Judith Lochhead
Professor of Music History & Theory
judith.lochhead@stonybrook.edu
Judith Lochhead is a music theorist and musicologist whose work focuses on recent musical practices of primarily North America and Europe. Lochhead has articles appearing in such English-language journals as Music Theory Spectrum, the Journal of the American Musicological Society, Music Theory Online, Theory and Practice, In Theory Only, Perspectives of New Music, IntĂ©gral, Indiana Theory Review, and others. Lochhead also has articles in several edited collections, including in TheOxford Handbook on Spectral Music and The Oxford Handbook of Sound and Imagination. Book-length publications include:  Reconceiving Structure: New Tools in Music Theory and Analysis (Routledge, 2015); Music’s Immanent Future: Beyond Past and Present, co-edited with Sally Macarthur and Jennifer Shaw (Ashgate 2016); Sound and Affect: Sound, Music, World, edited by Judith Lochhead, Eduardo Mendieta, and Stephen Decatur Smith (University of Chicago Press 2021); and Postmodern Music/Postmodern Thought, co-edited by Judith Lochhead and Joseph Auner (Routledge 2001). Â
Lochhead’s current projects include: “Émilie du Châtelet, Kaija Saariaho and Heroes of the 21st Century,” The Heroic in Music from Medieval; Festschrift for Leo Treitler, special volume of Musical Quarterly, co-edited by Judith Lochhead and Vera Micznik; “The Performer’s Listener: An Aesthetic of Possibility,” Thinking Music: Praxis and Aesthetics, Special Issue of Continental Thought and Theory: A Journal of Intellectual Freedom; “Timbre’s Realities: A Phenomenological Study of Liza Lim’s Extinction Events and Dawn Chorus,” forthcoming in the Oxford Handbook of the Phenomenology of Music, eds, Steege, Wiskus, De Souza. (under contract with Oxford); “Situational Multiplicities: A Queering analysis of Chaya Czernowin’s Anea Crystal” to appear in Queering Music Theory, ed. Gavin Lee (under contract with Oxford).
Recent courses include: Undergraduate--Rock, Popular Music and Society; Music and Culture of the 1960s. Graduate--Theories of Timbre and Timbral Analysis; Listening, Hearing, Perception: Contests of the Ear; Music Analysis, New Materialisms, and Music of the Present; and Perspectives on the Performance of Music Since 1945, with Eduardo Leandro.Â
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See pagesensembles in residence
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See pagesfaculty & staff
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See pagesAffiliated Scholars
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See pagesComposition
-
See pagesCritical Music Studies
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See pagesEmeritus
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See pagesEnsemble Directors
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See pagesPerformance
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See pagesStaff
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See pagesgraduate profiles
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See pagesComposition
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See pagesHistory Theory Ethnomusicology
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See pagesPerformance
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