Leslie David Blasius is professor of music theory. He received his PhD from Princeton University before arriving at UW-Madison in 1996. Much of his published work is in the history of music theory and of musical thinking in general, particularly in so much as it intersects with the history of ideas; this includes two books, Schenker’s Argument and the Claims of Music Theory (Cambridge University Press) and The Music Theory of Godfrey Winham (Princeton University Department of Music/Princeton University Press). His current large project is a study of sonic genres of the last fifteen years that define themselves as standing outside of music–such things as sound art and electronic experimentation–and the ways in which they reenact much of the traditional ideation of the art-music tradition. In addition to teaching in the second-year of the undergraduate Musica Practica sequence, his graduate courses include a two-semester history of theory seminar (working from Aristoxenus to Riemann), Renaissance polyphony, and various seminars and topical courses: over the past several years these have focused on such things as the writings of David Lewin, the limits of theory construction, the music of Stravinsky between Pribaoutki and Oedipus, electronic music, and the aesthetics of the Darmstadt school.