Presentations and Lectures

 

de Clercq, Trevor. (2018). “Do Chords Last Longer as Songs Get Slower?: Tempo Versus Harmonic Rhythm in Four Corpora of Popular Music.” Music Informatics Interest Group Meeting. Society for Music Theory Conference. San Antonio, TX (November 3).

de Clercq, Trevor. (2018). “The Harmonic-Bass Divorce in Rock.” Society for Music Theory Conference. San Antonio, TX (November 2).

* de Clercq, Trevor. (2018). “Teaching Rhythmic Organization and Meter in Popular Music.” Center for Popular Music, Middle Tennessee State University: Murfreesboro, TN (September 20).

de Clercq, Trevor. (2018). “Some Reharmonization Techniques for Popular Music: Melodic Skeletons, the Melodic-Harmonic Divorce, and Meta-Schemas.” Association for Popular Music Education Conference. Middle Tennessee State University: Murfreesboro, TN (June 25). [Text] [Slides] [Audio]

de Clercq, Trevor. (2018). “‘Three Chords and the Truth’?: A Corpus Analysis of Harmony in Country Music.” International Country Music Conference. Belmont University: Nashville, TN (May 31). [Text] [Slides]

de Clercq, Trevor. (2018). “A Corpus Analysis of Harmony in Country Music.” South Central Society for Music Theory. University of Southern Mississippi: Hattiesburg, MS (March 23). [Text] [Slides]

de Clercq, Trevor. (2018). “‘Three Chords and the Truth’?: A Corpus Analysis of Harmony in Country Music.” International Association for the Study of Popular Music (US) Conference. Vanderbilt University: Nashville, TN (March 9). [Text] [Slides]

* de Clercq, Trevor. (2017). “The Nashville Number System: A Pop(ular) Alternative to Roman Numerals and Figured Bass.” University of Tennessee: Knoxville, TN (November 29). [Slides]

de Clercq, Trevor. (2017). “Pitfalls and Windfalls in Corpus Studies of Pop/Rock Music.” The Ninth European Music Analysis Conference (EuroMAC 9). University of Strasbourg: Strasbourg, France (June 30). [Text] [Slides]

de Clercq, Trevor. (2017). “The Nashville Number System: A Pop(ular) Alternative to Roman Numerals and Figured Bass.” Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century. Lee University: Cleveland, TN (June 2). [Slides]

de Clercq, Trevor. (2017). “Swing, Shuffle, Half-Time, Double: Beyond Traditional Time Signatures in Meter Classification for Pop/Rock Music.” Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century. Lee University: Cleveland, TN (June 1). [Poster]

* de Clercq, Trevor. (2017). “Swing, Shuffle, Half-Time, Double: Beyond Traditional Time Signatures in Meter Classification for Pop/Rock Music.” Bates College: Lewiston, ME (April 28). [Slides]

de Clercq, Trevor. (2017). “‘Is She Weird’: Subverting Cultural and (Hyper)Metric Norms in the Music of the Pixies.” International Association for the Study of Popular Music (US) Conference. Case Western Reserve University: Cleveland, OH (February 24). [Text] [Slides]

de Clercq, Trevor. (2016). “Tempo Versus Harmonic and Melodic Pacing in a Corpus of Rock Music.” Science of Song Symposium. Vanderbilt University: Nashville, TN (September 12). [Poster]

de Clercq, Trevor. (2016). “Tempo Versus Harmonic and Melodic Pacing in a Corpus of Rock Music.” Cognitively Based Music Informatics Research (CogMIR) Seminar, International Society for Music Informatics Research (ISMIR) Conference. Columbia University: New York, NY (August 12). [Poster] [Slides]

de Clercq, Trevor. (2016). “The Harmonic-Bass Divorce in Rock: A Method for Conceptualizing the Organization of Chord Extensions.” Music Theory Midwest Conference. University of Arkansas: Fayetteville, AK (May 6). [Slides] [Text]

de Clercq, Trevor. (2016). “Measuring a Measure: Absolute Time as a Factor in Meter Classification for Pop/Rock Music.” Joint Conference of Music Theory Southeast and the South Central Society for Music Theory. Kennesaw State University: Kennesaw, GA (April 2). [Slides] [Text]

de Clercq, Trevor. (2015). “Measuring a Measure: Absolute Time as a Factor in Meter Classification for Pop/Rock Music.” Ann Arbor Symposium IV: Teaching and Learning Popular Music. University of Michigan: Ann Arbor, MI (November 20). [Slides] [Text]

de Clercq, Trevor. (2015). “The Nashville Number System: A Method for Notating Harmony and Form.” Popular Music Interest Group Meeting. Society for Music Theory Conference. St. Louis, MO (November 1). [Handout]

Temperley, David, Trevor de Clercq, & Adam Waller. (2015). “Changes in Rock Melody, 1954-2009.” Society for Music Perception and Cognition Conference. Vanderbilt University: Nashville, TN (August 4). [Slides]

de Clercq, Trevor. (2014). “A Model for Scale-Degree Reinterpretation:
 How Melodic Structure, Modulation, and Cadence Choice Interact in the Chorale Harmonizations of J. S. Bach.” Society for Music Theory Conference. Milwaukee, WI (November 7). [Poster]

de Clercq, Trevor. (2014). “Typical Chords in Typical Song Sections: How Harmony and Form Interact in a Corpus of Rock Music.” The Eighth European Music Analysis Conference (EuroMAC 8). Katholieke Universiteit Leuven: Leuven, Belgium (September 19). [Slides] [Text]

de Clercq, Trevor. (2014). “Ionian Tonic Arrivals as Generators of Chorus Quality in Pop/Rock Songs.” Music Theory Midwest Annual Conference. Lawrence University: Appleton, WI (April 25). [Slides] [Text]

de Clercq, Trevor. (2014). “Ionian Tonic Arrivals as Generators of Chorus Quality in Pop/Rock Songs.” South Central Society for Music Theory Annual Conference. University of Mississippi: Oxford, MS (March 28). [Slides] [Text]

de Clercq, Trevor. (2013). “How Melody Engenders Cadence in the Chorales of J. S. Bach: A Corpus Study.” Midwestern Music Cognition Symposium. Ohio State University: Columbus, OH (May 25). [Slides] [Text]

* de Clercq, Trevor. (2013). “The RS 200 Corpus of Rock Songs and its Potential for Music Information Retrieval Projects.” Music and Audio Research Lab graduate colloquium series. New York University: New York, NY (May 10). [Slides]

de Clercq, Trevor. (2013). “How Melody Engenders Cadence in the Chorales of J. S. Bach: A Corpus Study.” Northeastern Music Cognition Group Meeting. New York University: New York, NY (April 27). [Slides] [Text]

de Clercq, Trevor. (2013). “How Melody Engenders Cadence in the Chorales of J. S. Bach: A Corpus Study.” Music Theory Society of the Mid-Atlantic Annual Conference. Temple University: Philadelphia, PA (March 15). [Slides] [Text]

* de Clercq, Trevor. (2012). “Corpus Analysis of Rock Music.” BIOL 22020: Honors Seminar in Biology, The Neurobiology and Mathematics of Music. Ithaca College: Ithaca, NY (December 11). [Slides]

de Clercq, Trevor. (2012). “A Taxing of the Taxonomy in the Beatles’ ‘Taxman’: Beyond the AAB Phrase Model of the 12-bar Blues.” Music Theory Society of the Mid-Atlantic Annual Conference. University of Delaware: Newark, DE (March 31). [Slides] [Text]

Temperley, David & Trevor de Clercq. (2012). “A Corpus of Melodic Transcriptions for Rock Songs.” Northeast Music Cognition Group Meeting. Yale University: New Haven, CT (April 28). [Slides]

Temperley, David & Trevor de Clercq. (2012). “A Corpus of Melodic Transcriptions for Rock Songs.” ESM/UR/Cornell Music Cognition Symposium. Eastman School of Music: Rochester, NY (February 13).

Temperley, David & Trevor de Clercq. (2011). “Key-finding Algorithms for Popular Music.” Society for Music Perception and Cognition Annual Conference. Eastman School of Music: Rochester, NY (August 13).

* de Clercq, Trevor & David Temperley. (2011). “Harmony and Key in Rock: A Corpus Study.” CIRMMT and CRLMB research workshop. McGill University: Montreal, PQ (February 18).

de Clercq, Trevor & David Temperley. (2010). “A Corpus Analysis of Rock Harmony.” Northeast Music Cognition Group Meeting. Berklee School of Music: Boston, MA (October 23). [Slides]

Temperley, David & Trevor de Clercq. (2010). “A Corpus Analysis of Rock Harmony.” International Conference for Music Perception and Cognition. Seattle, WA (August 25).

* = Invited Talk