Marc Hannaford

Marc Hannaford is a PhD candidate in music theory at Columbia University in New York.  His dissertation research focuses on composer, improviser, pianist, and co-founder of the Association for the Advancement of Creative Musicians (AACM), Muhal Richard Abrams.  In addition Marc’s interests include 20th century music, improvisation (in both musical and non-musical domains), critical identity studies, and rhythm and meter.  He is also deeply interested in the various intersections between music theory and analysis, on the one hand, and performance, on the other.

He published Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers in Music Theory Online Vol. 23, No. 2, and The Challenge of Comparing Improvisation Across Domains in The American Music Review Vol. XLV, No. 2, Spring 2016 (co-authored with Andrew Goldman).

Marc has presented work at a number of national and international conferences, included those facilitated by the Society for Music Theory, the New England Conference of Music Theorists, Rhythm Changes, and the Society for American Music.  He has also given invited talks at Yale University, Brooklyn Conservatory, William Patterson University, and Melbourne University.

Also a committed pedagogue, Marc has participated in workshops and meetings for the New York Music Theory and Ear Training Pedagogy group and the Columbia Center for Teaching and Learning.  He will teach a course of his own design, “Beyond Boundaries: Radical Black Experimental Music,” as part of the Columbia Graduate School of Arts and Science’s Teaching Scholars program in Spring 2019.

Academic Articles

Peer-Reviewed:

2017. “Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers” in Music Theory Online 23 (2)
http://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.hannaford.html

Other Articles:

2017. Review of Negotiated Moments: Improvisation, Sound, and Subjectivity, edited by Gillian Siddall and Ellen Waterman for Women & Music 21: 202–8, doi:10.1353/wam.2017.0013

2017. “Marc Hannaford: Improvisation Across Contexts and Domains,” edited by Richard Letts for Loudmouth, http://musictrust.com.au/loudmouth/inside-the-musician-marc-hannaford-improvisation-across-contexts-and-domains/

2016. “The Challenge of Comparing Improvisation Across Domains.” in The American Music Review Vol. XLV, No. 2, (Spring) (co-authored with Andrew Goldman)
http://www.brooklyn.cuny.edu/web/academics/centers/hitchcock/publications/amr/v45-2/goldman-hannaford.php

2009. “In Conversation: Elliott Dalgleish and Marc Hannaford.” in Extempore 3, Kew, Extempore Publishing

Marc Hannaford: Curriculum Vitae

(Download PDF)

(a/o August 2018)

Education

Columbia University
New York, NY

• PhD, Music Theory, expected May 2019
Dissertation: “One Line, Many Views: Muhal Richard Abrams, Theory, Composition, and Improvisation” (working title)
Adviser: Ellie Hisama
Proposal Defense Committee: Ellie Hisama, George Lewis, Joe Dubiel, Mariusz Kozak

• MA, Music Theory, 2015
MA Thesis: “Bricolage as Improvisation: Preparation, Rough Edges, and The Uncaring Wind
Adviser: Joseph Dubiel

The Victorian College of the Arts and Music
Melbourne, Australia

• Masters of Music Performance (Research), 2012
Thesis: “Elliott Carter’s Rhythmic Language: A Framework for Improvisation”
Advisers: Elliott Gyger and Simon Barker

The Australian National University
Canberra, Australia

• Graduate Diploma (Composition) with Honors, 2004
Thesis: “The Medium- and Large-Ensemble Compositions of Duke Ellington, Andrew Hill, and Carla Bley”
Adviser: Miroslav Bukovsky

• Bachelor of Music Performance, 2003

Publications

Peer-Reviewed

2017. “Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers.” Music Theory Online 23 (2)

Other Publications

2017. Review of Negotiated Moments: Improvisation, Sound, and Subjectivity, edited by Gillian Siddall and Ellen Waterman, Women & Music 21: 202–8

2017. “Marc Hannaford: Improvisation Across Contexts and Domains,” edited by Richard Letts for Loud Mouth, http://musictrust.com.au/loudmouth/inside-the-musician-marc-hannaford-improvisation-across-contexts-and-domains/

2016. “The Challenge of Comparing Improvisation Across Domains.” The American Music Review Vol. XLV, No. 2, (Spring) (co-authored with Andrew Goldman)

2009. “In Conversation: Elliott Dalgleish and Marc Hannaford.” Extempore 3. Kew: Extempore Publishing

Scholarly Presentations and Invited Talks

“Fugitive Theory in Chicago and Beyond: Muhal Richard Abrams, Joseph Schillinger, and Traditions of ‘Antidisciplinary In(ter)vention’”
National Conference for the Society for American Music
New Orleans, Louisiana
March 2019 (accepted)

“ ‘I Have Eight Million Heroes’: A Critical Examination of Influence and its Role in Jazz Documentation”
Documenting Jazz
Dublin Institute of Technology and Conservatory of Music and Drama
Dublin, Ireland
January 2019 (accepted)

“Affordances and Free Improvisation: An Analytical Framework”
National Conference for the Society for Music Theory
San Antonio, Texas
November 2018 (accepted)

“Beyond Category: Muhal Richard Abrams’s Creative Universes”
(Invited presentation)
H. Wiley Hitchcock Institute for Studies in American Music Lecture Series
Brooklyn College, NY
April 2018

“Fugitive Theory in Chicago: Muhal Richard Abrams’ Engagement with the Writings of Joseph Schillinger”
The New England Conference for Music Theorists
Brandeis University, Waltham
April 2018

“Affordances and Musical Improvisation: An Analytical Framework”
McGill Graduate Students’ Symposium
McGill University, Montreal
March 2018

“Music and Sound Studies: Intersections, Boundaries, and Opportunities. A Panel Discussion.”
Columbia University, NY
September 2017

Respondent. Andrew Goldman, “Improvisation as a Way of Knowing.”
Music Department Colloquium Series
Columbia University, NY
September 2017

“‘You Do You’: Composition, Affordances, and Improvisation in the Music of Muhal Richard Abrams.”
Rhythm Changes: Re/Sounding Jazz
Amsterdam, the Netherlands
August 2017

“Trust and Subjective (Re)positioning: Analyzing the Work of Five Female Improvisers.”
Rhythm Changes: Jazz Utopia
Birmingham, UK
April 2016

“Improvisation as Political Power.”
Crisis and Critique: The Institute of Comparative Literature
Columbia University, NY
April 2015

“Planning to Improvise and Negotiating Polyrhythm.”
The Improvising Brain II: Multiple Perspectives.
Atlanta State University, GA
March 2015

Respondent. Stefan Lorenzetti, “‘Scritte nella mente’? Giovanni Gabrieli’s Keyboard Music and the Art of ‘Improvised Composition.’”
Music Department Colloquium Series
Columbia University, NY
March 2015

“Black Saturday, Planning, and Improvisation.”
Improvising Across Borders, The Center for Improvised Arts, Performance and Research Prague, Czech Republic
June 2014

“Processes to Assimilate Pulse Divisions of Five and Seven.”
The International Rhythm Studies Association
Svalöw, Sweden
July 2012

“Developing Elliott Carter’s Rhythmic Language, as Used in 90+, for Use in Improvisation.”
The International Rhythm Studies Association
São Paulo, Brazil
July 2011

Teaching Experience

Columbia University
New York, NY

• Beyond Boundaries: Radical Black Experimental Music
Instructor
Course of original design, delivered as part of the Graduate School of Arts and Sciences Teaching Scholars program.

• Music Theory I–IV
Teaching Assistant
Undergraduate music theory course. Duties involved running independent weekly lab sessions and grading.

• Masterpieces of Western Music
Instructor
Semester-long survey for undergraduate non-music majors.

• History of Jazz (Prof. Chris Washburne)
Invited Lecturer
Lecture to non-music majors on Thelonious Monk’s life and music.

• Music Theory IV (Prof. Ellie Hisama)
Invited Lecturer
Lecture on chromatic third modulation

• Jazz demonstrations for Masterpieces of Western Music
Guest Lecturer and Program Coordinator
Duties include coordinating approximately 60 performers to give live performances in approximately 25 classes each semester, and moderating each performance and ensuing discussion.

William Paterson University
Wayne, New Jersey

• Music Theory III (Prof. Anton Vishio)
Invited Lecturer
Lecture on introduction neo-Riemannian theory

Yale University
New Haven, Connecticut

• Rhythm and Temporality (Prof. Ève Poudrier)
Invited seminar presenter on improvisation and Elliott Carter’s rhythmic language

Monash University
Melbourne, Australia

• Lecturer, Aural skills I–IV
• Supervisor, 4th year undergraduate theses
• Tutor, undergraduate and graduate jazz piano

Victorian College of the Arts
Melbourne, Australia

• Supervisor, 4th year undergraduate theses
• Tutor, undergraduate and graduate jazz piano

Pedagogy

Presentations

“Teaching a music theory class in a job interview setting.”
Teaching demonstration at invitation of music department
Columbia University, NY
December 2017

“Teaching jazz harmony in the music theory classroom”
Music Theory Pedagogy Panel
Columbia University, NY
October 2015

Workshops

“Provocative Teaching and Social Media” (Parts 1–3)
Center for Teaching and Learning
Columbia University, NY
February/March 2018

“Syllabus from Scratch” Workshop
Center for Teaching and Learning
Columbia University, NY
January 2018

Innovative Teaching Summer Institute
Center for Teaching and Learning
Columbia University, NY
June 2017

Workshop in Inclusive Teaching
Center for Teaching and Learning
Columbia University, NY
November 2016

Feminist & Queer Pedagogy Workshop
Institute for Research on Women, Gender, and Sexuality
Columbia University, NY
April 2016

Workshop in Slow Teaching
Center for Teaching and Learning
Columbia University, NY
February 2016

Extra-curricular Activity

Emerging Scholars Program Participant
Guelph Jazz Festival Colloquium
International Institute for Critical Studies in Improvisation
Guelph, Canada
September 2018

Member and Discussion Participant
Jazz Study Group
Center for Jazz Studies
Columbia University
2018–present

Co-founder of the Comparing Domains of Improvisation Discussion Group (with Andrew Goldman)
Columbia University
(includes multiple successful funding applications)
http://blogs.cuit.columbia.edu/improvisation/
2015–present

Workshop Participant
Music-Listener Intersubjectivity
Run by Marion Guck
National Meeting for the Society of Music Theory
2017

Editorial Board Member
Current Musicology
Columbia University
2014–present

Catering Manager
For the Daughters of Harlem: Working in Sound
Columbia University
2018

Assistant Treasurer
Columbia Music Scholarship Conference
Columbia University
(includes fundraising)
2017

Assistant Organizer for Colloquium Series
Music Department
Columbia University
2015–16

Assistant Catering Manager
Women, Music, Power Conference
Columbia University
2015

Treasurer
Current Musicology 50th Anniversary Conference
Columbia University
(includes fundraising)
2014

Prizes for Research and Teaching

Fulbright Fellowship Finalist
Melbourne, Australia
2012 and 2010

Faculty of Arts Dean’s Commendation for sessional teaching.
Monash University, Australia
2012

Dr. Philip Law Award for Outstanding Research
The University of Melbourne, Australia
2011

Australian Postgraduate Award
The University of Melbourne, Australia
2010

Marion Isabel Thomas Estate Award
Victoria College of the Arts and Music, Australia
2010

Will Poskitt Prize for excellence in piano performance
Victorian College of the Arts and Music, Australia
2010

The Burton and Garran Hall Distinguished Scholar Award
The Australian National University, Australia
2004

The Michael Foster Scholarship for jazz performance
The Australian National University, Australia
2004

Professional Affiliations

The Society for Music Theory
The American Musicological Society
The Society for American Music
The Australian Performing Rights Association

Selected Prizes and Grants for Performance

Arts Project Grant
Australia Council for the Arts
2017

“Best New Work” for Anda Two.
Australian Performing Rights Association’s Arts Awards
2013

Freedman Fellowship
Music Council of Australia
2013

“Most Original Release,” for Sarcophile
Australian Jazz “Bell” Awards
2012

“Best Classic Jazz Album,” for Homage
Australian Jazz “Bell” Awards
2010

National Jazz Piano Award: Runner-up
Wangaratta Festival of Jazz, Australia
2006

Development Grant
Australian Council for the Arts
2006

Selected Recordings

Can You See With Two Sets of Eyes?
Marc Hannaford
Marchon, 2014

The Unpossibility of Language
Hannaford/Tinkler/Veltheim
Marchon, 2013

Lost in the Stars (Music from Mary Lou Williams and Karlheinze Stockhausen)
The Allan Browne Trio
Jazzhead, 2013

Sarcophile
The Marc Hannaford Trio
Marchon 2012

Ordinary Madness (feat. Tim Berne)
Marc Hannaford
Marchon 2012

Research and Teaching Interests

Jazz and improvisation
20th and 21st century music
Music theory and analysis
Race, gender, sexuality, class studies
Improvisation across domains
Embodied cognition
Rhythm and meter
Music pedagogy

Selected Graduate Coursework

Gender/Sexuality/Music: Theory/History/Criticism, Ellie Hisama
Histories of post-1960s Jazz, George Lewis
Theorizing Improvisation, George Lewis
Advanced Analysis, Joseph Dubiel
Schenkerian Analysis, Joseph Dubiel
Set Theory, Joseph Dubiel
Music Since 1900, Alfred Lerdhal
Music and the Body, Mariusz Kozak
Theorizing Musical Temporality, Mariusz Kozak
Post-1965 Jazz, Kevin Fellezs
Networks of Sound Art and Sound Studies, George Lewis
Music and the Human Sciences, 1860–1960, Benjamin Steege
Aesthetics: A Historical Survey, Lydia Goehr
Aesthetics Under Siege, Andreas Huyssen

Schedule

Dates TBA.

Archived Dates