Charles J. Smith
Associate Professor of Music Theory

Chairperson of the Department of Music

Coordinator of Music Theory

PhD University of Michigan

220 Baird Hall
University at Buffalo
Buffalo NY, 14260

tel: (716) 645-2765, x.1272
fax: (716) 645-3824
email: cjsmith@buffalo.edu

Publications

Articles in Professional Journals and Collections:

   •       “Rounding Up the Usual Suspects: The Enigmatic Narrative of Chopin’s C# minor Prelude [Op. 45]”.
            In Engaging Music: Essays in Musical Analysis. Edited by Deborah Stein. Oxford University Press, 2004.

   •       "Musical Form and Fundamental Structure: An Investigation of Schenker's Formenlehre." Music Analysis 15 (1996): 191-297.
            Winner of SMT 1999 Outstanding Publication Award.

   •       "The Functional Extravagance of Chromatic Chords." Music Theory Spectrum 8 (1986): 94-139.

   •       "Rejoinder to Professor Beach" [w/ David Beach, "On Analysis, Beethoven, and Extravagance"].  Music Theory Spectrum 9             (1987): 186-194.

   •       "Prolongations and Progressions as Musical Syntax." In Music Theory: Special Topics, pp. 139-174. Edited by Richmond             Browne. NY: Academic Press, 1981.

   •       "Musical A Priori's: An Investigation of Explanatory Strategies." College Music Symposium 19 (1979): 103-113.

   •       "Registering Distinctions: Octave Non-equivalence in Chopin's Butterfly Etude." In Theory Only 3/5 (1977): 32-40.

   •       "Toward a Phenomenalistic Account of Music's Performances." In Theory Only 2/11-12 (1977): 17-29.

   •       "Notes on Voice-Leading in Schoenberg."  In Theory Only 2/10 (1977): 23-28.

   •       Analysis Symposium: Brahms, "Der Tod, das ist die kühle Nacht." In Theory Only 2/6 (1976): 35-43.

   •       "(Supra-) Durational Patterns in Chopin's Revolutionary Etude." In Theory Only 2/5 (1976)): 3-12.

   •       "The Determinacy of Linear Relations" [comment on Benjamin's "Interlocking Diatonic Collections"].  In Theory Only 2/3-4             (1976): 29-42.

   •       "The Notations of Analysis: An Approach to a Theory of Musical Relations." In Theory Only 1/9-10 (1975-1976): 9-18.

   •       Analysis Symposium: Mozart Symphony #40 [w/ Wallace Berry, Sylvan Kalib, & William Poland]. In Theory Only 1/7 (1975):             19-23, 35-36.

   •       "On Hearing the Chopin Preludes as a Coherent Set: A survey of some possible structural models for Op. 28." In Theory Only             1/4 (1975): 5-16.

   •       "Transcriptions? or But is it idiomatic?" In Theory Only 1/4 (1975): 28-32.

   •       "Towards the Construction of Intersecting Divergent Models for Chopin's 'Three against Two' Etude." In Theory Only 1/3             (1975): 19-25.

Reviews:

   •       Review of Arthur Komar's Linear-Derived  Harmony. Music Theory Spectrum 16 (1994): 102-107.

   •       Review of Thomas Clifton's Music as  Heard. Music Theory Spectrum 7 (1985): 207-213.

   •       "Beethoven via Schenker" [Review  of Dover ed. of Beethoven's Piano Sonatas]. In Theory Only  4 (1978): 37-47.

   •       Review of Jim Samson's Music in Transition:  A Study of Tonal Expansion and Atonality. NOTES 34  (1978): 601-603.

   •       "Rhythm Restratified" [Review  of Maury Yeston's The Stratification of Musical Rhythm].  Perspectives of New Music 16             (1977): 144-176.

Conference Papers and Special Lectures:

   •       “Is It Original, or Is It Good: The Paradox of Rachmaninoff’s Intra-Tonal Chromatic Harmony”  Rhodes International             Rachmaninoff Conference, 2005.

   •       “The Trials and Tribulations of Tristan Chords”  University of Cincinnati College-Conservatory of Music, Thinking about Music
            Series, 2005.

   •       “Functional Fishing with Tonnetz: A Dualistic Syntax of Transformations” Society for Music Theory, National Conference,             National Conference, Madison, 2003.

   •       Formal Respondent (invited by the author),to Peter Smith’s “Brahms’s Sonata Form, Schenker’s Formenlehre, and the Idea             of Dimensional Counterpoint” Society for Music Theory, National Conference, Philadelphia, 2001.

   •       “Functional Fishing with Tonnetz: Toward a Grammar of Transformations and Progressions” Symposium on Neo-Riemannian             Theory Univ. at Buffalo, 2001.

   •       “Head-Tones, Mediants, Reprises: A Formal Narrative of Brahms’s Handel Variations” Oxford Music Analysis Conference, St.             Peter’s College, Oxford, UK, 2000.

   •       "Of Roots-and Functions-and Linear Basses: Tales Our Harmony Teachers Told Us." UB Music Lecture Series, 1999.

   •       "Head-Tones, Mediants, Reprises: A Formal Narrative of Brahms's Handel Variations". Eastman School of Music, 1995.

   •       "Musical Form and Fundamental Structure: A Critical Extension of Schenker's Formenlehre". Society for Music Theory,             National Conference, Cincinnati, 1991.

   •       "A Critical Investigation of Schenker's Formenlehre". Cornell University, 1990

   •       "A Study of Connections: Chopin's Last-Minute Revisions in the Autograph of Op. 10/3". American Musicological Society,             National Conference, Vancouver, 1985.

   •       "Functional Extravagance: A Theory of Chromatic Chords". Society for Music Theory, National Conference, New Haven, 1983.

   •       "Analysis as Metaphor". Notre Dame, 1982.

   •       "Analysis as Metaphor". Symposium "Analytic Method: Its Purposes, Premises, Problems, and Polemics". Society for Music             Theory, National Conference, Denver, 1980.

   •       Invited Participant. Symposium "Methodologies: Assumptions and Presumptions". Society for Music Theory, National             Conference, Evanston, 1977.

Works in Progress:

   •       Extravagant Functions: Chords, Dualisms, & Transformations in Chromatic Music. A book-length scholarly study, drawing             upon Neo-Riemannian theory, Schenker, and mathematical models. [Completion Fall 2008]

   •       Tonal Models of Music, a multi-volume textbook for undergraduates, with accompanying workbooks
             Volume I: Diatonic Harmony [projected completion Summer 2008]
             Volume II: Chromatic Harmony [projected completion 2007]
             Volume III: Phrases, Forms, and Whole Tonal Pieces [in development]

   •       Music Theory and Mathematics: Chords, Collections, and Transformations, memorial collection for John Clough, former holder             of the Slee Chair in Music Theory at UB. To be edited with Profs. Martha Hyde & Jack Douthett, for projected publication in             Fall 2007.