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Charles Kronengold has written on twentieth-century Western art music (Elliott Carter, Morton Feldman, John Cage, Debussy, Schoenberg, Varèse), popular-music genres (funk, soul, disco, bossa nova, pop), film, and such philosophical subjects as composers’ intentions, the roles of accidents in theory, and the relevance of African American music to current debates about the “post-secular.” His recent research has concerned the ways that modern artistic genres condition, depict, embody and help to transform the activity of thinking. He is the author of the forthcoming Live Genres in Late Modernity: American Music of the Long 1970s; a book-in-progress, Crediting Thinking in Soul and Dance Music; and, with Adrian Daub, The James Bond Songs: Pop Anthems of Late Capitalism. A new book-project, tentatively titled Sensing Thinking in Urban Cinema,focuses on the audiovisual depiction of nonverbal thinking. He received his B.A. from Yale and his Ph.D. from UC San Diego, and was a Society for the Humanities Fellow at Cornell. At Stanford he is Assistant Professor of Music and affiliated faculty in the American Studies Program. In 2016–17 he is a Faculty Fellow at the Stanford Humanities Center.
Special Fields: Music since World War II; American Popular Music; Film and Media Theory; Comparative and Counter-Modernities; Music and Poetry. Current research concerns the ways that modern artistic genres condition, depict, embody and help to transform the activity of thinking.Articles and book-chapters published and forthcoming on Schoenberg, John Cage and Elliott Carter, soul, funk and disco, urban cinema, and such philosophical subjects as composers’ intentions, the role of accidents in theory, Theodor Adorno’s aesthetics, and the relevance of African American music to current debates about the "post-secular". Completing two books, Live Genres in Late Modernity and Different Methods, Different Signs: Crediting Thinking in Soul and Dance Music.Doctoral Fellowship at the UC-Humanities Research Institute; Society for the Humanities Fellowship at Cornell University.Taught music, film and cultural theory at Wayne State University. Undergraduate courses include World Music and Globalized Culture (Stanford), The Soul Tradition (Stanford), History of Music: 1800 to the Present (Wayne State), Music and Representation (Wayne State), Ethics and Communication (Wayne State). Graduate courses include Genres and Politics in the Late-Modern Work (Stanford), Analyzing Modern Song (Wayne State), Music and Urban Film (Wayne State), Sensing Thinking (Cornell).