Oral Papers
Refereed
“Ancient Tragedy and Anachronism in Brahms's Gesang der Parzen,” at the Annual Meeting of the American Musicological Society, Indianapolis (November 2010)
“Alban Berg’s ‘Propaganda Pieces’: Questions of Genre and Meaning,” at the Annual Meeting of the American Musicological Society, Quebec City, Canada (November 2007)
“Alban Berg’s ‘Propaganda Pieces’: Questions of Genre and Meaning,” paper for a panel entitled “Music Criticism 1900–1934: Modernism, Politics and the Press,” at the Annual Meeting of the German Studies Association, San Diego (October 2007)
“Music as First and Second Nature: The Vierteljahrsschrift für Musikwissenschaft and Brahms’s ‘Octaves and Fifths,’” at the Annual Meeting of the American Musicological Society, Washington D. C. (October 2005)
“Themes and Sonata Form in Late Brahms and the Question of Nineteenth-Century Individualism,” at the International Conference on Nineteenth-Century Music, Durham University, Great Britain (July 2004)
“The Cult of the Classical Adagio and Brahms’s ‘First Maturity,’” at the Annual Meeting of the American Musicological Society, Kansas City (November 1999)
“Absolute Music as Universal Language in Turn-of-the-Century Vienna,” at the Annual Meeting of the American Musicological Society, Phoenix (October 1997)
“Genre and Style as Ideology in Late Nineteenth-Century Vienna,” at Brahms the Contemporary: Perspectives on Two Centuries, Boston (April 1997)
“Bruckner’s Offenbarungsmusik: The F-Major String Quintet,” at the Annual Meeting of the American Musicological Society, Minneapolis (October 1994)
“Sociopolitical Implications of the Symphony in the Vienna of Bruckner and Brahms,” at the International Conference on Nineteenth-Century Music, University of Surrey (July 1994)
“Sociopolitical Implications of the Symphony in the Vienna of Bruckner and Brahms,” at the Fall Meeting of the New England Chapter of the American Musicological Society, New Haven (September 1993)
“Brahms as Liberal: The Bruckner-Brahms Controversy Reconsidered,” at the Annual Meeting of the American Musicological Society, Pittsburgh (October 1992)
Invited
"Ancient Tragedy and Anachronism: Form as Expression in Brahms's Gesang der Parzen," Freie Universität, Berlin (May 2011)
“Brahms and Questions of Lateness,” at Spätphase(n)?—Johannes Brahms’ Werke der 1880er und 1890er Jahre / Late Phase(s)? —Johannes Brahms’ Works from the 1880’s and 1890’s, International Conference, Meiningen, Germany (September 2008)
“Finding History in Brahms’s Music: Goals, Problems, and Methodology,” keynote address at Symposium: Muziek en (meer?) Geschiedenis / Music and (More?) History, sponsored by the University of Ghent and the Royal Society for Music History (March 2008)
“Berg’s ‘Propaganda Pieces’: Questions of Genre and Meaning,” at Symposium on 20th-Century Modernism in Music, at the University of North Texas (January 2007)
“Brahms and the Problem of Late Style,” at Cross-Currents: Explorations in the History and Theory of Music, at Yale University (December 2005)
“Music as First and Second Nature: The Vierteljahrsschrift für Musikwissenschaft and Brahms’s ‘Octaves and Fifths,’” at the Fall Meeting of the Southwest Chapter of the American Musicological Society, Baylor University (September 2005)
“Themes and Sonata Form in Late Brahms and the Question of Nineteenth-Century Individualism,” at the University of North Texas (April 2003)
“Lyricism in The Rake’s Progress and the Limits of Irony,” at the University of Texas, Austin (March 2002)
“Brahms in the Twilight of Viennese Liberalism,” at A Sense of Place: Seventy Years of Musicological Scholarship at Yale, Yale University (December 2001)
“Volksconcerte and Concepts of Genre in Brahms’s Vienna,” at Brahms: Perspectives on Performance, Boston University (April 2001)
“Stravinsky’s Concerto for Two Solo Pianos and Ideology of the Classical,” at the University of North Texas (March 2000)
“Types of Intertextuality in Brahms’s Chamber Music,” at The Brahms Symposium, University of Kentucky (April 1997)
“Bruckner and His Symphonies in Wagnerian Ideologies of the Late Nineteenth Century,” at Perspectives on Anton Bruckner as Composer, Theorist, Teacher, and Performer, Connecticut College (February 1994)