“A New Approach to the Teaching of Musical Composition.”

American Society of University Composers.Toronto, 1986.

“The Aesthetic Realism of Eli Siegel Explains the Beauty of Jazz, and of Duke Ellington.”

International Association of Jazz Educators.Washington, D.C., 1991.(Paper sponsored by the Smithsonian Institution).

“Tovey’s Haydn—A Call for Philosophic Musicology.”

American Musicological Society (GNYC).New York 2004.

“Richard Rodgers and the Integrity of a Musical Scene.”

Comparative Drama Conference. Columbus, 2004.

“Aesthetic Realism: A New Foundation for Interdisciplinary Musicology.” (Co-authored with Arnold Perey)

First International Conference on Interdisciplinary Musicology, sponsored by the European Society for the Cognitive Sciences of Music. Graz, 2004.

“Rhythm Has the Ethics We Want.”(Co-authored with Alan Shapiro)

New York State School Music Association. Buffalo, 2004.

“Teaching Ethnomusicology: A New Perspective.”

Society for Ethnomusicology. Tucson, 2004.

“On the Rhythm of Stravinsky’s Rite of Spring.”

New York State School Music Association. Rochester, 2004.

“Ellington’s Ko-Ko and the Art of Motivic Composition.”

American Musicological Society (GNYC). New York, 2005.

“The Impact of Rousseau on the Music Histories of Burney and Hawkins.”

RILM.New York, 2005.

“Sir Edward Elgar: Master of Rhythm.”

Elgar Conference. Stratford-on-Avon and Broadheath, 2005.

“Music and the Victorian Mind; Or, What We Can Learnfrom the Popularity of H.R. Haweis.”

Fifth Biennial International Conference on Music in Nineteenth-Century Britain. Nottingham, 2005.

“Marcabru: Exemplar of Western Song.”

Medieval & Renaissance Music Conference. Tours, 2005.

“The Mind of Felix Mendelssohn: A Study in the Combat between Respect and Contempt.”

International Conference: Mendelssohn in the Long Nineteenth Century.Dublin, 2005.

“Meeting the New—What We Still Can Learn from the Earliest ‘Ethnomusicologists’.”

Society for Ethnomusicology.Atlanta, 2005.

“Scelsi in the Mainstream; Or, Trio à Cordes.”

Society of Composers, Inc., National Conference.Greensboro, 2005.

“Harmony and the Oneness of Opposites”

College Music Society National Conference. Québec City, 2005.

“The Saturation of Chromatic Space as a Structural Principle in the Late Choral Music of Mozart.”

Mozart Society of America.Bloomington, 2006.

“Zhou Long and the Fate of Traditional Chinese Music in Contemporary New York.”

Mid-Atlantic Chapter of the Society for Ethnomusicology.New York, 2006.

“Jazz and the Art of Through-Composition.”

Society for American Music. Chicago, 2006.

“Buddhism in Western Clothes: A Cultural/Musical Analysis of Zhou Long’s Dhyana.”

Music and the Asian Diaspora. Princeton, 2006.

“‘Naoligerma’ and ‘Erlkönig’—An Austro-Mongolian Dialogue.”

Music and the Asian Diaspora, Lyrica Society Session. Princeton, 2006.

“Haydn and the Art of Chromatic Completion.”

American Musicological Society (GNYC). Princeton, 2006.

“Marcabru’s Bel m’es quan son li fruich madur—A Masterpiece of Early Western Song.”

National Associations of the Teachers of Singers, Lyrica Society Session. Minneapolis, 2006.

“Bernard Herrmann and English Romanticism; Or, an Anglophile among the Viennese of Hollywood.”

Biennial Conference of the North American British Music Studies Association.Colchester, 2006.

“The Mind of Adolf Hitler: A Study in the Unconscious Appeal of Contempt.”

German Studies Association National Conference. Pittsburgh, 2006.

“John Lennon—and the Battle between Contempt and Respect.”

Mid-Atlantic Popular and American Culture Association. Baltimore, 2006.

“Haydn’s Secret ‘Dodecaphonic’ Art.”

American Musicological Society. Los Angeles, 2006.

“Reconsidering Rousseau’s Le Devin du village: Opera of Startling Paradox.”

Modern Language Association, Lyrica Society Session. Philadelphia, 2006.

“Home and the Wide-World: A Critical Dialectic in the Music (and Life) of Stephen Foster—Songwriter from Pittsburgh.”

Society for American Music. Pittsburgh, 2007.

“Mozart’s Requiem, the Saturation of Chromatic Space, and the Theology of Death as Continuation.”

Forum on Music and Christian Scholarship. Yale, 2007.

“Steiner, Korngold, and the Musical Expression of Physical Space.”

Conference on Music and the Moving Image. New York, 2007.

“Aesthetic Realism and the Art of Singing.” Co-authored with Carrie Wilson.

Music Educators National Conference: Symposium on Music and Life-long Learning. Ithaca, 2007.

“Honest Like of the World and Its People: the Purpose of Music Education.”

Conference: Arts Education—to What End? New York, 2008.

“Robert Simpson and the Philosophy of the String Quartet.”

Scheduled for American Musicological Society (GNYC). New York, 2009.

“Chaos, Love, Chromaticism; or, the Oneness of Technique and Emotion in Haydn’s Oratorio The Creation.”

Haydn Society of North America. Cambridge, 2009.

“The Music of Obsession; or, A Consideration of Bernard Herrmann’s 1938 Cantata, Moby Dick.”

14th Annual Symposium “Music of the Sea.” Mystic Seaport.

“Schönberg, Petrarch, and the Aesthetics of Love.”

American Musicological Society (GNYC), 2009.

“What is Worth a Song?—Eli Siegel, the Beatles, and the Philosophic Import of Word-Music Relations.”

Modern Language Association. Philadelphia, 2009.

“Chromatic Completion—A Little Appreciated Technical Link Connecting the Operas of Gluck, Haydn, and Mozart.”

Haydn and Landon: Perspectives on Haydn Scholarship in Celebration of H.C. Robbins Landon, Boston University, 2009.

“A New Look at the Ployer/Attwood Notebooks—Or, Mozart: Teacher of Chromatic Completion.”

Society for Eighteenth Century Music. St. Francis College, Brooklyn, 2010.

“Lovely Ritmos, Meter Mad—Irregular and Unexpected Phrase Rhythms in the Music of the Beatles.”

American Musicological Society (GNYC). New York, 2010.

“Did Ellington Believe in an Afro-Eurasian Eclipse?”

American Musicological Society. Indianapolis, 2010.

“Beethoven and ‘Elliptical’ Tonality.”

American Musicological Society (GNYC). New York, 2010.

“Aesthetic Realism and the Literary Cinema of Ken Kimmelman.”

Special Event for the 2011 annual convention of the Modern Language Association (Los Angeles).

“Fugue and the French Revolution.”

American Musicological Society (GNYC). New York, 2011.

“Aesthetic Realism and the Art of Composing Chamber Music for Brass.”

University of Kentucky, School of Music–sponsor of “Great American Brass Bands Festival.”  Danville, Kentucky, 2017.

Conferences—Panelist, Keynoter, and Director:

“It’s No Accident; It’s by Chance!—Cage, and A New Look at the Aesthetics of Freedom and Order.”

Keynote. Festival of 20th Century Music—Celebrating Cage. Manhattan School of Music, New York, 1993.

“The Poetry of Eli Siegel: A Centennial Celebration.”

Panelist/Presenter. Enoch Pratt Free Library, Baltimore, 2002. (Repeated, 2007, in Rosario, Argentina, at the Aricana Institute).

“Aesthetic Realism and the Music of Duke Ellington.”

Convocation address. Lamont School of Music, Denver University, 2003.

“Education in Music Is Every Musician’s Responsibility.”

Panelist. Northeast Chapter Conference of the College Music Society, Wilkes University, Wilkes-Barre 2006.

“Aesthetic Realism: Technique and Feeling in Film.”

Panelist. Artists Talk on Art Seminar Series, School of Visual Arts, New York, 2006.

“Music in a Tumultuous Time: Rock in the 1960s.”

Organizer of panel session. Annual conference of the Mid-Atlantic Popular and American Culture Association, Baltimore, 2006.

“Ellington’s Far East Suite—a Musical and Philosophic Masterpiece.”

Address. Jazz Roundtable Series, Institute for Jazz Research, Rutgers, 2007.

Masterclasses & Guest Lectures

2000:

• Thornton School of Music, University of Southern California

2002:

• Ithaca College, School of Music
• Eubie Blake National Jazz Institute (Baltimore)
• Tanglewood Institute
• The Julliard School
• University of Montréal

2003:

• Lamont School of Music, Denver University
• Dartmouth College

2004:

• Virginia Tech
• Eastman School of Music

2006:

• Steinhardt School, NYU
• Columbia University

2007:

• Pontifical Catholic University of Argentina (Buenos Aires)
• University of Sante Fe (Argentina)
• Ohio State University
• Ithaca College, School of Music

2009:

• Peabody Conservatory
• Westmont College

2010:

• Peabody Conservatory of Music
• New York University (GSAS)
• Pontifical Catholic University of Argentina (Buenos Aires)

2011:

• College of Staten Island
• Rutgers University

2014:  

• Museum of the City of New York
• Duke Ellington Center for the Arts (NYC)

2015:

• The Duke Ellington Society (New York)
• Furman University

2016:

• Escola Superior de Música de Lisboa (Portugal)

2017:

• University of Zagreb (Croatia)
• University of Bologna (Italy)

2018:

• Conservatorio Nacional de Música, Asunción (Paraguay)