This essay confronts the dialectic between theory and practice through a comparison of an idea basic to how we understand music (the notion that pitch moves up and down in vertical space) with how pitch is thought of in actual music-making. The comparison leads to both a new conceptual model for thinking about pitch, what might be called Pitch Horizontality, as well as a proposal for how to bring institutional discourse about music into sync, not with how scholars in other disciplines think about their subject matter, but with the thinking that goes on in contexts of real-world artistic production.
Parmer, Dillon. “Defying the Conventional: Musical Performance, Embodied Cognition, and the Reconfiguration of Institutional Discourse.” Music & Musical Performance: An International Journal. Issue 2, article 5 (November 2022): 1–36.