AboutMusic theorist, specializing in modality and tonality. 2020–21 ACLS fellow. Author of Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century (Oxford University Press, 2020). Mezzo-soprano and early music specialist, currently singing with Quire Cleveland and Audivi. Also: yoga, hiking, food, literature, cats.
EducationPh.D., Music Theory – Yale University – 2014
M.A. and M.Phil., Music Theory – Yale University – 2010
B.A., Music – Pomona College – 2008
Work Shared in CORE
Course material or learning objects
Other PublicationsHearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century. Oxford University Press, 2020.
“What Do Signatures Signify? The Curious Case of 17th-Century English Key.” Journal of Music Theory
“Cadential Syntax and Tonal Expectation in Late Sixteenth-Century Homophony.” Music Theory Spectrum 40, no. 1 (2018): 52–83.
Review of Tactus, Mensuration, and Rhythm in Renaissance Music, by Ruth I. DeFord. Music Theory Online 22, no. 2 (2016).
“Characteristic Tonality in the Balletti of Gastoldi, Morley, and Hassler.” The Journal of Music Theory 59, no. 2 (2015): 235-271.
Review of Thomas Salmon: Writings on Music, edited by Benjamin Wardhaugh. NABMSA Reviews 1, no. 2 (Autumn 2014): 1-4.
ProjectsNew project: Complicating the Modal Paradigm in the Music of William Byrd
Upcoming Talks and ConferencesComplicating the Modal Paradigm in the Music of William Byrd – SMT 2020
MembershipsThe Society for Music Theory
Music Theory Midwest
The Society for Seventeenth-Century Music