Research area: An Interpretive Model for Conceptual Music
My research is focused on the topic of conceptual music. Conceptual music is defined as music which is primarily concerned with the presentation of ideas and concepts.
This is a broad category. To some extent, it overlaps a variety of specific approaches to musical composition and production including, for example, program music, mash-ups, musical ekphrasis, and some types of graphic scores. There have been previous studies of some of these sub-categories of conceptual music.
However, to date, no musicological research has adequately recognized or dealt with conceptual music as a single field, unified by the pivotal role of ideas and concepts.
The aim of my research is to make a contribution towards addressing this problem, by developing an interpretive model suitable for the poetics and hermeneutics of conceptual music.
I am approaching this research from both a theory-building and a practice-based direction. My theoretical orientation is developed and justified through a detailed and wide-ranging argument that draws on observations and insights from a number of fields, including musical psychology, semiotics, and philosophy.
My creative practice as a solo artist involves diverse works ranging from conventionally-notated musical compositions to post-conceptual multimodal installations.
I am also active in two long-term collaborative projects, operating as two virtual bands, The Ghosts of Nothing and Man from Atlanta.