MIT’s Leslie Tilley Redefines Music Theory and Collective Improvisation

Leslie Tilley, an associate professor at MIT, is reshaping the landscape of music theory and collective improvisation through her innovative research and teaching. Tilley, who spent years immersed in the music of Bali, Indonesia, is currently developing a new curriculum aimed at broadening the scope of music theory education. This initiative is backed by a multi-year grant from the Mellon Foundation, amounting to $500,000.

Tilley’s journey into music began in her hometown of Halifax, Nova Scotia, where she was raised in a musical family. Although her parents did not encourage a career in music, Tilley discovered her passion for the art form in high school, leading her to earn a bachelor’s degree in music from Acadia University. She later pursued graduate studies at the University of British Columbia, where her interest in Balinese music developed.

The unique rhythms and improvisational techniques of Balinese music captivated Tilley, culminating in her acclaimed 2019 book, “Making It Up Together: The Art of Collective Improvisation in Balinese Music and Beyond,” published by the University of Chicago Press. This work won the 2022 Emerging Scholar Award from the Society for Music Theory and proposes a universal framework for understanding collective improvisation across various musical cultures.

Innovating Music Theory Education

Tilley’s current project focuses on creating a reimagined music theory curriculum intended to serve as an alternative to traditional materials that often emphasize Western classical music. She aims to produce an open-access curriculum that spans a broader range of musical styles and practices. This includes an accompanying audio-visual textbook, expected to be completed by 2028.

The upcoming conference, organized by Tilley and supported by the Mellon Foundation, will gather scholars from diverse backgrounds to discuss the evolution of music theory education in the 21st century. Tilley emphasizes the need to rethink what music theory encompasses, moving beyond the conventional canon, which has historically centered on composers like Bach and Beethoven.

“Music theory is often limited to a narrow range of musical structures,” Tilley points out. “If we were not bound by these assumptions, what skills would we want our students to acquire over four semesters of music theory?”

Exploring Cultural Dynamics in Music

In addition to her curriculum development, Tilley is working on a new book that examines the phenomenon of cover songs in modern pop music. Drawing parallels between her research on Balinese improvisation and contemporary pop music, Tilley explores how artists reinterpret existing songs, taking into account elements such as vocal quality, arrangement, and the performer’s brand.

This project highlights the intricate relationship between music creation and listener reception. Tilley notes that the social and political contexts surrounding a song, as well as the listener’s personal connections, play significant roles in how cover songs are perceived.

“Cover songs are a musical transformation that reflects the broader context in which they exist,” Tilley explains. “Understanding how musicians create something new from existing knowledge provides valuable insights into the human experience of music.”

As Tilley continues to push the boundaries of music scholarship, she remains committed to fostering connections between theory, practice, and cultural understanding. Her work serves as a testament to the evolving nature of music education and the importance of diverse musical traditions in shaping contemporary understanding.

Through her innovative research and teaching methods, Tilley exemplifies the “delicious joy” of collective improvisation, forging new paths in music theory and enriching the field of ethnomusicology.