Christopher Doll
Christopher Doll is a theorist-composer specializing in the tonality, intertextuality, and pedagogy of postwar popular and art music. He earned degrees at Columbia University (PhD with Distinction, 2007), the University of Cincinnati College-Conservatory of Music (MM, 2000), and Case Western Reserve University (BA, 1998), and he was a Graduate Council Fellow at Stony Brook University from 2000-2002. Since 2007 he has taught music theory and composition at the Mason Gross School of the Arts at Rutgers University in New Jersey, where he is currently Chancellor’s Scholar and tenured Associate Professor.
His articles and reviews have been published or are forthcoming in Music Theory Spectrum, Music Theory Online, Indiana Theory Review, Gamut, Journal of Music Theory, Dutch Journal of Music Theory, Popular Music, Popular Music and Society, Journal of Popular Music Studies, Journal of the Society for American Music, and Notes, and he has contributed entries to The Grove Dictionary of American Music (2nd ed.), The Encyclopedia of African American Music, and Music in American Life. In the spring of 2017, the University of Michigan Press will publish his book Hearing Harmony: Toward a Tonal Theory for the Rock Era.
Dr. Doll has spoken at institutions such as Oxford, Eastman, Princeton, Columbia, Northwestern, Penn, Cornell, Indiana, the Conservatorium van Amsterdam, the Koninklijk Conservatorium in Antwerp, the Institute for Popular Music in Liverpool, the Experience Music Project in Seattle, and the Rock and Roll Hall of Fame and Museum in Cleveland. He has given papers and/or chaired sessions for the Society for Music Theory, the Society for Music Perception and Cognition, the International Association for the Study of Popular Music, the International Musicological Society, the Modern Language Association, the Music Theory Society of New York State, the Music Theory Society of the Mid-Atlantic, and regional chapters of the American Musicological Society (Capital Chapter and Greater New York Chapter).
His articles and reviews have been published or are forthcoming in Music Theory Spectrum, Music Theory Online, Indiana Theory Review, Gamut, Journal of Music Theory, Dutch Journal of Music Theory, Popular Music, Popular Music and Society, Journal of Popular Music Studies, Journal of the Society for American Music, and Notes, and he has contributed entries to The Grove Dictionary of American Music (2nd ed.), The Encyclopedia of African American Music, and Music in American Life. In the spring of 2017, the University of Michigan Press will publish his book Hearing Harmony: Toward a Tonal Theory for the Rock Era.
Dr. Doll has spoken at institutions such as Oxford, Eastman, Princeton, Columbia, Northwestern, Penn, Cornell, Indiana, the Conservatorium van Amsterdam, the Koninklijk Conservatorium in Antwerp, the Institute for Popular Music in Liverpool, the Experience Music Project in Seattle, and the Rock and Roll Hall of Fame and Museum in Cleveland. He has given papers and/or chaired sessions for the Society for Music Theory, the Society for Music Perception and Cognition, the International Association for the Study of Popular Music, the International Musicological Society, the Modern Language Association, the Music Theory Society of New York State, the Music Theory Society of the Mid-Atlantic, and regional chapters of the American Musicological Society (Capital Chapter and Greater New York Chapter).
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Publications by Christopher Doll
Yet expressive modulations in verse-chorus form are not always so formulaic. Variations on the technique abound, and this paper will lay out some common alternatives as well as some notably unique treatments. Modulations to more distant tonal centers, modulations that are oblique or ambiguous, and modulations that play against the breakout stereotype will be identified in verse-chorus songs representing all six decades of rock history.
Talks by Christopher Doll
Papers by Christopher Doll
Yet expressive modulations in verse-chorus form are not always so formulaic. Variations on the technique abound, and this paper will lay out some common alternatives as well as some notably unique treatments. Modulations to more distant tonal centers, modulations that are oblique or ambiguous, and modulations that play against the breakout stereotype will be identified in verse-chorus songs representing all six decades of rock history.