Stacey Davis, Ph.D.
Associate Director, UTSA School of Music, Professor, Music Theory,
Contact
- ART 3.01.46
- 210-458-5335
- stacey.davis@utsa.edu
Bio
Stacey Davis is Acting Director of the School of Music and Professor of Music Theory at the University of Texas at San Antonio. She holds Ph.D. and M.M. degrees in music theory from Northwestern University and a B.M. in violin performance from Arizona State University.
In her research, Dr. Davis seeks to make connections between the analysis of musical structure, empirical research in music cognition, studies of expressive performance, and music theory pedagogy. One line of research focuses on the relationship between analysis, perception, and performance in J.S. Bach’s unaccompanied string works. In much of this research, emphasis is placed on analyzing implied polyphony and studying the extent to which it affects both a listener’s perceptual experience and a performer’s expressive choices. Additional research projects are centered on Britten’s unaccompanied cello suites, the relationship between metric ambiguity and performer expressivity, expressive consistency and creativity, aural skills pedagogy, and rhythm/meter pedagogy. Portions of this research have been published in Music Perception, Psychology of Music, Musicae Scientiae, Music Theory Online, BACH: The Journal of the Riemenschneider Bach Institute, Understanding Bach, The Journal of Music Theory Pedagogy, and the Routledge Companion to Music Theory Pedagogy. Dr. Davis has also presented research at various international, national, and regional conferences, including the International Conference on Music Perception and Cognition, the International Conference on Baroque Music, the Society for Music Perception and Cognition, the Society for Music Theory, The College Music Society, the Texas Society for Music Theory, Music Theory Midwest, the Society for Research in the Psychology of Music and Music Education, and the Texas Music Educators Association.
At UTSA, Dr. Davis teaches courses in music theory and music perception/cognition at both the undergraduate and graduate levels. She is a 2019 recipient of the University of Texas System Regents' Outstanding Teaching Award, a member of the UTSA Academy of Distinguished Teaching Scholars, and holds the title of Distinguished Teaching Professor at UTSA.
Teaching
Courses:
- Basic Skills I-IV (MUS 1112, 1132, 2152, 2162)
- Aural Skills I-IV (MUS 1102, 1112, 2102, 2112)
- Fundamentals of Music for the Non-Music Major (MUS 2623)
- Analysis of 20th Century Music (MUS 3133)
- Psychology of Music (MUS 3413)
- Counterpoint (MUS 4133)
- Analysis of Rhythm and Meter (MUS 4163)
- Graduate Music Theory Review (MUS 5003)
- Graduate Music Theory Pedagogy (MUS 5113)
Research Interests
- Music theory
- Music perception and cognition
- Pedagogy
- Expressive performance
Degrees
- Ph.D. in Music Theory, Northwestern University (2001)
- M.M. in Music Theory, Northwestern University (1997)
- B.M. in Violin Performance, Arizona State University (1996)
Presentations
Chenette, T., Davis, S., Brown, J., Duker, P., Stevens, D., and van Handel, L. (November 2023). Rethinking aural skills through backwards design. Workshop presentation, Society for Music Theory, Denver, CO.
Davis, S. (July 2022). The perception and performance of contrapuntal monophony in the fugue from Britten’s second suite for solo cello. Paper presentation, Newcastle Music Analysis Conference, Newcastle, UK.
Davis, S. (August 2019). Expressivity and creativity in expert musical performance: A case study of two elite cellists. Paper presentation, Society for Music Perception and Cognition, New York, NY.
Chandler, A., Huberth, M., Davis, S., Silverstein, S., and Fujioka, T. (August 2019). Violinists employ more expressive gestures around musical resolutions: A motion capture study. Paper presentation, Society for Music Perception and Cognition, New York, NY.
Beavers, J. & Davis, S. (May 2019). AP music theory and college: Coordinating the curriculum across the nation. Paper presentation, Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century, Santa Barbara, CA.
Davis, S. (July 2018). Examining the effects of rhythmic variability and metric structure on tempo agreement in Bach’s solo violin music. Paper presentation, International Conference on Music Perception and Cognition. Montreal, QC.
Huberth, M., Davis, S., & Fujioka, T. (July 2018). Do violinists’ gestures and timing reflect melodic voice continuity? A motion capture study. Paper presentation, International Conference on Music Perception and Cognition. Montreal, QC.
Davis, S (February 2018). Metric malleability and performer expressivity in the first movement of Beethoven’s Piano Sonata Op. 14, No. 2. Paper presentation, Texas Society for Music Theory, Dallas Baptist University, Dallas, TX.
Davis, S. & Beavers, J. (February 2018). AP music theory and college: Coordinating the curriculum. Paper presentation, Texas Music Educators Association, San Antonio, TX.
Davis, S. (July 2016). The analysis and performance of implied polyphony in solo Bach. Paper presentation, International Conference on Baroque Music, Canterbury Christ Church University, Canterbury, UK.
Davis, S. (July 2016). Expressive consistency and creativity: A case study of an elite violinist. Paper presentation, International Conference on Music Perception and Cognition. San Francisco, CA.
Davis, S. (July 2022). The perception and performance of contrapuntal monophony in the fugue from Britten’s second suite for solo cello. Paper presentation, Newcastle Music Analysis Conference, Newcastle, UK.
Davis, S. (August 2019). Expressivity and creativity in expert musical performance: A case study of two elite cellists. Paper presentation, Society for Music Perception and Cognition, New York, NY.
Chandler, A., Huberth, M., Davis, S., Silverstein, S., and Fujioka, T. (August 2019). Violinists employ more expressive gestures around musical resolutions: A motion capture study. Paper presentation, Society for Music Perception and Cognition, New York, NY.
Beavers, J. & Davis, S. (May 2019). AP music theory and college: Coordinating the curriculum across the nation. Paper presentation, Pedagogy into Practice: Teaching Music Theory in the Twenty-First Century, Santa Barbara, CA.
Davis, S. (July 2018). Examining the effects of rhythmic variability and metric structure on tempo agreement in Bach’s solo violin music. Paper presentation, International Conference on Music Perception and Cognition. Montreal, QC.
Huberth, M., Davis, S., & Fujioka, T. (July 2018). Do violinists’ gestures and timing reflect melodic voice continuity? A motion capture study. Paper presentation, International Conference on Music Perception and Cognition. Montreal, QC.
Davis, S (February 2018). Metric malleability and performer expressivity in the first movement of Beethoven’s Piano Sonata Op. 14, No. 2. Paper presentation, Texas Society for Music Theory, Dallas Baptist University, Dallas, TX.
Davis, S. & Beavers, J. (February 2018). AP music theory and college: Coordinating the curriculum. Paper presentation, Texas Music Educators Association, San Antonio, TX.
Davis, S. (July 2016). The analysis and performance of implied polyphony in solo Bach. Paper presentation, International Conference on Baroque Music, Canterbury Christ Church University, Canterbury, UK.
Davis, S. (July 2016). Expressive consistency and creativity: A case study of an elite violinist. Paper presentation, International Conference on Music Perception and Cognition. San Francisco, CA.
Publications
Chander, A., Huberth, M., Davis, S., Silverstein, S., & Fujioka, T. (2022). Violinists employ more expressive gesture and timing around global musical resolutions: A motion capture study. Music Perception, 39, 268-288.
Beavers, J. & Davis, S. (2020). AP music theory and college: Coordinating the curriculum. Journal of Music Theory Pedagogy, 34, 33-71.
Davis, S. (2020). Using tendency tones to teach the morphology and syntax of chromatic harmony. In L. van Handel (Ed.) Routledge Companion to Music Theory Pedagogy (pp. 131-140). New York: Routledge.
Huberth, M., Davis, S., & Fujioka, T. (2019). Expressing melodic grouping discontinuities: Evidence from violinists’ rubato and motion. Musicae Scientiae, 24(4), 494-514.
Davis, S. (2018). Teaching rhythm and meter with the moto perpetuo movements from Bach’s unaccompanied instrumental works. BACH: The Journal of the Riemenschneider Bach Institute, 49, 311-329.
Davis, S. (2017). Creating clarity and contrast: A dialogue with Rachel Podger on the analysis and performance of implied polyphony in Bach’s unaccompanied violin works. Understanding Bach, 12, 59-84.
Davis, S. (2011). Stream segregation and perceived syncopation: Analyzing the rhythmic effects of implied polyphony in Bach’s unaccompanied string works. Music Theory Online, 17(1).
Davis, S. (2010). Error detection in the aural skills class: Research and pedagogy. Journal of Music Theory Pedagogy, 24, 37-6.
Davis, S. (2009). Bring out the counterpoint: Exploring the relationship between implied polyphony and rubato in Bach’s solo violin music. Psychology of Music, 37(3), 301-324.
Davis, S. (2006). Implied polyphony in the solo string works of J.S. Bach: A case for the perceptual relevance of structural expression. Music Perception, 23, 423-446.
