Marion A. Guck
Visiting Professor

BA (SUNY Geneseo 1971)
M Mus (University of Michigan 1976)
Ph.D. (University of Michigan 1981)

Marion A. Guck is Louise Cuyler Collegiate Professor of Music at The University of Michigan, where she has taught since 1996. Her early research examined the ways in which metaphoric descriptions of music capture the aural experience of listeners. Currently she is investigating how particular musical works elicit psychological effects in listeners, and how these effects are embodied in the inclination to speak of music in terms of human abilities to move and feel. This research is based on psychoanalytic concepts of interpersonal relationship and neuroscientific understanding of cross-modal perception. She is writing a book on the modeling of music as interpersonal communication. Her writing appears in Music Theory Spectrum, Perspectives of New Music, Journal of Musicology, and several essay collections. She has spoken at meetings of the Society for Music Theory and the American Musicological Society, at international music conferences, and at interdisciplinary conferences in philosophy, psychoanalysis, literature, and legal theory. In the Society for Music Theory she has served on the Executive Board, the Committee on the Status of Women, and the Publications Committee. She was a member of the Program Committee of Feminist Theory and Music 8, and she was a co-editor of Perspectives of New Music, as well as a founding editor of In Theory Only.

Selected Publications:

"A Woman's (Theoretical) Work," What Kind of Theory Is Music Theory? Epistemological Exercises in Music Theory and Analysis, ed. Per Broman and Nora Engebretson, forthcoming. Previously published in Perspectives of New Music 32/1 (1994): 28-43

"Using the Canon," Women and Music, forthcoming 2006

"Analysis as Interpretation: Interaction, Intentionality, Invention," Music Theory Spectrum 28/2 (Fall 2006): 191-209

"Dramatic Progression in Haydn, Sonata #46 in Ab, Adagio," Engaging Music: Essays in Musical Analysis, ed. Deborah Stein (Oxford, New York: Oxford University Press, 2005)

"Analytical Fictions," Music/Ideology: Resisting the Aesthetic, ed. Adam Krims and Henry Klumpenhouwer (Amsterdam: Gordon & Breach, 1998), 157-177. Previously published in Music Theory Spectrum 16/2 (1994): 217-230

"Music Loving, Or the Relationship with the Piece," Journal of Musicology 15/3 (1997): 343-352. Also appeared in Music Theory Online 2.2, 1996

"Two Types of Metaphoric Transference," Music and Meaning, ed. Jenefer Robinson (Cornell University Press, 1997)

"Rigors of Subjectivity," Perspectives of New Music 35/2 (1997; appeared 1999): 53-64

"Rehabilitating the Incorrigible," Theory, Analysis and Meaning in Music, ed. Anthony Pople (Cambridge University Press, 1994), 57-73

"Taking Notice: A Response to Kendall Walton," Journal of Musicology 11/1(1993): 45-51

"Varèse Bound," Perspectives of New Music 30/2 (1992): 244-273

"Beethoven as Dramatist," CMS Symposium 29 (1989): 8-18

"A Flow of Energy: Density 21.5," Perspectives of New Music 23/1 (Fall-Winter 1984): 334 347

"Musical Images as Musical Thoughts: The Contribution of Metaphor to Analysis," In Theory Only 5/5 (1981): 29-43

"The Functional Relations of Chords: A Theory of Musical Intuitions," In Theory Only 4/6 (1978): 29-41

Graduate Courses Taught:

Analysis of Tonal Music
Analytic Techniques: Medieval through 20th-Century Music
History of Tonal Harmonic Theory
Introduction to Contemporary Music Theory
Introduction to Schenker's Analytical Method
Pitch-Class Set Theory
Proseminar in Musical Analysis
Research in Music
Seminar in Schenker's Analytical Method (second semester of sequence)
Survey of the History of Theory
Teaching Tonal Theory

Seminars and Special Courses:

German Lieder
Intensity, Continuity, Pacing
Involvement and Relationship with Music
Metaphor in Musical Discourse
Rhythm in Music
Tonal Harmony as Expressive Practice
Writing about Music

Undergraduate Courses Taught:

Analysis of 20th-Century Music
Analysis of Tonal Music
Aural Theory (four-semester sequence)
Chromatic Harmony and Voice-Leading
Diatonic Harmony and Voice-Leading
Fundamentals of Music
Seminar in Atonal Music
Seminar in Chopin Preludes

email@columbia.edu: mg2355 [1]
Phone: 212-854-3825
Office: 621 Dodge Hall
Mail Code 1813