Bio


Special Fields: Music since World War II; American Popular Music; Film and Media Theory; Comparative and Counter-Modernities; Music and Poetry. Current research concerns the ways that modern artistic genres condition, depict, embody and help to transform the activity of thinking.

Articles and book-chapters published and forthcoming on Schoenberg, John Cage and Elliott Carter, soul, funk and disco, urban cinema, and such philosophical subjects as composers’ intentions, the role of accidents in theory, Theodor Adorno’s aesthetics, and the relevance of African American music to current debates about the "post-secular". Completing two books, Live Genres in Late Modernity and Different Methods, Different Signs: Crediting Thinking in Soul and Dance Music.

Doctoral Fellowship at the UC-Humanities Research Institute; Society for the Humanities Fellowship at Cornell University.

Taught music, film and cultural theory at Wayne State University. Undergraduate courses include World Music and Globalized Culture (Stanford), The Soul Tradition (Stanford), History of Music: 1800 to the Present (Wayne State), Music and Representation (Wayne State), Ethics and Communication (Wayne State). Graduate courses include Genres and Politics in the Late-Modern Work (Stanford), Analyzing Modern Song (Wayne State), Music and Urban Film (Wayne State), Sensing Thinking (Cornell).

Academic Appointments


  • Assistant Professor, Music

Administrative Appointments


  • Visiting Artist and Instructor, University of Northern Iowa (1999 - 2003)
  • Instructor, Wayne State University (2003 - 2007)
  • Acting Assistant Professor, Stanford University (2008 - 2012)

Honors & Awards


  • Fellow, Mannes Institue on Musical Aesthetics, Mannes Institute for Advanced Studies in Music Theory, University of Chicago (2010)
  • Society for the Humanities Fellow, Cornell University (2007 - 2008)

Boards, Advisory Committees, Professional Organizations


  • Member, Editorial Board, Criticism
  • Peer-Reviewer, Oxford University Press
  • Peer-Reviewer, Cambridge University Press
  • Peer-Reviewer, Fordham University Press, Norton
  • Peer-Reviewer, Pearson
  • Peer-Reviewer, Journal of the American Musicological Society
  • Peer-Reviewer, Screen
  • Peer-Reviewer, Popular Music
  • Peer-Reviewer, The Journal of Popular Music Studies
  • Peer-Reviewer, Twentieth Century Music
  • Peer-Reviewer, Criticism
  • Member, Stanford Dissertation Fellowship Competition Committee (2012 - 2013)

Program Affiliations


  • Modern Thought and Literature

Professional Education


  • Ph.D., University of California at San Diego, Music (2003)
  • B.A., Yale University, Music (1988)

2019-20 Courses


Stanford Advisees


  • Doctoral Dissertation Reader (AC)
    Kelly Christensen, Ioanida Costache, Tysen Dauer, Jonathan Leal, Maxwell Suechting
  • Orals Evaluator
    Joe Cadagin
  • Doctoral (Program)
    Joe Cadagin, Gabriel Ellis

All Publications


  • Multitemporality and the speed(s) of thought in Johnnie To's action films JOURNAL OF CHINESE CINEMAS Kronengold, C. 2013; 7 (3): 277-295
  • Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films The Oxford Handbook of New Audiovisual Aesthetics Kronengold, C. edited by Gorbman, C., Richardson, J., Vernallis, C. New York: Oxford University Press. 2013
  • EXCHANGE THEORIES IN DISCO, NEW WAVE, AND ALBUM-ORIENTED ROCK CRITICISM-A QUARTERLY FOR LITERATURE AND THE ARTS Kronengold, C. 2008; 50 (1): 43-82
  • Accidents, Hooks and Theory Popular Music Kronengold, C. 2005; 24 (3): 181 - 197
  • Musical Constructions of Public and Private Space: The 'Tender Force' of Soft Soul Open Space Kronengold, C. 2000; 2: 119 - 124
  • Identity, Value, and the Work of Genre: Black Action Films The Seventies: The Age of Glitter in Popular Culture Kronengold, C. edited by Waldrep, S. New York and London: Routledge. 2000: 79–124