Contact information
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Leigh VanHandel

Physical address:
415 Music Practice Building

517.353.2943
lvh [at] msu [dot] edu

Mailing address:
102 Music Building
Michigan State University
East Lansing, MI 48824

Vita
Professional Experience
2011- Associate Professor, Michigan State University
Area Chair, 2011–2015

2005-2011 Assistant Professor, Michigan State University

Undergraduate courses:
Music 180/181 - Freshman music theory sequence
Music 480 - Counterpoint

Graduate courses:
Music 879 (formerly 972) - Tonal Literature and Analysis
Music 973 - Analytical Studies II (Post-tonal)
Music 970/971 - Music Theory Pedagogy
Music 978 (formerly 991) - 20th and 21st Century Theory

Additional responsibilities:
Supervising teaching assistants, serving on masters and doctoral committees; serving on departmental and college committees; write, administer and grade music theory departmental exams.

2002-2005 Visiting Assistant Professor, University of Oregon

Undergraduate courses:
Music 133, 231, 232 - Second year theory core curriculum
Music 324, 325, 326 - Form and Analysis sequence

Upper-level/graduate-level courses:
Music 430/530 - Schenkerian Analysis (undergrad/grad)
Music 433/533, 434/534, 435/535 - Counterpoint sequence (undergrad/grad)
Music 639 - Music Theory Pedagogy (grad)

Additional responsibilities:
Coordinated second year theory core curriculum; supervised senior/honors theses and undergraduate and graduate-level independent studies; served on departmental, search, and graduate admissions committees; led core curriculum revision effort.

2001-2002 Visiting Assistant Professor, University of Illinois at Urbana-Champaign

Undergraduate courses:
Music 102/112 - Second semester music theory and ear training

Upper-level/graduate-level courses:
Music 301 - Schenkerian Analysis
Music 308B - Form and Analysis of 18th Century Music.

Additional responsibilities:
Supervised undergraduate thesis on popular music; coordinated graduate-level independent study courses in History of Theory, Graduate-Level Theory Review, and Music Perception and Cognition.

1998-2001 Teaching and Research Assistantships, Stanford University

Courses:
Music 19 - Fundamentals of Music Theory
Music 21, 22 - Music Theory/Ear Training
Music 154 - History of Electro-acoustic Music

Responsibilities:
Taught classes, developed and maintained related websites, coordinated and organized teaching materials for other teaching assistants, organized concerts and events within the university and exchanges with other universities.

1997-1998 Lecturer, University of New Mexico

Responsibilities:
Taught full core curriculum of freshman and sophomore music theory and ear training; supervised teaching assistants for ear training sequence. Assisted with planning and development of a music synthesis lab and computer-assisted musicianship laboratory.

Education
2005 Ph.D. in Music Theory and Acoustics, Stanford University

Advisors: Chris Chafe (music) and Will Leben (linguistics)
Dissertation: Setting a Menu to Music: Prosody and Melody in 19th Century Art Songs
Committee: Chris Chafe, Will Leben (Linguistics), David Huron (Ohio State)

1994 Masters of Arts in Music Theory, State University of New York at Stony Brook

Principal instructors: Bob Gjerdingen, Judy Lochhead, Sarah Fuller

1992 Bachelor of Arts in Music Theory, The Ohio State University

Principal instructors: David Butler, Lora Gingerich-Dobos, Ann Blombach

Awards, Scholarships and Grants
2015<0000Vice Provost for Research and Graduate Studies Research Leave Grant
2014<0000MSU Humanities and Arts Research Program
2009<0000Vice Provost for Libraries, Computing and Technology Special Research Grant
2007-2008Vice President for Research and Graduate Studies Special Research Grant
2007-2008MSU Lilly Teaching Fellowship Program
20050000 MSU IRGP Grant, "Trends in/over Time: Rhythm in Speech and Music in 19th-century Art Song"
20030000 Stanford Dissertation Research Support Grant, Stanford University, Stanford CA
19990000 SMT Committee on Diversity Travel Grant for Chapel Hill conference
1996-2001Stanford Minority Fellowship, Stanford University, Stanford CA

Publications
VanHandel, L. (2016) “The war of the Romantics: An alternate hypothesis using nPVI for the quantitative anthropology of music.” Empirical Musicology Review,, Vol. 11, No. 2.

VanHandel, L. (2014) Articles in Thomson, W.F.(Ed), Music in the Social and Behavioral Sciences: An Encylopedia. (Articles: Chords. Modulation. Rules of voice-leading. Scales.) Sage Publications In., New York.

Temperley, D. and VanHandel, L., Eds. (2013) Special Issues on Corpus Methods. Music Perception, Vol. 31/1, September 2013, and Vol. 31/3, January 2014. [This is a two volume series focusing on corpus methods in music cognition and perception. Temperley and I served as co-editors of the two volumes.]

VanHandel, L. and Temperley, D. (2014) “Introduction to the Second Special Issue on Corpus Methods.” Music Perception, Vol. 31/3, February 2014.

Temperley, D. and VanHandel, L. (2013) “Introduction to the Special Issues on Corpus Methods.” Music Perception, Vol. 31/1, September 2013.

VanHandel, L. (2013) Music Theory Skill Builder: An online musical fundamentals environment. Oxford University Press.

VanHandel, L. (2012) "What can music theory pedagogy learn from mathematics pedagogy?" Journal of Music Theory Pedagogy, Vol. 26.

VanHandel, L. and M. Callahan. (2012) "The role of phrase location in key identification by pitch class distribution." In E. Cambouropoulos, C. Tsougras, K. Mavromatis, K. Pastiadis (Eds.), Proceedings of ICMPC-ESCOM 12 (Thessaloniki, Greece).

VanHandel, L. (2012) "Using computer-based music fundamentals drills to reinforce learning with adaptive strategies." Tehnologii Informatice si de comunicatie in domeniul muzica (Information, Communication and Techcnology in Musical Fields. Music Academy Gheorghe Dima, Romania.

VanHandel, L. (2011) Supplemental electronic and online material for 2nd edition of Clendinning/Marvin, The Musician's Guide to Theory and Analysis. Contracted by W.W. Norton & Company.

VanHandel, L. and T. Song. (2010) "The role of meter in compositional style in 19th century French and German art song." Journal of New Music Research, 39(1), 1-11.

VanHandel, L., J. Wakefield, and W. Wilkins. (2011) "Towards the role of working memory in pitch processing in language and music." In J. Hawkins, I. Cross, M. Rohrmeier and P. Rebuschat (Eds.), Language and Music as Cognitive Systems. Oxford: Oxford University Press.

VanHandel, L. (2009) "National metrical types in nineteenth century art song." Empirical Musicology Review, 4(4), 134-145.

VanHandel, L. and B. Rhodes. (2009) mfp: An online music fundamentals environment. Software produced in conjunction with Michigan State University's Virtual University Design and Technology group, licensed by Oxford University Press.

VanHandel, L. and T. Song (2009) "Influence of Linguistic Rhythm on Individual Compositional Style in 19th Century French and German Art Song." In Proceedings of ESCOM 2009: 7th Triennial Conference of the European Society for the Cognitive Sciences of Music, Jyväskylä, Finland, 2009. (download)

VanHandel, L. (2007) Supplemental electronic and online material for Clendinning/Marvin, The Musician's Guide to Theory and Analysis. Online and supplemental materials for the Clendinning/Marvin textbook series, W.W. Norton & Company. Electronic resource available online from W.W. Norton.

VanHandel, L. (2006) "Trends in/over time: Rhythm in speech and music in 19th century art song." In Proceedings of the 9th International Conference on Music and Perception and Cognition. Bologna, Italy: Bononia University Press, 2006.

VanHandel, L. (2006) "Trends in/over time: Rhythm in speech and musical melody in 19th century art song." In SMC06: Third Sound and Music Computing Conference Proceedings. Marseille, France: GMEM - Centre National de Creation Musicale, 2006.

Larson, S., and L. VanHandel. (2005) "Measuring Musical Forces," Music Perception Vol. 23, No. 2, pp. 119-136.

VanHandel, L. (1995) "Inherent Primitivism in Morton Subotnick's All My Hummingbirds Have Alibis." Proceedings of the McGill Graduate Theory Conference (June 1995), and in Music Research Forum, vol. X (August 1995).

VanHandel, L. (1994) "From Ghost Score to CD-ROM: the Interactive Music of Morton Subotnick" (Von >>Geister-Partituren<<; zur CD-ROM: Die interaktive Musik von Morton Subotnick). Positionen: Beiträge zur neuen Musik, vol. 21 (November 1994).


Publications in preparation:

Book proposal, A Cognitive Approach to Music Theory Pedagogy, under revision for Oxford University Press

VanHandel, L."Using technology in the music theory pedagogy classroom." Intended for the Journal of Technology in Music Learning.

Presentations
Invited Presentations:

Data studies and music theory: not mutually exclusive after all.
10/11 Invited speaker at the Music Cognition Interest Group, Society for Music Theory (SMT) session on Database Studies in Music Theory, Minneapolis, MN

Meter and Rhythm as a Compositional Fingerprint?
4/11 Guest speaker for the Workshop on Rhythm in Speech and Music at CIRMMT, McGill University

The role of meter in compositional style in 19th century French and German art song
10/10 Featured speaker for the Voices in (e)motion Conference, Feldkirch, Austria

'Above all, nothing which resembles singing': Rousseau and changing compositional styles in 19th century French art song
8/07 The University of Edinburgh/Queen's University International Interdisciplinary Summer Workshop on Music, Language and Movement, East Sussex, UK

Setting a Menu to Music: Rhythm and Melody in 19th-century Art Songs
5/06 University of Iowa Colloquium Series, Iowa City, IA

Conference Presentations:

Empirical research for music theorists - a workshop with Joshua Albrecht, Michael Schutz, and Daniel Shanahan
11/15 Society for Music Theory, St. Louis, MO

Voice-leading distribution and judgments of distance between tetrachords (joint authored with Joseph Vander Stel)
8/13 Society for Music Perception and Cognition, Toronto, Canada

What can music theory pedagogy learn from mathematics pedagogy?
6/13 MACRO Analysis Conference, Madison, WI

What happens at the beginning should stay at the beginning: The role of beginnings, middles, and ends in key-finding models
11/12 Society for Music Theory, New Orleans, LA

The role of phrase location in key identification by pitch class distribution
7/12 12th International Conference on Music Perception and Cognition and 8th Triennial Conference of the European Society for the Cognitive Sciences of Music, Thessaloniki, Greece

Helping DMA students fill a niche: the Masters degree in music theory pedagogy (a panel presentation with Michael Callahan and Bruce Taggart)
10/11 College Music Society, Richmond, VA

Rhythm and meter as compositional 'footprints' in 19th century art songs
7/11 13th International Rhythm Perception and Production Workshop, Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany

What can music theory pedagogy learn from mathematics pedagogy?
4/11 Dutch Society for Music Theory, Enschede, Netherlands
10/11 College Music Society, Richmond, VA

National metrical types in nineteenth century art song
5/10 Music Theory Midwest, Oxford, OH
11/10 Society for Music Theory National Conference, Indianapolis, IN

Basic musicianship through technology
9/10 College Music Society, Minneapolis, MN

Technology in the music theory pedagogy classroom: incorporation and results
9/10 Association for Technology in Music Instruction (ATMI), Minneapolis, MN

mfp: An online music theory fundamentals learning environment
10/09 Association for Technology in Music Instruction, Portland OR

Incorporating keyboard-oriented mastery learning into the music theory curriculum: two studies
10/09 College Music Society, Portland OR (pdf of poster)

Influence of linguistic rhythm on individual compositional style in 19th century French and German art song
8/09 7th Triennial Conference of the European Society for the Cognitive Sciences of Music, Jyväskylä, Finland

Incorporating keyboard-oriented mastery learning into the music theory curriculum: two studies
5/09 Music Theory Midwest, Minneapolis, MN

'Above all, nothing which resembles singing': Rousseau and changing compositional styles in 19th century French art song
8/07 8th Conference of the Society for Music Perception and Cognition, Montreal, CA

Rethinking pitch in language and music
5/07 Language and Music as Cognitive Systems, Cambridge, UK

What rhythm Goethe? A study of poet influence on art song rhythm
2/07 Music and the Written Word: A Symposium of Research in Music Theory and Musicology, Bloomington, IN

Trends in/over time: Rhythm in speech and melody in 19th century art song
11/06 Society for Music Theory, Los Angeles, CA

How 'German' is Schumann? A quantitative analysis of compositional style
9/06 Schumann Perspectives: A View Across the Disciplines, Texas Tech University, Lubbock, TX

Trends in/over time: Rhythm in speech and musical melody in 19th century art songs
2/06 The Intersection of Music and Poetry Symposium, Depauw University, Greencastle, IN
5/06 Music Theory Midwest, Muncie, IN
5/06 SMC06: Sound and Music Computing Conference, Marseilles, France
8/06 9th International Conference on Music Perception and Cognition, Bologna, Italy

The Classic(al) Dada Work: Kurt Schwitters' Ursonate
4/02 West Coast Conference for Music Theory and Analysis, Victoria BC

Measuring Musical Forces
11/00 Society for Music Theory/Society for Music Perception and Cognition joint panel Art Meets Science: Collaboration Between Music Theorists and Music Psychologists, at the Musical Intersections conference, Toronto, Canada

Potential Applications of Intonational Analysis to Musical Analysis
10/01 University of Illinois at Urbana-Champaign Composer's Forum, Urbana IL
3/00 University of New Mexico Composer's Symposium, Albuquerque NM
8/99 Society for Music Perception and Cognition, Chicago IL

Categorical Perception, Ordering Effect, and Interval Boundaries
5/99 CCRMA Affiliates Meeting, Stanford CA
4/99 WCCMTA/RMSMT Joint Meeting, Stanford CA (Outstanding Graduate Student Paper Award)

Composition and Collage: Morton Subotnick's The Key to Songs
4/98 Music Theory Society of New York State, New York NY
3/97 Rocky Mountain Society for Music Theory, Boulder CO
2/97 CCRMA Colloquium Series, Stanford CA
5/96 Music Theory Midwest, Kalamazoo MI (Honorable Mention, Arthur J. Komar Best Student Paper Award)

Inherent Primitivism in Morton Subotnick's All My Hummingbirds Have Alibis
4/96 Rocky Mountain Society for Music Theory, Tucson AZ
4/96 West Coast Conference for Music Theory and Analysis, Davis CA
3/95 McGill Graduate Theory Conference, Montreal, Canada
5/94 Music Theory Midwest Conference, Bloomington IN

Professional Affiliations and Activities
Affiliations:

Member, Society for Music Theory, Society for Music Perception and Cognition, European Society for the Cognitive Sciences of Music (ESCOM), College Music Society, Association for Technology in Music Instruction, Music Theory Midwest

Activities:

2017-0000Editorial Board, Music Theory Spectrum
20170000Program Committee, Society for Music Cognition and Perception
20170000Program Committee, International Conference on Music Cognition and Perception
20170000Member, Arthur J. Komar Student Paper Award Committee, Music Theory Midwest
20160000Curriculum Consultant, Bates College, Lewiston, ME
20160000Program Committee, International Conference on Music Cognition and Perception
20160000Program Committee, International Society for Music Information Retrieval
20150000Reviewer/Program Committee, International Society for Music Information Retrieval
20140000Member, Program Committee, Society for Music Theory
20140000Member, Arthur J. Komar Award Committee, Music Theory Midwest
2011-2015Chair, Publications Committee, Music Theory Midwest
2011 0000Session Chair, Society for Music Perception and Cognition
2011 0000Session Chair, College Music Society
2010 0000Session Chair, Association for Technology in Music Instruction (ATMI)
2010 0000Fellow, Workshop on Music Theory Pedagogy, Amherst, MA
2009 0000Participant, Symposium on Empirical Methods for Music Theorists, Center for Research in Music Media and Technology (CIRMMT), McGill University, Montreal CA
2009 0000Session Chair, College Music Society
2009 0000Fellow, Mannes Institute of Music Theory, "Music and the Mind"
2009-0000Publications Committee, Music Theory Midwest
2009 0000Session Chair, Great Lakes Regional CMS Conference
2009-0000Area I Representative to the Executive Board, Music Theory Midwest
2008 0000Session Chair, Association for Technology in Music Instruction
20060000 Program Committee, Session Chair and Respondent, Music Theory Society of New York State

2005-2009Web Manager, Society for Music Theory
2003-2005Networking Committee, Society for Music Theory
2002-2005Secretary/Treasurer, West Coast Conference for Music Theory and Analysis
20020000 Program Committee, CSW/SMT-Jazz Special Session, "Women in Jazz: Roles and Voices"
2000-2005Member and Web Goddess, Committee on the Status of Women, SMT
20000000 Nominating Committee, West Coast Conference for Music Theory and Analysis
19990000 Local Arrangements, WCCMTA Annual Meeting, Stanford, CA
1999-2000Editorial Staff, Computer Music Journal
19980000 Program Committee and Session Chair, Rocky Mountain Society for Music Theory
1997-1999Webmaster/Editor, SEAMUS Opportunities Database for SEAMUS website
1997-1999Editor, SEAMUS (Society for Electro-Acoustic Music in the U.S.) Newsletter

Other Activities:
Course materials for MUS 970/971 (Music Theory Pedagogy, Michigan State) featured in presentation on instructional technology to 2008 ATMI/CMS by Peter Webster (Northwestern University) and David Williams (Illinois State University).

Course website for Music 133 (Theory III, University of Oregon) featured in presentation on instructional technology to 2004 ATMI/CMS by Patricia Gray (Associated Colleges of the South) and Tim Cutler (Austin College).

Performer in various ensembles on bassoon and contrabassoon. Experience in orchestras, wind ensembles, and chamber groups.