Caleb Mutch
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  • Publications
    • An Emendation to Pseudo-Aristotle, Problemata 19.4
    • From Juluka to Savuka: Johnny Clegg’s Changing Compositional Practices
    • Re-quantifying W. C. Printz’s Concept of Quantitas Intrinseca
    • How the Triad Took (a) Root
    • ‘Something Else is Possible’: Transcultural Collaboration as Anti-Apartheid Activism in the Music of Juluka
    • Canons and Contestable Cadences in Brahms′s Op. 118 No. 4
    • Mathematical Approaches to Defining the Semitone in Antiquity
    • Pedagogy and Authority in Sixteenth-Century German Music Theory Textbooks
    • The Triad in Dispute: Johannes Lippius, His Audiences, and the Disputatio Genre
    • The Formal Function of Fortspinnung
    • Blainville′s New Mode, or How the Plagal Cadence Came to be `Plagal'
  • Conference Presentations
    • Enter the Prechorus: Producing Intensification in Two Recent Taylor Swift Songs
    • ‘Something Else is Possible’: Transcultural Collaboration as Anti-Apartheid Activism in the Music of Juluka
    • Against the Monochord: Numbers, String Lengths, and the History of Music Theory
    • A Radical Theory: Lippius’s Misunderstood Theory of Roots
    • The Triad in Dispute: Genre and Audience in the Writings of Johannes Lippius
    • Comparing Bodies: Organicism and the Rise of Romantic Formenlehre
    • Cadence Systematized: Printz’s Doctrine of the Clausula formalis
    • ‘L’art ne progresse pas, mais il se transforme’: Reconsidering Teleology in Fétis’s Historiography
    • A Major Step Forward: Changing Conceptions of Whole Tone and Scale Step in Ancient and Medieval Theory
  • Courses Taught
    • Theory I & II
    • Aural Skills II, III, & IV
    • Renaissance Counterpoint
    • Music and Media Revolutions
    • Baroque and Classical Musical Form
    • Topics in the History of Music Theory
    • History of Music Theory I
    • Music Humanities
    • Graduate Theory Review
  • Projects
    • OCHRE
    • Phylogenetics
    • A digital critical edition
  • Projects
  • Experience
  • Theory I & II
  • Aural Skills II, III, & IV
  • Renaissance Counterpoint
  • Music and Media Revolutions
  • Baroque and Classical Musical Form
  • Topics in the History of Music Theory
  • History of Music Theory I
  • Music Humanities
  • Graduate Theory Review
Courses Taught
Baroque and Classical Musical Form

Baroque and Classical Musical Form

Formal analysis of Classical-era music, and adaptations of those models to Baroque-era pieces

← Music and Media Revolutions Sep 1, 2021
Topics in the History of Music Theory Sep 1, 2019 →

© 2024 Caleb Mutch. This work is licensed under CC BY NC ND 4.0

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