Curriculcum Vitae

Daniel Harrison

Yale University Department of Music | Stoeckel Hall 469 College St. | New Haven, Connecticut 06520-8310

203.432.2985 | daniel.harrison@yale.edu

Appointments at Yale

2005. Allen Forte Professor of Music Theory
2003. Professor of Music

Chair, Theater Studies Program, 2015–
Director of Graduate Studies, 2004–05, 2006–07, 2015–16
Chair, Department of Music, 2007–13.
Associate Fellow, Institute of Sacred Music, 2010–

Fellow, Whitney Humanities Center, 2012–13.

Education

1986. Ph.D., Yale University.
Dissertation: “A Theory of Harmonic and Motivic Structure for the Music of Max Reger.” Adviser: Allen Forte.

1981. B.A. (Music), with distinction and departmental honors. Stanford University.
Honors thesis “The flat-VII chord in Rock Music: Aural Analyses and Commentary.”

Honors, Grants, and Prizes

2015. Peer Learning Workshop Leader, Society for Music Theory; “Analytic Tools and Approaches to Contemporary Tonal Music”

2014. Harmonic Function in Chromatic Music at Twenty. Special session at annual conference of the Society for Music Theory devoted to my 1994 book.

2012. Master Forum of Music Theory in China. Shanghai Conservatory of Music.

2009. Distinguished Residency in Music Theory, University of Michigan.

2004. Class of 1960 Fellow, Williams College.

2001–2, 2004, 2006, 2008, 2011. Fellow, Mannes Institute for the Advanced Study of Music Theory.

  • 2001: History of Music Theory.
  • 2002: Schenkerian Analysis.
  • 2004: Musical Form.
  • 2006: Chromaticism (Workshop leader and faculty co-chair).
  • 2008: Pop/Rock and Jazz.
  • 2011: State of the Discipline.

1999. National Endowment for the Humanities Summer Stipend, supported “Twentieth-Century Tonality.”

1995. Winner, Young Scholar Award, Society for Music Theory. (Awarded for Harmonic Function in Chromatic Music; best book or article of 1994 written by an author forty years old or younger.)

1990–91. University of Rochester Mellon Junior Faculty Fellow.

1989. University of Rochester Faculty Research Grant; supported study of harmonic dualism in music theory

1981. Winner, Steven Fox Memorial Prize for “unusual scholarly promise” in music, Stanford University.

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Publications

2016. Pieces of Tradition: An Analysis of Contemporary Tonality. Oxford University Press.

2016. “Cadence.” in Oxford Handbooks Online Series: Fundamental Concepts of Music Theory, ed. Alexander Rehding and Steven Rings. Oxford University Press.

2016. “These Pet Sound Effects.” In Good Vibrations: Critical Perspectives on the Music of Brian Wilson and the Beach Boys. ed. Philip Lambert. University of Michigan Press.

2015. “Allen Forte's Vision for a Society of Music Theorists.” Music Theory Spectrum 37.1

2014. Review of Kirk Curnutt, Brian Wilson. In Volume! La revue des musiques populaires 10.2.

2012. “Samuel Barber's Nocturne: An Experiment in Tonal Serialism.” In Tonality 1900–1950, ed. Felix Wörner, Ullrich Scheideler, and Philip Rupprecht. Steiner Verlag, Stuttgart.

2011. “Three Short Essays on Neo-Riemannian Theory.” In The Oxford Handbook of Neo-Riemannian Music Theories, ed. Edward Gollin and Alexander Rehding. Oxford University Press. (This volume was awarded a “Citation of Special Merit” by the Society for Music Theory in 2012.)

2008. Review of Richard Taruskin, The Oxford History of Western Music. In Journal of Music Theory 50.1 (issue date: Spring 2006)

2008. “Heads and Tails: Subject Play in Bach's Fugues. Music Theory Spectrum 30.1

2006. “Rosalia, Arcangelo, and Aloysius: A Genealogy of the Sequence.” Journal of Music Theory 47.2 (issue date: Fall 2003)

2005. Review of Alexander Rehding, Hugo Riemann and the Birth of Modern Musical Thought. In Music Theory Online 11.2 (June)

2004. “Max Reger Introduces Atonal Expressionism.” Musical Quarterly 87.4: 660–80.

2002. “Nonconformist Notions of Nineteenth–Century Enharmonicism.” Music Analysis 21.2: 115–60.

2000–1. “A Story, An Apologia, and a Survey.” Intégral 14–15: 29–37.

2000. “Tolling Time." Music Theory Online 6.4 (October).

2000. “Hermann Grabner.” The New Grove Dictionary of Music and Musicians, 2nd edition.

1998. “First Thoughts about the Second Practice.” Review–essay of The Second Practice of Nineteenth–Century Tonality, ed., Kinderman and Krebs. In Theory and Practice, 22–3: 147–61.

1997. “Bitonality, Pentatonicism, and Diatonicism in a Work by Milhaud.” In Music Theory in Concept and Practice, ed., David Beach, James Baker, and Jonathan Bernard. University of Rochester Press, pp. 393–408.

1997. “After Sundown: The Beach Boys’ Experimental Music.” In Understanding Rock, ed. John Covach and Graeme Boone. Oxford University Press, pp. 33–57.

1995. “Supplement to the Theory of Augmented Sixth Chords.” Music Theory Spectrum 17: 170–95.

1994. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents. University of Chicago Press.

1993. Review of Mark Evan Bonds, Wordless Rhetoric: Musical Form and the Metaphor of the Oration. In Current Musicology 52: 110–5.

1993. “Imagining Tod und Verklärung.” Richard Strauss–Blätter 29 (June): 22–50.

1992. Review–Essay of V. Kofi Agawu, Playing with Signs: A Semiotic Interpretation of Classic Music. In Intégral 6: 136–50.

1991. “Max Reger’s Motivic Technique: Harmonic Innovations at the Borders of Atonality.” Journal of Music Theory 35: 61–92.

1990. “Rhetoric and Fugue: An Analytical Application.” Music Theory Spectrum 12: 1–43.

1988. “Some Group Properties of Triple Counterpoint and Their Influence on Compositions by J. S. Bach.” Journal of Music Theory 32: 23–49.

1987. Review of Ernst Levy, A Theory of Harmony. In Journal of Music Theory 31: 353–9.

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Papers Delivered

2017. “Introducing Pieces of Tradition,” University of Massachusetts, Amherst.

2017. Workshop on Pieces of Tradition, McGill Music Theory Association, Montreal, QC.

2016. “Updating Pieces of Tradition.” University of Rochester, Eastman School of Music.

2016. “Cadence: A Rational Reconstruction.” Youngstown State University.

2015. “Analyzing Contemporary Tonality.” University of Texas at Austin.

2015. “An Analysis of Contemporary Tonality.” Keynote at the Indiana Graduate Theory Association Annual Conference.

2014. “Extending Harmony to Extended Chords.” Annual Meeting of the Society for Music Theory and the American Musicological Society, Milwaukee, WI.

2014. “Pet Sounds Effects.” Advisory Board meeting of the Institute for Popular Music at the University of Rochester.

2012. “Lectures on Harmony”: parts 1, 2, 3, 4. “Lectures on Form”: parts 1 and 2. Shanghai Conservatory of Music, June 12–16.

2012. “Argument and Evidence in Music Analysis: Musical Examples as Case Studies.” Music Theory Society of New York State; New York City.

2011. “Leonard Ratner's Harmony: Reflections on a Stanford Education.” Invited lecture at Stanford University.

2010. “Pieces of Tradition: An Analysis of Contemporary Tonal Music." Invited keynote address at Tonality: 1900–1950, Durham, North Carolina.

2010. “I'm Bugged at My Ol' Man: Brian Wilson’s Music Therapy.” Yale University.

2009. “Argument and Evidence in Music Analysis.” Yale University.

2009. “Theorizing Contemporary Tonality.” Invited lecture at the University of Michigan.

2009. “Theorizing Contemporary Tonality.” Invited lecture at the University of South Carolina.

2008. “Dissonant Tonics and Post-tonal Tonality.” Invited lecture at the University of Kansas.

2007. “Dissonant Tonics and Post-tonal Tonality.” Invited lecture at SUNY Buffalo.

2007. “Heads and Tails: Subject Play in Bach's Fugues.” Yale University.

2005. “The Sensuous and the Energetic in Neo-Riemannian Theory.” Cornell University.

2005. “Dissonant Tonics and Post-tonal Tonality.” University of Chicago Music Department Colloquium.

2004. “Atalanta in a T-Bird: Stories of Chord Changes.” Class of 1960 lecture, Williams College.

2004. “Atalanta in a T-Bird: Stories of Chord Changes.” Experience Music Project (Seattle) Conference on Popular Music: “This Magic Moment: Capturing the Spirit and Impact of Music.”

2004. “Dissonant Tonics and Post-tonal Tonality.” Invited Keynote Lecture at Florida State University Theory Forum, Tallahassee.

2003. “Atalanta in a T-Bird: Directional Tonality in Rock Music.” Yale University.

2002. “Max Reger Introduces Atonal Expressionism.” Annual Meeting of the American Musicological Society, Columbus, Ohio.

2002. “Dissonant Tonics.” Annual Meeting of the Music Theory Society of New York State; New York City.

2002. “Same Key, Different Gates.” Invited lecture at Brigham Young University.

2001. “Two Short Essays on Neo-Riemannian Theory.” Buffalo Working Group on Neo-Riemannian Theory.

2001. “Nonconformist Keynotes.” Invited keynote lecture. Annual meeting of Music Theory Southeast; Greenville, S.C.

2000. “Enharmonic Nonconformity in Late Romantic Music: A Study in Key Relationships.” Oxford Music Analysis Conference; Oxford, UK.

1995. “Triptych Symposium: Brahms's Im Herbst, op. 104, no.5.” Annual meeting of the Society for Music Theory; New York, New York. (Co-organizer of special session.)

1995. “Supplement to the Theory of Augmented-Sixth Chords.” Invited lecture at State University of New York at Buffalo.

1993. “‘Good Vibrations’: A Case Study of Compositional Process in Rock Music.” Annual meeting of the Society for Music Theory; Montréal, Québec.

1992. “An Idea and its Politics: Hugo Riemann's Treatment of Harmonic Function.” Annual meeting of the Society for Music Theory; Kansas City, Missouri.

1989. “Fugue as Rhetoric.” Annual meeting of the Society for Music Theory and of the American Musicological Society; Austin, Texas.

1989. “Louis Couperin's Unmeasured Preludes: Analysis as Composition.” Annual Meeting of the Music Theory Society of New York State; New York City.

1987. “A Development of Hugo Riemann's Theory of Harmonic Function.” Annual meeting of the Society for Music Theory; Rochester, New York.

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Other

1995. On-camera musicological expert for I Just Wasn't Made for These Times, a documentary film about the music of Brian Wilson (The Beach Boys). Produced and Directed by Don Was. Palomar Pictures. Premiered at Sundance Film Festival, January.

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Professional Service

2012– Advistory Board, University of Rochester Institute for Popular Music.

2012–13. Executive Editor, Journal of Music Theory.

2007–10. Chair, Publications Committee of the Society for Music Theory.

2006– Associate Editor, Journal of Music Theory

2000–03. Editor, Music Theory Spectrum, the journal of the Society for Music Theory.

1997–2000. Secretary, Music Theory Society of New York State.

1996–98, 2004–06. Member, Awards Committee of the Society for Music Theory. Chair, 1998.

1996. Subscriptions Manager, Theory and Practice.

1995–97. Member, Executive Board of the Music Theory Society of New York State.

1994. Member, Ad hoc Networking Committee of the Society for Music Theory.

1992–95. Member, Publications Committee of the Society for Music Theory.

1992–95. Member, Editorial Board of Music Theory Spectrum.

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Ph.D. Advising (completed)

2015. John Muniz, Yale University. Dissertation: “Enharmonic Procedures in Nineteenth-Century Music”

2014. Megan Kaes Long, Yale University. Dissertation: “Affect, Genre, and Characteristic Tonality in the English Madrigal.

2014. Elizabeth Medina-Gray, Yale University. Dissertation:“Modular Structure and Function in Early 21st-Century Video Game Music”

2014. Christopher Brody, Yale University. Dissertation: “The Interaction of Thematic Design and Tonal Structure in the Keyboard Suites of J. S. Bach”

2014. Damian Blättler, Yale University. Dissertation: “A Voicing-Centered Approach to Additive Harmony for Music in Paris, 1889–1941.”

2012. Jason Summach, Yale University. Dissertation: “Form in Top-20 Rock Music, 1955–89.”

2010. Anna Gawboy, Yale University. Dissertation: “Alexander Scriabin's Theurgy in Blue: Esotericism and the Analysis of Prometheus: Poem of Fire, op. 60.”

2008. Ian Bates, Yale University. Dissertation: “Generalized Diatonic Modality and Ralph Vaughan Williams's Compositional Practice.”

2008. Denise Elshoff, Yale University. Dissertation: “Melody, Counterpoint, and Tonality in Shostakovich's String Quartets Nos. 1–8.”

2006. Steven Rings, Yale University. Dissertation: “Tonality and Transformation.”

2006. Peter Silberman, University of Rochester. Dissertation: “Neighbor Spaces: A Theory of Harmonic Embellishment for Twentieth-Century Neotonal Music.”

2004. Scott Murphy, University of Rochester. Dissertation: “Relations Among Boundaries, Expectations, and Closure in Music.”

2004. Adam Ricci, University of Rochester. Dissertation: “A Theory of the Harmonic Sequence.”

2000. Deborah Rifkin, Univeristy of Rochester. Dissertation: “Tonal Coherence in Prokofiev's Music: A Study of the Interrelationships of Structure, Motives, and Design.”

1998. David Palmer, University of Rochester. Dissertation: “Polar Processes in Stravinsky's Neoclassic Music.”

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Previous Appointments

1987–2003. University of Rochester. College Music Department (Chair, 1996–7, 1999–2001) and Eastman School of Music.

2002. Yale University, Visiting Associate Professor of Music Theory.

1986–87. Yale University, Lecturer, Department of Music; appointed also as Visiting Lecturer, Institute of Sacred Music.

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Other Activities

2010–11. Vice-Chairman, Board of Managers, St. Thomas's Day School, New Haven, CT.

2009–11, 2016– Vestryman, St. Thomas's Episcopal Church, New Haven, CT.

1998–2001. Member, Commission on Ministry, Episcopal Diocese of Rochester. Responsible for approving ordinations to diaconate and priesthood.

1994–2000. Vestryman, St. Paul's Episcopal Church, Rochester, New York.

1989–2003. Assistant Organist, St. Paul's Episcopal Church, Rochester, New York. Responsible for accompanying rehearsals, Sunday worship, and special services in the absence of principal organist.

1981–1986. Organist and Choirmaster, St. Michael's Episcopal Church, Naugatuck, Connecticut. Responsible for Adult, High School, Junior choirs, music for Sunday services, music budget.

1979–1983. Apprentice and Journeyman organbuilder, Austin Organs, Inc. and Austin Organ Service Co., Hartford Connecticut. Pipe organ tuning, service, rebuilding.

1975–77. Bass-pan player and arranger, Calliope's Children steel-drum band, James Leydon, director.

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