I have published writings on John Coltrane, Brad Mehldau, Robert Glasper, and Bill Evans, as well as theoretical and educational materials.
Salience, Common Tones, and Middleground Dissonance in the Fourth Chorus of Brad Mehldau's Improvisation on "All the Things You Are."
Intégral: The Journal of Applied Musical Thought (2023)

In this article I take a close look at Mehldau’s epic performance of “All the Things You Are” from Art of the Trio, Volume 4: Back at the Vanguard (1999). The essay uses layer analysis to show how dissonant tones create deep structure in Mehldau’s improvisation. Click HERE to view the online version of the article, which includes audio examples.
Harmony versus Voicing: Modeling
Local-Level Salience and Stability in
​Jazz after 1960
Journal of the German Society for Music Theory (ZGMTH), 2022​
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Winner of the 2024 Award for Excellence in Jazz Scholarship from the Society for Music Theory's jazz research group. 

In this article I compare the more salient features of jazz with what lies beneath the surface, presenting a new theory called Stable Norms and Salient Deviations. I then illustrate this theory with a detailed analysis of Robert Glasper’s performance of “North Portland.” Click HERE to view the online version of the article, which includes audio and video examples.
Why Improvisation is the Future in an
AI-Dominated World 
The Conversation, 2021

This provocative article asks what the limits of machine improvisation might be, and which human activities will survive the rise of intelligent machines. The article was syndicated in dozens of news outlets—including the Houston Chronicle, St. Louis Post-Dispatch, and the World Economic Forum—and was featured on the NPR segment The Academic Minute. Click HERE to view the article in its original online format, which includes images and audio examples.
Motive, Collection, and Voice Leading in Coltrane’s “Giant Steps” 
Jazz Perspectives, 2020

​People often attribute awareness of compositional structure to composers in the Western European tradition, but are less likely to do so for jazz composers, especially if they are African American. Both the complete set of melodic tones in Coltrane’s “Giant Steps” and the complete set of chord roots adhere strictly to the same symmetrical, nonatonic (nine-note) collection. Could this have occurred by chance or was it necessarily part of Coltrane’s compositional design? I ask that question (and many others) in the article. It turns out to be a surprisingly complex mathematical problem, and I consulted extensively with my colleague Rohit Patra in the University of Florida Department of Statistics to solve it.
Preface from the Guest Editor
Jazz Perspectives, 2020

I am pleased to have served as Executive Guest Editor for a special issue of Jazz Perspectives devoted to John Coltrane. The articles presented here highlight the multifaceted nature of Coltrane’s career by utilizing a wide scope of methodologies, including transformational, set-theoretical, reductive, rhythmic, textual, historical, statistical, and computational analytical approaches. I would like to thank the other guest editors for their expert reviewing and editing work: Keith Waters, Daniel Shanahan, and Keith Salley. I am grateful to Lewis Porter for his input and for contributing a foreword to the issue. I would also like to thank the editorial team at JP for their assistance, especially Ken Prouty.
Detail, Reduction, and Organicism:
​A Response to Philip Ewell
Journal of Schenkerian Studies, 2019

​Philip Ewell gave a seminal plenary address on racism in music theory at the 2019 annual meeting of the Society for Music Theory, which has already helped bring about direly-needed transformative work in the white-male dominated world of college music studies. (Here is a link to the article version of his talk.) Shortly after, the Journal of Schenkerian Studies put out a call for essays discussing Ewell's research on the Viennese music theorist Heinrich Schenker. I took the opportunity to reiterate Ewell’s rallying cry—“music theory is white”—and discuss the issue in terms of jazz. I also addressed the question of hierarchical structure in music versus social and political hierarchies. When the symposium was published a significant controversy ensued, as several of the articles simply proved Ewell’s point. The story has been covered by the New Yorker, the New York Times, NPR, and more.
Stable Norms and Salient Deviations: Multilayered Listening in Jazz and Common-Practice Music 
Engaging Students: Essays in Music Pedagogy, 2016

​In this article I talk about the relationship between the most obvious features of jazz and what goes on beneath the surface. The essay contains fifty-four hypermetric conducting exercises drawn from both the classical and jazz repertories, organized in order from easy to difficult, each with links to scores and playlists. Though designed for undergraduate students with a classical background, these exercises are useful for anyone who wishes to better understand jazz. The article is best viewed in its original online format.
A Selected Review of Chords and Scales
in The Schillinger System of Musical Composition
Музыкальное Искусство и Образование, Теория, Методология, Практика (Musical Art and Education: Theory, Methodology, Practice), 2016

​My research on the composer and theorist Joseph Moiseyevitch Schillinger was included in a volume about Russian music. I initially became interested in the subject because the Schillinger System of Musical Composition (1946) played a significant role in the development of jazz, and was the initial basis for the Berklee College of Music (which was originally called Schillinger House). In this article I compare the Schillinger System with a work published one year later by another Russian theorist-composer, Nicolas Slonimky’s Thesaurus of Scales and Melodic Patterns (1947), which was also influential on many jazz musicians (Coltrane, in particular).
Schenkerian versus Salzerian
​Analysis of Jazz
Form and Process in Music, 1300–2014: An Analytic Sampler, 2016

In this article I use a Bill Evans improvisation on “Stella by Starlight” to illustrate how jazz musicians create linear structure with chord extensions. I also talk about Evans’s use of metric displacement and thematic reference.
On Jazz Analysis: Schenker, Salzer,
​and Salience
PhD Dissertation, University of Washington, 2013

​During my doctoral research at the University of Washington in Seattle, I took a deep dive into a recording of “Green Chimneys” by the Thelonious Monk Quartet (the lesser-known 1966 version appearing on the 1996 re-release of Straight, No Chaser). The dissertation features extensive transcription and analysis of the performance, and examines how various forms of layer analysis may be used to understand deep-level structure in jazz.
@2023 Rich Pellegrin