Lawrence Zbikowski

Appointment:

Associate Professor of Music and the Humanities in the College

Education:

Ph.D., Yale University, 1991

Contact:

Office: Goodspeed 207
Phone: (773) 702-8788
Email: larry@uchicago.edu

Website:

http://zbikowski.uchicago.edu/

Lawrence Zbikowski’s principal research interests involve applying recent work in cognitive science (especially that done by cognitive linguists and cognitive psychologists) to various problems confronted by music scholars, with a particular focus on music theory and analysis. His recent seminars have focused on relationships between music and language, on theories of embodiment and their relationship to musical knowledge, and on musical time. He also teaches analysis courses that deal with a range of music, which lately have focused on music of the 18th and 19th centuries. During 2010–2011 he received a fellowship from the American Council of Learned Societies and was also a Fulbright Visiting Research Chair at McGill University; both awards were in support of a book project concerned with developing a cognitive grammar of music.

Recent Courses Taught

  • Words and music (seminar)–Winter 2014
  • Analysis of song—Autumn 2013
  • History of music theory II—Winter 2013
  • Musical embodiment (seminar)–Spring 2012
  • Music and gesture (seminar)—Spring 2010

Selected Works

  • “Dance Topics I: Music and Dance in the Ancien Régime.” In The Oxford Handbook of Topic Theory, ed. Danuta Mirka (New York: Oxford University Press, 2014).
  • “Listening to Music,” in Speaking of Music: Addressing the Sonorous, ed. Keith Chapin and Andrew H. Clarke (New York: Fordham University Press, 2013): 101–119.
  • “Remembering Music,” Dutch Journal of Music Theory 17: 3 (2012): 137–154.
  • “Music, Dance, and Meaning in the Early Nineteenth Century,” Journal of Musicological Research 31:2–3 (2012): 147–165.
  • “Music, Language, and What Falls in Between,” Ethnomusicology 56/1 (Winter 2012): 125–131.
  • “Music and Movement: A View from Cognitive Science,” in Bewegungen zwischen Hören und Sehen: Denkbewegungen über Bewegungskünste, edited by Stephanie Schroedter (Würzburg: Königshausen & Neumann, 2012): 151–162.
  • “Music Theory, Music History, and Quicksand,” Music Theory Spectrum 33/2 (Fall 2011): 226-228.
  • “Music, Language, and Kinds of Consciousness.” In Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, edited by Eric Clarke and David Clarke (Oxford University Press, 2011): 179–192.
  • “Musical Gesture and Musical Grammar: A Cognitive Approach,” in New Perspectives on Music and Gesture, ed. Anthony Gritten and Elaine King (Ashgate Publishing Ltd., 2011): 83-98.
  • “Metaphor and Music.” In The Cambridge Handbook on Metaphor, edited by Ray Gibbs, Jr. (Cambridge University Press, 2008): 502–524.
  • “Dance Topoi, Sonic Analogues, and Musical Grammar: Communicating with Music in the Eighteenth Century.” In Communication in Eighteenth Century Music, edited by V. Kofi Agawu and Danuta Mirka (Cambridge University Press, 2008): 283–309.
  • Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New York: Oxford University Press, 2002. This book was winner of the Society for Music Theory’s 2004 Wallace Berry Award.