was born in Ghana, where he received his initial education before studying composition and analysis in the UK and musicology in the US. His work focuses on analytical issues in selected repertoires of Western Europe and West Africa. He is the author of five monographs and numerous articles and reviews. His awards include a Guggenheim Fellowship, the Dent Medal, the Frank Llewellyn Harrison Medal, the Howard T. Behrman Award from Princeton University, and honorary degrees from Stellenbosch University (2017) and Bard College (2019). He has served on the editorial boards of leading journals in musicology, music theory, African studies and ethnomusicology. A Corresponding Fellow of the British Academy, he is a Fellow of the Ghana Academy of Arts and Sciences, Honorary Member of the Royal Musical Association, and Adjunct Professor in the Institute of African Studies, University of Ghana, Legon. He was Music Theorist in Residence for the Dutch-Flemish Music Theory Society in 2008-09 and George Eastman Visiting Professor at Oxford University in 2012-13.
The African Imagination in Music
(Oxford University Press, 2016). Publication supported by the Manfred Bukofzer Endowment of the American Musicological Society. **Received the Kwabena Nketia Book Prize from the Society for Ethnomusicology in 2018**
Music as Discourse: Semiotic Adventures in Romantic Music
(Oxford University Press, 2009). Translated into Spanish by Silvia Villegas as La música como discurso: Aventuras semióticas en la música romántica
(Eterna Cadencia Editora, 2012).
Representing African Music: Postcolonial Notes, Queries, Positions
African Rhythm: A Northern Ewe Perspective
(Cambridge University Press, 1995).
Playing with Signs: A Semiotic Interpretation of Classic Music
(Princeton University Press. 1991). **Received the Young Scholar Award from the Society for Music Theory in 1994**
African Musical Arts: Theory, Practice and Education
, co-edited with Anri Herbst and Meki Nzewi (University of South Africa Press, 2003).
Communication in Eighteenth-Century Music
, co-edited with Danuta Mirka (Cambridge University Press, 2008).
“Against Ethnotheory.” In The Dawn of Music Semiology: Essays in Honor of Jean-Jacques Nattiez
, ed. Jonathan Dunsby and Jonathan Goldman (University of Rochester Press, 2017): 38-55
“Tonality as a Colonizing Force in Africa.” In Audible Empire: Music, Global Politics, Critique
, ed. Ronald Radano and Tejumola Olaniyan (Duke University Press, 2016): 334-354.
“Topics and Form in Mozart’s String Quintet in E Flat Major, K. 614/I,” in The Oxford Handbook of Topic Theory
, ed. Danuta Mirka (Oxford University Press, 2014): 474-492. **Volume received a Citation of Merit from the Society for Music Theory (2015)**
“Taruskin’s Problem(s),” Music Theory Spectrum
33/2 (2011): 186-90.
“The Challenge of African Art Music,” Circuit, musiques contemporaines
21/2 (2011): 55-72.
“Topic Theory: Achievement, Critique, Prospects.” In Passagen/IMS Congress Zürich 2007: Fünf Hauptvorträge
, ed. Laurenz Lütteken and Hans-Joachim Hinrichsen (Zurich: Bärenreiter, 2008): 38-69.
“Beethoven’s Op. 18 No. 3, First Movement: Two Readings, with a Comment on Analysis.” In Communication in Eighteenth-Century Music
, ed. Danuta Mirka and Kofi Agawu (Cambridge University Press, 2008): 230-53.
“To Cite or Not to Cite? Confronting the Legacy of (European) Writing on African Music.” Fontes Artis Musicae
54/3 (2007): 254-62.
“The Communal Ethos in African Performance: Ritual, Narrative and Music among the Northern Ewe.” In Approaches to African Musics
, ed. Enrique Cámara de Landa and Silvia Martínez García (Universidad de Valladolid, Centro Buendía, 2006): 181-200. Also published in TRANS
“Structural Analysis or Cultural Analysis? Competing Perspectives on the ‘Standard Pattern’ of West African Rhythm.” Journal of the American Musicological Society
59/1 (2006): 1-46.
“Analyzing Black Gospel Music: Notes on the Rev. James Cleveland’s Rendition of ‘What a Friend We Have in Jesus.” In Multiple Interpretations of Creativity and Knowledge in African Music Traditions
, ed. Bode Omojola and George Dor (MRI Press, 2005): 153-164.
“How We Got Out of Analysis and How to Get Back In Again,” Music Analysis
23/2-3 (2005): 267-86.
“What Adorno Makes Possible for Music Analysis,” 19th-Century Music
29/1 (2005): 48-54.
"Aesthetic Inquiry and the Music of Africa." In A Companion to African Philosophy
, edited by Kwasi Wiredu (Blackwells, 2004): 404-14.
"Contesting Difference: A Critique of (Africanist) Ethnomusicology." In The Cultural Study of Music: A Critical Introduction,
ed. by Martin Clayton, Trevor Herbert and Richard Middleton (New York, 2003): 227-37.
"Il ritmo.” In Enciclopedia della Musica II: Il sapere musicale
, translated by Fulvia De Colle, ed. Jean-Jacques Nattiez. (Einaudi, 2002): 45-71.
"The Symphonies." In The Brahms Companion
, ed. Michael Musgrave (Cambridge University Press, 1999): 133-55.
"Music Analysis versus Musical Hermeneutics." American Journal of Semiotics
13/1-4 (1998): 9-24. French translation by Geneviève Bégou as “Analyse musicale contre herméneutique musicale.” In Sens et signification en musique
, ed. Marta Grabocz. (Hermann, 2007): 93-106.
"The Challenge of Musical Semiotics." In Rethinking Music
, ed. Nicholas Cook and Mark Everist (Oxford University Press, 1998): 138-60.
"The Chamber Music of Beethoven." In Chamber Music in the Nineteenth Century
, ed. Stephen Hefling (Schirmer, 1997): 1-38.
"Analyzing Music under the New Musicological Regime." Music Theory Online
. Reprinted inJournal of Musicology
15/3 (1997): 297-307.
"The Narrative Impulse in the Second Nachtmusik
from Mahler's 7th." In Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music
, ed. Craig Ayrey and Mark Everist (Cambridge University Press, 1996): 226-41.
"Mozart's Art of Variation: Remarks on the First Movement of K. 503." In Mozart's Piano Concertos: Text, Context, Interpretation
, ed. Neal Zaslaw (The University of Michigan Press, 1996): 303-13.
"Prospects for a Theory-Based Analysis of Mozart's Instrumental Music." In Wolfgang Amadé Mozart: Essays on His Life and Work
, ed. Stanley Sadie (Oxford University Press, 1996): 121-31.
"Prolonged Counterpoint in Mahler." In Mahler Studies
, ed. Stephen Hefling (Cambridge University Press, 1996): 217-47.
"The Invention of ‘African Rhythm’." Journal of the American Musicological Society
48/3 (1995): 380-95. Reprinted in Popular Music: Critical Concepts in Media and Cultural Studies
, vol. 3, ed. Simon Frith (New York: Routledge, 2004), 103-18.
"Ambiguity in Tonal Music: A Preliminary Study." In Theory, Analysis and Meaning in Music
, ed. Anthony Pople (Cambridge University Press, 1994): 86-107.
"Does Music Theory need Musicology?" Current Musicology
53 (1993): 89-98.
"Representing African Music." Critical Inquiry
18/2 (1992): 245-66.
"Theory and Practice in the Analysis of the Nineteenth-Century Lied." Music Analysis
11/1 (1992): 3-36.
and Stravinsky Analysis." Music Theory Spectrum
11/2 (1989), 139-63.
"Schenkerian Notation in Concept and Practice." Music Analysis
8/3 (1989): 275-301.
"Music in the Funeral Traditions of the Akpafu." Ethnomusicology
32/1 (1988): 75-105.
"Tone and Tune: The Evidence for Northern Ewe Music." Africa
58/3 (1988): 127-46.
"Concepts of Closure and Chopin's Opus 28." Music Theory Spectrum
9 (1987): 1-17.
"Tonal Strategy in the First Movement of Mahler's Tenth Symphony." Nineteenth-Century Music
9/2 (1986): 222-33.