Publications
Richard Strauss Studies, coedited with Timothy Jackson, forthcoming from Cambridge: Cambridge University Press, with essays by thirteen authors including my contribution titled, "Correspondences and Tensions between the Thematic, the Tonal, and the Grammatical in Richard Strauss's Symphonia Domestica."
"The Classical Italian Vocal Tradition Meets the New Vienna School: Dallapiccola's Liriche greche," forthcoming in Italian Music during the Fascist Period, Cremona, Italy: Fondazione Locatelli.
"Die Überleitung in der Sonaten(haupt)satzform. Auf den Spuren Martin Heideggers im ersten Satz der II. Sinfonie von Brahms," forthcoming in Musiktheorie zwischen Historie und Systematik: Kongreßbericht der Gesellschaft der Musiktheorie, Dresden, Germany.
"The Finale of Brahms's Third Symphony" and "A Path that Cannot be Retraced: Final Attainment of Tonic in Instrumental Works by Johannes Brahms," Proceedings of the Third International Conference on Music Theory, Tallinn, Estonia, 2003, pp. 78-92 and 173-79,.
"Heinrich Schütz's Heu mihi, Domine: Traditional and Progressive Attributes in the F-Mode Repertory," Théorie et analyse musicales 1450-1650 (Proceedings of the International Conference Louvain-la-Neuve, September 23-25, 1999), Louvain-la-Neuve, Belgium: Publications d'histoire de l'art et d'archéologie de l'université catholique de Louvain, 2001, pp. 369-401.
"Bruckner's Free Application of Strict Sechterian Theory with Stimulation from Wagnerian Sources; An Assessment of the First Movement of the Seventh Symphony," in Perspectives on Anton Bruckner, London: Ashgate Press, 2001, pp. 228-58.
Review of Anton Bruckner: Symphony No. 8 by Benjamin M. Korstvedt, Cambridge University Press, in Notes: Quarterly Journal of the Music Library Association (June 2001): 902-3.
Review of A View of Berg's Lulu Through the Autograph Sources by Patricia Hall, University of CaliforniaPress, in The Opera Quarterly 15/2(Spring 1999):297-302.
"Webern studiato da Dallapiccola: fonti per procedimenti tonali nel Quaderno musicale di Annalibera. In Dallapiccola: Letture e prospettive. [The Published Proceedings of Luigi Dallapiccola (1904-1975): Convegno Internazionale di Studi, Florence 1995]. Milan: Ricordi, 1997, pp. 183-202.
Review of Vom Einfall zum Kunstwerk: Der Kompositionsprozeß in der Musik des 20. Jahrhunderts, Laaber: Laaber Verlag, 1993, forthcoming in Notes: Quarterly Journal of the Music Library Association 51/3(March 1995):895-99.
"The 'Nature of Things' and the Evolution of Nineteenth-Century Musical Style: An Essay on Carl Dahlhaus's Studies on the Origin of Harmonic Tonality," Theoria 7(1993):141-63.
"Harmony as a Determinant of Musical Structure in Webern's Variations for Orchestra," Music Theory and Exploration of the Past, Chicago: University of Chicago Press, 1993, pp. 473-504.
Review of Arnold Schoenberg: Notes, Sets, Forms. Silvina Milstein. Music in the Twentieth Century. General Editor: Arnold Whittall. Cambridge: Cambridge University Press, 1992, in Notes: Quarterly Journal of the Music Library Association 50/1(September 1993):153-56.
Review of Schoenberg's Error. William Thomson. Studies in the Criticism and Theory of Music. Philadelphia: University of Pennsylania Press, 1991, in Notes: Quarterly Journal of the Music Library Association 49/2(December 1992):575-76.
"Harmonic Thought in Webern's Sketches," Mitteilungen der Paul Sacher Stiftung 4(January 1991):31-33.
Performing edition of "Kyrie" from Solemn Mass in A by Simon Sechter, Lawson-Gould Music Publishers, Inc., 1987.
"The Logic of Tonality in Strauss's Don Quixote: A Schoenbergian Evaluation," 19th-Century Music 9/3(Spring 1986):189-205.
"The Tritone as an Equivalency: A Contextual Perspective for Approaching Schoenberg's Music," The Journal of Musicology 4/1(Winter 1985-86):51-69.
"Simon Sechter: A Practical Nineteenth-Century Theorist," The Southwest Journal of Music 1/1(Fall 1985):9-37.
"Comprehending Twelve-Tone Music as an Extension of the Primary Musical Language of Tonality," College Music Symposium 24/2(Fall 1984):35-54.
"Tonality in Webern's Cantata I," winner of the Elizabeth Lutyens Essay Prize, Music Analysis 3/2(July 1984):125-58.
"A Response to Schenker's Analysis of Chopin's Etude, Opus 10, Number 12, Using Schoenberg's Grundgestalt Concept," The Musical Quarterly 69/4(Fall 1983):543-69.
Review of "Sechter, Simon" from The New Grove Dictionary of Music and Musicians. 19th-Century Music 5/2(Fall 1981):167-68.
"Moses und Aron: The Musical and Dramatic Image." The Opera Journal 9(Fall 1976):27-34.