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Reconceiving Structure in Contemporary Music:New Tools in Music Theory and Analysis. New York:Routledge, 2015.
Postmodern Music/Postmodern Thought, Judy Lochhead and Joseph Auner, eds.
2002. “Analyzing from the Body”, with George Fisher, Theory and Practice, Journal of the Music Theory Society of New York State, 27: 37-68.
2006. “Visualizing the Musical Object”, Expanding (Post) Phenomenology: A Critical Companion to Ihde, ed. Evan Selinger. Albany: SUNY Press: 67-88.
1996. “A Question of Technique: The Second and Third Piano Sonatas of Roger Sessions,” The Journal of Musicology. XIV/4 (Fall):544-578.
1996. “The Expressivity of Timing in Musical Performance,” Time and Life:The Study of Time VIII, ed. J.T. Fraser and Marlene P. Soulsby. (Madison, CT:International Universities Press, Inc.):147-160.
1997. “Lulu’s Feminine Performance” Cambridge Campanion to Berg, ed. Anthony Pople. Cambridge:Cambridge University Press:227-246. [The Cambridge Companion to Berg has been translated into German and published by Laaber-Verlag.]
1992 , “Joan Tower’s ‘Wings’ and ‘Breakfast Rhythms I and II”:Some Thoughts on Form and Repetition,” Perspectives of New Music 30/1:132-157.
1993. “Analysis, Hearing, and Performance” with George Fisher, Indiana Theory Review 14/1:1-36.
1993.”Temporal Processes of Form: Roger Sessions’s Third Piano Sonata, I,” Contemporary Music Review 7/2:163-184.
1994. “On the ‘Framing’ Music of Elliott Carter’s First String Quartet,” Musical Transformation and Musical Intuition: Essays in Honor of David Lewin, eds. Raphael Atlas and Michael Cherlin. Ovenbird Press:Roxbury, Mass. pp. 179-198.
1994. “Performance Practice in the Indeterminate Works of John Cage,” Performance Practice Review 7/2 (Fall 1994):233-241.
1995. “Hearing New Music: Pedagogy from a Phenomenological Perspective,” Philosophy of Music Education Review, 3/1:34-42.
1989/90.”The Metaphor of Musical Motion,” Theory and Practice 14/15:83-104.
Curriculum Vitae, June 2015
Music Scholar and Teacher