Judith Lochhead | SUNY: Stony Brook University (original) (raw)
Papers by Judith Lochhead
University Microfilms International eBooks, 1983
Women and Music: A Journal of Gender and Culture, 2007
its essays save one makes explicit claims relating to feminist thought, there is good reason to e... more its essays save one makes explicit claims relating to feminist thought, there is good reason to expect that some of the major themes of the essays intersect with current issues in feminist philosophy, aesthetics, and social theory. As My assignment for this review-one that I happily accepted-was to consider Beyond Structural Listening?: Postmodern Modes of Hearing from the perspective of feminist theory and music. While neither the book nor any of
Music Theory Spectrum, Feb 3, 2023
My response to Stephen Lett initially takes a “glass half full” perspective on the current state ... more My response to Stephen Lett initially takes a “glass half full” perspective on the current state of the Society for Music Theory, showing that in the early years of the Society there were substantive activities through what would become the Committee on the Status of Women (CSW) to diversify membership and work against biases. I provide a historical accounting of these activities from 1985 to 1995, documenting the many frictions within the operations of the Society. My response concludes with a “glass half empty” observation that more needs to be done and makes a radical suggestion for a Society for the Study of Music.
The Musical Quarterly, Sep 19, 2021
Performance Practice Review, 1994
Starting in the late 1950s, John Cage composed a number of works which are "indeterminate with re... more Starting in the late 1950s, John Cage composed a number of works which are "indeterminate with respect to [their] performance." 1 The most wellknown works of this type date from the late 1950s and 1960s and include Variations I, Fontana Mix, Cartridge Music, Variations II, and Variations III?-Their scores consist of all or some of the following materials: transparent sheets with black dots, circles or lines of various sorts, and opaque sheets with dots or lines-the latter straight or circular. The instructions for the pieces typically direct the performer(s) to randomly overlay the sheets, often the transparent sheets onto the opaque ones. The resulting configurations are then read as indications of actions to be performed. 3 Each piece differs with respect to the precise way in which the *Cage, John. "Composition as Process. II. Indeterminacy," Silence (Cambridge, MA: MTT University Press, 1966 [1961]), 35. present purposes, I consider only those "indeterminate works" requiring the action of a performer in the creation of a notation to be "read." By this definition I exclude works like the Solo for Piano, part of whose score consists of notations that can be "read" directly by a performer.
On Thursday, 7 March 1996, Evelyn Glennie performed "Veni, Veni, Emmanuel/' a percussion... more On Thursday, 7 March 1996, Evelyn Glennie performed "Veni, Veni, Emmanuel/' a percussion concerto by James MacMillan, with the New York Philharmonic. One reviewer of the concert described Ms. Glennie as "quite simply a phenomenon." The phenomenal aspects of the performance include, as the reviewer points out, that Ms. Glennie is "profoundly deaf." The fact of Ms. Glennie' s performance, to say nothing of its success, calls into question the idea of music as sound alone.1 If a musically successful performance can take place when one member of the performer /listener dyad cannot in any literal sense "hear" the music, then an integral part of musical meaning must derive from something other than sound itself. Glennie's performance highlights the central role of bodily activity in the projection, apprehension, and constitution of musical meaning. Within the last few years, a number of authors have taken up issues pertaining to the bodily enaction of musical meaning from a wide variety of perspectives. Here we propose a methodological framework for analytic "close-reading" and present two instances of what "analyzing from the body" might entail. Further, we establish in the briefest of terms, the philosophical context that situates not only our approach but also the various perspectives taken by prior authors in order to clarify distinctions between them.2 The article is in three parts. The first is a primer on the philosophical foundations upon which various non-musical and musical approaches to embodied meaning rest. Considering writings from such diverse fields as philosophy, linguistics, anthropology, and gender studies, our discussion here is meant to give only a taste of the central tenets of the relevant philosophical perspectives and of the disciplinary approaches each has generated, including those in music. This primer will illuminate both the choices we have made in shaping the general methodological framework for "analyzing from the body" and the specific avenues pursued in the exemplifying analyses. We consider this primer an
Music Theory Spectrum
My response to Stephen Lett initially takes a “glass half full” perspective on the current state ... more My response to Stephen Lett initially takes a “glass half full” perspective on the current state of the Society for Music Theory, showing that in the early years of the Society there were substantive activities through what would become the Committee on the Status of Women (CSW) to diversify membership and work against biases. I provide a historical accounting of these activities from 1985 to 1995, documenting the many frictions within the operations of the Society. My response concludes with a “glass half empty” observation that more needs to be done and makes a radical suggestion for a Society for the Study of Music.
The three chapters in encounter Deleuzian thought in three distinct ways. Part II Lochhead direct... more The three chapters in encounter Deleuzian thought in three distinct ways. Part II Lochhead directs Deleuze’s philosophical thought about Francis Bacon toward a critical approach to music, focusing on music’s sounding as the production of sensation. Macarthur addresses issues of a feminist approach to compositional identity from the Deleuzian perspectives of becoming and becoming-woman. Much as Deleuze re-read earlier philosophers, Stevenson rereads the writings of a mid-twentieth-century composer’s thinking about music, mining them for their Deleuzian implications. All three chapters address the music of composers who assume a minoritarian position in the larger field of twentieth- and twenty-first-century Western classical music: Lochhead and Macarthur address the music of living women; and Stevenson addresses the musical thinking of a man positioned as a technician. This confluence of Deleuzian thought in the context of minoritarian music, thought and creators raises questions abo...
The Heroic in Music, edited by B. Kutschke and K. Butler, 2022
Émilie du Châtelet, Kaija Saariaho and Heroes of the 21 st Century Kaija Saariaho's Émilie Suite ... more Émilie du Châtelet, Kaija Saariaho and Heroes of the 21 st Century Kaija Saariaho's Émilie Suite (2011) musically stages the story of Émilie du Châtelet, the 18 th century scientist and natural philosopher. Du Châtelet died during childbirth at the age of forty-two while completing her translation of and commentary on Isaac Newton's Philosophiae Naturalis Principia Mathematica into French as Principes mathématiques de la philosophie naturelle. Saariaho's Émilie Suite is a five movement version of her nine movement monodrama Émilie, both using a libretto by Amin Maalouf. With obvious connections to the opera, the Émilie Suite is my focus here for practical reasons. 1 The suite has three primary movements-"Pressentiments," "Principia," and "Contre l'oubli"-and two interludes connecting them. The first movement focuses on Du Châtelet's premonitions of death as she completes her Newton translation; the second movement is the Suite's climax as Du Châtelet completes the translation and understands that death is imminent; the last movement marks Du Châtelet's intellectual legacy and then eventually her death. The story of Du Châtelet's scientific work as a woman in a male-dominated discipline, the completion of the Newton translation and her subsequent death has all the trappings of a heroic narrative. But her story has been mostly ignored until the late twentieth century, and now in the twenty-first there has been a rapid increase in scholarly and journalistic writings and dramatizations of Du Châtelet's life and work. Saariaho's own interest in Du Châtelet came about after reading a book about her by the contemporary French philosopher Élisabeth 1 While it includes music closely related to the opera, the Émilie Suite provides a streamlined musico-dramatic logic, and further, the score of the Suite is more readily available to reader-listeners at the current time. Badinter. 2 In this chapter, I consider first the story of Du Châtelet's work and life, the heroic events of her life, and the ways that Saariaho and Maalouf have shaped the narrative in a heroic arc. Second, I consider the topic of musical heroism in the Suite, and third, I turn to the larger question of the what a heroic musical style might be in the twenty-first century. Narratives of Heroism Gabrielle Émilie Le Tonnelier de Breteuil (1706-49) was born into a well-connected French family. Her father, in the government of Louis XIV, often held salons attended by leading intellectuals of the French Enlightenment. She was tutored extensively as a child and regarded as an intellectual prodigy. Married, by arrangement, to the Marquis Florent-Claude du Châtelet-Lomont in 1725, Du Châtelet had three children, and after the birth of her third child in 1733, she resumed her studies and mathematical/scientific work. In particular, Du Châtelet was mentored in mathematics and science by several well-known and influential thinkers of the Enlightenment, including Pierre-Louis de Maupertuis, Alexis Clairaut, and Samuel Koenig. Around this time, she also took up a relationship with Voltaire, retreating to her husband's country home in Cirey which had been renovated for scientific experiments. She and Voltaire collaborated on many 2 Badinter's first book on Du Châtelet was Émilie, Émilie, L'ambition féminine au XVIIIe siècle. Paris:Flammarion, 1983. One can surmise that this first wave of work on Du Châtelet in France followed the Women's Movement of the 1970s. In the twenty-first century, Badinter has continued her work on Du Châtelet and it has been complemented by a wide range of scholarly and journalistic writing.
Techné: Research in Philosophy and Technology, 2018
Twentieth-Century Music, 2019
This contribution examines the music and career of composer Tan Dun around the turn of the millen... more This contribution examines the music and career of composer Tan Dun around the turn of the millennium. I read Tan’s work against the backdrop of post-Cold War fantasies about impending ‘global harmony’ and the dissolution of borders, arguing that his market strategy combined performances of cultural particularity with appeals to old ideas about classical music’s universalism. This strategy was apparent in his music, which shares aesthetic qualities with both New Age and world music, and in his rhetoric, where he consistently claimed to operate beyond both generic and national boundaries. Focusing on three of Tan’s works, I argue that his market-friendly multiculturalism worked partly by reanimating the residual power of Kunstreligion, updating its musical religiosity for millennial audiences in search of spiritual meaning. During the last years of the twentieth century, new music culture in the United States and Western Europe increasingly included music by composers from outside those territories. Such music was often programmed or commissioned in ways that called attention to its roots outside ‘the West’, as it created useful marketing opportunities for concert presenters. In July 1996, for example, the Lincoln Center Festival presented a programme called ‘Tan Dun and New Generation East’, which featured the music of Tan, Toshio Hosokawa, and Somei Satoh, among others. The programme notes claimed that this ‘New Generation East’ was developing a tradition ‘without national boundaries’, drawing on its ‘Asian roots’ to produce music ‘infused with a mystical sensibility’. A few years later, in late summer 2000, the Europäisches Musikfest Stuttgart presented four newly written settings of the Passion of Christ commissioned from a self-consciously multicultural group of composers – Tan Dun, Sofia Gubaidulina, Osvaldo Golijov, and Wolfgang Rihm – as a tribute to Bach. The terms of the commission, titled ‘Passion 2000’, called for each composer to select a canonic gospel and write a setting in his or her language of origin. That same year, in November, the Silk Road Ensemble, led by cellist Yo-Yo Ma, made its debut in New York, launching a project that continues to be marketed as featuring ‘a global array of cultures’. 1 Mary Lou Humphrey, Programme notes, ‘Tan Dun and New Generation East’, Stagebill, Lincoln Center Festival, 27
Theory and Practice, 1989
Almost thirty years have passed since Peter Westergaard wrote: "The problem of rhythm in con... more Almost thirty years have passed since Peter Westergaard wrote: "The problem of rhythm in contemporary music lies not in the difficulties of extending traditional analytic concepts to handle increasing complexity in new music, but in the inadequacy of traditional analytic concepts to handle any music/'1 Much has been written about the temporal structures of music since Westergaard's article, and much has been gained. But little attention has been directed toward the kinds of temporal concepts that underlie analytic and theoretic constructs. Since music is a "temporal art/'2 we might well consider the nature of temporal conception in thought about music as a means toward clarifying some of the problems associated with it. Difficulties surrounding temporality are not unique to music; a satisfactory way of conceiving the nature of time has been a problem since the beginnings of philosophy. One issue has particular relevance to thought about music: the concept of temporal
TDR/The Drama Review, 2008
This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigr... more This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field's censored Emmy-acceptance speech to exemplify the Bush administration's privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono's The Forest Is Young and Full of Life, Judy Lochhead examines the possibility of music as activism, noting how history is recycled from the Vietnam War to today. William Bowling and Rachel Carrico describe how art heals in Lakeviews, part of a post-Katrina project. Guillermo Gómez-Peña rages against “border hysteria,” when the “War on Terror” becomes a “war on difference.”
University Microfilms International eBooks, 1983
Women and Music: A Journal of Gender and Culture, 2007
its essays save one makes explicit claims relating to feminist thought, there is good reason to e... more its essays save one makes explicit claims relating to feminist thought, there is good reason to expect that some of the major themes of the essays intersect with current issues in feminist philosophy, aesthetics, and social theory. As My assignment for this review-one that I happily accepted-was to consider Beyond Structural Listening?: Postmodern Modes of Hearing from the perspective of feminist theory and music. While neither the book nor any of
Music Theory Spectrum, Feb 3, 2023
My response to Stephen Lett initially takes a “glass half full” perspective on the current state ... more My response to Stephen Lett initially takes a “glass half full” perspective on the current state of the Society for Music Theory, showing that in the early years of the Society there were substantive activities through what would become the Committee on the Status of Women (CSW) to diversify membership and work against biases. I provide a historical accounting of these activities from 1985 to 1995, documenting the many frictions within the operations of the Society. My response concludes with a “glass half empty” observation that more needs to be done and makes a radical suggestion for a Society for the Study of Music.
The Musical Quarterly, Sep 19, 2021
Performance Practice Review, 1994
Starting in the late 1950s, John Cage composed a number of works which are "indeterminate with re... more Starting in the late 1950s, John Cage composed a number of works which are "indeterminate with respect to [their] performance." 1 The most wellknown works of this type date from the late 1950s and 1960s and include Variations I, Fontana Mix, Cartridge Music, Variations II, and Variations III?-Their scores consist of all or some of the following materials: transparent sheets with black dots, circles or lines of various sorts, and opaque sheets with dots or lines-the latter straight or circular. The instructions for the pieces typically direct the performer(s) to randomly overlay the sheets, often the transparent sheets onto the opaque ones. The resulting configurations are then read as indications of actions to be performed. 3 Each piece differs with respect to the precise way in which the *Cage, John. "Composition as Process. II. Indeterminacy," Silence (Cambridge, MA: MTT University Press, 1966 [1961]), 35. present purposes, I consider only those "indeterminate works" requiring the action of a performer in the creation of a notation to be "read." By this definition I exclude works like the Solo for Piano, part of whose score consists of notations that can be "read" directly by a performer.
On Thursday, 7 March 1996, Evelyn Glennie performed "Veni, Veni, Emmanuel/' a percussion... more On Thursday, 7 March 1996, Evelyn Glennie performed "Veni, Veni, Emmanuel/' a percussion concerto by James MacMillan, with the New York Philharmonic. One reviewer of the concert described Ms. Glennie as "quite simply a phenomenon." The phenomenal aspects of the performance include, as the reviewer points out, that Ms. Glennie is "profoundly deaf." The fact of Ms. Glennie' s performance, to say nothing of its success, calls into question the idea of music as sound alone.1 If a musically successful performance can take place when one member of the performer /listener dyad cannot in any literal sense "hear" the music, then an integral part of musical meaning must derive from something other than sound itself. Glennie's performance highlights the central role of bodily activity in the projection, apprehension, and constitution of musical meaning. Within the last few years, a number of authors have taken up issues pertaining to the bodily enaction of musical meaning from a wide variety of perspectives. Here we propose a methodological framework for analytic "close-reading" and present two instances of what "analyzing from the body" might entail. Further, we establish in the briefest of terms, the philosophical context that situates not only our approach but also the various perspectives taken by prior authors in order to clarify distinctions between them.2 The article is in three parts. The first is a primer on the philosophical foundations upon which various non-musical and musical approaches to embodied meaning rest. Considering writings from such diverse fields as philosophy, linguistics, anthropology, and gender studies, our discussion here is meant to give only a taste of the central tenets of the relevant philosophical perspectives and of the disciplinary approaches each has generated, including those in music. This primer will illuminate both the choices we have made in shaping the general methodological framework for "analyzing from the body" and the specific avenues pursued in the exemplifying analyses. We consider this primer an
Music Theory Spectrum
My response to Stephen Lett initially takes a “glass half full” perspective on the current state ... more My response to Stephen Lett initially takes a “glass half full” perspective on the current state of the Society for Music Theory, showing that in the early years of the Society there were substantive activities through what would become the Committee on the Status of Women (CSW) to diversify membership and work against biases. I provide a historical accounting of these activities from 1985 to 1995, documenting the many frictions within the operations of the Society. My response concludes with a “glass half empty” observation that more needs to be done and makes a radical suggestion for a Society for the Study of Music.
The three chapters in encounter Deleuzian thought in three distinct ways. Part II Lochhead direct... more The three chapters in encounter Deleuzian thought in three distinct ways. Part II Lochhead directs Deleuze’s philosophical thought about Francis Bacon toward a critical approach to music, focusing on music’s sounding as the production of sensation. Macarthur addresses issues of a feminist approach to compositional identity from the Deleuzian perspectives of becoming and becoming-woman. Much as Deleuze re-read earlier philosophers, Stevenson rereads the writings of a mid-twentieth-century composer’s thinking about music, mining them for their Deleuzian implications. All three chapters address the music of composers who assume a minoritarian position in the larger field of twentieth- and twenty-first-century Western classical music: Lochhead and Macarthur address the music of living women; and Stevenson addresses the musical thinking of a man positioned as a technician. This confluence of Deleuzian thought in the context of minoritarian music, thought and creators raises questions abo...
The Heroic in Music, edited by B. Kutschke and K. Butler, 2022
Émilie du Châtelet, Kaija Saariaho and Heroes of the 21 st Century Kaija Saariaho's Émilie Suite ... more Émilie du Châtelet, Kaija Saariaho and Heroes of the 21 st Century Kaija Saariaho's Émilie Suite (2011) musically stages the story of Émilie du Châtelet, the 18 th century scientist and natural philosopher. Du Châtelet died during childbirth at the age of forty-two while completing her translation of and commentary on Isaac Newton's Philosophiae Naturalis Principia Mathematica into French as Principes mathématiques de la philosophie naturelle. Saariaho's Émilie Suite is a five movement version of her nine movement monodrama Émilie, both using a libretto by Amin Maalouf. With obvious connections to the opera, the Émilie Suite is my focus here for practical reasons. 1 The suite has three primary movements-"Pressentiments," "Principia," and "Contre l'oubli"-and two interludes connecting them. The first movement focuses on Du Châtelet's premonitions of death as she completes her Newton translation; the second movement is the Suite's climax as Du Châtelet completes the translation and understands that death is imminent; the last movement marks Du Châtelet's intellectual legacy and then eventually her death. The story of Du Châtelet's scientific work as a woman in a male-dominated discipline, the completion of the Newton translation and her subsequent death has all the trappings of a heroic narrative. But her story has been mostly ignored until the late twentieth century, and now in the twenty-first there has been a rapid increase in scholarly and journalistic writings and dramatizations of Du Châtelet's life and work. Saariaho's own interest in Du Châtelet came about after reading a book about her by the contemporary French philosopher Élisabeth 1 While it includes music closely related to the opera, the Émilie Suite provides a streamlined musico-dramatic logic, and further, the score of the Suite is more readily available to reader-listeners at the current time. Badinter. 2 In this chapter, I consider first the story of Du Châtelet's work and life, the heroic events of her life, and the ways that Saariaho and Maalouf have shaped the narrative in a heroic arc. Second, I consider the topic of musical heroism in the Suite, and third, I turn to the larger question of the what a heroic musical style might be in the twenty-first century. Narratives of Heroism Gabrielle Émilie Le Tonnelier de Breteuil (1706-49) was born into a well-connected French family. Her father, in the government of Louis XIV, often held salons attended by leading intellectuals of the French Enlightenment. She was tutored extensively as a child and regarded as an intellectual prodigy. Married, by arrangement, to the Marquis Florent-Claude du Châtelet-Lomont in 1725, Du Châtelet had three children, and after the birth of her third child in 1733, she resumed her studies and mathematical/scientific work. In particular, Du Châtelet was mentored in mathematics and science by several well-known and influential thinkers of the Enlightenment, including Pierre-Louis de Maupertuis, Alexis Clairaut, and Samuel Koenig. Around this time, she also took up a relationship with Voltaire, retreating to her husband's country home in Cirey which had been renovated for scientific experiments. She and Voltaire collaborated on many 2 Badinter's first book on Du Châtelet was Émilie, Émilie, L'ambition féminine au XVIIIe siècle. Paris:Flammarion, 1983. One can surmise that this first wave of work on Du Châtelet in France followed the Women's Movement of the 1970s. In the twenty-first century, Badinter has continued her work on Du Châtelet and it has been complemented by a wide range of scholarly and journalistic writing.
Techné: Research in Philosophy and Technology, 2018
Twentieth-Century Music, 2019
This contribution examines the music and career of composer Tan Dun around the turn of the millen... more This contribution examines the music and career of composer Tan Dun around the turn of the millennium. I read Tan’s work against the backdrop of post-Cold War fantasies about impending ‘global harmony’ and the dissolution of borders, arguing that his market strategy combined performances of cultural particularity with appeals to old ideas about classical music’s universalism. This strategy was apparent in his music, which shares aesthetic qualities with both New Age and world music, and in his rhetoric, where he consistently claimed to operate beyond both generic and national boundaries. Focusing on three of Tan’s works, I argue that his market-friendly multiculturalism worked partly by reanimating the residual power of Kunstreligion, updating its musical religiosity for millennial audiences in search of spiritual meaning. During the last years of the twentieth century, new music culture in the United States and Western Europe increasingly included music by composers from outside those territories. Such music was often programmed or commissioned in ways that called attention to its roots outside ‘the West’, as it created useful marketing opportunities for concert presenters. In July 1996, for example, the Lincoln Center Festival presented a programme called ‘Tan Dun and New Generation East’, which featured the music of Tan, Toshio Hosokawa, and Somei Satoh, among others. The programme notes claimed that this ‘New Generation East’ was developing a tradition ‘without national boundaries’, drawing on its ‘Asian roots’ to produce music ‘infused with a mystical sensibility’. A few years later, in late summer 2000, the Europäisches Musikfest Stuttgart presented four newly written settings of the Passion of Christ commissioned from a self-consciously multicultural group of composers – Tan Dun, Sofia Gubaidulina, Osvaldo Golijov, and Wolfgang Rihm – as a tribute to Bach. The terms of the commission, titled ‘Passion 2000’, called for each composer to select a canonic gospel and write a setting in his or her language of origin. That same year, in November, the Silk Road Ensemble, led by cellist Yo-Yo Ma, made its debut in New York, launching a project that continues to be marketed as featuring ‘a global array of cultures’. 1 Mary Lou Humphrey, Programme notes, ‘Tan Dun and New Generation East’, Stagebill, Lincoln Center Festival, 27
Theory and Practice, 1989
Almost thirty years have passed since Peter Westergaard wrote: "The problem of rhythm in con... more Almost thirty years have passed since Peter Westergaard wrote: "The problem of rhythm in contemporary music lies not in the difficulties of extending traditional analytic concepts to handle increasing complexity in new music, but in the inadequacy of traditional analytic concepts to handle any music/'1 Much has been written about the temporal structures of music since Westergaard's article, and much has been gained. But little attention has been directed toward the kinds of temporal concepts that underlie analytic and theoretic constructs. Since music is a "temporal art/'2 we might well consider the nature of temporal conception in thought about music as a means toward clarifying some of the problems associated with it. Difficulties surrounding temporality are not unique to music; a satisfactory way of conceiving the nature of time has been a problem since the beginnings of philosophy. One issue has particular relevance to thought about music: the concept of temporal
TDR/The Drama Review, 2008
This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigr... more This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field's censored Emmy-acceptance speech to exemplify the Bush administration's privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono's The Forest Is Young and Full of Life, Judy Lochhead examines the possibility of music as activism, noting how history is recycled from the Vietnam War to today. William Bowling and Rachel Carrico describe how art heals in Lakeviews, part of a post-Katrina project. Guillermo Gómez-Peña rages against “border hysteria,” when the “War on Terror” becomes a “war on difference.”
Sound and Affect: Voice, Music, World, 2021
This is the Introduction, along with the ToC, to a book I co-edited with Judith Lochhead and Step... more This is the Introduction, along with the ToC, to a book I co-edited with Judith Lochhead and Stephen Decatur Smith, former colleagues at Stony Brook University. The book grew out of a conference we organize in which we brought scholars working at the intersection of sound studies, music theory, affect theory, and philosophy of music. We think the work we gather here is cutting edge, with both junior and senior scholars.