Christopher Segall

Associate Professor of Music Theory

College-Conservatory of Music

University of Cincinnati

EDUCATION

2013     PhD, CUNY Graduate Center, Music Theory.

2006     BMus, University of Toronto, Music Theory, Honors.

2003     ARCT, Royal Conservatory of Music, Piano Performance, First Class Honors with Distinction.

FACULTY POSITIONS

2019–         Associate Professor of Music Theory, University of Cincinnati.

2013–19     Assistant Professor of Music Theory, University of Cincinnati.

2011–13     Instructor of Music Theory, University of Alabama.

2007–10     Adjunct Lecturer, City College of New York.

PUBLICATIONS

Book

2021     Inessa Bazayev and Christopher Segall (eds.), Analytical Approaches to 20th-Century Russian Music: Tonality, Modernism, Serialism. New York: Routledge.

Feature-Length Essays

2021     “Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto,” in Analytical Approaches to 20th-Century Russian Music: Tonality, Modernism, Serialism, ed. Inessa Bazayev and Christopher Segall, 243–63. New York: Routledge.

2020     “Expanding Harmonic Function: Yuri Kholopov’s Twelve-Step System,” Theoria 26: 113–40.

2020     “Yuri Kholopov and Twelve-Toneness,” Music and Politics 14/2 [link].

2018     “Prokofiev’s Symphony No. 2, Yuri Kholopov, and the Theory of Twelve-Tone Chords,” Music Theory Online 24/2 [link].

2017     “Alfred Schnittke’s Triadic Practice,” Journal of Music Theory 61/2: 243–87.

2013     Klingende Buchstaben: Principles of Alfred Schnittke’s Monogram Technique,” Journal of Musicology 30/2: 252–86.

2010     “K-Nets, Inversion, and Gravitational Balance,” Theory and Practice 35: 119–45. Recipient, Patricia Carpenter Emerging Scholar Award, Music Theory Society of New York State.

Short Essays

2019     Prolongational Analysis Without Beams and Slurs: A View from Russian Music Theory,” Journal of Schenkerian Studies 12: 183–88.

2018     RondoSonata Conversion: The Finale of Beethoven’s String Quartet in C Minor, Op. 18 No. 4,” Music Theory and Analysis 5/2: 203–15.

2015     “You, Y’all, We: A Framework for Cooperative Learning,” Engaging Students: Essays in Music Pedagogy 3 [link].

2014     Review of Complete String Quartets, vols. 1–3, by Sergey Taneyev, with Carpe Diem String Quartet, Nineteenth-Century Music Review 11/2: 375–77.

2014     “Sergei Taneev’s Vertical-Shifting Counterpoint: An Introduction,” Music Theory Online 20/3 [link].

PRESENTATIONS

2020     Attingent Harmonic Function in Zara Levina’s Poem for Viola and Piano,” Russian Music Theory Interest Group, Society for Music Theory (online), November 7–15.

2020     “Twelve-Toneness: How Russian Music Theory Can Help Us Better Understand Twelve-Tone Technique,” University of Toronto, February 6.

2018     “Form-Functional Modification in Prokofiev’s Variation Movements,” Society for Music Theory, San Antonio, TX, November 1–4.

2018     “Yuri Kholopov and the Invention of Twelve-Tone Technique,” American Musicological Society and Society for Music Theory (joint session), San Antonio, TX, November 1–4.

2018     “Form-Functional Modification in Prokofiev’s Variation Movements,” New England Conference of Music Theorists, Waltham, MA, April 6–7.

2017     “Alfred Schnittke’s String Quartet No. 3 and the Uses of Quotation,” European Music Analysis Conference, Strasbourg, France, June 28–July 1.

2017     “Can I Borrow a Feeling? Modal Mixture Reconsidered,” Music Theory Pedagogy Conference, “Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century,” Cleveland, TN, June 1–3.

2017     “Rondo–Sonata Conversion in Beethoven’s op. 18, no. 4,” Music Theory Midwest, Iowa City, IA, May 19–20.

2016     “Mourning and Control in Alfred Schnittke’s Double Concerto,” Symposium on Prokofiev and the Russian Tradition, Baton Rouge, LA, February 25–27.

2015     “Harmonic Function in Shostakovich’s Twelve-Tone Rows,” Russian Music Theory Interest Group, Society for Music Theory, St. Louis, MO, October 29–November 1.

2013     Taneyev’s Counterpoint in Theory and Practice,” Society for Music Theory, Charlotte, NC, October 31–November 3.

2013     “Alfred Schnittke’s Third String Quartet as a Response to Berio’s Sinfonia,” Music Theory Midwest, Norman, OK, April 26–27.

2013     Taneyev’s Counterpoint in Theory and Practice,” South Central Society for Music Theory, Tuscaloosa, AL, March 15–16.

2012     “Alfred Schnittke’s Triadic Practice,” Society for Music Theory, New Orleans, LA, November 1–4.

2012     “Alfred Schnittke’s Triadic Practice,” Music Theory Society of New York State, New York, NY, March 31–April 1.

2012     “Principles of Alfred Schnittke’s Monogram Technique,” South Central Society for Music Theory, Lafayette, LA, February 24–25.

2011     “The Common Third Relation in Russian Music Theory,” Society for Music Theory, Minneapolis, MN, October 27–30.

2011     “Polystylism or Monostylism? Schnittke’s Suite in the Old Style,” Music Theory Midwest, Lincoln, NE, May 12–14.

2011     “The Common Third Relation in Russian Music Theory,” Music Theory Society of New York State, Amherst, NY, April 9–10.

2009     “Rap and Sprechstimme: Analyzing the Pitch Content of Hip-Hop,” Music Theory Midwest, Minneapolis, MN, May 15–16.

2009     “K-Nets, Inversion, and Gravitational Balance,” Music Theory Society of New York State, Hempstead, NY, April 4–5.

PROFESSIONAL SERVICE

2020–         Member, SMT-40 Dissertation Fellowship Committee, Society for Music Theory.

2020           Panelist, “Roles and Ethics in the Peer Review Process,” Committee on Professional Development, Society for Music Theory (online), November 7–15.

2020           Session Chair, “Neo-Riemannian Approaches,” Music Theory Midwest (online), June 22–July 16.

2019           Local Arrangements Chair, Music Theory Midwest, Cincinnati, OH, May 10–11.

2018–         Member, Editorial Board, Intégral.

2018–20     Secretary, Music Theory Midwest.

2018           Session Chair, “Cadences and Finales,” Music Theory Midwest, London, ON, May 18–19.

2018           Member, Program Committee, Music Theory Midwest.

2017           Session Chair, “Alternate Classicisms,” Music Theory Midwest, Iowa City, IA, May 19–20.

2016–19     Chair, Russian Music Theory Interest Group, Society for Music Theory.

2016–19     Member, Committee on Professional Development, Society for Music Theory.

2016           Session Chair, “(Sonata) Form in 20th-Century Russia,” Music Theory Midwest, Fayetteville, AR, May 6–7.

2016           Session Chair, “Analyzing Prokofiev and Shostakovich,” Symposium on Prokofiev and the Russian Tradition, Baton Rouge, LA, February 25–27.

2015           Panelist, “Navigating Academia from Off Center: Some Topics,” Committee on Professional Development, Society for Music Theory, St. Louis, MO, October 29–November 1.

2015           Member, Nominating Committee, Music Theory Midwest.

2014           Session Chair, “Frank Zappa and Pitch in the 21st Century,” Music Theory Midwest, Appleton, WI, April 25–26.

2012–13     Secretary, South Central Society for Music Theory.

GRADUATE COURSES

Special Topics: 20th-Century Tonal Techniques [spring 2013].

Seminar: Readings in Music Theory [fall 2014, fall 2016, fall 2018, fall 2020].

Seminar: Defining Music Russianly [spring 2015].

Seminar: Analysis of Post-2000 Popular Music [spring 2017].

Seminar: Twelve-Tone Techniques [fall 2019].

Last updated: December 16, 2020.