a man with a beard smiling into the camera
Office
Mahaney Arts Center
Email
nshea@middlebury.edu
Office Hours
T Th 9:30–10:30a

Nicholas is a music theorist, teacher, and interdisciplinary researcher. 

An award-winning scholar, Nicholas’s research intersects with a range of disciplines — primarily music, data science, and behavioral psychology — to develop practitioner-centered perspectives on musical organization and meaning. His work generally falls along three methodological lines: corpus analyses, or the study of large databases of music; behavioral studies, examining how (and sometimes why) people interact with music the way they do; and traditional music-theoretic analysis, or case studies of individual musical works. Each are central to his formulation of networked music theory — how global communities of musicians understand musical organization through performance practices, embodied cognition, and crowdsourced digital artifacts like guitar tablature.

In the classroom, Nicholas is committed to implementing curricular systems that ensure all students have the opportunity to meet a course’s learning outcomes, even if they have less experience than their peers. He also helps students connect music theory to their lived experiences by framing course topics in terms of music perception and cognition.

The Feel of the Guitar

Areas of Interest

music theory, music cognition, data science, pedagogy

Academic Degrees

Ph.D. The Ohio State University

M.M. University of Massachusetts Amherst

B. Mus. University of Missouri – St. Louis, 
Pierre Laclede Honors College (Summa Cum Laude)

Open-Access Publications

N. Shea, N. Reymore, C. White, B. Duinker, L. VanHandel, M. Zeller, N. Biamonte. 2024. “Diversity in Music Corpus Studies.” Music Theory Online 30.1. [link]

N. Shea. 2023. “‘Guitar Thinking’ and ‘Genre Thinking’ among an Online Community of Guitarists.” IASPM Journal 13, no. 1. [link]

S. Gardner & N. Shea. 2022. “Gestural Perspectives on Popular-music Performance,” Music Theory Online 28.3. [link]

N. Shea. 2022. “The Feel of the Guitar in Popular Music Performance,” SMT-V 8.3. [link]