Jairo Moreno’s work in music theory addresses the production of knowledge of music and the sonic in modernity from a historic-speculative perspective. He has written a major study of the history of listening in early modern and modern music theory and analysis, Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber (Indiana University Press, 2004). He also writes at the intersection of aurality, the politics of aesthesis, and Latin-American popular music in the U.S during the long 20th century. His current project is entitled Syncopated Modernities: Musical Latin Americanisms in the U.S., 1978-2008, an archival, critical, and ethnographic study of music’s precarious share in political practices during late capitalism. Awards include the Society for American Music 2005 Irving Lowens Article Award for Best Article (“Bauzá-Gillespie-Latin Jazz”), Whiting Fellowship in the Humanities (Yale), ACLS Fellowship (2009-2010), and National Humanities Center Fellowship (2012-2013). He received the David and Janet Brooks Distinguished Teaching Award (Duke) and the Golden Dozen Teaching Award (NYU). A former professional musician, he was bassist in five Grammy Award nominated recordings with the late Latin and Jazz percussionist Ray Barretto (Blue Note, EMI-France, Concord, Fania labels – 1989-1997), appeared in numerous other recordings, and performed chamber music with guitarist David Starobin and the Ciompi String Quartet.
Musical Representations, Subjects, and Objects: the Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber (Indiana University Press, 2004).
“Imperial Auralities: The U.S. and the Conscription of Listening.” In Audible Empire, eds. Ronald Radano and Tejumola Olaniyan. (Duke University Press, forthcoming 2013).
“Past Identity: Guillermo Klein, Miguel Zenón and the Future Jazz.” In Music and Youth Identifications in Latin America, ed. Pablo Vila (Oxford University Press, forthcoming, 2013).
"La letra errante (à propos de Rubén Blades—o Brecht en el trópico)." In Música y Literatura, ed. Gabriela Tineo (Callejón, Puerto Rico, forthcoming 2013).
“Rancière’s Equal Music,” co-authored with Gavin Steingo. Contemporary Music Review, ed. Martin Scherzinger (forthcoming, 2012)
“On the Ethics of the Unspeakable.” In Speaking of Music, eds. Keith Chapin and Andrew H. Clark, Fordham University Press (in press, 2012).
“Corpus delicti. ‘Pedro Navaja’ como palabra y escucha.”In Relaciones caribeñas. Entrelazamientos de dos siglos. Relations caribeénnes. Enchevêtrements de deux siècles. Frankfurt u.a.: Peter Lang Verlang (2011): 195-212.
“On Diversity,” co-authored with Amy Cimini. GAMUT, 2/1 (2009): 111-196.
“Bauzá–Gillespie–Latin/Jazz: Difference, Modernity, and the Black Caribbean.” The South Atlantic Quarterly 103:1 (2004): 81-99 (ed. Frank Lentricchia). Winner of the Irving Lowens Award for Best Article, Society for American Music (2005). Reprinted in The Afro-Latin@ Reader: History and Culture in the United States, eds. Miriam Jiménez Roman and Juan Flores (Duke University Press, 2010); Spanish trans. as “Bauzá-Gillespie-música latina/Jazz: diferencia, modernidad y el Caribe Negro.” A contratiempo: revista de música en la cultura (16), 2011, trans. Mónica Cuellar Gempeler. At, http://acontratiempo.bibliotecanacional.gov.co/?ediciones/revista-16.html