This project looks primarily at two questions about meter and hypermeter in 18th-century music:

1. How did four-bar phrase organization rise to the prominence it found by the later part of the 18th century?
  
2. How did compound meter in the 18th-century sense fall into disuse? That is, how did the full notated measure come to replace the half measure as the basic unit of metrical organization in common time and some other meters?
 

It also examines whether those two developments may have been related, and it gives some attention to developments of formal organization that lend themselves to more precise forms of temporal orientation.

“Koch's Metrical Theory and Mozart's Music: A Corpus Study,” 2014, Music Perception 31.3, 205-222.

“Bach’s Arrow: Temporal Orientation in Meter, Hypermeter, and Form,” invited colloquium as part of residency, “Distinguished Lecturers in Music Theory,” Michigan State University, February 2022.

“Bach’s Arrow: Temporal Orientation in the Harpsichord Concertos,” invited colloquium, Music Theory and Cognition Program, Northwestern University, May 2020.

“Bach, Rotational Form, and the Galant,” Music Theory Society of the Mid-Atlantic, Wayne, NJ, March 2018.

“Nascent Hypermeter in Bach: The Development of Style and of Perception,” European Music Analysis Conference (EuroMAC), Leuven, Belgium, September 2014.