Timothy Koozin is Professor and area chair of Music Theory at the Moores School of Music, University of Houston. His research interests include music and meaning, theories of embodiment and musical gesture, popular music, and the music of Toru Takemitsu. His essays on musical gesture in popular music appear in numerous published journal articles and edited collections. Koozin is co-author of the music textbooks Music for Sight Singing and Music for Analysis, ninth edition (both volumes with Thomas Benjamin, Michael Horvit and Robert Nelson). He is the former editor of the electronic journal of the Society for Music Theory, Music Theory Online.

• AcknowledgementsIntroduction Part 1. Guitar Voicing and Embodied Gesture in Rock1. Guitar Voicing I: Barre chords, Gesture, and Agency2. Guitar Voicing II: Open-String Chords, Fretboard Strategies, and Virtual Spaces Part 2. Gospel and Groove: Gestural Strategies in Soul and Funk 3. Funk at the Keyboard4. Pentatonic Space to Outer Space: Funk Bands and the Rise of Afrofuturism Part 3. Gestural Variation in Songs with Acoustic Instruments5. Temporality and Gesture in the Songs of Bob Dylan6. Counterpoint and Embodied Expression in the Music of Joni Mitchell Part 4. Situating Gesture7. Keyboard Playing in the Beatles' Abbey Road: Topic, Persona, and Social Discourse8. Musical Topic and Ironic Gesture in the Songs of Steely Dan9. Voice in Hip Hop GlossaryBibliographyIndex

Timothy Koozin widens our horizons as he demonstrates how composers-as-performers have endowed popular song with personalized gestures and agencies, embodying a range of topics, tropes, and narratives to fashion complex subjectivities as conditioned by race, gender, and class. His mastery of all these intersecting approaches is breathtaking!

Timothy Koozin is Professor and area chair of Music Theory at the Moores School of Music, University of Houston. His research interests include music and meaning, theories of embodiment and musical gesture, popular music, and the music of Toru Takemitsu. His essays on musical gesture in popular music appear in numerous published journal articles and edited collections. Koozin is co-author of the music textbooks Music for Sight Singing and Music for Analysis, ninth edition (both volumes with Thomas Benjamin, Michael Horvit and Robert Nelson). He is the former editor of the electronic journal of the Society for Music Theory, Music Theory Online.

• AcknowledgementsIntroduction Part 1. Guitar Voicing and Embodied Gesture in Rock1. Guitar Voicing I: Barre chords, Gesture, and Agency2. Guitar Voicing II: Open-String Chords, Fretboard Strategies, and Virtual Spaces Part 2. Gospel and Groove: Gestural Strategies in Soul and Funk 3. Funk at the Keyboard4. Pentatonic Space to Outer Space: Funk Bands and the Rise of Afrofuturism Part 3. Gestural Variation in Songs with Acoustic Instruments5. Temporality and Gesture in the Songs of Bob Dylan6. Counterpoint and Embodied Expression in the Music of Joni Mitchell Part 4. Situating Gesture7. Keyboard Playing in the Beatles' Abbey Road: Topic, Persona, and Social Discourse8. Musical Topic and Ironic Gesture in the Songs of Steely Dan9. Voice in Hip Hop GlossaryBibliographyIndex

Timothy Koozin widens our horizons as he demonstrates how composers-as-performers have endowed popular song with personalized gestures and agencies, embodying a range of topics, tropes, and narratives to fashion complex subjectivities as conditioned by race, gender, and class. His mastery of all these intersecting approaches is breathtaking!

Timothy Koozin is Professor and area chair of Music Theory at the Moores School of Music, University of Houston. His research interests include music and meaning, theories of embodiment and musical gesture, popular music, and the music of Toru Takemitsu. His essays on musical gesture in popular music appear in numerous published journal articles and edited collections. Koozin is co-author of the music textbooks Music for Sight Singing and Music for Analysis, ninth edition (both volumes with Thomas Benjamin, Michael Horvit and Robert Nelson). He is the former editor of the electronic journal of the Society for Music Theory, Music Theory Online.

• AcknowledgementsIntroduction Part 1. Guitar Voicing and Embodied Gesture in Rock1. Guitar Voicing I: Barre chords, Gesture, and Agency2. Guitar Voicing II: Open-String Chords, Fretboard Strategies, and Virtual Spaces Part 2. Gospel and Groove: Gestural Strategies in Soul and Funk 3. Funk at the Keyboard4. Pentatonic Space to Outer Space: Funk Bands and the Rise of Afrofuturism Part 3. Gestural Variation in Songs with Acoustic Instruments5. Temporality and Gesture in the Songs of Bob Dylan6. Counterpoint and Embodied Expression in the Music of Joni Mitchell Part 4. Situating Gesture7. Keyboard Playing in the Beatles' Abbey Road: Topic, Persona, and Social Discourse8. Musical Topic and Ironic Gesture in the Songs of Steely Dan9. Voice in Hip Hop GlossaryBibliographyIndex

Timothy Koozin widens our horizons as he demonstrates how composers-as-performers have endowed popular song with personalized gestures and agencies, embodying a range of topics, tropes, and narratives to fashion complex subjectivities as conditioned by race, gender, and class. His mastery of all these intersecting approaches is breathtaking!