Chris Stover
Biographic Data
| ID | 301558 |
|---|---|
| NAME | Chris Stover |
| GIVEN NAMES | Chris |
| FAMILY NAME | Stover |
| SIGNATURE | STOVER C |
| AFFILIATIONS | New School |
| ORCID | 0000-0003-3046-7704 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 8 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Commentary
In addition to the conceptual ideas Isang Yun shares in his interview-which, as I will suggest below, have profound implications for music theory and analysis far beyond Yun's music specifically-we should take note of the value the interview format itself holds for the production of new knowledge.The interviewer, Akira Nishimura, asks nuanced questions that lead Yun to consider aspects of his compositional practice that might be glossed different…
Translation of Martha Ulhôa de Tupinamba’s “Métrica derramada
Martha Ulha's essay on musical prosody in Brazilian popular song develops the theoretical concept of mtrica derramada, which I have translated as "fluid meter."Drawing in part on the work of her musicological forebear Mrio de Andrade (also represented in this special issue) and contemporary Luiz Tatit, Ulha considers how speech timing, vowel "tensity," and other factors crucial to expressive speech influence sung musical melody, resulting in a mu…
Affective Turn, or Return
The 'affective turn' suggests that we pay attention to how affects create subjectivities, build communities, and shape new forms of politics in the making. It invites us to move beyond established humanities and social science paradigms and toward richer forms of contextual analysis by studying how bodies - human and otherwise - 'act and are acted upon' (Gregg and Seigworth 2010, 1). The 'affective turn' requires sensitive attention to a host of …
Calls and Responses
The animating claim of Christopher Hasty's Meter as Rhythm is that meter is a phenomenon which is produced as it goes along. Hasty's theory is rooted in embodied-cognitive acts of experiencing music and marks an important intervention into how we understand the structure of that experience. It does so by working from within the contours of experience and how the interrelations of (passive) past, (active) present and (projections towards) future e…
For an Equi-vocal Becoming
Electronic music in any of its manifold forms—from abstract analog or digital experiments to, frankly, anything produced using recording technology—affords the possibility of new modes of intersubjective relationality, including new spatial comportments with experienced sounds, new forms of immersion in an ongoing soundscape, and of course new sounds entirely, or new kinds of transformations of existing sounds
The Queer Rhythm of Cecil Taylor's ‘Enter Evening’
Cecil Taylor's Unit Structures (1966) is fundamentally a conjunctive, polyvocal expression: between music and text, composition and improvisation, individual expression and collective enunciation. This essay analyses aspects of Taylor's polyvocal expression as an ongoing series of productive assemblages that queer conventional notions of (musical) rhythm by reconsidering the very concept of rhythm in Deleuzo-Guattarian terms. In order to enact th…
Dig That Lick (DTL)
Dig That Lick (DTL) is a multidisciplinary research project that ran from 2017 through 2019 as an awardee of the Trans-Atlantic Platform for the Social Sciences and Humanities Digging into Data Challenge. The project represents a significant international partnership between principal investigator Simon Dixon (Queen Mary University of London, UK), three national project leaders—Hélène-Camille Crayencour (National Center for Scientific Research, F…
Time, Territorialization, and Improvisational Spaces
This essay develops a framework for thinking about theimprovisational momentin music-the performed event that cuts into the ongoing flow of time, selecting a singular path into the virtual future and thereby actualizing one of its many potentials, creating conditions for the possibility of musical meaning to emerge. It does this first by closely engaging Gilles Deleuze's three syntheses of time, which Deleuze offers as a powerful theoretical mode…
Musical Bodies
IntroductionInteractive improvisational musical spaces (which is to say, nearly all musical spaces) involve affective relations among bodies: between the bodies of human performers, between performers and active listeners, between the sonic "bodies" that comprise the multiple overlapping events that constitute a musical performance's unfolding. Music scholarship tends to focus on either music's sonic materialities (the sensible; what can be heard…
Capturing the Ineffable
What purpose does a jazz transcription serve? What is at stake in a jazz transcription? What is being represented and how? This article considers these questions, drawing from three independently-conceived transcriptions of the same jazz solo by tenor saxophonist Sonny Rollins. Following an introduction that situates our views of jazz transcription within the context of recent discourse on transcription and notation, we present our transcriptions…
The Clave Matrix
Reviewed by: The Clave Matrix: Afro-Cuban Rhythm: Its Principles and Origins Chris Stover David Peñalosa . The Clave Matrix: Afro-Cuban Rhythm: Its Principles and Origins. Redway, California: Bembe Books, 2009. Photos, musical examples, glossary, bibliography, discography, videography, 2 CDs. 288 pp. ISBN: 1-886502-80-3 There has been much recent discussion about the family of asymmetrical topoi (to borrow Kofi Agawu's term1) that behave as gener…
Capturing the Ineffable
What purpose does a jazz transcription serve? What is at stake in a jazz transcription? What is being represented and how? This article considers these questions, drawing from three independently-conceived transcriptions of the same jazz solo by tenor saxophonist Sonny Rollins. Following an introduction that situates our views of jazz transcription within the context of recent discourse on transcription and notation, we present our transcriptions…
Time, Territorialization, and Improvisational Spaces
This essay develops a framework for thinking about theimprovisational momentin music-the performed event that cuts into the ongoing flow of time, selecting a singular path into the virtual future and thereby actualizing one of its many potentials, creating conditions for the possibility of musical meaning to emerge. It does this first by closely engaging Gilles Deleuze's three syntheses of time, which Deleuze offers as a powerful theoretical mode…
Musical Bodies
IntroductionInteractive improvisational musical spaces (which is to say, nearly all musical spaces) involve affective relations among bodies: between the bodies of human performers, between performers and active listeners, between the sonic "bodies" that comprise the multiple overlapping events that constitute a musical performance's unfolding. Music scholarship tends to focus on either music's sonic materialities (the sensible; what can be heard…
Calls and Responses
The animating claim of Christopher Hasty's Meter as Rhythm is that meter is a phenomenon which is produced as it goes along. Hasty's theory is rooted in embodied-cognitive acts of experiencing music and marks an important intervention into how we understand the structure of that experience. It does so by working from within the contours of experience and how the interrelations of (passive) past, (active) present and (projections towards) future e…
The Clave Matrix
Reviewed by: The Clave Matrix: Afro-Cuban Rhythm: Its Principles and Origins Chris Stover David Peñalosa . The Clave Matrix: Afro-Cuban Rhythm: Its Principles and Origins. Redway, California: Bembe Books, 2009. Photos, musical examples, glossary, bibliography, discography, videography, 2 CDs. 288 pp. ISBN: 1-886502-80-3 There has been much recent discussion about the family of asymmetrical topoi (to borrow Kofi Agawu's term1) that behave as gener…
Musical Bodies
IntroductionInteractive improvisational musical spaces (which is to say, nearly all musical spaces) involve affective relations among bodies: between the bodies of human performers, between performers and active listeners, between the sonic "bodies" that comprise the multiple overlapping events that constitute a musical performance's unfolding. Music scholarship tends to focus on either music's sonic materialities (the sensible; what can be heard…
Capturing the Ineffable
What purpose does a jazz transcription serve? What is at stake in a jazz transcription? What is being represented and how? This article considers these questions, drawing from three independently-conceived transcriptions of the same jazz solo by tenor saxophonist Sonny Rollins. Following an introduction that situates our views of jazz transcription within the context of recent discourse on transcription and notation, we present our transcriptions…
Time, Territorialization, and Improvisational Spaces
This essay develops a framework for thinking about theimprovisational momentin music-the performed event that cuts into the ongoing flow of time, selecting a singular path into the virtual future and thereby actualizing one of its many potentials, creating conditions for the possibility of musical meaning to emerge. It does this first by closely engaging Gilles Deleuze's three syntheses of time, which Deleuze offers as a powerful theoretical mode…
The Queer Rhythm of Cecil Taylor's ‘Enter Evening’
Cecil Taylor's Unit Structures (1966) is fundamentally a conjunctive, polyvocal expression: between music and text, composition and improvisation, individual expression and collective enunciation. This essay analyses aspects of Taylor's polyvocal expression as an ongoing series of productive assemblages that queer conventional notions of (musical) rhythm by reconsidering the very concept of rhythm in Deleuzo-Guattarian terms. In order to enact th…
Dig That Lick (DTL)
Dig That Lick (DTL) is a multidisciplinary research project that ran from 2017 through 2019 as an awardee of the Trans-Atlantic Platform for the Social Sciences and Humanities Digging into Data Challenge. The project represents a significant international partnership between principal investigator Simon Dixon (Queen Mary University of London, UK), three national project leaders—Hélène-Camille Crayencour (National Center for Scientific Research, F…
Calls and Responses
The animating claim of Christopher Hasty's Meter as Rhythm is that meter is a phenomenon which is produced as it goes along. Hasty's theory is rooted in embodied-cognitive acts of experiencing music and marks an important intervention into how we understand the structure of that experience. It does so by working from within the contours of experience and how the interrelations of (passive) past, (active) present and (projections towards) future e…
For an Equi-vocal Becoming
Electronic music in any of its manifold forms—from abstract analog or digital experiments to, frankly, anything produced using recording technology—affords the possibility of new modes of intersubjective relationality, including new spatial comportments with experienced sounds, new forms of immersion in an ongoing soundscape, and of course new sounds entirely, or new kinds of transformations of existing sounds
Commentary
In addition to the conceptual ideas Isang Yun shares in his interview-which, as I will suggest below, have profound implications for music theory and analysis far beyond Yun's music specifically-we should take note of the value the interview format itself holds for the production of new knowledge.The interviewer, Akira Nishimura, asks nuanced questions that lead Yun to consider aspects of his compositional practice that might be glossed different…
Translation of Martha Ulhôa de Tupinamba’s “Métrica derramada
Martha Ulha's essay on musical prosody in Brazilian popular song develops the theoretical concept of mtrica derramada, which I have translated as "fluid meter."Drawing in part on the work of her musicological forebear Mrio de Andrade (also represented in this special issue) and contemporary Luiz Tatit, Ulha considers how speech timing, vowel "tensity," and other factors crucial to expressive speech influence sung musical melody, resulting in a mu…
Affective Turn, or Return
The 'affective turn' suggests that we pay attention to how affects create subjectivities, build communities, and shape new forms of politics in the making. It invites us to move beyond established humanities and social science paradigms and toward richer forms of contextual analysis by studying how bodies - human and otherwise - 'act and are acted upon' (Gregg and Seigworth 2010, 1). The 'affective turn' requires sensitive attention to a host of …
Art (8 works) · Musicology and Musical Analysis (8 works) · Music History and Culture (6 works) · Psychology (5 works) · Computer Science (4 works) · Literature (4 works) · Musical (4 works) · Philosophy (4 works) · Visual arts (4 works) · Aesthetics (3 works)