Sabine Feisst

Books

♦ The Desert as Muse: Sonic Placemaking in the American Southwest, monograph in progress.

♦ Schoenberg’s New World: The American Years (New York: Oxford University Press, 2011, revised paperback edition, 2017).

♦ Der Begriff “Improvisation” in der neuen Musik, in: Berliner Musik Studien Vol. 14, ed. Rainer Cadenbach, Hermann Danuser, Albrecht Riethmüller and Christian Martin Schmidt (Sinzig, Germany: Studio Verlag, 1997, 2nd edition forthcoming).

Edited Volumes

♦ Schoenberg’s Correspondence with American Composers, volume 9 of Arnold Schoenberg in Words: Selected Teachings, Letters, and Other Writings (1890-1951), ed. Sabine Feisst and Severine Neff (Oxford University Press, 2018).

♦ Schoenberg’s Early Correspondence, co-edited and translated into English with Ethan Haimo for Arnold Schoenberg in Words: Selected Teachings, Letters, and Other Writings (1890-1951), ed. Sabine Feisst and Severine Neff (Oxford University Press, 2016, revised paperback edition 2017).

♦ The Oxford Handbook of Ecomusicology: Stocktaking and New Perspectives (Oxford University Press, in progress).

♦ Music, Nature, Place, series of books, co-ed. with Denise Von Glahn (contract with Indiana University Press).

♦ Arnold Schoenberg in Words: Selected Teachings, Letters, and Other Writings (1890-1951), set of 9 volumes for Oxford University Press, co-ed. with Severine Neff, in progress. Volume in progress for this project:

♦ Editor, Arnold Schoenberg’s Correspondence with American Composers.

Music Edition

♦ Arnold Schoenberg and Allen Anderson, My Horses Ain’t Hungry, critical edition co-edited with Severine Neff (Pacific Palisades: Belmont Music, 2007).

Book Chapters

♦ “Hearing Borderland Temporalities: Sound Patterns of U.S.-Mexico Border Fortification,”  Different Rhythms – Rhythms of Landscapes, ed. Francesco Michi and Stefano Zorzanello (Gaad Press, forthcoming in 2020).

♦ “Sonic Intimacies: The Sensory Status of Intimate Encounters in 3D-Sound Art,” co-authored      with Garth Paine in Handbook of Sound Art, ed. Holger Schulze and Sanne Krogh Groth (Bloomsbury, 2019)

♦ “Sonic Placemaking in the American Southwest: The Listen(n) Project,” Music and Landscape, Soundscape und Sound Art, ed. Christa Brüstle and Andreas Dorschel, volume for Studien zur Wertungsforschung (Vienna: Universal Edition, 2019).

♦ “‘Hello! The Earth Is Speaking’: Four Case Studies of Ecological Composition,

Performance and Listening,” in Agency on Active Grounds in the Environmental Humanities, ed. Robert Boschman and Mario Trono (Calgary: Winfrid Laurier University Press, 2019).

♦ “La musique en tant qu’écologisme: Les activités créatives de John Luther Adams, un compositeur en Alaska.” In Les Amériques créatives. Regards croisés sur les discours et pratiques, ed. Julien Rebotier and Vanessa Tinteroff Gil (Toulouse: Presses universitaires du Mirail, 2017).

♦ “Negotiating Freedom and Control in Composition: Improvisation and Its Offshoots after 1950,” Oxford Handbook of Critical Improvisation Studies, ed. George Lewis and Benjamin Piekut (New York: Oxford University Press, 2016).

♦ “Commemorating the Holocaust in Music: Case Studies of Four German Composers.” In Der Holocaust in der Musik, ed. Béla Rásky and Christian Glanz (Vienna: new academic press, 2015)

♦ “Negotiating Nature, Music and Technology: Ecological Thought in the Works of Maggi Payne and Laurie Spiegel,” in Current Directions in Ecomusicology, ed. Aaron Allen and Kevin Dawe (New York: Routledge, 2015).

♦“The Listen(n) Project: Acoustic Ecology as a Tool for Remediating Environmental Awareness,” co-authored with Garth Paine, Leah Barclay, and Daniel Gilfillan in International Symposium on Electronic Art 2015: Disruption Proceedings, ed. Philippe Pasquier and Thecla Schiphorst (Vancouver: Simon Fraser University, 2015), 5 pp.

♦ “Re-presence Jewishness in German Music Commemorating the Holocaust: Three Case Studies.” In Jewish Music and Germany after the Holocaust, ed. Tina Frühauf and Lily Hirsch (New York: Oxford University Press, 2014).

♦ “The Listen(n) Project: Acoustic Ecologies of the American Southwest Desert(s) and Transmedia Dissemination,” co-authored with Leah Barclay, Daniel Gilfillan, and Garth Paine, in Invisible Places – Sounding Cities: Sound Urbanism and Sense of Place, ed. Raquel Castro and Miguel Carvalhais (Viseu: World Forum for Acoustic Ecology, 2014), 298–310.

♦ “The City as Muse: Annie Gosfield’s New York City Soundscapes,” Kongressbericht: Musik – Stadt: Traditionen und Perspektiven urbaner Musikkulturen, Gesellschaft für Musikforschung, Leipzig, 28 September-3 October 2008 (Leipzig: Gudrun Schröder Verlag, 2012), 80–86.

♦ “Music as Place, Place as Music – The Sonic Geography of John Luther Adams,” The Music of John Luther Adams, ed. Bernd Herzogenrath (Lebanon, NH: University Press of New England, 2012), 23–47.

♦ “Schoenberg Reception in America, 1933-1951,” The Cambridge Companion to Arnold Schoenberg, ed. Joseph Auner and Jennifer Shaw (Cambridge: Cambridge University Press, 2010), 247–257.

♦ “John Cage and Improvisation: an Unresolved Relationship,” Musical Improvisation: Art, Education and Society, ed. Gabriel Solis and Bruno Nettl (Chicago: University of Illinois Press, 2009), 38–51.

♦ “Arnold Schoenberg in America Reconsidered: A Historiographic Investigation,” in the following two volumes:

♦ The Fruits of Exile – Central European Intellectual Emigration to America in the Age of Fascism, ed. Richard Bodek and Simon Lewis (Columbia: University of South Carolina Press, 2010).

♦ Music’s Intellectual History: Founders, Followers and Fads, Proceedings of the First International Conference of Répertoire International de Littérature Musicale, ed. Zdravko Blazekovic (New York: RILM, 2009), 409–426.

♦ “Echoes of Schoenberg’s Pierrot lunaire in America,” I feel the Air of Another Planet: Schoenberg’s Chamber Music, Schoenberg’s World, ed. James K. Wright and Alan Gillmor (Hillsdale: Pendragon, 2009), 169–186.

♦ “Arnold Schoenberg – Modernist or Romantic?” Engaged Romanticism: Romanticism as Praxis, ed. Mark Lussier and Bruce Matsunaga (Newcastle upon Tyne: Cambridge Scholars Press, 2008), 196–207.

♦ “Varèse and His New York Choruses,” Edgard Varèse. Composer, Sound Sculptor, Visionary (1883-1965), ed. Felix Meyer and Heidy Zimmermann (Woodbridge, Suffolk: Boydell & Brewer, 2006), 257–263.



♦ “Varèse und seine New Yorker Chöre,” Edgard Varèse. Komponist, Klangforscher, Visionär, ed. Felix Meyer and Heidy Zimmermann (Mainz: Schott, 2006), 257-263 (German edition of above volume).



♦ Essays in Geschichte der Musik im 20. Jahrhundert, 1925-1945, ed. Albrecht Riethmüller Handbuch der Musik im 20. Jahrhundert, Volume 2, Laaber: Laaber Verlag, 2006):

♦ “Edgard Varèse, Ecuatorial,” 170–177.

♦ “Olivier Messiaen, Quatuor pour la fin du temps,” 277–283.

♦ “Leonard Bernstein, Symphony No. 1 ‘Jeremiah’,” 293–298.

Book Chapter as Edition of Texts

♦ “Schoenberg and America,” Schoenberg and His World, ed. Walter Frisch (Bard Festival Series, Volume 10, Princeton: Princeton University Press, 1999), 285–336.

Peer-Reviewed and Invited Articles

♦ “U.S.-Mexico Border Chords and Discords: Glenn Weyant’s SonicAnta Project,” Sonic Ideas, forthcoming in 2019.

♦ “Acoustic Ecology Will Help to Sustain the Preserve: A Project Uses Sound to Monitor the Preserve,” co-authored with Garth Paine, Field Institute Insider. The Scientific Magazine of the McDowell-Sonoran Preserve (January 2017): 11–12.

♦ “The Desert as Muse: Maggi Payne’s Sonic Desertscapes,” Contemporary Music Review 35, no. 3 (December 2016).

♦ “Animal Ecologies: Laurie Spiegel’s Musical Explorations of Urban Wildlife” Social Alternatives, special issue “Music and the Environment,” Vol. 33, no. 1 (2014), 16–22.

♦ “Music, Nature, Place – A New Book Series,” co-written with Denise Von Glahn, Ecomusicology Newsletter (September 2013): 6.

♦ “How Schoenberg Became Lonely: Imagination versus Reality,” Berfrois, in 2011, not paginated.

♦ “Play It Again,” The Journal of Music, March 2011, not paginated, online.



♦ “Serving Two Masters: Leonard Rosenman’s Music for Films and for the Concert Hall,”

♦ The Cue Sheet, 23/1-2, 2008, 31–45 (revised version).

♦ 21st Century Music, 7/5, 2000, 19–25.



♦ “Komponieren mit urbanen Klängen. Die U.S.-amerikanische Komponistin Annie Gosfield,” MusikTexte 115, 2007, 5–15.



♦ “Dika Newlin (1923–2006): A Remembrance,” NewMusicBox. American Music Center Web Magazine, 7/7, 2006



♦ “Etwas Unvorhersehbares tun – Zur Bedeutung der Improvisation im Schaffen von John Cage,“ MusikTexte 106, 2005, 63–71.



♦ “Meister der elektronischen Tondichtung: Der U.S.-amerikanische Komponist Ingram Marshall,“ MusikTexte 105, 2005, 21–36.



♦ “Pierrot lunaire in America,” Chamber Music America, November-December 2004, 36-40.



♦ “Losing Control: Indeterminacy and Improvisation in Music Since 1950,” NewMusicBox. American Music Center Web Magazine, 3/11, 2002



♦ “Zur Rezeption von Schönbergs Schaffen in Amerika vor 1933,” Journal of the Arnold Schönberg Center, Vol. 4, 2002, 281–293.



♦ “Klanggeographie – Klanggeometrie. Der U.S.-amerikanische Komponist John Luther Adams,” MusikTexte 91, November 2001, 4–14.



♦ “Dane Rudhyar on Arnold Schoenberg: About European Seeds in America,” 20th Century Music, 6/2, 1999, 13–17.



♦ “Schoenberg and the Cinematic Art,” The Musical Quarterly, 38/1, Spring 1999, 93–113.



♦ “Henry Cowell und Arnold Schönberg: Eine unbekannte Freundschaft,” Archiv für Musikwissenschaft, 55/1, 1998, 57–71.

Encyclopedia Articles

♦ Entries in The New Grove Dictionary of American Music, second edition, ed. Charles Hiroshi Garrett (New York: Oxford University Press, 2013):

♦ “Adams, John Luther”

♦ “Curran, Alvin”

♦ “Dunn, David”

♦ “Greissle, Felix”

♦ “Marshall, Ingram (revision)

♦ “Oliveros, Pauline”

♦ “Pinkham, Daniel” (revision)

♦ “Schoenberg, Arnold”

♦ “Sultan, Grete”

♦ “Teitelbaum, Richard” (revision) ♦ “Wolff, Christian” (revision)

♦ Entry in New Catholic Encyclopedia, Supplement, ed. R. Fastiggi (Farmington Hills, MI: Cengage Learning, 2011)

♦ “Schoenberg, Arnold”

♦ Entries in Die Musik in Geschichte und Gegenwart, ed. L. Finscher, Supplement-Volume (Kassel: Bärenreiter Verlag, 2008):

♦ “Curran, Alvin”

♦ “Gosfield, Annie”

♦ “Marshall, Ingram” ♦ “Newlin, Dika”

♦ Entries in Das Lexikon der Orgel, ed. H. J. Busch, M. Schneider and M. Geuting (Laaber: Laaber-Verlag, 2007):

♦ “Biggs, E. Power” ♦ “Fox, Virgil”

♦ “Sowerby, Leo”

♦ Entries in Die Musik in Geschichte und Gegenwart, ed. L. Finscher, Vols. 12, 16, 17 (Personenteil, Kassel: Bärenreiter Verlag, 2004, 2006 and 2007):

♦ John Luther Adams

♦ “Meredith Monk”

♦ “Oliveros, Pauline”

♦ “Subotnick, Morton”

♦ “Teitelbaum, Richard”

♦“Wolff, Christian”

♦ Entries in Das Lexikon des Klaviers, ed. C. Kammertöns and S. Mauser (Laaber: Laaber- Verlag, 2006):

♦ “Bauer, Harold”

♦ “Buhlig, Richard”

♦ “Cowell, Henry”

♦ “Crumb, George”

♦ “Joplin, Scott”

♦ “Steuermann, Eduard” ♦ “Sultan, Grete”

♦ Entries in Lexikon der Violine, ed. S. Drees (Laaber: Laaber Verlag, 2003):

♦ “Kolisch, Rudolf”

♦ “Krasner, Louis”

♦ “Zukofsky, Paul”

♦ Entry in Die Musik in Geschichte und Gegenwart, ed. L. Finscher (Personenteil, Kassel: Bärenreiter 2002):

♦ “Globokar, Vinko”

♦ Entry in The New Grove Dictionary of Music and Musicians II, second edition, ed. S. Sadie and J. Tyrell (New York: Grove’s Dictionaries, 2000):

♦ “Pinkham, Daniel (Rogers)”

Published Discography, Bibliography, Catalog of Works

♦ "Arnold Schoenberg,” Oxford Bibliographies in Music, ed. Bruce Gustafson (New York: Oxford University Press, 2017).

♦ “John Luther Adams: Selected Discography – Selected Bibliography – Catalog of Works,”   John Luther Adams, Winter Music. Composing the North (Middletown: Wesleyan University Press, 2004), 185–198.

Reviews

♦ “The Pierrot Ensembles: Chronicle and Catalog, 1912–2012, by Christopher Dromey. Rochester: Boydell and Brewer, 2013.” Journal of Musicological Research 34, no. 1 (2015): 71–74.

♦ “Crosscurrents: American and European Music in Interaction, 1900–2000, edited by Felix Meyer, Carol Oja, Wolfgang Rathert, Anne Shreffler. A Publication by the Paul Sacher Foundation. Woodbridge, Suffolk and Rochester, NY: The Boydell Press, 2014.” American Music, 32, no. 3 (Fall 2014): 366–370.

♦ “Weill’s Musical Theater: Stages of Reform by Stephen Hinton. Berkeley: University of California Press, 2012,” Notes. The Quarterly Journal of the Music Library Association, April 2013.

♦ “Sound Diplomacy: Music and Emotions in Transatlantic Relations, 1850–1920 by Jessica C. E. Gienow-Hecht. Chicago: University of Chicago Press,” Journal of the Society for American Music, 6/2 (May 2012), 241–244.

♦ “Eisler, Hanns. Briefe 1907-1943. Gesamtausgaben Serie IX Schriften Band 4.1 ed. Jürgen Schebera and Maren Köster. Wiesbaden: Breitkopf & Härtel, 2010.” Notes. The Quarterly Journal of the Music Library Association, December 2011.

♦ “A Windfall of Musicians. Hitler’s Émigrés and Exiles in Southern California by Dorothy Lamb Crawford. New Haven: Yale University Press, 2009,” Notes. The Quarterly Journal of the Music Library Association, March 2010.

♦ “Amerikanismus, Americanism, Weill. Die Suche nach kultureller Identität in der Moderne, ed. by Hermann Danuser and Hermann Gottschewski (Schliengen: Edition Argus, 2003),” Notes. The Quarterly Journal of the Music Library Association, June 2004, 970–972.

♦ “British American Symphony. Neil Butterworth, The American Symphony. Aldershot and Brookfield, Vermont: Ashgate, 1998,” 21st Century Music, 7/10, 2000, 25–26.

Liner Notes and Program Notes

♦ “Exile: Piano Music by Castelnuovo-Tedesco, Korngold, Schoenberg, Toch, and Zeisl,” Eric Le Van, piano. Berkeley: Music & Arts Records, 2013.

♦ “John Cage’s Ryoanji,” CD Liner Notes for Simone Mancuso, percussion and Timothy McAllister, saxophone. Milan: Stradivarius, 2012.

♦ “Annea Lockwood: In Our Name, Thirst, and Jitterbug,” CD Liner Notes. New York: New World Records, 2012.

♦ “Some Remarks on Luc Ferrari’s Music,” CD Liner Notes for Mode Records 2010.



♦ “Exploring the Art of Duetting,” Liner Notes for “Two Plus One.” Works performed by Carole Fitzpatrick and Robert Barefield, voices, and Eckart Sellheim, piano. Bamberg: Cavalli Records, 2010.

♦ “Morton Feldman’s Trio,” CD/DVD Liner Notes. New York: Mode Records, 2009.



♦ “Exploring the Art of Solo Writing: Luciano Berio’s Sequenze and Nine Other Works,” Liner Notes for 5 CD-set. New York: Mode Records, 2006.



♦ “Luciano Berio: Quattro Canzoni Popolari,” Liner Notes, expanded version, co-authored with Mark Swed. New York: Mode Records, 2006.



♦ “Iannis Xenakis: Six Chansons for Piano,” Liner Notes for reissue of expanded version. New York: Mode Records, 2005.



♦ “Toward ‘una nota sola’: Notes on Giacinto Scelsi’s World of Ideas and Piano Music,” Liner Notes. New York: Mode Records, 2005.



♦ “On John Luther Adams and on In the White Silence,” Liner Notes. New York: New World Records, 2003.



♦ “The Indeterminate Music of Morton Feldman,” Liner Notes. New York: Mode Records, 2002. ♦ Program Notes, Chamber Music Concert of the Houston Friends of Music, The Shepherd School of Music, Rice University, Texas: “The Jacques Thibaud String Trio Playing Beethoven, Schoenberg, Bach, Mozart and Dohnányi,” 17 January 2002.



♦ “The Piano Works of Giacinto Scelsi,” Liner Notes. New York: Mode Records, 2001.



♦ Program Notes, Chamber Music Concert of the Houston Friends of Music, The Shepherd School of Music, Rice University, Texas: “The American String Quartet Playing Haydn, Beethoven and Schoenberg,” 14 September 2001.



♦ “Iannis Xenakis: Complete Works for Piano,” Liner Notes. New York: Mode Records, 2000. ♦ “Ray Green and His Music (Solo Piano and Chamber Music),” Liner Notes. New York: American Music Edition, 1999.



♦ “Program Notes for the Bard Music Festival: Schoenberg in America,” Lincoln Center, New York City, 20 November 1999.

Published Discography, Bibliography, Catalog of Works

♦ “Arnold Schoenberg,” Oxford Bibliographies in Music, ed. Bruce Gustafson (New York: Oxford University Press, 2017).

♦ “John Luther Adams: Selected Discography – Selected Bibliography – Catalog of Works,” John Luther Adams, Winter Music. Composing the North (Middletown: Wesleyan University Press, 2004), 185–198.

Keynote Presentations

♦ “Chords and Discords at the U.S.-Mexico Border” Keynote on TBD Ecomusicology topic at 21st Annual Symposium for Music Scholars in Finland, “Back to the Future of Music Research,” University of Jyväskylä, Finland, 19–21 April 2017.

♦ “Arnold Schoenberg’s Journey: How a Forbidden Composer Attained Global Reach,” 2016 Music + Festival: Schoenberg, Weill, and Winterberg, Fred Fox School of Music, University of Arizona, Tucson, 14–16 October 2016

♦ “Composition as Slowed-Down Improvisation: Arnold Schoenberg’s Concepts of Improvisation, Inspiration, Intuition and Spontaneity,” Concepts of Improvisation Between the Two World Wars: Performativity, Staged Presence and Participation in Music, University of Basel, Switzerland, 30 September/1 October 2016.

♦ “Ecomusicological Perspectives on Sonic Environments,” “Sonic Evironments,” joint conference of the Australasian Computer Music Association and the Australian Forum for Acoustic Ecology, 10–11 July 2016.

♦“What Schoenberg’s Correspondence Tells us: His Epistolary Friendships with Adolph Weiss, Nicolas Slonimsky and Dika Newlin,” Conference “Arnold Schoenberg at 140,” Canterbury Christ Church University, Canterbury, England, 13–14 September 2014.

♦ “Schoenberg’s Relations with American Composers,” “Schoenberg in Words,” Symposium, University of North Carolina, Chapel Hill, 23–25 September 2011.

Paper Presentations at International Conferences

♦ “Fences as Sonic Bridges: Musical Activism at the U.S.-Mexico Border,” Conference, Social Theory, Politics and the Arts, Minneapolis, 12–14 October 2017 and Musicology in the  Era of (Post)Globalization, International RILM Conference, New York City, 3–6 April 2018, both refereed.

♦ “Hearing Borderland Temporalities: Sound Patterns of U.S.-Mexico Border Fortification,”  Biennial Conference, Forum Klanglandschaften, Cagliari, Italy, 27–30 September 2017 and Annual Conference, Society for Literature, Science and Art, ASU, 9–12 November 2017, both refereed.

♦ “U.S.-Mexican Border Chords and Discords: Glenn Weyant’s SonicAnta Project,” Sound + Environment Conference, University of Hull, 29 June–2 July 2017, refereed.

♦ “Self-Presentation in the Professional Job Market,” Student Forum Panel, Annual Meeting, Society for American Music, Montreal 22–27 March 2017.

♦ “Sonic Placemaking in the American Southwest: Theory and Practice of the Listen(n) Project,” co-authored with Garth Paine, International Musicological Society, Kunitachi University, Tokyo, Japan, February 2017, refereed.

♦ “Art and Advocacy in Environmentalist Musicianship: An Evening of Engaging Performance and Interactive Discussion,” discussant contribution, Annual Meeting, American Musicological Society, Vancouver, November 2016 .

♦ “Music and Landscape,” Musik und Landschaft, Kunstuniversität Graz, 27–29 October 2016, refereed.

♦ “Listening to Deserts in the American Southwest: Garth Paine’s Explorations of Sonic Placemaking,” Conference of the Australasian Computer Music Association/Australian Forum for Acoustic Ecology/New Interfaces for Musical Expression: “Sonic Environments,” Queensland Conservatorium of Music/Griffith University, Brisbane, Australia, 10–11 July 2016, refereed.

♦ “Sonic Placemaking in the American Southwest: The Listen(n) Project,” Australasian Computer Music Conference/Australian Forum for Acoustic Ecology/New Interfaces for Musical Expression: “Sonic Environments,” Conference, Queensland Conservatorium of Music/Griffith University, Brisbane, Australia, 10–11 July 2016, refereed.

♦ “Sonic Placemaking in the American Southwest: The Listenn Project,” Ecomusicologies 2016, Rider University, NJ, April 2016, refereed.

♦ “Rainforest Remix for Global Environmental Stewardship,” collaborative Panel with Leah Barclay, Garth Paine, and Niyanta Spelman, South by Southwest Eco Conference, Austin, Texas, 5–7 October 2015, refereed.

♦ “The Listenn Project: Acoustic Ecology as Tool for Remediating Environmental Awareness,” co-written with Leah Barclay, Daniel Gilfillan and Garth Paine, International Symposium on Electronic Art, Vancouver, Canada, 14–18 August 2015, refereed.

♦ “The Listenn Project: Embodied Experiences of UNESCO Biosphere Reserves through Acoustic Ecology and Digital Technology,” co-written with Leah Barclay, Daniel Gilfillan and Garth Paine, Balance-Unbalance 2015, ASU, 27–29 March 2015, refereed.

♦ “Listen(n): Exploring Acoustic Ecology,” co-written with Leah Barclay and Garth Paine, ♦ International Union for Conservation of Nature World Parks Congress, 13–18 November 2014, refereed.

♦ SXSW Eco: Where Urgency Meets Opportunity, Austin Texas, 6–8 October 2014, refereed.

♦ “Music as Environmental Protest: A Case Study of Luc Ferrari’s ‘Allô, ici la terre...’,” Ecomusicologies 2014, Ashville, NC, 3–6 October 2014, refereed.

♦ “The American Southwest as Muse: Maggi Payne’s Desert Soundscapes,” Under Western Skies 3, Calgary, Alberta, 9–13 September 2014, refereed.

♦ “Listen(n): Exploring Acoustic Ecology,” co-written with Leah Barclay, Daniel Gilfillan and Garth Paine, Invisible Places, Sounding Cities: Sound, Urbanism and Sense of Place, World Forum for Acoustic Ecology Conference, Portugal, 18–20 July 2014, refereed.

♦ “Negotiating Nature, Music and Technology: Ecological Thought in the Works of Maggi Payne and Laurie Spiegel,” Genre et création dans l'histoire: arts vivants, art de vivre/Gender and Creation in the History of Performing Arts, Paris, 12–14 December 2013, refereed.

♦ “Music as Environmental Protest: A Case Study of Luc Ferrari’s ‘Allô, ici la terre...’,” Protest Music in the Twentieth Century, Centro Studi Opera Omnia Luigi Boccherini, Lucca, Italy and Universidad de Granada, Spain, November 15–17, 2013, refereed.

♦ “Animal Ecologies: Laurie Spiegel’s Musical Explorations of Urban Wildlife,” Balance- Unbalance International Conference, Noosa, Queensland, Australia, May 31–June 2, 2013, refereed.

♦ “Negotiating Nature, Music and Technology: Ecological Thought in the Works of Maggi Payne and Laurie Spiegel,” Ecomusicologies, New Orleans, October 30–32, 2012, Tulane University, New Orleans, refereed.

♦ “‘Hello! The Earth Is Speaking’: Four Case Studies of Ecological Composition,

Performance and Listening,” Eco-criticism panel, American Musicological Society, New Orleans, fall 2012, refereed.

♦ “‘Hello! The Earth Is Speaking’: Four Case Studies of Ecological Composition, Performance and Listening,” Under Western Skies: Climate, Culture, and Change in Western North America, Mount Royal University, Calgary, Alberta, 10–13 October 2012, refereed.

♦ “Negotiating Nature, Music and Technology: Ecological Thought in the Works of Maggi Payne and Laurie Spiegel,” 19th Congress, International Musicological Society, Rome, Italy, 6 July, 2012, refereed.

♦ “Commemorating the Holocaust in Music: Case Studies of Four German Composers,” International Conference “Der Holocaust in der Musik,” Wiesenthal Institut, Vienna, Austria, 4–6 October 2011, refereed.

♦ “La musique en tant qu’écologisme: Les activités créatives de John Luther Adams, un compositeur en Alaska,” Les Amériques créatives: regards croisés sur les discours et pratiques, International Conference, University of Toulouse, France, 6-7 October 2010, refereed.

♦ “John Luther Adams – An Avant-garde Composer in Alaska,” International Conference “Beyond the Centres: Musical Avant Gardes Since 1950,” Aristotle University of Thessaloniki, 1-5 July 2010, refereed.

♦ “Composing the North: John Luther Adams’s Sonic Geography,” Annual Conference, Society for American Music, Ottawa, Canada, 17-21 March 2010, refereed.

♦ “Defying Constructions of Female Gender: Annie Gosfield’s Galvanizing Industrial Soundscapes,” International Conference for Feminist Theory and Music, 27-31 May 2009, University of North Carolina, Greensboro, refereed.

♦ “The City as Muse: Annie Gosfield’s New York City Soundscapes,” 14th International Congress “Music – City. Traditions and Perspectives of Urban Music Cultures,” Gesellschaft für Musikforschung, Institut für Musikwissenschaft, University of Leipzig, Germany, 28 September-3 October 2008, refereed.

♦ “Arnold Schoenberg – American,” Annual Meeting of the American Musicological Society, Quebec City, Canada, 1-4 November 2007, refereed.

♦ “Negotiating Three Identities: Arnold Schoenberg’s Strategies of Acculturation in America,” 18th International Congress of the International Musicological Society, University of Zurich, Switzerland, 10-15 July 2007, refereed.

♦ “Arnold Schoenberg: Modernist or Romantic? “Engaged Romanticism: Romanticism as Praxis,” International Conference on Romanticism, Arizona State University, Tempe, 9- 12 November 2006, refereed.

♦ “Schoenberg Reception in America, 1933-1951,” “Festival On the Hill,” International Conference on the Musical Legacy of North Carolina’s Black Mountain College, University of North Carolina, Chapel Hill, 30 March - 2 April 2006, invited.

♦ “Arnold Schoenberg’s Strategies of Acculturation and Dissimilation in America – Negotiating Three Identities,” 37th Annual Conference of the Association of Jewish Studies, Washington, D.C.18-20 December 2005, refereed.

♦ Panel Organizer, “Interdisciplinary Perspectives on Schoenberg,” “Analytical Perspectives on Schoenberg,” and “Schoenberg Reception in Europe and America” at “New Directions in Schoenberg Scholarship,” International Schoenberg Conference, ASU, 21-22 March 2005.

♦ “Echoes of Schoenberg’s Pierrot lunaire in American Music,” New Directions in Schoenberg Scholarship, International Schoenberg Conference, ASU, 21-22 March 2005.

♦ “Arnold Schoenberg in America Reconsidered: A Historiographic Investigation,” Music’s Intellectual History: Founders, Followers and Fads, First International Conference of Répertoire International de Littérature Musicale, CUNY Graduate Center, 17-19 March 2005, refereed.

♦ “Arnold Schoenberg in America Reconsidered: A Historiographic Investigation,” “The Fruits of Exile: Central European Intellectual Emigration to America in the Age of Fascism,” College of Charleston, Charleston, South Carolina, 11-13 November 2004, refereed.

♦ “John Cage and Improvisation: An Unresolved Relationship,” Fourteenth Nordic Musicological Congress, Helsinki, Finland, 11-14 August 2004, refereed.

♦ “Minimalism and After: The Sonic Geography of John Luther Adams,” Second Biennial International Conference on Twentieth-Century Music, Department of Music, Goldsmiths College, University of London, 1 July 2001, refereed.

♦ “Zur Rezeption von Schönbergs Schaffen in Amerika vor 1933,” “Schoenberg in America,” International Symposium, Arnold Schoenberg Center, Vienna, 4 May 2001, refereed.

Presentations at National and Local Conferences

♦ “Sonic Placemaking in the American Southwest: The Listenn Project,” co-authored with Garth        Paine and Leah Barclay, Annual Meeting, Society for American Music, Boston, 9–13      March 2016, refereed.

♦ “The American Southwest as Muse: Maggi Payne’s Sonic Desertscapes,” Annual Meeting, Society for American Music, Sacramento, 5–8 March 2015 refereed.

♦ “Commemorating the Holocaust in Music: Three Case Studies,” Colloquium “Jewish Music and Germany after the Holocaust,” Annual Meeting of the Rocky Mountain Chapter of the American Musicological Society, Greeley, Colorado, March 2012.

♦ “Negotiating Nature, Music and Technology: Ecological Thought in the Works of Maggi Payne and Laurie Spiegel,” Society for American Music, Charlotte, March, 2012, refereed.

♦ “Commemorating the Holocaust in Music: Case Studies of Three German Composers,” Colloquium “Jewish Music and Germany after the Holocaust,” Dickinson College, Carlisle, 25-27 February 2011, refereed.

♦ “The City as Muse: Annie Gosfield’s New York City Soundscapes,” Annual Meeting, Society for American Music, Denver, 19-22 March 2009, refereed.

♦ “Arnold Schoenberg – American,” Annual Meeting of the Rocky Mountain Chapter of the American Musicological Society, ASU, Tempe, 30-31 March 2007, invited.

♦ “Arnold Schoenberg – American,” Annual Meeting of the Society for American Music, Pittsburgh, 1-4 March 2007, refereed.

♦ “Negotiating Three Identities: Arnold Schoenberg’s Strategies of Acculturation in America,” Spring Meeting of the Greater New York Chapter of the American Musicological Society, Princeton University, 6 May 2006, refereed.

♦ “Arnold Schoenberg in America Reconsidered: A Historiographic Investigation,” Annual Meeting of the Rocky Mountain Chapter of the American Musicological Society, University of Northern Arizona, Flagstaff, 8-9 April 2005, invited.

♦ “John Cage and Improvisation: An Unresolved Relationship,” Meeting, Rocky Mountain Chapter of the American Musicological Society, Greeley, Colorado, 27 March 2004, refereed.

♦ “‘I have been most of my life with a chip on my shoulder against improvisation’ – John Cage’s Struggle With Improvisation,” “New Directions in the Study of Musical Improvisation,” National Conference, University of Illinois, Urbana-Champaign, 1-4 April 2004, invited.

♦ “Echoes of Schoenberg’s Pierrot lunaire in American Music,” Meeting, Greater New York Chapter of the American Musicological Society, Manhattan College, Riverdale, New York, 24 April 2004, refereed.

♦ “The Reception of Schoenberg’s work in America before 1933,” Meeting, Greater New York Chapter of the American Musicological Society, NYU, 16 October 1999, refereed.

Guest Lectures, Workshops, Residencies, and Addresses

♦ Residency-Block Seminar, Media Art and the Environment, University for Applied Sciences/Technische Hochschule Ansbach, Germany, 9–12 May 2016.

♦ Residency-Block Seminar, John Cage’s 49 Waltzes for the 5 Boroughs of New York, University for Applied Sciences/Technische Hochschule Ansbach, Germany, 5–10 June 2015.

♦ Colloquium on “Schoenberg’s Correspondence with American Composers,” Boston University, 13 December 2012.

♦ Residency, Kunstuniversität Graz, Austria, November 2012:

♦ Talk “Problems and Perspectives in Schoenberg Research,” ♦Graduate Seminar on Schoenberg’s Female Students

♦ Residency, University of North Carolina, Greensboro, March 2012:

♦ Honors Seminar on Birdsong in Classical Music

♦ Colloquium: “Negotiating Nature and Music: Ecological Reflections in the Music of John Luther Adams”

♦Colloquium on Schoenberg’s Survivor from Warsaw, Columbia University, New York City, 6 December 2011.

♦ “Schoenberg and Pierrot lunaire,” Columbia University, New York City, 18 April 2007.

♦ “In Commemoration of Dika Newlin,” “Dika Newlin Life Celebration,” First Unitarian Universalist Church of Richmond, Virginia, 16 September 2006.



♦ “Negotiating Three Identities: Arnold Schoenberg’s Strategies of Acculturation and Dissimilation in America,” Goethe-Institute Boston, “Beethoven and Schoenberg,” Lecture Series of the Boston Symphony Orchestra and the Music Department of Harvard University, 8 February 2006.

♦ “John Cage and Improvisation: An Unresolved Relationship,” Bucknell University, Lewisburg, 27 October 2003.

♦ “John Cage and Improvisation: An Unresolved Relationship,” Wesleyan University, Middletown, 31 October 2003.

♦ “The Reception of Schoenberg’s Work in America before 1933,” University of Tennessee, Knoxville, 16 April 2002.

♦ “Improvisation in New Music, 1950-1980,” University of California, Davis, 15 March 2002. ♦ “Improvisation in New Music, 1950-1980,” Bard College, Annandale-on-Hudson, 26 September 2000.



♦ “Concepts of Improvisation in New Music,” College of Arts and Science, NYU, 16 April 1999. ♦ “Zur Rezeption von Schönbergs Schaffen in Amerika vor 1933,” Free University, Berlin, 19 November 1998.



♦ “Schoenberg and the Cinematic Art,” Stony Brook University, Stony Brook, 27 February 1998.