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Faculty & Staff > History & Theory > Judith Lochhead |
Judith Lochhead, Professor
Music History and Theory
Ph.D. SUNY Stony Brook, 1982
E-mail Judith Lochhead at: Judith.Lochhead[at]stonybrook.edu
Judy Lochhead is theorist and musicologist whose work focuses on the most recent musical practices in North America and Europe. Utilizing concepts and methodologies from post-phenomenological and post-structuralist thought, she addresses the uniquely defining features of this repertoire. Her work distinguishes between the conceptions of musical structure and meaning that derive from the differing perspectives of performers, listeners, and composers. Two recent articles include: “Visualizing the Musical Object” Expanding (Post) Phenomenology: A Critical Companion to Ihde, ed. Evan Selinger (SUNY Press,2006), and “’How Does it Work?’: Challenges to Analytic Explanation” Music Theory Spectrum 28/2 (2006). Lochhead also has articles appearing in Perspectives of New Music, American Music, The Journal of the International Alliance for Women in Music, Current Musicology, Theory and Practice, In Theory Only, Integral, Indiana Theory Review, and in various edited collections. With Joseph Auner, Lochhead co-edited Postmodern Music/Postmodern Thought (Routledge 2001). Lochhead’s contribution to the 1997 Plenary Session celebrating the 20th anniversary of the Society for Music Theory was published as “Retooling the Technique” in Music Theory Online 4.2 (1998). Curriculum Vitae
Education
State University of New York at Stony Brook
- Ph.D. in Music Theory--Dec. l982
Dissertation: "The Temporal Structure of Recent
Music: A Phenomenological Investigation"
Master of Arts in Music Theory--May l978
Paper: "The Temporal in Beethoven's Op.135:When are ends beginnings?"
Master of Arts in Musicology--May l976
Paper: "Concepts of Tonality in Fétis's `Traité'"
- Bachelor of Arts: Major in Music--June l974
performance (clarinet);Magna Cum Laude
Undergraduate non-major courses: Music and Culture of the 1960s, Introduction to Music, Contemporary Traditions in American Music
Undergraduate major courses: The Analysis of Twentieth Century Music, Analysis of Tonal Music, Twentieth Century Opera, History of Western Music—1830 to the present.
Graduate Courses: Phenomenological Approaches to Music Analysis; Postmodernism and Music; Implications of Postmodern Thought for Music Theory and Analysis; Theories of Contemporary Music; Visualizing the Musical Object; Music as Place.
Selected Publications
- 1993. "Analysis, Hearing, and Performance" with George Fisher, Indiana Theory Review 14/1:1-36.
1996. "The Expressivity of Timing in Musical Performance," Time and Life:The Study of Time VIII, ed. J.T. Fraser and Marlene P. Soulsby. (Madison, CT:International Universitites Press, Inc.) pp. 147-160.
1996. "A Question of Technique: The Second and Third Piano Sonatas of Roger Sessions," The Journal of Musicology. XIV/4 (Fall):544-578.
1997. "Lulu's Feminine Performance" Cambridge Campanion to Berg, ed. Anthony Pople. (Cambridge:Cambridge University Press):227-246. [The Cambridge Campanion to Berg has been translated into German and published by Laaber-Verlag.]
1998. “Retooling the Technique,” Music Theory Online 4.2 (March1998): http://www.ucsb.edu/mtohome.html
1999 "Hearing Lulu" Audible Traces, edited by Elaine Barkin and Lydia Hamessley (publisher: Carciofoli Verlagshaus, Zurich)
2001 “Hearing Chaos”, American Music 19/2 (Summer 2001):210-46.
2000/2001. “Music Theory as Knowledge Building”, Forum: “Music Theory at the Turn of the Millennium”, Intégral. Vol. 14/15.
2001. “Controlling Liberation: David Tudor and the ‘Experimental’ Sound Ideal”, part of the symposium “The Art of David Tudor: Indeterminacy and Performance in Postwar Culture May 17–19,” Getty Research Center. Paper published at: http://www.getty.edu/research/conducting_research/digitized_collections/davidtudor/symposium.html
2002. “Analyzing from the Body”, with George Fisher, Theory and Practice, Journal of the Music Theory Society of New York State, 27: 37-68.
2003. “Composer Portrait: Anne LeBaron”, International Alliance for Women in Music. 9/1: 1-6.
2004. “Refiguring the Modernist Program for Hearing: Steve Reich and George Rochberg”, Listening to Modernism: Re-Evaluating Contemporary Music at the Millennium, ed. Arved Ashby. Rochester: University of RochesterPress.
2005. “Textural/Timbral Analysis of Barbara Kolb’s Millefoglie, for Chamber Ensemble and Computer Generated Tape”, Engaging Music: Essays in Music Analysis, ed. Deborah Stein. New York: Oxford University Press.
2006. “Visualizing the Musical Object”, Expanding (Post) Phenomenology: A Critical Companion to Ihde, ed. Evan Selinger. Albany: SUNY Press: pp.
2006. “’How Does It Work?’: Challenges to Analytic Explanation” Music Theory Spectrum 28/2 (Fall 2006): 233-254