Vita
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
Professional Experience
2005- Assistant Professor, Michigan State University
Undergraduate courses:
Music 180/181 - Freshman music theory sequence
Music 480 - Counterpoint
Graduate courses:
Music 972 - Analytical Studies I (Tonal)
Music 973 - Analytical Studies II (Post-tonal)
Music 970/971 - Music Theory Pedagogy
Music 991 - 20th and 21st Century Theory
Additional responsibilities:
Serve on masters and doctoral committees; serve 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.
Awards, Scholarships and Grants
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. (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:
"Trends in and over time: rhythm in speech and melody in 19th-century art song" (under revision for Music Perception)
Wakefield, J., VanHandel, L., and Wilkins, W. "Rethinking pitch in language and music"
Supplemental electronic and online materials for Clendinning/Marvin, The Musician's Guide to Theory and Analysis
Online and electronic supplemental materials for the Clendinning/Marvin textbook series, contracted by W. W. Norton & Company
Presentations
Invited Presentations:
'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:
'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 Student0Paper Award)
Composition and Sollage: 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, Music Theory Midwest, College Music Society, Modern Language Association
Activities:
20060000 Program Committee, Session Chair and Respondent, Music Theory Society of New York State
2005-0000Web 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 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.
