Associate Professor of Music
Ph.D., Yale, 2006
Office: Goodspeed Hall 304
Phone: (773) 702-8577
Steven Rings’s research focuses on transformational theory, phenomenology, popular music, and questions of music and meaning. Animating all of his work is an abiding interest in the relationship between music theory and broadly humanistic inquiries into music as a cultural practice. His book Tonality and Transformation (Oxford, 2011)—recipient of the Society for Music Theory’s Emerging Scholar Award—develops a transformational model of tonal hearing, employing it in interpretive essays on music from Bach to Mahler. His current book project explores Bob Dylan’s fifty-year performing career. In other recent work, Rings has focused on the music of Gabriel Fauré and the writings of philosopher Vladimir Jankélévitch. Recent graduate seminars have covered topics such as the music of Bob Dylan, Lewinian transformational theory, musical presence, semiotics, and the music of Bela Bartók. Rings also teaches tonal and post-tonal theory at the undergraduate and graduate levels, as well as a course on musical interpretation and criticism in the college Core. Before becoming a music theorist, Rings was active as a classical guitarist, performing in the U.S. and in Portugal, where he was Professor of Guitar at the Conservatório Regional de Angra do Heroísmo.
Recent Courses Taught
- Music 43812: Bob Dylan as Musician
- Music 43311, Seminar: Music’s Presence
- Music 43309, Seminar: Bartók
- Music 43808, Seminar: Analyzing Meaning
- Music 43707, Seminar: Lewinian Transformational Theory
- Music 31300, Post-Tonal Analysis (grad)
- Music 31200, Tonal Analysis II (grad)
- Music 25300, Analysis of Twentieth-Century Music (undergrad)
- Music 15200, Harmony and Voice-Leading II (undergrad)
- Music 10400, Music Analysis and Criticism (undergrad)
- Tonality and Transformation, Oxford University Press, 2011.
- “A Foreign Sound to Your Ear: Bob Dylan Performs ‘It’s Alright, Ma (I’m Only Bleeding),’ 1964–2009,” in preparation.
- “Talking and Listening with Jankélévitch,” Journal of the American Musicological Society 65/1 (2012).
- “The Learned Self: Artifice in Brahms's Late Intermezzi,” in Expressive Intersections in Brahms: Essays in Analysis and Meaning, ed. Heather Platt and Peter Smith, Indiana University Press, 2012.
- “Riemannian Analytical Values, Paleo- and Neo-,” in The Oxford Handbook of Neo-Riemannian Studies, ed. Alexander Rehding and Edward Gollin, Oxford University Press, 2011.
- “Mystéres limpides: Time and Transformation in Debussy’s Des pas sur la neige,” 19th-Century Music 32/2 (2008).
- “Perspectives on Tonality and Transformation in Schubert’s Impromptu in E-flat, D. 899,” Journal of Schenkerian Studies 2 (2007).
- Review of three books by David Lewin, Journal of Music Theory 50/1 (2006).