Zachary Wallmark is a musicologist with an interest in popular music, timbre, and music cognition. He received his Ph.D. from UCLA in 2014. Prior to his appointment at UO, Wallmark served on the faculty at Southern Methodist University, where he held an appointment in music and a courtesy appointment in psychology. He has taught undergraduate and graduate courses on American popular music history and analysis, music and emotion, film music, spirituality and music in post-war America, and opera history, among other topics.
Working at the intersection of the cognitive sciences and musicology, Wallmark’s research seeks to account for the role of musical timbre (or “tone”) in emotional response, aesthetic judgment, and music sociology, particularly in the context of post-1945 American popular music. His work has been published in both musicological and scientific journals, including Ethnomusicology Review, Music Perception, Psychology of Music, Frontiers in Behavioral Neuroscience, The Dutch Journal of Music Theory, Music & Science, Psychomusicology, and Journal of the American Musicological Society. His co-edited volume (with Robert Fink and Melinda Latour), The Relentless Pursuit of Tone: Timbre in Popular Music, was published in 2018 (Oxford University Press). He is currently working on a monograph exploring the slippery psychoacoustic and social fault lines separating musical timbre from “noise,” with case studies drawn from free jazz, extreme heavy metal, and traditional Japanese music. Wallmark has also published articles on the neuroscience of musical empathy, cognitive linguistics of timbre, and improvisatory techniques of jazz pianist Andrew Hill.
Wallmark’s research has been profiled in the national news media, including Newsweek, Psychology Today, Medical News Today, Science Daily, and NPR. He is active in the Analysis, Creation, and Teaching of Orchestration (ACTOR) group, an international research partnership funded by the Canadian Social Sciences and Humanities Research Council. Wallmark has presented at a number of international conferences including the AMS, ICMPC, SMT, SMPC, and SEM. He was also an invited public lecturer at the National Academy of Sciences in Washington, D.C. and the Soluna International Arts Festival. In addition to his academic work, Wallmark is a published composer, bassist, and performer of the Japanese shakuhachi flute.
Fink, R., Latour, M., & Wallmark, Z., (Eds.) (2018). The relentless pursuit of tone: Timbre in popular music. New York: Oxford University Press.
Selected Articles & Book Chapters
Wallmark, Z., Frank, R. J., & Nghiem, L. (in press). Creating novel tones from adjectives: An exploratory study using FM synthesis. Psychomusicology: Music, Mind, and Brain. DOI: http://dx.doi.org/10.1037/pmu0000240
Wallmark, Z. (2019). A corpus analysis of timbre semantics in orchestration treatises. Psychology of Music, 47(4), 585–605. DOI: https://doi.org/10.1177/0305735618768102
Wallmark, Z. (2019). Semantic crosstalk in timbre perception. Music & Science, 2, 1–18. DOI: https://doi.org/10.1177/2059204319846617
Wallmark, Z., & Kendall, R. A. (2018). Describing sound: The cognitive linguistics of timbre. In A. Rehding & E. I. Dolan (Eds.), The Oxford handbook of timbre. New York: Oxford University Press. DOI: 10.1093/oxfordhb/9780190637224.013.14
Fink, R., Wallmark, Z., & Latour, M. (2018). Chasing the dragon: In search of tone in popular music. In R. Fink, M. Latour, & Z. Wallmark (Eds.), The relentless pursuit of tone. New York: Oxford University Press.
Wallmark, Z. (2018). The sound of evil: Timbre, body, and sacred violence in death metal. In R. Fink, M. Latour, & Z. Wallmark (Eds.), The relentless pursuit of tone. New York: Oxford University Press.
Wallmark, Z., Deblieck, C., & Iacoboni, M. (2018). Neurophysiological effects of trait empathy in music listening. Frontiers in Behavioral Neuroscience, 12(66). DOI: https://doi.org/10.3389/fnbeh.2018.00066
Wallmark, Z., Iacoboni, M., Deblieck, C., & Kendall, R. A. (2018). Embodied listening and timbre: Perceptual, acoustical, and neural correlates. Music Perception, 35(3), 332–363. DOI: https://doi.org/10.1525/mp.2018.35.3.332
Wallmark, Z. (2016). Theorizing the saxophonic scream in free jazz improvisation. In G. Siddall & E. Waterman (Eds.), Negotiated Moments: Improvisation, Sound, and Subjectivity, 233–244. Durham, N.C.: Duke University Press.
Wallmark, Z. (2013). Noise, music, and power in the industrial city, 1890–1930. Music Research Forum, 28, 55–88.
Wallmark, Z. (2012). Sacred abjection in Zen shakuhachi. Ethnomusicology Review, 17. https://ethnomusicologyreview.ucla.edu/journal/volume/17/piece/585
Wallmark, Z. (2008). An alternative temporal approach to jazz improvisation in the music of Andrew Hill. Tijdschrift voor Musiektheorie [The Dutch Journal of Music Theory], 13(1), 69–75.