Chords.” College Board AP National Conference, Orlando, FL, July 20, 2012.
  • Michael Buchler, “Are There Any Bad (or Good) Transformational Analyses?” Society for Music Theory annual meeting (Indianapolis, IN), November 2010.
  • Clifton Callender, “Ligeti’s Combinatorial Tonality,” American Mathematical Society / Mathematical Association of America conference, Atlanta, January 2017.
  • Clifton Callender, “The Tonal Extravagance of Large Pitch Sets,” Society for Music Theory conference, Vancouver, Canada, November 2016.
  • Clifton Callender, “Infinite Rhythmic Tiling Canons,” Bridges 2015 conference, University of Baltimore, July 2015.
  • Clifton Callender, “Geometry, Iterated Quantization, and Filtered Voice-Leading Spaces,” Mathematics and Computation in Music conference, Queen Mary University of London, June 2015.
  • Clifton Callender, “Infinite Canons,” Mathemusical Conversations, Singapore, February 2015.
  • Clifton Callender, “Integrating Mathematics and Music,” Nanyang Academy of Fine Arts, Singapore, February 2015.
  • Clifton Callender, “Aperiodic Canons, Hemiolas, and Tilings,” Society for Music Theory conference, Charlotte, NC, 2013.
  • Clifton Callender, “Sturmian Canons,” Mathematics and Computation in Music conference, Montreal, June 2013.
  • Clifton Callender and Elaine Chew, “Conceptual and Experiential Representations of Tempo: Effects on Expressive Performance Comparisons,” Mathematics and Computation in Music conference, Montreal, June 2013.
  • Clifton Callender, “Realizing Irrational Rhythms,” Music Theory Southeast conference, Appalachian State University, April 5-6, 2013.
  • Clifton Callender, “Finding Continuity in  Music Theory, Mathematics, and Composition,” Eastman School  of Music, February 2013.
  • Clifton Callender, “Maximally Self-Similar Melodies and Canons with Infinite Solutions,” Society for Music Theory conference, New  Orleans, Louisiana, November 2012.
  • Clifton Callender, “Infinitely variable tempo canons,” Nancarrow in the 21st Century conference, London, April 2012.
  • Clifton Callender, “Mind the Gap: Compositional and Theoretical Potentials of Continuous Musical  Spaces,” Escola Superior de Música de Catalunya, Barcelona, April 2012.
  • Clifton Callender, “Spira Mirabilis, for player piano,” American Mathematical Society conference, New Orleans, LA, January, 2011.
  • Clifton Callender and Rachel Hall, “Crystallography and the structure of  Z-related sets,” Society for Music Theory conference, Nashville, Tennessee, November 2008.
  • Clifton Callender, “Geometrical Chord Spaces” and “Generalized Set Theory,” co-authored with Ian Quinn and Dmitri Tymoczko and presented as part of the special session “An Introduction to Geometrical Music Theory.” Society of Music Theory annual meeting (Baltimore, MD), November 2007.
  • Jane Piper Clendinning, “Audible Kaleidoscopes: Disjunctions and Interconnections in György Ligeti’s Wind Quintets and String Quartets,” György Ligeti Symposium, Sibelius Academy, Helsinki, Finland, February 2017.
  • Jane Piper Clendinning, “Analyzing Melodic Timing and Shaping in Performances on Chinese Guzheng and Cape Breton Fiddle,” International Musicological Society Congress, Tokyo, Japan, March 2017.
  • Jane Piper Clendinning, “Teaching Chorale Harmonization and AP Music Theory’s FR7,” Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century conference, Lee University, Cleveland, TN, June 2017.
  • Jane Piper Clendinning, “World Music Theory and Analysis: Music from the Andes,” Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century Conference, Lee University, Cleveland, TN, June 2017.
  • Jane Piper Clendinning, Sara Hart, Nancy Rogers, and Colleen Ganley, “Links between Music Theory and Mathematics: Visual Processing and Strategies,” poster session at the Music and Eye Tracking Conference, Max Planck Institute for Empirical Aesthetics, Frankfurt, Germany, August 2017.
  • Jane Piper Clendinning, “Electronically-Modified Voices as Expressing the (Post)Human Condition in Daft Punk’s Random Access Memories (2013),” Arbeitstagung der Gesellschaft für Popularmusikforschung and Jahreskongress der Gesellschaft für Musiktheorie, Universität für Musik und darstellende Kunst, Graz, November 2017.
  • Jane Piper Clendinning, “The Physical Geography of Pan: Gesture, Embodiment, and Musical Memory,” Society for Ethnomusicology Southeastern and Caribbean conference, San Fernando, Trinidad, March 2016.
  • Sara Hart, Colleen Ganley, Jane Clendinning, and Nancy Rogers, “Cognitive and Affective Predictors of Music Theory Performance.” Association of Psychological Sciences conference (Chicago, IL), May 2016.
  • Sara Hart, Colleen Ganley, Jane Piper Clendinning, and Nancy Rogers, “Cognitive and Affective Predictors of Music Theory Performance,” Association of Psychological Sciences conference, Chicago, IL, May 2016.
  • Jane Piper Clendinning, “’Fiddle Camp’ for Adults: Teaching and Learning at Colaisde na Gàidhlig (The Gaelic College) in St. Ann’s, Cape Breton, Nova Scotia,” North Atlantic Fiddle Convention, Sydney, Cape Breton, Nova Scotia, October 2015.
  • Jane Piper Clendinning, “Teaching Popular Music in the Music Theory Core: Focus on Harmony,” Ann Arbor Symposium IV:  Teaching and Learning Popular Music, Ann Arbor, MI, November 18, 2015.
  • Jane Piper Clendinning, “Good, old fashioned “fun.”: looking to the past for the secret of the indie band’s success,” International Association for the Study of Popular Music in the United States conference, Austin, TX, March 2013.
  • Jane Piper Clendinning, “It’s all about the Music:  Effective Selection and Employment of Music Literature in Teaching Undergraduates Music Theory and Analytical Techniques,” Western Classical Music Pedagogy: Music Theory, Analysis and Techniques of Composition conference, London, England, March 2013.
  • Jane Piper Clendinning, “Teaching Popular Music Analysis: Pedagogy, Problems, and Potential,” Analyzing Popular Music conference, Liverpool, England, July 2013.
  • Jane Piper Clendinning and Elizabeth A. Clendinning, “Music and Reincarnation: A Balinese Cremation Ceremony.” Society for Ethnomusicology National Conference, Los Angeles, CA, November 2010.
  • Jane Piper Clendinning, Wayne Vitale, and Elizabeth A. Clendinning, “Creating Ombak: The Tuning of a Balinese Gamelan Gong Kebyar.” Society for Ethnomusicology National Conference, Middletown, CT, October 2008.
  • Jane Piper Clendinning, “Making the Most of Them: AP Music Theory Students and the College Music Theory Sequence: Multiple Choice Examples.” College Music Society National Conference, Atlanta, GA, September 2008.
  • Evan Jones, “A Mathematical Model of Scale-Degree Qualia,” Fourth Annual Seminar on Cognitively Based Music Informatics Research (Ryerson University, Toronto, Canada), October 2014.
  • Evan Jones, “Touch-Tone Counterpoint in the Aural Skills Curriculum,” Society for Music Theory conference (Minneapolis, MN), October 2011.
  • Evan Jones, “Metric Disability in Robert J. Frank’s My Viola Don’t Swing.” College Music Society annual meeting (Minneapolis, MN), September 2010.
  • Evan Jones, “The ‘Content and Flavor’ of Philip Glass’s Harmonic Cycles.” Society for Music Theory annual meeting (Montreal, Canada), October 2009.
  • Evan Jones, “The Transformational Analysis of Vocal Music by Orlando di Lasso and Hugo Wolf.” Emory University, February 2008.
  • Evan Jones, “Two Facets of Eighteenth-Century Performance Practice: A Dialogue Between Melodic and Harmonic Dynamic Prescriptions in Quantz’s Versuch.” Performance Practice: Issues and Approaches (Rhodes College, Memphis, TN), March 2007.
  • Evan Jones, “An Experiential Account of Musical Form in Xenakis’s String Quartets.” University of Cincinnati College-Conservatory of Music, February 2007.
  • Joseph Kraus, “Sibelius’s ‘Internal Voices’: Structure and Process in the Quartet in D Minor (“Voces intimae”), Op. 56.” Hochschule für Musik (Freiburg, Germany), May 2007.
  • Joseph Kraus, “The Anatomy of a Controversy: Brahms’s C Minor Quartet, Notions of Unity, and Modes of Analysis.” Brahms Symposium (University of Nebraska-Lincoln), April 2007.
  • Nancy Rogers, Jane Piper Clendinning, Colleen Ganley, and Sara Hart, “Specific Correlations Between Abilities in Mathematics and Music Theory,” Music Theory Southeast, Ft. Myers, FL, March 2017.
  • Nancy Rogers, Jane Clendinning, Sara Hart, and Colleen Ganley, “Specific Mathematical and Spatial Abilities Correlate with Music Theory Abilities,” Society for Music Theory conference (Washington, DC), November 2017; Music Perception and Cognition conference (San Francisco, CA), July 2016.
  • Colleen Ganley, Sara Hart, Nancy Rogers, and Jane Clendinning, “The Development of the Music Theory Anxiety Scale,” Association of Psychological Sciences conference (Chicago, IL), May 2016.
  • Sara Hart, Colleen Ganley, Jane Clendinning, and Nancy Rogers, “Cognitive and Affective Predictors of Music Theory Performance,” Association of Psychological Sciences conference (Chicago, IL), May 2016.
  • Nancy Rogers and Jane Piper Clendinning, “Music Theory Ability Correlates with Mathematical Ability,” Music Theory Southeast, Atlanta, GA, April 2016.
  • Nancy Rogers and Jane Clendinning, “Music Theory Ability Correlates with Mathematical Ability,” Society for Music Perception and Cognition annual meeting (Nashville, TN), August 2015.
  • Nancy Rogers, “Adapting Riepel’s Composition Project,” University of Colorado at Boulder, Musicology Colloquium series (Boulder, CO), March 2015.
  • Nancy Rogers, “The Best of Both Worlds: Combining Improvisation and Composition Beyond the Minuet.” Society for Music Theory annual meeting (New Orleans, LA), November 2012.
  • Nancy Rogers, “Engaging Musical Expectation Research in Pedagogy of Musical Form and Phrase Structure.” Twelfth International Conference on Music Perception and Cognition and Eighth Triennial Conference of the European Society for the Cognitive Sciences of Music (Thessaloniki, Greece), July 2012.
  • Nancy Rogers, “The Ear is Quicker than the Eye: Conveying the Cadential 6/4.” AP Annual Conference sponsored by The College Board (Orlando, FL), July 2012.
  • Nancy Rogers, Graduate Student Workshop in Music Theory Pedagogy. Music Theory Southeast, March 2012.
  • Nancy Rogers, “Developing Musicianship Skills through Improvisation.” Joint conference of Music Theory Southeast and the South Central Society for Music Theory, March 2011.
  • Nancy Rogers, “Assembling the Nuts and Bolts: Building Musical Skills through Improvisation.” Keynote address, Musical Ear Conference (Bloomington, IN), September 2009.
  • Nancy Rogers, “Captivated by the Erlking: A Case for Studying Same-Text Settings.” College Music Society annual meeting (Atlanta, GA), September 2008.
Other Professional Activities
  • Michael Buchler, Vice President of the Society for Music Theory, 2013-2015.
  • Michael Buchler, Society for Music Theory Program Committee: member, 2012; chair, 2013.
  • Michael Buchler, Music Theory Southeast local arrangements chair for 2011 conference.
  • Michael Buchler, Society for Music Theory Executive Board member, 2005-2008.
  • Clifton Callender, Residency Award, Copland House, Fall 2018.
  • Clifton Callender, Artist-in-Residence Fellow, I-Park Foundation, Summer 2015.
  • Clifton Callender, David Kraehenbuehl Prize, Journal of Music Theory, “Continuous Harmonic Spaces,” 2011.
  • Clifton Callender, State of Florida, Individual Artist Grant, 2011.
  • Clifton Callender, Fellow, Mannes Institute for Advanced Studies  in Music Theory, 2009 Institute on Music and the Mind.
  • Clifton Callender, Fellow, Mannes Institute for Advanced Studies in Music Theory, 2006 Institute on Chromaticism.
  • Jane Piper Clendinning, member (and incoming chair) of the Society for Music Theory Development Committee (2017-20).
  • Jane Piper Clendinning, member of the Society for Music Theory Committee for the Status of Women (2011-14).
  • Jane Piper Clendinning, Vice President of the Society for Music Theory, 2007-2009.
  • Jane Piper Clendinning, College-Board Certified AP Music Theory Consultant and Facilitator for AP Summer Institutes and Workshops, 2009-present.
  • Jane Piper Clendinning, Member of the Diversity Committee of the Society for Music Theory, 2005-2007.
  • Jane Piper Clendinning, Associate Editor and Member of the Editorial Board of the journal Twentieth-Century Music, Cambridge University Press, 2004-2011. Co-issue editor for Volume 2/2 (Fall 2006).
  • Jane Piper Clendinning, Chair, Test Development Committee for the College Board Music Theory Advanced Placement (AP) Tests, Summer 2002-Summer 2006.
  • Evan Jones, Society for Music Theory Executive Board member, 2010-2012.
  • Evan Jones, Chair of the Society for Music Theory’s Ad-hoc Committee on Demographics, 2009-10
  • Evan Jones, Editorial board member, Intégral, 2007-present
  • Evan Jones, Mannes Institute for Advanced Studies in Music Theory (New Haven, CT), June 2006
  • Joseph Kraus, Society for Music Theory Executive Board member, 2011-2014
  • Joseph Kraus, Editor of the Society for Music Theory Newsletter.
  • Joseph Kraus, Chair of the AP Music Theory Exam Development Committee.
  • Nancy Rogers, Vice President of the Society for Music Theory, 2018-present.
  • Nancy Rogers, Society for Music Theory Executive Director Transition Committee, 2017-18.
  • Nancy Rogers, Society for Music Theory Committee on Archives Policy, 2016-18.
  • Nancy Rogers, Member of the Society for Music Theory’s Professional Development Committee, 2011-2014; Chair, 2012-2014.
  • Nancy Rogers, Reviewer for the Educational Policy Improvement Center, 2009-2012.
  • Nancy Rogers, President of Music Theory Southeast, 2008-2010.
  • Nancy Rogers, Secretary of the Society for Music Theory, 2004-2008.
  • Nancy Rogers, Mannes Institute for Advanced Studies in Music Theory (New York, NY), June 2009.
  • Nancy Rogers, Member of the College Music Society’s Advisory Committee for Music Theory, 2008-2010.
  • Nancy Rogers, Mannes Institute for Advanced Studies in Music Theory (New Haven, CT), June 2006.
Other News about Faculty, Students, and Alumni
  • Cara Stroud (ABD) won the best paper prize at the GAMuT conference in Denton, TX on September 26, 2015.
  • Current FSU doctoral students, Lewis Jeter and Danielle Wulf also presented at that conference (FSU students presented three of the eight accepted papers!).
  • FSU faculty and students played a huge role in this year’s Music Theory Southeast Conference at East Carolina University (March 27-28, 2015).
  • Brian Jarvis (PhD ABD) won the prize for Best Student Paper and other current students who presented were Gillian Robertson (PhD ABD), Daniel Tompkins (MM), and Micah Lomax (PhD student). Among our faculty, Michael Buchler led the Student Workshop, Nancy Rogers was a leader in the innovative discussion session on post-tonal music, and Andrew Aziz presented a paper. Also, FSU alumni presented their work were Bryn Hughes, Jay Smith, and Matthew Bell.
  • Cara Stroud (PhD student) presented at the 2015 Texas Society for Music Theory Conference.
  • Four of our doctoral students (John Peterson, Gillian Robertson, Joshua Mills, and Micah Lomax) and two faculty members (Matthew Shaftel and Michael Buchler) presented their work at the Society for Music Theory meeting in Milwaukee, WI this fall. Still other faculty members participated in panel discussions, chairing sessions, and leading standing committees.
  • Neil Anderson-Himmelspach (DM 2009) was awarded the 2014 Outstanding Alumni Award by the faculty of the FSU College of Music.
  • DM student Jon Overholt won the Florida MTNA Composition Competition’s Young Artist Category.
  • Cara Stroud (PhD student) and Daniel Tompkins (MM student in music theory) both presented their work at the GAMuT conference (Sept. 26-27, 2014) in Denton, TX. Daniel was awarded the best student paper award.
  • Seven members of the FSU theory/composition community presented their work at this year’s Music Theory Southeast Conference in Tampa, Florida: graduate students Joshua Mills, John Peterson, Gillian Robertson, Micah Lomax, and Kaleb Delk; recent Ph.D. graduate Andrew Gades; and faculty member Michael Buchler. Joshua Mills received the best student paper prize for his wonderfully creative and beautifully presented talk “Partimenti, Imitatio, and Exempla: Exploring (and Applying) the Pedagogical Parallels between Rhetoric and Composition.”
  • Joshua Burel (DM 2014) and Jamie Whitmarsh (MM 2014) performed together as part of the ensemble What is Noise in Carnegie Hall on May 5, 2014. Their program included “Roanoke” by Joshua Burel.
  • Jamie Whitmarsh and DM student Jon Overholt won the 2013–14 FSU Student Orchestral Competition; their winning compositions (“For Many Chairs” and “Processional”, respectively) were performed by FSU’s two orchestras. Jamie is the national winner of the MTNA Senior Division Composition Contest. On March 24, 2014 his “Animal Songs” was performed on a concert featuring all the senior-level winners. He is currently a finalist for The American Prize in Composition for both “For Many Chairs” and “Animal Songs”.
  • Marshall Jones’s Peregrination was selected for performance at the third annual National Student Electronic Music Event (NSEME 2014) at Georgia Southern University, February 21-22, 2014 and the 14th Biennial Arts and Technology Symposium, the Ammerman Center for Arts and Technology at Connecticut College, February 27 – March 1, 2014. Marshall was also awarded the BMO merit award in the art song division for Boston Metro Opera’s 2014 International Contempo Festival.
  • DM student Szu-Yu Chen’s “Variations on a Taiwanese Folk Song” for organ was performed in July 2014 at the Seventh Annual Festival of New Organ Music in London.
  • DM student Daniel Thompson was a finalist for the BMI Prize in 2014 with his “Concert Etude” for piano.
  • Neil Anderson-Himmelspach (DM 2009) serves as arranger for NBC’s hit show The Sing-Off. He arranges many of the A Cappella charts you hear on the show.
  • Michael Buchler was elected Vice President of the Society for Music Theory in 2013. He was previously Chair of the (2013) SMT Program Committee. Joseph Kraus just completed his three-year term on the Society for Music Theory Executive Board. Matthew Shaftel is the Chair of SMT’s Publications Committee.
  • Nancy Rogers is Chair of SMT’s Professional Development Committee. (Yes, you could say that our faculty is active in our professional society!)
  • Brad Osborn (MM 2006) won the inaugural Adam Krims Memorial Prize, awarded by the SMT Popular Music Analysis Interest Group, for his Spectrum article on “terminally climactic form.”
  • Three of our music theory faculty members won University Teaching Awards in 2013: Matthew Shaftel was awarded the Distinguished Teacher Award (FSU’s highest prize for teaching), Michael Buchler was awarded a Graduate Teaching Award, and Nancy Rogers was awarded an Undergraduate Teaching Award.