Dr. Trevor de Clercq

Assistant Professor

Dr. Trevor de Clercq
615-898-5821
Room 104A, Ezell Hall (EZEL)
MTSU Box 21, Murfreesboro, TN 37132

Degree Information

  • Ph.D., Eastman School of Music, NY (2012)
  • M.M., New York University, NY (2000)
  • A.B., Cornell University, NY (1996)

Areas of Expertise

Music Theory, Popular Music, Empirical Musicology, Corpus Studies, Rhythm and Meter, Music Cognition, Music Technology, Audio Theory

Biography

Trevor de Clercq is Assistant Professor in the Recording Industry faculty at Middle Tennessee State University, where he serves as coordinator for the musicianship curriculum and teaches coursework in music technology and audio theory. He has previously taught at Ithaca College, Hofstra University, Adelphi University, the Eastman School of Music, and the University of Rochester.

Trevor's academic training includes degrees from Cornell University (BA in music theory and compositi...

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Trevor de Clercq is Assistant Professor in the Recording Industry faculty at Middle Tennessee State University, where he serves as coordinator for the musicianship curriculum and teaches coursework in music technology and audio theory. He has previously taught at Ithaca College, Hofstra University, Adelphi University, the Eastman School of Music, and the University of Rochester.

Trevor's academic training includes degrees from Cornell University (BA in music theory and composition), New York University (MM in music technology), the Cleveland Institute of Electronics (AAS in electronics engineering technology), and the Eastman School of Music (MA and PhD in music theory). His primary areas of research include the theory and analysis of popular music, statistical studies of music, recording technology, and music cognition. His work is forthcoming or has been published in a variety of journals, including Popular Music, Music Theory Online, the Journal of Music Theory, Empirical Musicology Review, the Journal of New Music Research, Music Theory and Analysis, and the Dutch Journal of Music Theory, and he has presented at various regional, national, and international conferences on music theory and music cognition. His Nashville Number System Fake Book was published by Hal Leonard in 2015.

Prior to his doctoral work, Trevor worked in the recording industry around New York City. He gained experience at Sony Music Studios, Greene Street Recording, and Jarvis Studios before working as senior technician at Right Track Recording, where he supported albums by artists such as Mariah Carey, Britney Spears, Pat Metheny, Nas, the Kronos Quartet, Rod Stewart, and James Taylor. After Right Track, he worked as technical specialist for audio and video at The New School, where he designed, installed, and maintained three recording studios, four video editing suites, thirteen multimedia classrooms, and numerous computer workstations.

In addition to his academic and technical background, Trevor is an avid songwriter and has self-published ten albums of songs to date. He has also written music for film, stage, and radio, including pieces for NPR and PRI. Fun fact: his rendition of "Silent Night" was included as diegetic music in the film Fahrenheit 9/11. Trevor plays piano, guitar, bass, and cello (plus a bit of banjo and mandolin).

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Publications

de Clercq, Trevor. (Invited, in preparation). “A Corpus Analysis of Harmony in Country Music.” In The Oxford Handbook of Music and Corpus Studies. Edited by Daniel Shanahan, Ashley Burgoyne, and Ian Quinn. New York, NY: Oxford University Press.

de Clercq, Trevor. (Invited, in preparation). “Computational Approaches to Rock Music.” In The Bloomsbury Handbook of Rock Music Research....

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de Clercq, Trevor. (Invited, in preparation). “A Corpus Analysis of Harmony in Country Music.” In The Oxford Handbook of Music and Corpus Studies. Edited by Daniel Shanahan, Ashley Burgoyne, and Ian Quinn. New York, NY: Oxford University Press.

de Clercq, Trevor. (Invited, in preparation). “Computational Approaches to Rock Music.” In The Bloomsbury Handbook of Rock Music Research. Edited by Allan Moore. New York, NY: Bloomsbury Press.

de Clercq, Trevor. (In preparation). “Review of Christopher Doll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (University of Michigan Press, 2017).” Music Theory Online.

de Clercq, Trevor. (Under review). “The Harmonic-Bass Divorce in Rock.” Music Theory Spectrum.

de Clercq, Trevor & Elizabeth Hellmuth Margulis. (Forthcoming 2018). “A Psychological Perspective on Repetition in Popular Music.” In Over and Over: Exploring Repetition in Popular Music. Edited by Christophe Levaux and Olivier Julien. New York, NY: Bloomsbury Press.

de Clercq, Trevor. (Forthcoming 2017). “Pitfalls and Windfalls in Corpus Studies of Pop/Rock Music.” In Proceedings of the Ninth European Music Analysis Conference.

de Clercq, Trevor. (Forthcoming 2017). “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991.” Music Theory Online

de Clercq, Trevor. (Forthcoming 2017). “Interactions Between Harmony and Form in a Corpus of Rock Music.” Journal of Music Theory.

Temperley, David & Trevor de Clercq. (Forthcoming 2017). “Musical Structure: Melody and Harmony in Popular Music.” In The Routledge Companion to Music Cognition. Edited by Richard Ashley and Renee Timmers. New York, NY: Routledge.

de Clercq, Trevor. (Forthcoming 2017). “Swing, Shuffle, Half-Time, Double: Beyond Traditional Time Signatures in the Classification of Meter in Pop/Rock Music.” In Coming of Age: Teaching and Learning Popular Music in Academia. Edited by Carlos Rodriguez. Ann Arbor, MI: Maize Books.

de Clercq, Trevor. (2016). “Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music.” Music Theory Online 22/3.

de Clercq, Trevor. (2016). “Big Data, Big Questions: A Closer Look at the Yale–Classical Archives Corpus (c. 2015).” Empirical Musicology Review 11/1: 59-67.

de Clercq, Trevor. (2016). “Deconstructing the Blues in the Beatles’ ‘Taxman’.” Music Theory and Analysis 3/1: 58-70.

de Clercq, Trevor. (2016). “Review of Ralf von Appen, André Doehring, Dietrich Helms, and Allan Moore, eds. Song Interpretation in 21st-Century Pop Music (Ashgate, 2015).” Music Theory Online 22/1.

de Clercq, Trevor. (2015). “Corpus Studies of Harmony in Popular Music: A Response to Léveillé Gauvin.” Empirical Musicology Review10/3: 239-244.

de Clercq, Trevor. (2015). “A Model for Scale-Degree Reinterpretation: Melodic Structure, Modulation, and Cadence Choice in the Chorale Harmonizations of J. S. Bach.” Empirical Musicology Review 10/3: 188-206.

de Clercq, Trevor. (2015).  The Nashville Number System Fake Book. Milwaukee, WI: Hal Leonard Corporation.

de Clercq, Trevor. (2015). “Improvised Jazz Counterpoint: The Stylistic Characteristics of Freddie Green’s Rhythm Guitar Playing.” In Rhythm is My Beat: Jazz Guitar Great Freddie Green and the Count Basie Sound. Edited by Al Green. Lanham, MD: Rowman and Littlefield.

de Clercq, Trevor. (2014). “Grooves, Drones, and Loops: Enhancing Aural Skills Exercises with Rock Music Contexts.” In Engaging Students: Essays in Music Pedagogy, vol. 2. Edited by Kris Schaffer et al.

de Clercq, Trevor. (2013). “A Future Theory of Pop-Rock Music: A Response to Christopher Doll and Joseph Swain.” Dutch Journal of Music Theory 18/3: 173-179.

Temperley, David & Trevor de Clercq. (2013). “Statistical Analysis of Harmony and Melody in Rock Music.” Journal of New Music Research 42/3: 187-204.

de Clercq, Trevor. (2013). “One-hit Wonders.” Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped Our Culture. Edited by Jacqueline Edmondson. Santa Barbara, CA: ABC-CLIO.

de Clercq, Trevor. (2013). “Opening tracks.” Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped Our Culture. Edited by Jacqueline Edmondson. Santa Barbara, CA: ABC-CLIO.

de Clercq, Trevor. (2013). “Towards a Flipped Aural Skills Classroom: Harnessing Recording Technology for Performance-Based Homework.” In Engaging Students: Essays in Music Pedagogy. Edited by Kris Schaffer and Bryn Hughes. 

de Clercq, Trevor. (2012). “Sections and Successions in Successful Songs: A Prototype Approach to Form in Rock Music.” PhD dissertation, Eastman School of Music.

de Clercq, Trevor & David Temperley. (2011). “A Corpus Analysis of Rock Harmony.” Popular Music 30/1: 47-70.

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Presentations

de Clercq, Trevor. (2017). “Pitfalls and Windfalls in Corpus Studies of Pop/Rock Music.” The Ninth European Music Analysis Conference (EuroMAC 9). University of Strasbourg: Strasbourg, France (June 28-July 1).

de Clercq, Trevor. (2017). “The Nashville Number System: A Pop(ular) Alternative to Roman Numerals and Figured Bass.” Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century. Lee University: Cleveland, TN (June 2).

de Clercq, Tre...

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de Clercq, Trevor. (2017). “Pitfalls and Windfalls in Corpus Studies of Pop/Rock Music.” The Ninth European Music Analysis Conference (EuroMAC 9). University of Strasbourg: Strasbourg, France (June 28-July 1).

de Clercq, Trevor. (2017). “The Nashville Number System: A Pop(ular) Alternative to Roman Numerals and Figured Bass.” Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century. Lee University: Cleveland, TN (June 2).

de Clercq, Trevor. (2017). “Swing, Shuffle, Half-Time, Double: Beyond Traditional Time Signatures in Meter Classification for Pop/Rock Music.” Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century. Lee University: Cleveland, TN (June 1).

de Clercq, Trevor. (2017). "Swing, Shuffle, Half-Time, Double: Beyond Traditional Time Signatures in Meter Classification for Pop/Rock Music." Bates College: Lewiston, ME (April 28).

de Clercq, Trevor. (2017). “‘Is She Weird’: Subverting Cultural and (Hyper)Metric Norms in the Music of the Pixies.” International Association for the Study of Popular Music (US) Conference. Case Western Reserve University: Cleveland, OH (February 24). 

de Clercq, Trevor. (2016). “Tempo Versus Harmonic and Melodic Pacing in a Corpus of Rock Music.” Science of Song Symposium. Vanderbilt University: Nashville, TN (September 12). 

de Clercq, Trevor. (2016). “Tempo Versus Harmonic and Melodic Pacing in a Corpus of Rock Music.” Cognitively Based Music Informatics Research (CogMIR) Seminar, International Society for Music Informatics Research (ISMIR) Conference. Columbia University: New York, NY (August 12). 

de Clercq, Trevor. (2016). “The Harmonic-Bass Divorce in Rock: A Method for Conceptualizing the Organization of Chord Extensions.” Music Theory Midwest Conference. University of Arkansas: Fayetteville, AK (May 6). 

de Clercq, Trevor. (2016). “Measuring a Measure: Absolute Time as a Factor in Meter Classification for Pop/Rock Music.” Joint Conference of Music Theory Southeast and the South Central Society for Music Theory. Kennesaw State University: Kennesaw, GA (April 2). 

de Clercq, Trevor. (2015). “Measuring a Measure: Absolute Time as a Factor in Meter Classification for Pop/Rock Music.” Ann Arbor Symposium IV: Teaching and Learning Popular Music. University of Michigan: Ann Arbor, MI (November 20).  

de Clercq, Trevor. (2015). “The Nashville Number System: A Method for Notating Harmony and Form.” Popular Music Interest Group Meeting. Society for Music Theory Conference. St. Louis, MO (November 1).

Temperley, David, Trevor de Clercq, & Adam Waller. (2015). “Changes in Rock Melody, 1954-2009.” Society for Music Perception and Cognition Conference. Vanderbilt University: Nashville, TN (August 4). 

de Clercq, Trevor. (2014). “A Model for Scale-Degree Reinterpretation: How Melodic Structure, Modulation, and Cadence Choice Interact in the Chorale Harmonizations of J. S. Bach.” Society for Music Theory Conference. Milwaukee, WI (November 7). 

de Clercq, Trevor. (2014). “Typical Chords in Typical Song Sections: How Harmony and Form Interact in a Corpus of Rock Music.” The Eighth European Music Analysis Conference (EuroMAC 8). Katholieke Universiteit Leuven: Leuven, Belgium (September 19). 

de Clercq, Trevor. (2014). “Ionian Tonic Arrivals as Generators of Chorus Quality in Pop/Rock Songs.” Music Theory Midwest Annual Conference. Lawrence University: Appleton, WI (April 25). 

de Clercq, Trevor. (2014). “Ionian Tonic Arrivals as Generators of Chorus Quality in Pop/Rock Songs.” South Central Society for Music Theory Annual Conference. University of Mississippi: Oxford, MS (March 28). 

de Clercq, Trevor. (2013). “How Melody Engenders Cadence in the Chorales of J. S. Bach: A Corpus Study.” Midwestern Music Cognition Symposium. Ohio State University: Columbus, OH (May 25). 

de Clercq, Trevor. (2013). “The RS 200 Corpus of Rock Songs and its Potential for Music Information Retrieval Projects.” Music and Audio Research Lab graduate colloquium series. New York University: New York, NY (May 10). 

de Clercq, Trevor. (2013). “How Melody Engenders Cadence in the Chorales of J. S. Bach: A Corpus Study.” Northeastern Music Cognition Group Meeting. New York University: New York, NY (April 27).

de Clercq, Trevor. (2013). “How Melody Engenders Cadence in the Chorales of J. S. Bach: A Corpus Study.” Music Theory Society of the Mid-Atlantic Annual Conference. Temple University: Philadelphia, PA (March 15). 

de Clercq, Trevor. (2012). “Corpus Analysis of Rock Music.” BIOL 22020: Honors Seminar in Biology, The Neurobiology and Mathematics of Music. Ithaca College: Ithaca, NY (December 11). 

de Clercq, Trevor. (2012). “A Taxing of the Taxonomy in the Beatles’ ‘Taxman’: Beyond the AAB Phrase Model of the 12-bar Blues.” Music Theory Society of the Mid-Atlantic Annual Conference. University of Delaware: Newark, DE (March 31).  

Temperley, David & Trevor de Clercq. (2012). “A Corpus of Melodic Transcriptions for Rock Songs.” Northeast Music Cognition Group Meeting. Yale University: New Haven, CT (April 28).  

Temperley, David & Trevor de Clercq. (2012). “A Corpus of Melodic Transcriptions for Rock Songs.” ESM/UR/Cornell Music Cognition Symposium. Eastman School of Music: Rochester, NY (February 13).

Temperley, David & Trevor de Clercq. (2011). “Key-finding Algorithms for Popular Music.” Society for Music Perception and Cognition Annual Conference. Eastman School of Music: Rochester, NY (August 13).

de Clercq, Trevor & David Temperley. (2011). “Harmony and Key in Rock: A Corpus Study.” CIRMMT and CRLMB research workshop. McGill University: Montreal, PQ (February 18).

de Clercq, Trevor & David Temperley. (2010). “A Corpus Analysis of Rock Harmony.” Northeast Music Cognition Group Meeting. Berklee School of Music: Boston, MA (October 23). 

Temperley, David & Trevor de Clercq. (2010). “A Corpus Analysis of Rock Harmony.” International Conference for Music Perception and Cognition. Seattle, WA (August 25).

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Courses

  • Musicianship
  • Advanced Musicianship
  • Digital Audio Technology
  • Audio Signals and Systems