Film
"Film Music Analysis and Pedagogy." Indiana Theory Review 11/1-2 (1990): 1-27. Go to Indiana Theory Review Home Page. Articles from volume 11 are now available as PDF files: Go to Indiana Theory Review contents of previous issues.
Lead essay and program notes for a three-concert series by The Juilliard String Quartet, January, March, May 1995
Liner notes for a recording of Hindemith's Kammermusiken, BMG Classics (New York), 1995
"Hindemith's hommages ˆ Bach in Two Early Viola Sonatas." Hindemith Jahrbuch XVI (1987): 153-174.
With Giselher Schubert. "Arnold Schoenberg and Paul Hindemith." Journal of the Arnold Schoenberg Institute : 13/1 (1990): 3-46
"`Ubi eras bone Jesu?': On the Orchestral Recitative in Hindemith's Mathis der Maler." South African Journal of Musicology 8/9 (1988/89): 1-8.
"Paul Hindemith: Musician's Musician." Lead essay for the program magazine of the San Francisco Symphony Orchestra, November 1987
"Hindemiths Auseinandersetzung mit der Zwšlftontechnik." Musiktheorie 2/1 (1987): 55-72.
"Tonal, Formal, and Proportional Design in Hindemith's Music." Music Theory Spectrum 9 (1987): 93-116.
The Music of Paul Hindemith . New Haven: Yale University Press, 1986. Vol. 3 in the series, Composers of the Twentieth Century, Allen Forte, general editor. Note: This book received the Publication Award for a Younger Scholar, Society for Music Theory, 1987.
With GŸnther Metz. "Hindemith-Bibliographie, 1979-1981." Hindemith Jahrbuch XV (1986): 159-183.
"Hindemith: A New Assessment." Keynote (WNCN [New York] program guide) 7/10 (December 1985): 8-13
Lead essay ("Nonadecennial?") and program notes for three concerts in a series by Samuel Rhodes and colleagues, Paul Hindemith: The Viola Legacy. New York, Carnegie Recital Hall, January 12, March 23, and April 27, 1985.
Ed., Paul Hindemith: SŠmtliche Werke , Serie III, Band 7 (BlŠserkonzerte I). Series editors Ludwig Finscher and Kurt von Fischer. Mainz: Schott, 1983
"The Genesis and Structure of Hindemith's Ludus Tonalis." Hindemith Jahrbuch VII (1978): 72-103
"Letter-Name Mottoes in Hindemith's `Gute Nacht'." Hindemith Jahrbuch VI (1977): 29-46. Also appeared in altered form in In Theory Only (Michigan Theory Society) 2/8 (1976): 5-19
"Hindemith's Recorder Trio: Sketches and Autograph." The American Recorder 17/2 (1976): 61-68. Translated as "Hindemiths Blockfloetentrio: Skizzen und Autograph" Tibia 6/1 (1981): 262-267
(dissertation) "Counterpoint and Pitch Structure in the Early Music of Paul Hindemith" (1976)
"A Response to David Beach." In Theory Only 11/5 (1990): 19-22. "A Rejoinder to John Rothgeb." The same: 23-25
"Fragile Octaves, Broken Lines: On Some Limitations in Schenkerian Theory and Practice." In Theory Only (Michigan Music Theory Society) 11/3 (1989): 13-30
The Book of the Musical Artwork by Felix-Eberhard von Cube, translated and edited by David Neumeyer, George R. Boyd, and Scott Harris. Edwin Mellen Press, Lewiston, NY, 1988.
"The Ascending Urlinie." Journal of Music Theory 31/2 (1987): 275-303.
"The Three-Voice Ursatz." In Theory Only (Michigan Music Theory Society) 10/1-2 (August 1987): 3-29. --also, a reply to a critical response by Steve Larson, in the same journal 10/4 (December 1987): 33-37.
"The Urlinie from ^8 as a Middleground Phenomenon." In Theory Only 9/5-6 (January 1987): 3-25.
With Rudy T. Marcozzi, "An Index to Schenkerian Analyses of Beethoven Piano Sonatas and Symphonies." Indiana Theory Review VI/1-2 (1982-83): 101-117.
"Organic Structure and the Song Cycle: Another Look at Schumann's Dichterliebe ." Music Theory Spectrum 4 (1982): 92-105.
"Liszt's Sonetto 104 del Petrarca: The Romantic Spirit and Voiceleading." Indiana Theory Review 2/2 (1979): 2-22.
Some links:
Graduate Office, School of Music, University of Texas at Austin
School of Music, University of Texas at Austin