2006
"New Drummer Ringo Starr." (WE) In Read the Beatles: Classic and New Writings on the Beatles, Their Legacy, and Why They Still Matter, ed. June Skinner Sawyer and Astrid Kirchherr. Penguin Books, 2006, pp. 292-95.
"Painting Their Room in a Colorful Way: The Beatles' Exploration of Timbre" (WE). In Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four. Ed. Kenneth Womack and Todd Davis. State University of New York Press, pp. 71-94.
“Analysis as Interpretation: Interaction, Intentionality, Invention”, (MG) Music Theory Spectrum, 28/2 (Fall 2006): 191-209.
Review essay on Queer Episodes in Music and Modern Identity, edited by Sophie Fuller and Lloyd Whitesell. Women and Music: A Journal of Gender and Culture 10 (2006): 80–88. (NH)
2005
"Cultural Capital as a Determinant of Trends in Music Research" (KF) Culture and Power: Culture and Society in the Age of Globalisation 10: 191-202.
Foreword to The Encyclopedia of American Music, Classical volume. (NH; also member of encyclopedia editorial board) (Facts on File).
"Generalized Contextual Groups" (RS co-authored with Thomas Fiore). Music Theory Online, 11/3.
"Deep-Level Portrayals of Directed and Misdirected Motions in Nineteenth-Century Lyric Song." (WE) Journal of
Music Theory 48/1 (Spring 2005), pp. 25-68.
Back toTop
2004
The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity (NH) (University of California).
"An Informal Introduction to Lewin's Transformational Theory" (RS). Journal of Music Theory 48/1: 1-43.
"Analyzing the Unity Within Contrasts: Chick Corea's 'Starlight'" (RS). In Engaging Music: Essays in Music Analysis, ed. Deborah Stein (Oxford), 50-64.
"Dramatic Progression in Haydn, Sonata #46 in Ab, Adagio" (MG). In Engaging Music: Essays in Musical Analysis, ed. Deborah Stein (Oxford), 180-190.
"'Learn to Draw Bob Hope!' Mort Drucker, Arnold Schoenberg and Twelve-Tone Music" (AM). In Engaging Music: Essays in Musical Analysis, ed. Deborah Stein (Oxford), 36-49.
"Making Sense of Rock's Tonal Systems" (WE). Music Theory Online 10/4.
"'One Man's Signal is Another Man's Noise': Personal Encounters with Aggregate Music" (AM). In The Pleasure of Modernist Music, ed. Arved Ashby (University of Rochester), 259-276.
"A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan" (WE). Music Theory Spectrum 26/2, 201-35.
"Thomson, Virgil." (NH). In Encyclopedia of Lesbian, Gay, Bisexual, and Transgender History in America, ed. Marc Stein (Scribner).
Back toTop
2003
Decentering Music: A Critique of Contemporary Musical Research (KK) (Oxford).
The Writings of Milton Babbitt (ed. Stephen Peles, with Stephen Demski, AM, and Joseph Straus) (Princeton).
"Brahms, Adolf Jensen, and the Multi-Movement Work" (WP). Music Analysis 22/1-2: 105-37.
Back toTop
2002
"Detroit and Memphis: The Soul of Revolver" (WE). In "Every Sound There Is": The Beatles' Revolver and the Transformation of Rock and Roll, ed. Derek Scott and Russ Reising (Ashgate), 25-57.
"Relational Systems in the Study of Networks and Generalized Intervals" (RS). Indiana Theory Review 23/1-2: 133-152.
Review of The Essays of Elliott Carter, ed. Jonathan Bernard (AM). Theory and Practice 27: 99-114.
"Sistemi tonali nelle Musiche Pop/Rock: Un'Introduzione" (WE), trans. R. Agostini, L. Marconi, and S. Mengozzi. Rivista di Analisi e Teoria Musicale, 79-114.
Back toTop
2001
The Beatles as Musicians, The Quarry Men through Rubber Soul (WE) (Oxford).
"The Future of Beatles Research" (WE). Beatlestudies 3, 25-44.
Review of Richard Middleton's Reading Pop (WE), Music Theory Online 7/6.
"A True Story: The Expression of Troubling Societal Values in the Music of Postmodern Rock" (WE). Genre 34, 205-218.
"The Sweet Spot: What Composing Has Taught Me about Teaching Music Theory" (AM). Integral 14/15: 48-56.
"Towards an Epistemological Model for Music Theory" (KF) Journal of Musicological Research 20/4: 391-411.
Back toTop
2000
Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays (WE, editor) (Garland).
American Rock and the Classical Music Tradition, special issue of Contemporary Music Review, ed. John Covach and WE. (Harwood).
"Confessions from Blueberry Hell, or, Pitch Can Be a Sticky Substance" (WE). In Expression in Pop-Rock Music: A Collection of Criticial and Analytical Essays, ed. Walter Everett (Garland), 269-345.
"A French Connection: Modernist Codes in the Musical Closet" (NH). GLQ: A Journal of Lesbian and Gay Studies, 6/3: 389-412.
"The Imagination of Pop-Rock Criticism" (NH). In Expression in Pop-Rock Music: A Collection of Criticial and Analytical Essays, ed. Walter Everett (Garland), 3-29.
"The Learned vs. the Vernacular in the Songs of Billy Joel" (WE). In American Rock and the Classical Music Tradition, special issue of Contemporary Music Review devoted to the relations between Concert and Popular Musics, ed. John Covach and WE (Harwood), 105-29.
Review article on Scars of Sweet Paradise: The Life and Times of Janis Joplin, by Alice Echols (NH). Women and Music: A Journal of Gender and Culture 4: 71-75.
Review article on "You Better Work!" Underground Dance Music in New York City, by Kai Fikentscher (NH). Indiana Theory Review 21: 187-95.
Traditions, Institutions and American Popular Music, special issue of Contemporary Music Review, ed. John Covach and WE (Harwood).
Back toTop
1999
The Beatles as Musicians, Revolver through the Anthology (WE) (Oxford).
"Bodily Hearing: Physiological Metaphors and Musical Understanding" (AM). Journal of Music Theory 43/1: 1-20.
"C. P. E. Bach and the Fine Art of Transposition" (WP). In Schenker Studies 2, ed. Carl Schachter and Hedi Siegel (Cambridge), 49-66.
"Beyond Privileged Contexts: Intertextuality, Influence, and Dialogue" (KK). In Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford), 55-72.
"Chopin and the Ghost of Beethoven" (WP). 19th-Century Music 22/3: 281-99.
"'High Time' and Ambiguous Harmonic Function" (WE). In Perspectives on the Grateful Dead, ed. Rob Weiner (Greenwood), 119-125.
Introductory historical-analytical essays for Jazz at Lincoln Center/Smithsonian Institution Essential Jazz Editions, under general editorship of Wynton Marsalis, of performances of "Black Bottom Stomp," "The Chant," and "Grandpa's Spells" by Jelly Roll Morton's Red Hot Peppers, and "Potato Head Blues" by Louis Armstrong's Hot Seven (JD).
"Koch, Schenker, and the Development Section of Sonata Forms by C. P. E. Bach" (WP). Music Theory Spectrum 21/2: 151-73.
"Milton Babbitt at Eighty" (AM). In Perspectives on American Music Since 1950, ed. James Heintze (Garland), 381-428.
Back toTop
1998
"Analytical Fictions" (MG). In Music/Ideology: Resisting the Aesthetic, ed. Adam Krims and Henry Klumpenhouwer (Gordon & Breach), 157-177.
"Opera and Classical Music" (NH). In The St. James Press Gay and Lesbian Almanac, ed. Neil Schlager (St. James Press), 432-34.
"Shedding Scales: Understanding Intervals in Different Musical Contexts" (AM). Theory and Practice 22-23: 73-94.
Back toTop
1997
"Composing with Modules: Intersections of Musical Parlance in works of Johann Christian Bach and W. A. Mozart" (ED). Mozart-Jahrbuch.
"Conceptualizing Expressive Chromaticism in Liszt's Music" (RS). Music Analysis 16/2: 219-52.
"Liszt's Open Structures and the Romantic Fragment" (RS). Music Theory Spectrum 19/1: 184-205.
"Rigors of Subjectivity" (MG). Perspectives of New Music 35/2: 53-64.
"Swallowed by a Song: Paul Simon's Crisis of Chromaticism" (WE). In Understanding Rock, ed. John Covach and Graeme Boone (Oxford), 113-153.
"Two Types of Metaphoric Transference" (MG). In Music and Meaning, ed. Jenefer Robinson (Cornell), 201-212.
Back toTop
1996
"Directional Tonality and Intertextuality" (KK). In The Second Practice of Nineteenth-Century Tonality, ed. William Kinderman and Harald Krebs (Nebraska), 45-83.
"Music Loving, Or the Relationship with the Piece" (MG). Music Theory Online 2.2; reprinted in Journal of Musicology 15/3 (1997): 343-52.
"Music of the 'Fourth Gender': Morrissey and the Sexual Politics of Melodic Contour" (NH). In Bodies of Writing, Bodies in Performance, ed. Thomas Foster, Carol Siegel, and Ellen E. Berry. Genders 23 (New York University), 266-96.
"Some Thoughts on the Design of Mozart's Opus 4 (the 'Subscription Concertos,' K. 413-415" (ED). In Mozart's Piano Concertos: Text, Context, Interpretation (Michigan).
Review of Jelly Roll, Bix and Hoagy: Gennett Studios and the Birth of Recorded Jazz, by Richard Kennedy (JD). American Music 14/2: 225-228.
Back toTop
1995
"The Beatles as Composers: The Genesis of Abbey Road, Side Two" (WE). In Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann (Rochester), 172-228.
"Twelve-Tone Composition and the Music of Elliott Carter" (AM). In Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann (Rochester), 67-102.
Review of "My Ends are My Beginnings" and "Soli e Duettini by Milton Babbitt" (AM). MLA Notes.
Back toTop
1994
An Introduction to the Music of Milton Babbitt (AM) (Princeton).
"Analytical Fictions" (MG). Music Theory Spectrum 16/2: 217-30. Reprinted in Music/Ideology: Resisting the Aesthetic, ed. Adam Krims (Gordon & Breach, 1998).
"Brahms Research and Aesthetic Ideology" (KK). Music Analysis 12/1: 89-103.
"Cyclic Organization in Haydn's E-flat Sonata Hob. XVI:38" (WP). Theory and Practice 19: 31-55.
"The 14th Annual New Music and Art Festival at BGSU: New Music on Its Own Terms" (NH). Perspectives of New Music 32/2: 304-15.
Liner notes for Music for Brass & Organ (sound recording) (NH). The Galliard Brass Ensemble and Marilyn Mason, organ. Musical Heritage Society 513534T.
"Rehabilitating the Incorrigible" (MG). In Theory, Analysis and Meaning in Music, ed. Anthony Pople (Cambridge), 57-73.
"The Role of Octave Equivalence in Elliott Carter's Recent Music" (AM). Sonus 14/2: 13-37.
"Webern, Tradition, and 'Composing with Twelve Tones'" (AM). Music Theory Spectrum 15/2: 173-204.
"A Woman's (Theoretical) Work" (MG). Perspectives of New Music 32/1: 28-43.
Review of Beethoven's Ninth Symphony, by Heinrich Schenker (KK). MLA Notes: 1426-28.
Review of Wordless Rhetoric: Musical Form and the Metaphor of the Oration, by Mark Evan Bonds (KK). Music Theory Spectrum 16/1: 124-33.
"An Update on the Current State of Schenkerian Research: Volumes Edited by Hedi Siegel and Allen Cadwallader" (WE). Theory and Practice 19: 121-52.
Back toTop
1993
"The Endless Round" (rejoinder to J. Bernard, "Cracked Octaves, Warped Perspectives," PNM 30/2) (MG). Perspectives of New Music 31/1: 306-14.
"'The Key to the Treasure'" (AM). Theory and Practice 18: 29-56.
"Mozart's Sonata for Two Pianos as Exemplification of Compositional Precepts set forth by Mattheson and Kirnberger" (ED). In Kongreßbericht of the International Mozart Congress, Baden bei Wien (1991) (Tutzing, 1993).
"Schenker's Organicism Reexamined" (KK). Intégral 7: 82-118.
"J. W. N. Sullivan and the Heiliger Dankgesang: Questions of Meaning in Late Beethoven" (KK). Beethoven Forum 2, ed. Christopher Reynolds (Nebraska), 133-74.
"Taking Notice: A Response to Kendall Walton" (MG). Journal of Musicology 11/1: 45-51.
Review of A Guide to Schenkerian Analysis, by David Neumeyer and Susan Tepping (NH). Intégral 7: 179-94.
Review of Style and Music: Theory, History, and Ideology, by Leonard B. Meyer (KK). Journal of the American Musicological Society 46/3: 469-75.
Back toTop
1992
"Minimalism and Macroform" (NH). Contemporary Music Forum: Proceedings of the Bowling Green State University New Music & Art Festival 10: 15-22.
"Varèse Bound" (MG). Perspectives of New Music 30/2: 244-73.
"Voice Leading and Harmony as Expressive Devices in the Early Music of the Beatles: 'She Loves You'" (WE). College Music Symposium 32: 19-37.
Review Article: The Twelve-Note Music of Anton Webern by Kathryn Bailey (AM). Intégral 6: 107-135.
Back toTop
1991
"Mozart's Transfer of the Operatic fermata sospesa to his Piano-Concerto First Movements" (ED). Mozart-Jahrbuch 1991: 155-63.
"Schenker's Organicism" (NH). Theory and Practice 16: 143-62.
"Text-Painting in Mozart's Three Lieder (KV 596-598) of 14 January 1791" (WE). Mozart-Jahrbuch 1991: 201-05.
"Towards a New Poetics of Musical Influence" (KK). Music Analysis 10/1-2: 3-72.
"Two Types of Metaphoric Transfer" (MG). In Metaphor–A Musical Dimension, ed. Jamie C. Kassler; Australian Studies in History, Philosophy & Social Studies in Music, vol. 1 (Paddington, NSW, Australia: The Currency Press), 1-12; reprinted by Gordon & Breach, 1994; republished as "Two Types of Metaphoric Transference" in Music and Meaning, ed. Jenefer Robinson (Cornell, 1997).
"Voice Leading, Register and Self-Discipline in Die Zauberflöte" (WE). Theory and Practice 16: 103-26.
Review Article: Composition with Pitch Classes: A Theory of Compositional Design by Robert Morris (AM). Perspectives of New Music 29/1: 264-311.
Reviews of two recent editions of Handel's Op. 7 Organ Concertos (ED). MLA Notes (Mar.).
Back toTop
1990
"Grief in Winterreise: A Schenkerian Perspective" (WE). Music Analysis 9/2: 157-75.
"Twelve-Tone Organizational Strategies: An Analytical Sampler" (AM). Intégral 3: 93-169.
Review of Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, ed. Eugene Narmour and Ruth Solie (KK). The Musical Times (March): 148-49.
Review of Music: A View from Delft, by Edward T. Cone (KK). The Musical Times (Jan.): 36.
Back toTop
1989
"Beethoven as Dramatist" (MG). College Music Symposium 29: 8-18.
"Handel's Use of Scarlatti's 'Essercizi per Gravicembalo' in his Opus 6" (ED). In Göttinger Händel-Beiträge III (Bärenreiter).
"A Survey of Atonal and Twelve-Tone Theoretical Writings" (AM). Music Theory Spectrum 11/1: 40-47.
"Tovey's Analyses Reconsidered" (KK). The Musical Times (Aug.): 472-74.
Review of Archduke Rudolph: Beethoven's Patron, Pupil, and Friend, by Susan Kagan (KK). The Musical Times (Nov.): 681-82.
Review of Beethoven Essays, by Maynard Solomon (KK). The Musical Times (July): 407-09.
Back toTop
1988
"Bach's Six Organ Sonatas and Their Corelli Data-Base" (ED). The Diapason (Jan. - Feb.).
Biographical-critical articles on Elmer Schoebel and Sippie Wallace (JD). In The Jazz Grove, ed. Barry Kernfeld (Macmillan).
"Brahms' Op. 38: Ein Beitrag zur Kunst der Komposition mit Entlehnten Stoffen" (ED). In Brahms-Kongress Wien 1983 (Tutzingg: Hans Schneider).
"Schenker and Kantian Epistemology" (KK). Theoria 3: 1-58.
"Some Implications of the Pitch-Class/Order Number Isomorphism Inherent in the Twelve-Tone System, Part 1" (AM). Perspectives of New Music 26/2: 96-163.
"Translation of 'Haydn: Sonata in E-flat major [Hob. XVI:52]' by Heinrich Schenker (from Der Tonwille 3)" (WP). Theoria 3: 105-60.
Review of Words About Music by Milton Babbitt (AM). Journal of Music Theory 32/2: 366-78.
Back toTop
1987
"About About Time's Time: A Survey of Milton Babbitt's Recent Rhythmic Practice" (AM). Perspectives of New Music 25: 182-235.
"Bach's Sonata in G, BWV 530/i, and its Vivaldi Data-Base" (ED). The Diapason (Sept.).
"Is There a Feminist Music Theory?" (NH). Co-written with Robert Snarrenberg and Mauro Botelho. In Theory Only 9/8: 3-4.
"Text-Painting in the Foreground and Middleground of Paul McCartney's Beatle Song, 'She's Leaving Home': A Musical Study of Psychological Conflict" (WE). In Theory Only 9/7: 5-21.
"Thematic Material by Kuhnau in Handel's Resurrezione and Opus 1" (ED). In Bericht über die internationale wissenschaftliche Konferenz 'Georg Friedrich Händel,' 1985 (Leipzig: Deutscher Verlag für Musik).
"'Tonal' Forms in Arnold Schoenberg's Twelve-Tone Music" (AM). Music Theory Spectrum 9: 67-92.
Back toTop
1986
"Fantastic Remembrance in John Lennon's 'Strawberry Fields Forever' and 'Julia'" (WE). The Musical Quarterly 72/3: 360-93.
"A Foretaste of the Borrowings from Haydn in Beethoven's Op. 2" (ED). Internationaler Joseph Haydn Kongress Wien 1982 (Henle).
"Händel und Telemann: Resonanz und Entlehnungen" (ED). In Bericht über den Internationalen Musikwissenschaftlichen Kongreß Stuttgart 1985 (Bärenreiter).
Back toTop
1985
"Concertante Passages in Keyboard Realizations in Handel: Some Guidelines" (ED). The Diapason (Sept.).
"A Deeper Examination of Mozart's 1-2-4-3 Theme and its Strategic Deployment" (ED). In Theory Only (Jan.).
"Jelly Roll Morton and Ragtime" (JD). In Ragtime: Its History, Composers, and Music, ed. John Hasse (Schirmer Books).
"Large-Scale Strategy in Arnold Schoenberg's Twelve-Tone Music" (AM). Perspectives of New Music 24/1: 120-57.
"Sein erstes überlieftes Instrumental Werk: Zur Erstveröffentlichung von Claude Debussys frühem Klaviertrio" (ED). Neue Zeitschrift für Musik (Dec.).
Back toTop
1984
"Beethoven's Long-Term Memory of C. P. E. Bach's Rondo in E Flat, W. 61/1 (1787), as manifest in the Variations in E Flat for Piano, Op. 35 (1802)" (ED). The Musical Quarterly.
"A Flow of Energy: Density 21.5" (MG). Perspectives of New Music 23/1: 334-47.
"Handel's Procedures for Composing with Materials from Telemann's 'Harmonischer Gottes-Dienst' in 'Solomon'" (ED). In Göttinger Händel-Beiträge, I (Bärenreiter).
"Pitch Structure in Elliott Carter's String Quartet #3" (AM). Perspectives of New Music 22: 31-60. Reprinted as "Le Troisième Quatour à Cordes, Structures des hauteurs," trans. Hubert Guery, in Entretemps 4 (Juin 1987).
"Pedagogically Speaking" Manifestations of Pitch-Class Order" (AM). In Theory Only 8/1: 23-32.
"A Question of Integration" (MG). In "Reflections on Music Theory," ed. Marianne Kielian-Gilbert and Marion A. Guck. Perspectives of New Music 22: 580-83.
"Recent Developments in the Music of Milton Babbitt" (AM). The Musical Quarterly 70: 310-31.
Review of The Music of Elliott Carter by David Schiff" (AM). MLA Notes 43/3: 544-47.
Back toTop
1983
"Detail and the Array in Milton Babbitt's My Complements to Roger" (AM). Music Theory Spectrum 5: 89-109.
"Pedagogically Speaking: A Practical Method for Dealing with Unordered Pitch-Class Collections" (AM). In Theory Only 7/5-6: 54-62.
Back toTop
1982
Ferdinand "Jelly Roll" Morton: The Collected Piano Music (JD). Analytical collected edition of original transcriptions (G. Schirmer and Smithsonian Institution).
Back toTop
1981
"Bach's Composers' Vademecum: The Two-Part Inventions" (ED). Music Theory Spectrum 3.
"Musical Images as Musical Thoughts: The Contribution of Metaphor to Analysis" (MG). In Theory Only 5/5: 29-43.
Biographical-critical articles on Bix Beiderbecke, Bunny Berigan, The Dorseys, Bud Freeman, Earl Hines, Billie Holiday, Eddie Lang, Fud Livingston, Miff Mole, Red Nichols, Don Redman, Jimmy Rushing, Pee Wee Russell, Chick Webb (JD). In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (Macmillan). Many reprinted in The Jazz Grove, ed. Barry Kernfeld (Macmillan, 1988).
Ten articles, including: list of works (with numerous original contributions) and bibliography for Johann Christian Bach; article (with worklist and bibliography) on the late 18th-century French composer and violinist the Chevalier de St. George (ED). In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (Macmillan). Revised version of the Christian Bach information appears in The New Grove Bach Family (Macmillan, 1983; updated German version, Laaber, 1994).
Back toTop
1978
"The Functional Relations of Chords: A Theory of Musical Intuitions" (MG). In Theory Only 4/6: 29-41.
Back toTop
1977
"Comment: Symmetrical Structures in Op. 19/2" (on D. Stein, "Voice Leading and Overall Structure in an Atonal Work," ITO 2/7) (MG). In Theory Only 2/10: 29-34.
"Zur Zierpraxis im späten 18. Jahrhundert" (ED). Österreichische Musik-Zeitschrift.
Back toTop
1976
"Analysis Symposium: Brahms's 'Der Tod, das ist die kühle Nacht" (MG). In Theory Only 2/6: 27-34.
"Exempli Gratia: The Case of the Chimerical Cadence" (on Chopin, Prelude in B Minor, Op. 28/6) (MG). In Theory Only 2/5: 30-34.
"Comment: On Avoiding Culture Shock" (on S. Dunn, "Music and Ideology: The Philadelphia Orchestra Experience," ITO 1/11-12) (MG). In Theory Only 2/1-2: 44-45.
"Exempli Gratia: What You Hear is What You Get" (on Stravinsky, Three Songs from William Shakespeare, No. 1) (MG). In Theory Only 2/1-2: 51-54.
Back toTop
1975
"Tracing Debussy's ' . . . Des pas sur la neige': Insights into the Methodology of Sketch-Rejection" (MG). In Theory Only 1/5: 4-8.
"Some Comments about Prejudicial Qualifiers" (MG). In Theory Only 1/3: 17-18.
Back toTop
1971
"Elaboration: A Prime Musical and Dramatic Ingredient in the Performance of Operas in the Classical Period" (ED). In Kongreßbericht über den Internationalen Musikwissenschaftlichen Kongreß Bonn 1970 (Kassel).
Back toTop
Dapogny, James.
Edition (including substantial reconstruction) of one-act blues opera, De Organizer (1940); music by James P. Johnson, book by Langston Hughes.
Louis Armstrong's Hot Five: "Struttin' with Some Barbecue" (1926). Transcription in Smithsonian Classic Jazz Scores, ed. Gunther Schuller (Forthcoming).
Louis Armstrong and Earl Hines: "Weatherbird" (1928). Transcription in Smithsonian Classic Jazz Scores, ed. Gunther Schuller (Forthcoming).
Jesse Crump: "Mr. Crump's Rag" (1923). In Indiana Ragtime, ed. John Hasse (Forthcoming).
Meade Lux Lewis: "Honky Tonk Train" (1937). Transcription in Smithsonian Classic Jazz Scores, ed. Gunther Schuller (Forthcoming).
Thelonious Monk Quintet: "Smoke Gets in Your Eyes" (1948). Transcription in Smithsonian Classic Jazz Scores, ed. Gunther Schuller (Forthcoming).
Jelly Roll Morton's Red Hot Peppers: "Dead Man Blues" (1926). Transcription in Smithsonian Classic Jazz Scores, ed. Gunther Schuller (Forthcoming).
Fats Waller: "Keepin' Out of Mischief" (1927). Transcription in Smithsonian Classic Jazz Scores, ed. Gunther Schuller (Forthcoming).
James Dapogny and Gail Dapogny. Charles Ives: "Three Improvisations" (1938). Transcription (Associated Music Publishers, 1984).
Back toTop
Derr, Ellwood.
Christ Crucified and Suppplicants (1999): baritone and large mixed chorus.
The Huron Carol (Canadian, 17th century). Arranged for mixed chorus (1998). Premiered Dec. 1998, Ottawa.
Mary Magdalene Distraught (1998): soprano, mixed chorus, and organ.
Mother Mary in Anguish (1998): women's voices. Premiered April, 1999, Ann Arbor.
George Frideric Handel: Klaviersuiten und Klavierstücke [HWV 434-442] "Second Volume" (1733). Critial edition with commentary (Henle, 1998).
Canticle of Lamentation (1997): two mixed choruses. Premiered April, 1998, Ann Arbor.
O Love, how deep, how broad, how high (Agincourt song) (1997): mixed chorus, 4 trumpets, 4 trombones, and organ.
Summer Twilight (1996): canonic song without words for male chorus. Premiered Salt Lake City, 1998, with cello orchestra.
Six Songs of Sundry Sorts (1995-96): soprano, obbligato alto saxophone, and piano. Premiered New York by the SPS Trio, June, 1996. To be recorded for CBC broadcast during 2000.
Passacaglia (1995): two saxophone quartets. Premiered New York, 1999.
SONATA with Varied Reprise (1996): alto saxophone and piano. Premiered Flagstaff, AZ, March, 1996.
Johann Christian Bach: Quintet in D, Op. 11/6. Edition of 18th-century arrangement for two keyboards with introductory essay and critical report (Breitkopf & Härtel, 1990).
Claude Debussy: Piano Trio in G (1882). Critical first edition, including a 25-bar restoration in the last movement (Henle, 1986). At least seven performances recorded, including one by the Trio Fontenay on Teldec.
Johannes Brahms: The Brahms Arrangements for Piano Four Hands of his String Quartets. Reprint edition with introduction and note to performers (Dover, 1985).
Johann Christian Bach: Sei canzonette a due, Op. 4 (London, 1765). Reprint of the first edition with introductory essay (UMI Research Press, 1982).
one-in-five-in-one (1976): alto saxophone and piano (Dorn Productions). Performances throughout the U. S.
I Never Saw Another Butterfly (1976): song cycle for soprano voice, alto saxophone, and piano (Dorn Productions). ca. 15 annual performances throughout the U. S. including Carnegie Recital Hall and the Smithsonian Instution as well as in Europe.
Back toTop
Korsyn, Kevin.
Solution to Riddle Canon No. 2. The Musical Times (May 1990): 320.
Riddle Canon No. 2. The Musical Times (March 1990): 157.
Solution to Riddle Canon No. 1. The Musical Times (January 1990): 30.
Riddle Canon No. 1. The Musical Times (November 1989): 692.
Back toTop
Mead, Andrew.
Concerto No. 2 (2006) (25'): solo alto saxophone with 24 players
Let the Air Circulate (2006) (3'30"): Chorus, SATB with divisi
String Sextet (2006) (19')
Concerto for Winds (2005) (20'): piccolo, flutes, oboe, English horn, clarinets, contrabassoon, alto saxophone, baritone saxophone, horns, trumpets, trombones, baritone horn, tuba
More Bagatelles (2005) (8'): soprano saxophone, tuba
Trio (2004) (15'): alto saxophone, viola, percussion.
Far Cry (2004) (21'): soprano, flute, string trio, piano.
Saxophone Quartet No. 2 (2003) (17' 30").
Saxophone Quartet No. 1 (2003) (19').
Fantasy-Quartet No. 3 (2002) (23').
String Quartet No. 3 (2001) (18').
Let the Air Circulate (2001) (4'): solo voice (sop.).
Six Bagatelles (2000) (7'30"): alto saxophone, bassoon.
String Quartet No. 2 (2000) (24').
Trio (2000) (17'): violin, alto saxophone, and piano.
Sonata No. 2 (1999) (21'): cello and piano.
Concerto (1999) (25'): solo cello and four groups of four players.
Trio (1998) (17'): violin, cello, and piano.
Toccata for Piano (1998) (8'30").
Fantasy-Quartet No. 2 (1998) (25'): clarinet in B-flat, cello, percussion, and piano.
Fantasy-Quartet No. 1 (1996) (21'): flute, clarinet in A, violin, and cello.
What the Light Was Like (1995) (23'): mezzo-soprano and chamber orchestra, on a poem by Amy Clampitt.
Sinfonia Concertante (1994-95) (20'): clarinet, alto sax, bassoon, violin, viola, cello, mandolin, guitar, and piano. Commissioned by Craig First for the 20th Century Ensemble of Chicago, premiered May 7, 1996, Chicago Public Library.
Concerto (1993) (19'): alto saxophone and eleven musicians. Commissioned by Clifford Leaman.
Variation-Fantasy (1993) (10'): solo guitar. Commissioned by Todd Seeley, premiered February 26, 1994, Boston Conservatory of Music.
Trio (1992) (22'): violin, horn, and piano. Commissioned by the League of Composers/ISCM, premiered January 11, 1994, Merkin Hall, New York.
Serenade (1990) (24'): wind quintet. Premiered April 10, 1994, Connecticut College of Music.
Scena: Recitative, Aria and Cabaletta (1989) (14'): solo oboe or alto saxophone. Commissioned by Harry Sargous.
Chamber Concerto (1987-88) (25'): flute, clarinet, violin, cello, percussion, and piano. Premiered April, 1989, by Speculum Musicae, Merkin Hall, New York.
Three Miniatures (1988) (4'): alto saxophone and piano. Commissioned by Clifford Leaman.
Chamber Symphony (1985) (26'): oboe, bass clarinet, viola, contrabass, percussion, and piano. Commissioned by Harry Sargous.
Sonata No. 1 (1983-84) (20'): cello and piano.
Rhapsody (1983) (7'): solo flute.
Sonata (1974-76) (15'): solo viola. Published by ASTA (1995).
String Quartet (1976-78) (37').
Sonata (1974-76) (25'): violin and piano.
Sonata (1974) (30'): solo violin.
Back toTop
