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THE GRADUATE SCHOOL AND UNIVERSITY CENTER APPOINTMENT OF V. KOFI AGAWU AS DISTINGUISHED PROFESSOR

WHEREAS, Professor V. Kofi Agawu is an internationally renowned scholar of music theory, musicology and enthnomusicology with expertise in the music of Mozart, Beethoven and Mahler and African music; and

WHEREAS, Professor Agawu has written five books, including, Playing with Signs: A Semiotic Interpretation of Classical Music (1991), African Rhythm: A Northern Ewe Perspective (1995), Representing African Music: Post-Colonial Notes, Queries, Positions (2003), Music as Discourse: Semiotic Adventures in Romantic Music (2009) and The African Imagination in Music (2016); and

WHEREAS, in addition, Professor Agawu has written more than 75 peer-reviewed journal articles and given over 100 keynote addresses and invited lectures; and

WHEREAS, Professor Agawu has been awarded a Guggenheim Fellowship, the Howard T. Behrman Award for Distinguished Achievement in the Humanities, Princeton University’s most acclaimed humanities award and is a Fellow of the Ghana Academy of Arts and Sciences; and

WHEREAS, Dr. Agawu joined the Graduate Center in January 2019 as a Professor in the Music Ph.D. program. From 1998 to 2018, he was Professor of Music and then Hughes-Rodgers Professor of Music at Princeton University. Prior to that, he was Professor of Music at Yale University (1995 – 1998), Associate Professor and then Professor of Music at Cornell University (1989 – 1995) and Lecturer/Assistant Professor of Music at King’s College London (1986-1989), Duke University (1984-1986) and Haverford College (1982-1984). Dr. Agawu earned his Ph.D. in Historical Musicology from Stanford University, an M. Mus. in Musical Analysis and Theory from King’s College London, and a B.A. in Music from Reading University; now therefore be it

RESOLVED, that the Board of Trustees of The City University of New York appoint V. Kofi Agawu as Distinguished Professor of Music at the Graduate Center effective July 1, 2019, with compensation of $28,594 per annum in addition to his regular academic salary, subject to financial ability.

EXPLANATION: The Graduate Center and The City University of New York will be well-served by Professor Agawu’s appointment as Distinguished Professor.

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CURRICULUM VITAE V. Kofi Agawu

CURRENT POSITIONS

Hughes-Rogers Professor of Music, Princeton University, 2016-

Extraordinary Professor, Stellenbosch University, South Africa, 2016-19

Fellow, Ghana Academy of Arts and Sciences, 2000-

Corresponding Fellow, The British Academy, 2010-

Adjunct Professor, University of Ghana, Legon, 2007-

PREVIOUS POSITIONS

Professor of Music, Princeton University, 2007-16

Harvard University, Walter Bigelow Rosen Professor of Music and Professor of African and African American Studies, 2006-07

Princeton University, Professor of Music, 1998-2006

Yale University, Professor of Music, 1995-1998

University of Ghana, Legon, Visiting Scholar, 1997-2003

Cornell University, Professor of Music, 1993-1995

Cornell University, Associate Professor of Music, 1989-1993

King’s College London, Lecturer in Music, 1986-1989

Duke University, Assistant Professor of Music, 1984-1986

Haverford College, Assistant Professor of Music, 1982-1984

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VISITING PROFESSORSHIPS

Rayson Huang Visiting Lecturer in Music, University of Hong Kong, 1992

Visiting Professor of Music Theory, Indiana University, 1994

Williams College, Class of 1960 Distinguished Fellow, 1998

Harvard University, Visiting Professor, Spring Semester, 2000

Preceptor, African Humanities Institute (University of Ghana, Legon and Northwestern University), 2000

Wilma Smith Visitor in Music, University of Toronto, Distinguished Visitor Award, 2004

Visiting Professor, University of Pavia, Cremona, Italy, 2007

Music Theorist in Residence, Dutch-Flemish Music Theory Society, 2008-2009 (week-long residencies in Amsterdam and Ghent)

Astor Visiting Lecturer, University of Oxford, UK, 2010

George Eastman Visiting Professor, Oxford University, 2012-13

Visiting Professor, CUNY Graduate Center, Spring 2015

Endowed Chair in Music Theory, University of Alabama, March 2016

EDUCATION

Ph.D. in Historical Musicology, Stanford University, 1982

M. Mus. in Musical Analysis and Theory, King's College London, 1978

B.A. in Music, Reading University, 1977

A.R.C.M [Associate of the Royal College of Music] in Musicianship and Theory, 1976

L.R.A.M. [Licentiate of the Royal Academy of Music] in the Teaching of Singing, 1975

HONORARY DEGREES

Honorary M.A., Yale University, 1996

Honorary M.A., Harvard University, 2006

Master of Arts by Resolution, Oxford University, 2012

Doctor of Philosophy (Ph.D.) honoris causa, Stellenbosch University, South Africa, 2017

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AWARDS AND PRIZES

Cadbury Award, Achimota School, Ghana, 1973-74

Ingolf Dahl Memorial Award, American Musicological Society (Pacific Southwest and Northern

Howard T. Behrman Award for Distinguished Achievement in the Humanities, Princeton

Music Theory Prize, Reading University, 1975

Hilda Margaret Watts Prize, King's College London, 1978

California chapters), 1982

Dent Medal, Royal Musical Association, 1992

Young Scholar Award, Society for Music Theory, 1994

Frank Llewellyn Harrison Medal, Society for Musicology in Ireland, 2009

Eva Judd O’Meara Award, Music Library Association, 2011

University, 2011

Extraordinary Professor, Stellenbosch University, South Africa, 2016-19

GRANTS AND FELLOWSHIPS

The Center for Field Research/Earthwatch. Grant for ethnomusicological research, 1986

Wenner-Gren Foundation for Anthropological Research. Grant for fieldwork, 1989

John Simon Guggenheim Foundation Fellowship, 1990-91

Cornell University, Society for the Humanities, Faculty Fellowship, 1993-94

Old Dominion Faculty Fellow, Princeton University, 2008-09

Old Dominion Professor, Princeton University, 2010-11

SPECIAL LECTURES AND KEYNOTE ADDRESSES

Mary Kingsley Lecture, Royal African Society, London [inaugural lecture], 1989

W. E. B. Du Bois Distinguished Lecturer, City University of New York, Graduate Center, 1994

Keynote Address, Texas Society for Music Theory, Austin, 1996

Laura Boulton Lecture, Ohio State University, 1998

Second Ephraim Amu Memorial Lecture, The National Theatre, Accra, 2000

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Keynote Address, Music Theory Midwest and Society for Ethnomusicology, Cincinnati, OH, 2001

Keynote Address, Music Theory Southeast and South Central Society for Music Theory, Atlanta,

Keynote Address, Musical Spaces: Ninth Annual CUNY Graduate Students in Music (GSIM)

Keynote Address, Fourteenth International Conference on Nineteenth-Century Music,

Royal Musical Association Peter Le Huray Lecture, King’s College, London (inaugural lecture,

Plenary Address, Joint Conference of the Society for Musicology in Ireland and the Royal

Faculty, Mannes Institute for Advanced Studies in Music Theory, State of the Discipline Institute,

George Eastman Lectures in Music, Oxford University, 2013

Keynote Address, South African Musicological Society, Pretoria, 2002

Curry Lecture, University of Michigan, Ann Arbor, 2003

Donald Wort Lectures, Cambridge University, 2003-04

2004

Faculty, Mannes Institute for Advanced Studies in Music Theory, Rhythm Institute, 2005

Symposium, New York, 2006

Manchester, 2006

Keynote Address, Performing Africa! Visualizing Africa!, Ohio University, Athens, OH, 2007

Keynote Address, 18th Congress of the International Musicological Society, Zurich, 2007

delivered as part of the conference, Tonality in Perspective), 2008

Musical Association [on the occasion of the award of the Harrison Medal], Dublin, 2009

Keynote Address, Michigan Interdisciplinary Music Society, Ann Arbor, 2010

Keynote Address, Conference on Analytical Approaches to World Music, Amherst, Mass., 2010

Keynote Address, Music Theory Society of the Mid-Atlantic, State College, Pa., 2010

Keynote Address, Conference on Music-Race-Empire, Madison, WI, 2011

2011

Keynote Address, Boston University Music Society, Boston, 2011

Keynote Address Association of Nigerian Musicologists, Nssuka, Nigeria, 2012

Keynote Address, RMA Research Students Conference, Southampton, UK, 2013

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Lead Keynote Address, Abibirima! Fellow Africans Rise Up! A Festival and Symposium Celebrating the Music of Dr. Ephraim Amu, New England Conservatory, 2014

Keynote Address, Music Theory and Musicology Society, College Conservatory of Music, Cincinnati, 2014

Robert Stevenson Lecture, UCLA, 2014

Keynote Address, Balzan Workshop-Conference on ‘Topical Encounters and Rhetorics of Identity in Latin American Art Music,’ Oxford University, 2015

Keynote Address, ‘Rethinking Music Theory, With African Aid,’ Society for Music Theory, October 31st, 2015

Donald J. Grout Lecture, Cornell University, 2016

Keynote Address, ICTM Study Group on African Musics: African Music Scholarship in the Twenty-First Century: Challenges and Directions, August, 2018

PUBLICATIONS

Books:

Playing with Signs: A Semiotic Interpretation of Classic Music (Princeton: Princeton University Press. 1991; paperback 2014).

Reviews Times Higher Education Supplement, 3 May 1991, 965 [C. Ayrey] Music Analysis 10:3, 1991, 381-87 [W. Drabkin] Music and Letters 73:2, 1991, 315-17 [R. Monelle] Communication Research 18:6, 1991, 839-40 Music Theory Spectrum 14:2, 1992, 88-98 [R. Hatten] The Musical Quarterly 76:1, 1992, 114-21 [G. Edwards] The Semiotic Review of Books 3:2, May 1992, 10-11 [R. Hatten] Journal of the American Musicological Society 45:3, 1992, 526-35 [V. Micznik] Die Musikforschung 42:2, 1994, 215-18 [E. Ungeheuer] Review-articles William P. Dougherty, "The Quest for Interpretants: Toward a Peircean Paradigm for Musical Semiotics," Semiotica 99:1/2, 1994, 163-84 Jonathan Berger, "Playing with Playing with Signs," Journal of Music Theory 38:2, 1994, 293-313 Roberto Miraglia, "Semiologia: nuove proposte, vecchi dubbi. Osservazioni a proposito di Playing with Signs di K. Agawu," Analisi: Rivista di Teoria e Pedagogia musicale 23 (1997), 4-18 Stephen Rumph, “Op. 132 and the Search for a Deep Structure,” Beethoven Forum 14 (2007), 73-89

African Rhythm: A Northern Ewe Perspective (Cambridge: Cambridge University Press, 1995). Reviews West Africa 25-31 December 1995 & 1-7 January 1996, 2018 Times Higher Education Supplement, 4-4-97, 26 [J. Fargion] British Journal of Ethnomusicology 4 (1995), 158-60 [R. Blench] Musical Times, June 1996, 30-31 [W. Mellers] The World of Music 38 (1996), 139-142 [U. Bareis] Yearbook for Traditional Music 1996, 200-02 [D. Avorgbedor]

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Notes 53:3 (1997), 818-19 [B. Hampton] Journal of Anthropological Research 1997, 119-121 [J. Chernoff] The International Journal of African Historical Studies 30 (1997), 447-49 [D. Locke] Music Analysis 16:2 (1997), 282-89 [J. Stock] Revue de Musicologie 83:1 1997, 137-39 [Fernando] American Anthropologist 99 (1997), 864-65 [S. Ottenberg] Journal of the Anthropological Society of Oxford 27 (1996) [B. Connell] Music Theory Spectrum 20 (1998), 305-10 [S. Blum] Journal of the American Musicological Society 51 (1998), 158-63 [R. Vetter] Africa 71 (2001), 174-76 [S. Friedson] Journal of Religion in Africa 29 (1999), 498-500 [B. Meyer] South African Journal of Cultural History 11, 1997, 136-37 Glendora Books Supplement (Lagos) 6, 2001, 33-34 [S. Oluronyomi] Review-article Current Musicology 62 (1998), 69-83 [D. Temperley]

Representing African Music: Post-Colonial Notes, Queries, Positions (New York: Routledge, 2003; paperback 2003).

Reviews International Journal of African Historical Studies 37:1, 2004, 145-47 [R. Shain] Notes 61:1, 2004, 106-08. [G. Solis] South African Journal of Musicology 22 (2002, pub. 2004), 63-65 [G. Olwage] Svensk Tidskrift for Musikforskning 86, 2004, 101-2 [S. Thorsén] Interventions: International Journal of Postcolonial Studies 7:1, 2005, 147-50 [M. Scherzinger] Twentieth-Century Music 2 (2005), 146-150 [A. Impey] Journal of the American Musicological Society 59 (2006), 769-77 [L. Meintjes] Africa Development 33:1, 2008, 132-39 [P. Wekesa] Review-articles Current Musicology 75 (Spring 2003), 223-50 [M. Scherzinger] Music Theory Spectrum, 26:2, 2004, 291-304 [V. Erlmann] Muziki: Journal of Music Research in Africa 1 (2004), 97-100 [C. Walton] Transition 99 (2008), 154-61 [A. Euba]

Music as Discourse: Semiotic Adventures in Romantic Music (New York: Oxford University Press, 2009; paperback, 2014). Translated into Spanish by Silvia Villegas as La música como discurso: Aventuras semióticas en la música romántica (Buenos Aires: Eterna Cadencia Editora, 2012).

Reviews Notes 66 (2009), 64-66 [S. Heimbecker] Tempo 63 (2009), 71-72 [C. Clarke] Musiktheorie: Zeitschrift für Musikwissenschaft 25 (2010), 89-91 [F. Wörner] Music and Letters 91 (2010), 110-11 (R. Monelle) Dutch Journal of Music Theory 16 (2011), 157-61 (B. Van Herck) Revista Teatro Colón 6 (2012), 108-09 (S. De Filippi) Journal of Music Theory 57(2013), 131-49 (J. Kraus) Review-article “Paradigms, Prototypes, and Other Analytical Adventures,” Theoria 16 (2009), 111-28 [S. Rodgers]

The African Imagination in Music (New York: Oxford University Press, 2016, paperback). Publication supported by the Manfred Bukofzer Endowment of the American Musicological Society

Reviews African Studies Review 59 (2016), 259-61 (F. Gunderson) Music Theory Online 23 (2017) (S. Blum)

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Canadian Journal of African Studies (2017) (J. Chapman) Music Theory Spectrum 40 (2018) (J. Roeder)

Edited collections:

The Landscape of African Music. Special issue of Research in African Literatures, 2001

African Musical Arts: Theory, Practice and Education. Edited by Anri Herbst, Meki Nzewi and Kofi Agawu. Pretoria, South Africa: University of South Africa Press, 2003.

Reviews Notes 61:1, 2004, 111-13 South African Journal of Musicology 22 (2002, pub. 2004), 70-72 Worlds of Music, 2007

Communication in Eighteenth-Century Music. Edited by Danuta Mirka and Kofi Agawu. Cambridge: Cambridge University Press, 2008.

Reviews Musical Times 149 (2008), 112-15 [P. Williams] Eighteenth-Century Music 7 (2010): 121-24 [R. Gjerdingen] Music and Letters 91 (2010), 107-110 [N. November] Fontes Artis Musicae 56 (2009), 423-24 [Bryan Proksch] Early Music (2011) [M. Pritchard]

Composition and Transmission of Musical Forms in Africa. Edited by Kofi Anyidoho and Kofi Agawu. Dakar: CODESRIA, forthcoming.

Articles in journals, book chapters and encyclopedia entries:

1983 "The Musical Language of Kindertotenlieder No. 2." Journal of Musicology 2:1 (1983), 81-93.

1984 "On Schubert's Der greise Kopf." In Theory Only 8:1 (1984), 3-21.

"Structural Highpoints in Schumann's Dichterliebe." Music Analysis 3:2 (1984), 159-80.

"The Impact of Language on Musical Composition in Ghana: An Introduction to the Musical Style of Ephraim Amu." Ethnomusicology 28:1 (1984), 37-73.

1985 "Analytical Issues Raised by Bartók's 'Improvisations for Piano,' opus 20." Journal of Musicological Research 5:4 (1985), 131-63.

1986 "Tonal Strategy in the First Movement of Mahler's Tenth Symphony." Nineteenth-Century Music 9:2 (1986), 222-33.

"Mahler's Tonal Strategies: A Study of the Song Cycles." Journal of Musicological Research 6:1 (1986), 1-47.

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"'Gi Dunu,' 'Nyekpadudo,' and the Study of West African Rhythm." Ethnomusicology 30:1 (1986), 64-83.

1987 "Concepts of Closure and Chopin's Opus 28." Music Theory Spectrum 9 (1987), 1-17.

"The Rhythmic Structure of West African Music." Journal of Musicology 5:3 (1987), 400-18.

"The Making of a Composer: An Interview with Dr. Ephraim Amu." The Black Perspective in Music 15:2 (1987), 51-63.

"The First Movement of Beethoven's Opus 132 and the Classical Style." College Music Symposium 27 (1987), 30-45 [Reported by Paul Angus in The Chronicle of Higher Education, Oct. 12, 1988, p. A11].

1988 "Tone and Tune: The Evidence for Northern Ewe Music." Africa [Journal of the International African Institute] 58:3 (1988), 127-46.

"Music in the Funeral Traditions of the Akpafu." Ethnomusicology 32:1 (1988), 75-105.

1989 "Stravinsky's Mass and Stravinsky Analysis." Music Theory Spectrum 11:2 (1989), 139-63.

"Schubert's Harmony Revisited: The Songs 'Du liebst mich nicht' and 'Dass sie hier gewesen.'" Journal of Musicological Research 9:1 (1989), 23-42.

"Schenkerian Notation in Concept and Practice." Music Analysis 8:3 (1989), 275-301.

"On an African Song from Akpafu." Sonus 10:1 (1989), 22-39.

1990 "Variation Procedures in Northern Ewe Song." Ethnomusicology 34:2 (1990), 221-43.

1992 "Representing African Music." Critical Inquiry 18:2 (1992), 245-66.

"Haydn's Tonal Models." In Convention in Eighteenth- and Nineteenth Century Music: Essays in Honor of Leonard G. Ratner, edited by Wye J. Allanbrook, Janet M. Levy, and William P. Mahrt. Stuyvesant, New York: Pendragon Press, 1992, 3-22.

"Extended Tonality in Mahler and Strauss." In Richard Strauss: New Perspectives on the Composer and His Work, edited by Bryan Gilliam. Durham, North Carolina: Duke University Press, 1992, 55-75.

"Theory and Practice in the Analysis of the Nineteenth-Century Lied." Music Analysis 11:1 (1992), 3-36.

1993 "Does Music Theory need Musicology?" Current Musicology 53 (1993), 89-98.

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"Schubert's Sexuality: A Prescription for Analysis?" Nineteenth-Century Music 17:1 (1993), 79-82. "Music Analysis and the Politics of Methodological Pluralism." Revista de Musicología [Actas del XV Congreso de la Sociedad Internacional de Musicología] 16:1 (1993), 399-406.

1994 "Ambiguity in Tonal Music: A Preliminary Study." In Theory, Analysis and Meaning in Music, edited by Anthony Pople. Cambridge: Cambridge University Press, 1994, 86-107.

1995 "The Invention of ‘African Rhythm’." Journal of the American Musicological Society. Special Issue: Music Anthropologies and Music Histories, 48:3 (1995), 380-95. Reprinted in Popular Music: Critical Concepts in Media and Cultural Studies, vol. 3, ed. Simon Frith (New York: Routledge, 2004), 103-18.

1996 "Prolonged Counterpoint in Mahler." In Mahler Studies, edited by Stephen Hefling. Cambridge: Cambridge University Press, 1996, 217-47.

"Prospects for a Theory-Based Analysis of Mozart's Instrumental Music." In Wolfgang Amadé Mozart: Essays on His Life and Work, edited by Stanley Sadie. Oxford: Oxford University Press, 1996, 121-31.

"Mozart's Art of Variation: Remarks on the First Movement of K. 503." In Mozart's Piano Concertos: Text, Context, Interpretation, edited by Neal Zaslaw. Ann Arbor, Michigan: The University of Michigan Press, 1996, 303-13.

"The Narrative Impulse in the Second Nachtmusik from Mahler's 7th." In Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music, edited by Craig Ayrey and Mark Everist. Cambridge: Cambridge University Press, 1996, 226-41.

"The Amu Legacy," Africa, 66:2 (1996), 274-79.

"Analyzing music under the new musicological regime." Music Theory Online 2(4): http://www.societymusictheory.org/mto/issues/mto.96.2.4/mto.96.2.4.agawu.html Reprinted in Journal of Musicology 15:3 (1997), 297-307.

1997 "The Chamber Music of Beethoven." In Chamber Music in the Nineteenth Century, edited by Stephen Hefling. New York: Schirmer, 1997, 1-38.

1998 "The Challenge of Musical Semiotics." In Rethinking Music, edited by Nicholas Cook and Mark Everist, Oxford University Press, 1998, 138-60.

"Music Analysis versus Musical Hermeneutics." American Journal of Semiotics 13:1-4 (1998) [Special Issue on Signs in Musical Hermeneutics, edited by Siglind Bruhn], 9-24. French translation by Geneviève Bégou as “Analyse musicale contre herméneutique musicale.” In Sens et signification en musique, edited by Marta Grabocz. Paris: Hermann, 2007, 93-106.

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1999 "The Symphonies." In The Brahms Companion, edited by Michael Musgrave, Cambridge University Press, 133-55.

2000 Response to Plenary Session. Music Theory Online 6:1 (http://smt.ucsb.edu/mto/issues/mto.00.6.1/mto.00.6.1.agawu.html).

2001 “Introduction.” Research in African Literatures [Special Issue: The Landscape of African Music, Guest Editor: Kofi Agawu], 32:2 (2001), 3-7.

"African Music as Text." Research in African Literatures, 32:2 (2001), 8-16.

"Analytical Issues Raised by African Art Music." In Intercultural Music 3 (2001), edited by Cynthia Kimberlin and Akin Euba. Richmond, Ca.: MRI Press, 2001, 135-47.

2002 "Il ritmo.” In Enciclopedia della Musica II: Il sapere musicale, trans. Fulvia De Colle, edited by Jean-Jacques Nattiez. Torino: Einaudi, 2002, 45-71.

2003 "Contesting Difference: A Critique of (Africanist) Ethnomusicology." In The Cultural Study of Music: A Critical Introduction, edited by Martin Clayton, Trevor Herbert and Richard Middleton. Routledge: New York, 2003, 227-37. Translated by Hyeon-Gyeong Cae in Eum’ag gwa munhwa/Music and Culture 9, 2003 [Republic of Korea].

“Defining and Interpreting African Music.” In African Musical Arts: Theory, Practice and Education. Edited by Anri Herbst, Meki Nzewi and Kofi Agawu. Pretoria, South Africa: University of South Africa Press, 2003, 1-12.

"Musica, lingua e danza nella prospettiva degli Ewe del Nord.” In Enciclopedia della Musica III: Musica e cultura, trans. Nicola Verzina, edited by Jean-Jacques Nattiez. Torino: Einaudi, 2003, 944-56.

"Polyrhythm." In African Folklore: An Encyclopaedia, edited by Philip M. Peek and Kwesi Yankah. New York: Routledge, 2003, 349-50.

2004 "Aesthetic Inquiry and the Music of Africa." In Companion to African Philosophy, edited by Kwasi Wiredu. Oxford: Blackwells, 2004, 404-14.

“Embracing the Non-West.” Forum: Music Theory at the Turn of the Millenium. Intégral 14/15 [2000/2001], 63-66.

“Kofi Agawu on African Music[cology].” Interview with Bode Omojola, Mohammed Ben Abdallah and Zabana Kongo, Glendora Review: African Quarterly on the Arts [Lagos, Nigeria] 3:3-4, 2004, 125-33.

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2005 “Effetti del colonialismo sulla musica Africana,” trans. Carlo Vitali, in Enciclopedia della Musica V: L’unità della musica, ed. Jean-Jacques Nattiez (Torino: Einaudi, 2005), 5-31.

“Is African Pianism Possible?” In Towards an African Pianism: Keyboard Music of Africa and the Diaspora, edited by Cynthia Tse Kimberlin and Akin Euba (Richmond, Ca.: MRI Press, 2005), 1-19.

“What Adorno Makes Possible for Music Analysis,” 19th-Century Music 29:1 (2005), 48-54.

“How We Got Out of Analysis and How to Get Back In Again,” Music Analysis 23: 2-3 (2005), 267-86.

“Analyzing Black Gospel Music: Notes on the Rev. James Cleveland’s Rendition of ‘What a Friend We Have in Jesus.” In Multiple Interpretations of Creativity and Knowledge in African Music Traditions, edited by Bode Omojola and George Dor (Richmond, Ca.: MRI Press, 2005), 153-164.

2006 “Structural Analysis or Cultural Analysis? Competing Perspectives on the ‘Standard Pattern’ of West African Rhythm.” Journal of the American Musicological Society 59:1 (2006), 1-46.

“The Communal Ethos in African Performance: Ritual, Narrative and Music among the Northern Ewe.” In Approaches to African Musics, edited by Enrique Cámara de Landa and Silvia Martínez García. Valladolid: Universidad de Valladolid, Centro Buendía, 2006, 181-200. Also published in TRANS 11 (2007).

2007 “To Cite or Not to Cite? Confronting the Legacy of (European) Writing on African Music.” Fontes Artis Musicae 54:3 (2007), 254-62.

“Edward Said and the Study of Music.” Philomusica On-Line 6:1 (2007).

2008 “Beethoven’s Op. 18 No. 3, First Movement: Two Readings, with a Comment on Analysis.” In Communication in Eighteenth-Century Music, edited by Danuta Mirka and Kofi Agawu. Cambridge: Cambridge University Press, 2008, 230-53.

“Afterword.” In Communication in Eighteenth-Century Music, edited by Danuta Mirka and Kofi Agawu. Cambridge: Cambridge University Press, 2008, 310-17.

“Topic Theory: Achievement, Critique, Prospects.” In Passagen/IMS Congress Zürich 2007: Fünf Hauptvorträge, edited by Laurenz Lütteken and Hans-Joachim Hinrichsen. Zurich: Bärenreiter, 2008, 38-69.

“Meki Nzewi and the discourse of African musicology: a 70th birthday appreciation.” Journal of the Musical Arts of Africa 5 (2008), 1-18.

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2009 “The Dynamics of Orality and the Politics of Music Analysis.” In L’analyse musicale: une pratique et son histoire, edited by Rémy Campos and Nicholas Donin. Genève: Droz & Conservatoire, 2009, 123-130.

2010 Commentary [on Rhythm: Africa and Beyond], Music Theory Online 16 (2010) http://mto.societymusictheory.org/issues/mto.10.16.4/mto.10.16.4.agawu.html

“Response to [Timothy] Rice” Ethnomusicology 54(2), 326-29. Chinese translation in Journal of the Central Conservatory of Music 139(2), 2015, 125-27.

2011 “The Challenge of African Art Music,” Circuit, musiques contemporaines 21(2), 55-72.

“Taruskin’s Problem(s),” Music Theory Spectrum 33(2), 186-90.

“In Memoriam William Oscar Anku (1949-2010),” Journal of the Musical Arts of Africa, 93-95.

2012 “Leonard G. Ratner (1916-2011),” Ad Parnassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music 10(19), 191-94.

2013 “The minimalist impulse in African musical creativity,” in Resiliency and Distinction: Beliefs, Endurance and Creativity in the Musical Arts of Continental and Diasporic Africa. A Festschrift in Honor of Jacqueline Cogdell DjeDje, edited by Kimasi L. Browne and Jean N. Kidula Richmond, Ca.: MRI Press, 2013.

“Analyzing Analysis: The largo appassionato from Beethoven’s Piano Sonata in A major, op. 2 no. 2.” In Analizar, interpretar, hacer música: de las Cantigas de Santa María a la organología. Escritos in memoriam Gerardo V. Huseby. Edited by Melanie Plesch. Ciudad Autónoma de Buenos Aires: Gourmet Musical Ediciones, 2013, 349-64.

2014 “Topics and Form in Mozart’s String Quintet in E Flat Major, K. 614/I,” in The Oxford Handbook of Topic Theory, ed. Danuta Mirka (New York: Oxford University Press, 2014, 474-492

2016 “Tonality as a Colonizing Force in Africa,” in Audible Empire: Music, Global Politics, Critique,ed. Ronald Radano and Tejumola Olaniyan (Durham: Duke University Press, 2016), 334-354.

“Appropriating Said,” in ‘Round Table: Edward Said and Music Studies Today,’ ed. Brigid Cohen, Journal of the Royal Musical Association (forthcoming)

“The Many Meanings of Meaning in Music,” in On Meaning: The Making of Civic Sense, ed. Jose Ciprut (Northwestern University Press: forthcoming)

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Review-articles:

1992 "Wrong Notes" [Edward W. Said, Musical Elaborations]. Transition 55 (1992), 162-66.

1997 "Hatten’s Semiotics of Music" [Robert Hatten, Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation]. Current Musicology 60/61 (1996), 147-61.

"Perspectives on Schubert’s Songs" [Marjorie Wing Hirsch, Schubert’s Dramatic Lieder, Susan Youens, Schubert: Die schöne Müllerin and Richard Kramer, Distant Cycles: Schubert and the Conceiving of Song]. Music Analysis 16:1 (1997), 109-124.

"John Blacking and the Study of African Music" [John Blacking, Venda Children’s Songs and Music, Culture and Experience] Africa 67:3 (1997), 491-99.

2001 “An African Understanding of African Music” [Joshua Uzoigwe, Ukom and Meki Nzewi, African Music: Theoretical Content]. Research in African Literatures 32:2 (2001), 187-94.

2004 “Adventures in Music Analysis” [Leonard B. Meyer, Spheres of Music and Richard Littlefield, Frames and Framing]. The Semiotic Review of Books 14:3 (2004), 4-7.

Reviews:

1987 Analytica: Studies in the Description and Analysis of Music, edited by Anders Lönn and Erik Kjellberg. Music and Letters 68:2 (1987), 155-58.

Schubert: Critical and Analytical Studies, edited by Walter Frisch. Journal of Music Theory, 31:2 (1987), 324-31.

Nicholas Cook, A Guide to Musical Analysis. Music and Letters 68:4 (1987), 375-77.

1988 Zija Kucukalic, Die Struktur des Kunstwerks; mit besonderer Berücksichtigung der Musik. Music and Letters 69:3 (1988) 404-06.

Walter Frisch, Brahms and the Principle of Developing Variation. Music Analysis 7:1 (1988), 99-105.

David Epstein, Beyond Orpheus: Studies in Musical Structure. Music and Letters 69:3 (1988), 407-09.

1989 Zentralafrika: Musikgeschichte in Bildern by Jos Gansemans, Barbara Schmidt-Wrenger, et. al. Music and Letters 70:1 (1989), 74-76.

Wolfgang Bender, Afrikanische Musik. Africa 59:2 (1989), 231-32.

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Chopin Studies edited by Jim Samson. Music and Letters 70:4 (1989), 556-59.

1990 African Musicology: Current Trends, edited by Jacqueline Djedje and William Carter. Ethnomusicology 34:3 (1990), 460-63.

1991 Leo Treitler, Music and the Historical Imagination. Music and Letters 72:1 (1991), 84-86.

David Locke, Drum Gahu: A Systematic Method for an African Percussion Piece and Drum Damba: Talking Drum Lessons featuring Abubakari Lunna. Notes 48:1 (1991), 60-62.

Christopher Waterman Jùjú: A Social History and Ethnography of an African Popular Music. Africa 61, 400-01.

Robert O. Gjerdingen, A Classic Turn of Phrase: Music and the Psychology of Convention. Music Theory Spectrum 13:1 (1991), 112-16.

1992 Jean Jacques Nattiez, Music and Discourse: Toward a Semiology of Music, translated by Carolyn Abbate. Music and Letters 73:2 (1992), 317-319.

Nicholas Cook, Music, Imagination and Culture. Journal of the Royal Musical Association 117:1 (1992), 157-64.

John Gray, African Music: A Bibliographical Guide to the Traditional, Popular, Art, and Liturgical Musics of Sub-Saharan Africa. Yearbook for Traditional Music 24 (1992), 169.

Simha Arom, African Polyphony and Polyrhythm: Musical Structure and Methodology, translated by Martin Thom, Barbara Tuckett, and Raymond Boyd. Music and Letters 73:3 (1992), 486-88.

1993 African Musicology 2, edited by Jacqueline Djedje. Yearbook for Traditional Music 25 (1993), 156-57.

1994 Raymond Monelle, Linguistics and Semiotics in Music. Music and Letters, 75 :1 (1994), 120-22.

The Cambridge Companion to Chopin, edited by Jim Samson. Notes 51:1 (1994), 135-38.

1995 Elaine Sisman, Haydn and the Classical Variation. Journal of the American Musicological Society 48:1 (1995), 136-44. Music Theory and the Exploration of the Past, edited by Christopher Hatch and David W. Bernstein. Music Theory Spectrum 17:2 (1995), 268-74.

1996 Joshua Uzoigwe, Akin Euba: An Introduction to the Life and Music of a Nigerian Composer. Research in African Literatures, 27:1 (1996), 232 36.

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Downing A. Thomas, Music and the Origins of Language: Theories from the French Enlightenment. Notes 53:2 (1996), 486-88.

1997 Lawrence Kramer, Classical Music and Postmodern Knowledge. Music and Letters 78 (1997), 127-129.

1999 Music and Meaning, edited by Jenefer Robinson. Notes 55:4 (1999), 886-87.

2000 Composing the Music of Africa: Composition, Interpretation and Realisation, edited by Malcolm Floyd. Music and Letters 81:4 (2000), 64-65.

Roger Scruton, The Aesthetics of Music. Journal of Music Theory 44:2 (2000), 487-94.

2001 Akin Euba, Chaka [Compact Disk]. Research in African Literatures 32:2 (2001), 196-98.

Veit Erlmann, Music, Modernity, and the Global Imagination: South Africa and the West. The World of Music 43:2/3 (2001), 222-25.

2002 Music and the Racial Imagination, edited by Ronald Radano and Philip Bohlman. Journal of the American Musicological Society 54:3 (2002), 686-91.

2004 Eero Tarasti, Signs of Music: A Guide to Musical Semiotics by Eero Tarasti. Music and Letters 85:1 (2004), 144-46.

2005 Ruth M. Stone, Music in West Africa: Experiencing Music, Experiencing Culture. Music and Letters 86:3 (2005), 523-525

2007 Jonathan Dunsby, Making Words Sing: Nineteenth- and Twentieth-century Song. Twentieth-Century Music, 3:2 (2007), 277-80.

Robert Hatten, Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Music and Letters 88:2 (2007), 353-55 .

2008 Analytical Studies in World Music, edited by Michael Tenzer. Journal of the American Musicological Society 61:2 (2008), 411-18.

2009 Byron Almén, A Theory of Musical Narrative. Notes 66:2 (2009), 275-77 [Winner of the Music Library Association’s Eva Judd O’Meara Award for best review published in Notes in 2009]

2012 Stephen Rumph, Mozart and Enlightenment Semiotics. Notes 69:2 (2012), 274-77.

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2015 Lauri Suupää, Death in Winterreise: Musico-Poetic Associations in Schubert’s Song Cycle,Intégral 28/29 (2014-15), 221-32.

2018 Carl Schachter, The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory, ed. Joseph N. Straus, Journal of Music Theory 62 (2018), 145-54.

PROFESSIONAL AFFILIATIONS

American Musicological Society Society for Music Theory Toronto Semiotic Circle Society for Ethnomusicology Association of Nigerian Musicologists (Honorary Lifetime Member)

EDITORIAL and ADVISORY BOARDS

Music Theory Spectrum, 1994-96 Theory and Practice, 1990-97) Journal of the Royal Musical Association, 1995-99, 2012-14 Journal of the American Musicological Society, 1995-98 Journal of Musicology, 1997-2010 Performing Arts Journal (Legon), 1997-2000 International African Library, 1988-1997 Intégral, 1998-South African Musicological Journal, 2007-Journal of the International Library of African Music, 2007-Musica Humana (Hong Kong), 2008-Archive of African Ethnomusicology (AAE) (South Africa), 2008-Ethnomusicology, 2009-2012 Indiana Theory Review, 2009-Intermédialités (Montréal), 2011-Analytical Approaches to World Music (AAWM), 2010-Echo: A Music-Centered Journal, 2014-

OTHER SERVICE

Director, Program in African Studies, Princeton University, 2000-2001.

Member, Committee of Examiners for the GRE in Music, 1992-94.

Consultant, Meet the Composer Inc., New York, 1995-96.

Council Member, International Musicological Society, 1997-2002.

Member, Advisory Board, Afropaedia, L. L. C, edited by K. A. Appiah and H. L. Gates, Jnr.

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Associate, Center for Black Music Research, Chicago, 1996-2004

Consultant, The National Research Foundation (NRF), Pretoria, South Africa (April 2002). Co-author (with Graham Welch) of An Evaluation of the Traveling Institute for Music Research in South Africa (TIMR) (Pretoria, 2002).

Director, First International Symposium on the Music of Africa, Princeton University, October 9-10, 2003.

Fellow, Princeton Institute for International and Regional Research, 2004-06.

Member, Executive Board, Society for Music Theory, 2002-2005.

Director, Second International Symposium on the Music of Africa, Princeton University, December 9-10, 2005.

Consultant, Swedish South African Research Network, 2006-08.

Member, Bridge Year Committee, Princeton University, 2008.

Director, Third International Symposium on the Music of Africa, Princeton University, April 17-19, 2009.

Consultant, Andrew W. Mellon Foundation, 2010-11

Director, Fourth International Symposium on the Music of Africa, Princeton University, March 2-3, 2009.

Member, MGG Online Advisory Board

Director, Fifth International Symposium on the Music of Africa, Princeton University, April 8-9, 2016

ACLS/Mellon Dissertation Completion Fellowship Selection Committee, 2017-18

INVITED LECTURES (since 1995)

Northwestern University, 1995 Harvard University, 1995 Binghamton University, 1996 University of Texas at Austin, 1996 Baylor University, 1996 University of Connecticut at Storrs, 1996 Dartmouth College, 1997 Center for National Culture, Accra, Ghana, 1997 African Literature Summer Institute, Accra, Ghana, 1997 The University of Michigan, Ann Arbor, 1997 International Musicological Society, London, 1997

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Williams College, Massachusetts, 1998 Peabody Conservatory, Baltimore, 1998 Brandeis University, 1999 Texas Tech University, 1999 University of Texas at Austin, 1999 Columbia University, 1999 University of California, Los Angeles, 1999 Harvard University, 2000 Northwestern University, 2000 University of Florida, Gainesville, 2000 Miami University of Ohio, 2000 University of Chicago, 2001 University of Montreal, 2001 McGill University, 2001 University of Oregon, 2001 Westminster Choir College, 2002 South African Musicological Congress (including lectures/seminars/workshops at 11

South African universities), 2002 University of Pennsylvania, 2002 University of North Carolina-Chapel Hill, 2002 University of Colorado, Boulder , 2003 Emory University, 2004 Hunter College, CUNY, 2004 Eastman School of Music, 2004 University of Freiburg, Germany, 2005 University of Ghana, Legon, 2005 University of Valladolid, Spain, 2005 University of Victoria, Canada, 2006 University of British Columbia, Canada, 2006 IRCAM, Paris, 2007 Walter Sisulu University, Mthatha, South Africa, 2007 Peabody Institute, Baltimore (Music Theory), 2008 Peabody Institute, Baltimore (Musicology), 2008 University of Paris (1), 2008 King’s College, London, 2008 Cornell University, 2008 Indiana University, 2008 Society for Ethnomusicology, Middletown, CT., 2008 Music Conservatory and University of Amsterdam, 2008 Amsterdam Conservatoire, 2008 Orpheus Institute, Ghent, Belgium 2009 Royal Museum for Central Africa, Tervuren, Belgium, 2009 University of Ghana, Legon, 2010 University of Cape Coast, Ghana, 2010 Temple University 2010 Boston University 2011 University of Wisconsin-Madison 2011 Society for Ethnomusicology, Philadelphia, Pa., 2011 University of Ghana, Legon, 2012 Royal Holloway and Bedford University of London, 2012 Southampton University, 2012

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Edinburgh University 2012 University of Cardiff, 2013 City University, London, 2013 [http://www.city.ac.uk/news/2013/apr/princeton-musicologist-visits-city] New York University Abu Dhabi, 2013 New York University Abu Dhabi, 2014 Society for Music Theory Annual Meeting, Milwaukee 2014 University of Miami, Coral Gables, 2014 University of Michigan, 2015 Columbia University, 2015 University of Cape Coast, Ghana, 2015 Cornell University, 2016 Ithaca College, 2016 University of Pennsylvania, 2017 The Library of Congress, 2017 Mannes School of Music, 2017 New York University, Abu Dhabi, 2017 Univerdity of Georgia, Athens, 2017 Macalester College, 2017 University of Minnesota, 2017

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