Jeremy W. Smith is an assistant professor of music theory at The Ohio State University. His research is primarily on the theory and analysis of electronic dance music (EDM). The focus of much of this research is “continuous processes,” which are musical gestures or effects with continuous changes to parameters (such as pitch or volume), rather than discrete (step-by-step) changes. Common types of continuous processes are glissandi, accelerations, and filter sweeps. Smith’s research explains various roles of continuous processes and how EDM creators use them to communicate with listeners. For example, DJs can use continuous processes in specific ways to provide sonic instructions to audiences, create experiences of tension and release, or indicate belonging within a specific subgenre. 

A secondary research area of Smith’s is the analysis of video game music, particularly using semiotic and hermeneutic approaches. Smith has published articles in several academic journals (see below) and presented at many conferences, including annual meetings of the Society for Music Theory and the North American Conference on Video Game Music. He teaches core undergraduate music theory, and other courses including “Analysis of Popular Music” and “Analysis of Video Game Music.” He is also a low-brass performer who has played euphonium and trombone with local ensembles.

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Publications

“Squelches, Wobbles and Risers: Continuous Processes and Subgenres in Electronic Dance Music.” Dancecult: Journal of Electronic Dance Music Culture 16, no. 1 (November 2024): 98–124. 

“Breakdowns and the Aesthetic of Disorientation in Festival-House Music.” Twentieth-Century Music 21, no. 3 (October 2024): 421–47.

“The Functions of Continuous Processes in Contemporary Electronic Dance Music.” Music Theory Online 27, no. 2 (June 2021).

“Deadmau5’s Relationships with Authenticity and Fame.” In The Evolution of Electronic Dance Music, edited by Ewa Mazierska, Les Gillon and Tony Rigg. London, UK: Bloomsbury Academic (May 2021): 145–63.

“‘Wear People’s Faces’: Semiotic Awareness in Fan Adaptations of the Music from The Legend of Zelda: Majora’s Mask.” Journal of Sound and Music in Games 1, no. 4 (September 2020): 45–75.