Chris Stover

Research Fellow
Image of Chris Stover
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Visiting address Forskningsveien 3A Harald Schjelderups hus 0373 OSLO
Postal address Postboks 1133 Blindern 0318 OSLO

Academic interests

  • Musical improvisation and interaction
  • Rhythm, meter, and microtiming
  • Philosophies of time and process
  • Affect theory
  • Phenomenology
  • Artistic research / research-creation

Background

  • PhD, Music Theory, University of Washington (2009)
  • DMA, Trombone performance, University of Washington (2006)
  • MA, Music Theory, Eastman School of Music (2001)
  • BM, Central Washington University (1993)

Brief bio

Chris Stover's research on improvisational interaction and rhythm, meter, and microtiming develops concepts from music theory, phenomenology, affect theory, queer and feminist theory, and philosophies of time and process. He is co-editor of the forthcoming volumes Rancière and Music (Edinburgh University Press, 2019) and Making Music Together: Analyzing Musical Interaction (University of Chicago Press, 2020) and editor of the new online journal Practice: the journal of the CTA Center for Creativity. Other areas of interest include theorizing and implementing 'artistic research' or 'research-creation', Brazilian popular music, the musics of Sun Ra and Cecil Taylor, and affect and play in music education. He is currently working on a monograph on temporal/relational processes in a class of African and Afro-diasporic practices he calls 'timeline musics'. Prior to arriving at RITMO he taught at the New School for Jazz and Contemporary Music and Arizona State University, and he was Fulbright Teaching and Research Fellow in Brazil in 2015 and a Fellow of the Graduate Institute for Design, Ethnography, and Social Thought at the New School for Social Research in 2016-17. He is also very active internationally as an improvising trombonist and composer.

 

Affiliations

MusicExperimentX, Orpheus Research Centre in Music

Graduate School of Education, University of Melbourne

 

Web links

www.chrisstovermusic.com

academia.edu

bandcamp.com

 

Tags: improvisation, interaction, affect, rhythm, meter, microtiming

Publications

Recent publications

I. Articles and Book Chapters

 “A música como pesquisa nômade (Music as nomad research).” In Modos de escrever, inventar e criar com a diferença: a cartografia e outras metodologias afins, forthcoming 2019.

“Rancière’s Affective Impropriety.” In Rancière and Music, edited by João Pedro Cachopo, Patrick Nickleson, and Chris Stover. Edinburgh University Press, in process, 2019.

“Introduction.” In Rancière and Music, edited by João Pedro Cachopo, Patrick Nickleson, and Chris Stover. Edinburgh University Press, in process, 2019. With João Pedro Cachopo and Patrick Nickleson.

“Contextual Theory, or Theorizing Between the Discursive and the Material.” Analytical Approaches to World Music. In process, 2019.

“Politicking Musical Time.” In The Oxford Handbook of Time in Music, edited by Mark Doffman and Emily Payne. Oxford University Press. In process, Fall 2019.

“Deterritorialize Yourself!” Perspectives of New Music 57/1–2 (Fall-Winter 2019), Special Double Issue: Perspectives On and Around John Rahn at 75, edited by Scott Gleason, Chris Stover, and Jason Yust. In process.

“Theorizing Fundamental Music/Dance Interactions in Salsa.” Music Theory Spectrum 41(1), 2019: 74–103. With Rebecca Simpson-Litke.

“Affect, Play, and Becoming-Musicking.” In Deleuze and Children, edited by Markus Bohlmann and Anna Hickey-Moody. Edinburgh University Press (2018): 145–161.

“Sun Ra’s Mystical Time.” The Open Space Magazine 21, Special Issue, “Things that Matter” (2018): 106­–113.

“Affect and Improvising Bodies.” Perspectives of New Music 55/2 (2018): 5–66.

“Jazz Theory’s Pragmatics.” In The Norton Guide to Teaching Music Theory, edited by Rachel Lumsden and Jeffrey Swinkin. Norton (2017): 234–251.

“Time, Territorialization and Improvisational Spaces.” Music Theory Online 23/1 (2017).

“Capturing the Ineffable: Three Transcriptions of a Jazz Solo.” Music Theory Online 22/3 (2016). With René Rusch and Keith Salley.

“Strange Changes.” In Engaging Students Through Jazz, special issue of Engaging Students, edited by Garrett Michaelsen, Chris Stover, and Dariusz Terefenko (2016).

“Musical Bodies: Corporeality, Emergent Subjectivity, and Improvisational Spaces.” M/C Journal 19/2 (2016).

“Walking Up and Over: Approaching Ben Boretz’s Qixingshan.” The Open Space Magazine 19–20 (2015–2016): 142–158.

“Analysis, Improvisation, and Openness.” In Improvisation and Music Education: Beyond the Classroom, edited by Ajay Heble and Mark Laver. Routledge (2015): 60–81.

“Jazz Harmony: A Progress Report.” Journal of Jazz Studies 10/2 (2014–15): 157–197.

“The Subversive Songs of Bossa Nova: Tom Jobim in the Era of Censorship.” Analytical Approaches to World Music 3/2 (2014). With Irna Priore.

“Reading and Sounding Protest: Musical and Lyrical Markers in Brazilian Tropicália and Canção Engajada.” In Sounds of Resistance. Praeger Press (2013): 447–472.

“Analysis as Multiplicity.” Journal of Music Theory Pedagogy 27 (2013): 111–140.

 

II. Edited Volumes and Special Issues

Making Music Together: Analyzing Musical Interaction. Co-editor with Garrett Michaelsen (in contract with University of Chicago Press).

Rancière and Music. Co-editor with João Pedro Cachopo and Patrick Nickleson. Edinburgh University Press. In production, Fall 2019.

Perspectives of New Music 57/1–2 (Fall-Winter 2019): Special Issue: Perspectives On and Around John Rahn at 75. Guest co-editor with Scott Gleason and Jason Yust. In production, Fall 2019.

Engaging Students Through Jazz (special issue of Engaging Students). Guest co-editor with Garrett Michaelsen and Dariusz Terefenko. 2016.

 

III. Reviews

“Review: Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis by Judy Lochhead.” Music Theory Online 22/4 (December 2016).

“Review-Essay: The Philosophy of Improvisation by Gary Peters.” Music Theory Spectrum 35/2 (Fall 2013): 261–267.

“Review-Essay: The Clave Matrix: Afro-Cuban Rhythm: Its Principles and African Origins by David Peñalosa.” Latin American Music Review 32/2 (Spring/Summer 2012), 131–140.

“Review: The Studio Recordings of the Miles Davis Quintet: 1965–68, by Keith Waters.” Music Theory Online 18/1 (April 2012).

Published Sep. 12, 2019 2:30 PM - Last modified Nov. 6, 2019 2:02 PM