Papers Read at Professional Meetings and Conferences
"Luigi Dallapiccola's Method of Twelve-Tone Composition: Some Observations from the Years 1951-52," Fourth International Conference on Music Theory, Estonian Academy of Music, Tallinn, Estonia, April 4-5, 2003.
"Die Überleitung in der Sonaten(haupt)satzform. Auf den Spuren Martin Heideggers in ersten Satzes der II. Sinfonie von Brahms" Kongress der Gesellschaft für Musiktheorie, Dresden, Germany, October 12, 2001. One of only two American scholars invited for first meeting of this new German-language society.
"A Path that Cannot be Retraced: Final Attainment of Tonic in Instrumental Works by Johannes Brahms" and "The Finale of Brahms's Third Symphony," Third International Conference on Music Theory, Estonian Academy of Music, Tallinn, Estonia, March 8-9, 2001.
"Berg's Wozzeck: A Twentieth-Century Commentary on a Nineteenth-Century Tragedy," for Symposium on Alban Berg's Wozzeck sponsored by the Dallas Opera, held at Southern Methodist University, Dallas, Texas, December 2, 2000.
"Reconciling the Fiery Elements, Part II: Richard Strauss's Symphonia Domestica," International Symposium titled: The Music of Richard Strauss,hosted in the College of Music at the University of North Texas, February 3, 2000.
"Heinrich Schütz's Heu mihi, Domine: Traditional and Progressive Attributes in the F-Repertory," Conference titled; Théorie et Analyse Musicales 1450-1650, Louvain-la-Neuve, Belgium, September 25, 1999.
"Der musicalische Quack-Salber: A Satirical View of Musical Life in in Early Eighteenth-Century Germany." South Central Society for Eighteenth-Century Studies, Edmond, Oklahoma, February 1997.
"The Gender Metaphor in Eighteenth-Century German Music Pedagogy." South Central Society for Eighteenth-Century Studies, New Orleans, Louisiana, February 1996.
"Formbildung in the Castellio Movement of Dallapiccola's Canti di liberazione." The American Musicological Society, New York, New York, November 1995.
"Dallapiccola's Webern Study Project: Sources for Traditional 'Tonal' Procedures in Quaderno musicale di Annalibera," Luigi Dallapiccola (1904-75) Convegno Internazionale di Studi, Florence Italy, February 17, 1995.
"Auserwähltes Volk and Unvorstellbarer Gott: Music and the Word in Schoenberg's Moses und Aron," Southwest Commission on Religious Studies, Section on Arts, Aesthetics, and Religion, Dallas, Texas, March 1994.
"The Sketches for the First Movement of Webern's Concerto, op. 24: An Accounting for Classical Procedures of Pitch Organization and Phrase Structure." The American Musicological Society, Pittsburgh, Pennsylvania, November 1992.
"An Interpretive Reading of Stravinsky's Huxley Variations Based Upon the Composer's Program Notes," Texas Society for Music Theory, University of Houston, Texas, February 1991.
"Tertian Harmonies that were Meant to be Heard in the Twelve-Tone Music of Anton Webern," Texas Society for Music Theory, Huntsville, Texas, February 1989.
"The Musical Circles of Johann David Heinichen and Georg Andreas Sorge: Possible Models for Johann Sebastian Bach's Modulatory Keyboard Fantasy Style," South Central Society for Eighteenth-Century Studies, Denton, Texas, March 1987.
"Toward a 'System of Presentation' for Schoenberg's Music," Aspects of Listening Conference, Temple University, Philadelphia, Pennsylvania, February 1987.
"Eighteenth-Century Views on the Augmented-Sixth Chord: Documentation of a Shift from Contrapuntal to Harmonic Theory," Society for Music Theory, Bloomington, Indiana, November 1986.
"The Logic of Richard Strauss's Tonality in Don Quixote: Schoenberg's Grundgestalt Clarifies, Schenker's Ursatz Obscures," Texas Society for Music Theory, Commerce, Texas, March 1985.
"Pitch Organization and Text Setting as Determinants of Musical Form in Webern's Cantata I, Opus 29," Society for Music Theory, Philadelphia, Pennsylvania, October 1984.
"The Tritone as an Equivalency: A Contextual Perspective for Approaching Schoenberg's Music," Rocky Mountain Chapter of the American Musicological Society, Albuquerque, New Mexico, April 1981.
"Kirnberger, Marpurg, and Mozart; Empiricism or Rationalism?" South Central Society for Eighteenth-Century Studies, Austin, Texas, March 1981.
"Simon Sechter: A Practical Nineteenth-Century Theorist," Rocky Mountain Chapter of the American Musicological Society, Tempe, Arizona, April 1979.
"A Response to Schenker's Analysis of Chopin's Etude, Opus 10, Number 12, Using Schoenberg's Grundgestalt Concept." Society for Music Theory, Minneapolis, Minnesota, October 1978.
"The Grundgestalt Principle in Schoenberg's Variations for Orchestra, Opus 31," Rocky Mountain Chapter of the American Musicological Society, Boulder, Colorado, April 1977.