CV

For a complete on-line profile, please see: http://faculty.unt.edu/editprofile.php?onlyview=1&pid=1666

Name: Timothy L. JacksonDepartment: College of Music, University of North Texas, Denton, Texas 76203

Phone: Office: 940-565-3748e-mail: timothy.jackson@unt.edu

EDUCATION (Highest Degree First)

Year Degree Major Institution

1988 Ph.D. Music Graduate Center of the City University of New York

Deutschkurse fur Ausländer Universität München, Zeugnis, 1985.

1982 M.A. Music Queens College of the City University of New York

1979 B.A. Music McGill University, Montreal, Canada

Ph.D. in Music, Graduate School and University Center (CUNY), 1988.

Dissertation title: “The Last Strauss: Studies of the Letzte Lieder.” Supervisor: Prof. Carl E. Schachter.

Citations of dissertation by Barbara Petersen, "Richard Strauss: A Lifetime of Lied Composition," and John Daverio, "The Song Cycle: Journeys Through a Romatic Landscape," in Rufus Hallmark ed., German Lieder in the Nineteenth Century, New York:Schirmer Books, 1996.

Michael Kennedy (Richard Strauss, New York: Schirmer Books, 1996, 195): "The American Strauss scholar Timothy L. Jackson has made an extremely convincing case for his belief that the cycle should comprise five songs and that the orchestral version of the 1894 song Ruhe, meine Seele! should be the penultimate item, preceding Im Abendrot....."

Congressional Citation: The Honorable Michael C. Burgess (TX) rose on Tuesday, January 31st, 2006, to recognize my teaching at Hanyang University, Seoul, South Korea, during the 2005-2006 academic year.

ACADEMIC POSITIONS Distinguished University Research Professor, College of Music, University of North Texas (2011-present)Full Professor, College of Music, University of North Texas (2005-present)Associate Professor, College of Music, University of North Texas (2001-2005).Assistant Professor, College of Music, University of North Texas (1998-2001).Assistant Professor, Connecticut College, New London, CT (1990-1997)Guest Professor, Sibelius Academy, Finland (two weeks, October 1997).Guest Professor, Oxford University, UK (one week, October 1997).Guest Professor, University of Helsinki, Finland (one week, April 1998).

GRANTS AND CONTRACTS

Beginning Date-Ending Date, Title, Agency, Amount

2007, Anonymous Donor, $15,000 to support Allen Forte On-line Archive at http://forte.music.unt.edu/2005, Fulbright Teaching Award to Korea, J. William Fulbright Commission, to support one semester of teaching at Hanyang University, $17,0002005, Lady Davis Fellowship, to support one semester of teaching at the Hebrew University of Jerusalem, $11,000, but not taken up.2004, Nokia Grant to Support the Fourth International Sibelius Symposium at the College of Music, UNT, $30,0002008, Faculty Research Grant, University of North Texas, $50002004, Faculty Research Grant, University of North Texas, $40002003, Faculty Research Grant, University of North Texas, $35002002, Faculty Research Grant, University of North Texas, $50002001, Grant from the Hans Schaeuble Foundation, Zurich, $65, 0002000, Summer Research Grant for University Professors from the National Endowment for the Humanities (NEH), $5,000.2000, Faculty Research Grant, University of North Texas, $3800.1999, Junior Faculty Summer Research Grant, University of North Texas, $3500.1999, Faculty Research Grant, University of North Texas, $2000.1996-1997, Fellowship for College Professors from the National Endowment for the Humanities (NEH), $30,000.1995, Intercountry Award from the Finnish Fulbright Commission, $3000. 1994, Intercountry Award from the British Fulbright Commission, $2000. 1994-1995, Senior Fulbright Teaching and Research Award to Germany, J. William Fulbright Commission, $36,000. 1991, Fellow of the Arnold Schoenberg Institute Vienna-Berlin-Los Angeles Conference, $700.1989-91, Two-year Canada Research Grant, Social Sciences and Humanities Research Council of Canada (SSHRCC), $65,000 over two years. 1987-89, Post-doctoral Fellowships (SSHRCC), $46,000 over two years. 1988, Österreichischer Akademischer Austauschdienst (OAD), $10,000.

1985-87, Doctoral Fellowships (SSHRCC), $23,000 over two years.1985, Deutscher Akademischer Austauschdienst (DAAD), $8500.University Fellowship (The Graduate Center CUNY), 1982-83. 1982, The Graduate Award at Queens College, 1982 (the highest award to graduating masters in all faculties at Queens College CUNY), $1000. 1982, Nova Scotia Talent Trust. 1978-79, Scholarships from McGill University: Magor Scholarship 1978/ Laliberte Prize 1978-79/ Faculty of Music Scholarship 1978-79/ University Scholarship 1978-79.

UNIVERSITY COMMITTEES AND COUNCILS

Beginning Date Name of Committee

Fall 1998-2002 Committee on the Status of WomenFall 1998-2002 Academic Affairs CommitteeFall 2001-present Faculty Research Committee

COLLEGE COMMITTEES AND COUNCILS

Fall 1998-2002 Ph.D. Committee (Chair, 2001-2002)Fall 2006-present Graduate Degrees Committee (GADCOM)Fall 2002-present Personnel Affairs Committee (PAC) for T.H.E Division

RESEARCH

Areas of Expertise:

Timothy L. Jackson’s primary interests center on the music of the eighteenth through twentieth centuries, Schenkerian theory, and politics and music. He was born in Ottawa, Ontario, Canada, in 1958. Since his mother was an American citizen, he received dual US-Canadian citizenship.

Jackson’s studies in music were initiated with piano lessons at age 7. At ages 10 and 13, he spent two years in the Preparatory Division of the Juilliard School of Music (on scholarship), where he studied piano and theory.

Jackson is well-known for his work on the music of Richard Strauss, on which he wrote his doctoral dissertation (Ph.D. in Music Theory, 1988, the Graduate Center of the City University of New York). Since completing his doctorate (under Carl Schachter) Jackson’s interests have branched out from German music to encompass the Russian, Estonian, and Finnish traditions. He authored the monograph on Tchaikovsky’s Sixth Symphony (Pathétique) for the Cambridge Handbooks Series (1999) in addition to co-editing Sibelius in the Old and New World: Aspects of His Music, Its Interpretaton, and Reception, eds. Timothy L. Jackson and Veijo Murtomäki (Peter Lang, 2010), Bruckner Studies (Cambridge, 1997), Sibelius Studies (Cambridge, 2001) and Perspectives on Anton Bruckner (Ashgate, 2001). With Paul Hawkshaw (Yale), he wrote the

composer article on Bruckner for the Revised New Groves Dictionary of Music and Musicians (2001/2004).

Currently, he is working on a volume of Richard Strauss Studies, also for Cambridge. Jackson has published on a wide range of topics, especially on theories of form and large-scale tonal structure, in an array of music theory journals including The Journal of Music Theory, Music Analysis, In Theory Only, and Theory and Practice. His research on twentieth-century composers such as Schoenberg and Shostakovich, has been published in a wide range of journals including 19th-century Music, The Musical Quarterly, Music and Letters, Journal of Musicological Research, and the International Journal of Musicology, and also books published by Cambridge, Oxford, Duke, and Princeton University Presses as detailed below. Since 2000, Jackson has been exploring the intersection between music and politics. He teaches courses on the politics of classical music in Nazi Germany, and actively directs the "Lost Composers" Project, which seeks to revive the music of composers whose work was eclipsed or lost as a result of the Nazi-era cultural policies and the Holocaust. His Paul Kletzki project for Naxos Records resulted in a Grammy Nomination in 2011.

PUBLICATIONS AND CREATIVE ACTIVITIES

Books (published):

Bruckner Studies, eds. Timothy L. Jackson and Paul Hawkshaw (Cambridge: Cambridge University Press, 1997). (refereed)

Cambridge Handbook on Tchaikovsky’s Sixth Symphony (Pathétique) (Cambridge: Cambridge University Press, 1999). (refereed)

Perspectives on Anton Bruckner, eds. Timothy L. Jackson, Paul Hawkshaw (Yale), and Crawford Howie (Manchester), (London: Ashgate Press, 2001). (refereed)

Sibelius Studies, eds. Timothy L. Jackson and Veijo Murtomäki (Sibelius Academy), (Cambridge: Cambridge University Press, 2001). (refereed)

Sibelius in the Old and New World: Aspects of His Music, Its Interpretation, and Reception, eds. Timothy L. Jackson and Veijo Murtomäki (Peter Lang: New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, 2010).

“The Schenker-Oppel Exchange: Schenker as Composition Teacher,” Music Analysis 20/1 (2001) (Oxford), pp. 1-116. (refereed)

Article on “Bruckner” in The New Grove Dictionary of Music and Musicians ed. S. Sadie and J. Tyrrell (London: Macmillan, 2001) and Grove On-line (Oxford University Press, 2004. 6. Publication and reception history. 7. Versions of the symphonies. 8. Metrical and part-

writing theories, composition and revision processes. 9. Form, large-scale harmony and the revisions. 10. Vocal music. 11. Narrative and intertextuality. 12. Research issues.

Articles:

“Richard Strauss’s Winterweihe — An Analysis and Study of the Sketches.” Richard Strauss-Blätter XVII (1987), pp. 28-69. (invited)

“Compositional Revisions in Richard Strauss’s Waldseligkeit and a New Source.” Richard Strauss-Blätter XXI (1989), pp. 55-84. (invited)

“Mozart’s Little Gigue in G major — A Study in Rhythmic Shift, A Reminiscence of the Competition with Haessler?” Mitteilungen der internationalen Mozart-Gesellschaft XXXVII (1989), pp. 70-80. (refereed)

Comment on Steven Parkany’s “Kurth’s Bruckner and the Adagio of the Seventh Symphony.” Nineteenth Century Music XIII/1 (1989), pp. 74-75. (refereed)

“The Enharmonics of Faith: Enharmonic Symbolism in Bruckner’s Christus factus est (1884).” Bruckner Jahrbuch 1987-88, Austrian Academy of Sciences, Linz, 1990, pp. 4-20. (invited)

“‘Schubert as John the Baptist to Wagner-Jesus’ — Large-scale Enharmonicism in Bruckner and his Models,” in Bruckner Jahrbuch 1991-93, Austrian Academy of Sciences, Linz, 1995, pp. 61-108. (invited)

“Gabriel Fauré’s Expansions of Non-Duple Hypermeter in La Fleur qui va sur l’eau Op. 85, No. 2.” In Theory Only XII (November 1991), pp. 1-24. (refereed)

“Schoenberg’s Op. 14 Songs: Textual Sources and Analytical Perception,” Theory and Practice XIV (1989/90 double issue), pp. 35-58. (refereed)“Bruckner’s Metrical Numbers,” Nineteenth Century Music XIV/2 (Fall 1990), pp. 101-31. (refereed)

“Schubert’s Revisions of Der Jüngling und der Tod D 545a-b and Meeres Stille D 216a-b,” The Musical Quarterly LXXV/3 (1991), pp. 335-60 (American Oxford). (refereed)

“The Metamorphosis of Richard Strauss’s Metamorphosen — New Analytical and Source Critical Discoveries,” in Richard Strauss: His Life and Work, ed. Bryan Gilliam, Duke University Press, 1992, pp. 193-241. (refereed)

“Current Issues in Schenkerian Analysis.” Feature review-article on Trends in Schenkerian Research, ed. Allen Cadwallader (Schirmer Books, 1990) and Schenker Studies, 1990, ed. Hedi Siegel (Cambridge University Press) for The Musical Quarterly LXXVI/2 (1992), pp. 242-63 (American Oxford). (invited)

“Ruhe, meine Seele! and the Letzte Orchesterlieder,” in Richard Strauss and His World, ed. Bryan Gilliam, Princeton University Press (1992), pp. 90-138. (refereed) Translated as “Ruhe, meine Seele! Und die Letzten Orchesterlieder” in Richard Strauss-Blätter XXI (1995), pp. 84-128.

Review of Arnold Schoenberg, the Composer as Jew by Alexander Ringer, Theory and Practice 18 (1993), pp. 171-78. (invited)

“Bruckner’s Rhythm: Syncopated Hyperrhythm and Diachronic Transformation in the Second Symphony,” in Anton Bruckner — Persönlichkeit und Werk, Austrian Academy of Sciences, Linz, 1995, pp. 93-106. (invited)

“Hearing Schoenberg,” review-article on Silvina Milstein, Arnold Schoenberg. Notes Sets Forms, Cambridge: Cambridge University Press, 1992, for the Journal of Musicological Research 15/4 (1995) pp. 285-311 (Gordon Breach, UK). (invited)

“Aspects of Sexuality and Structure in the Later Symphonies of Tchaikovsky,” Music Analysis 14/1 (1995), pp. 3-25 (Oxford). (refereed)

“The Tragic Reversed Recapitulation in the German Classical Tradition,” Journal of Music Theory 40.1 (1996), pp. 23-72 (Yale University Press). (refereed)

“The Finale of Bruckner’s Seventh Symphony and Tragic Reversed Sonata Form,” in Perspectives on Anton Bruckner, eds. Timothy L. Jackson and Paul Hawkshaw, Cambridge University Press, 1997, pp. 140-208. (refereed)

“‘Your Songs Proclaim God’s Return’ — Arnold Schoenberg, the Composer and His Jewish Faith,” International Journal of Musicology VI (1997), pp. 277-315. (invited)

“Bruckner’s Oktaven,” Music and Letters 86 (1997), pp. 391-409 (British Oxford University Press). (refereed) Expanded version published as: “Bruckner’s Oktaven: the problem of consecutives, doubling, and orchestral voice-leading.” Perspectives on Anton Bruckner, eds. Timothy L. Jackson, Paul Hawkshaw, and Crawford Howie, (London: Ashgate Press, 2001). (refereed)

“Dmitri Shostakovich, the Composer as Jew,” in Shostakovich Reconsidered, eds. Dmitri Feofanov and Allan Ho, (New York, London, Paris: Toccata Press, 1998), pp.597-642. (invited)

“‘A Heart of Ice:’ Crystallization in Sibelius’s Pohjola’s Daughter and Other Works.” Conference Report of the Second International Sibelius Conference in Helsinki, November 1995, ed. Eero Taarasti, 1998, pp. 100-123. (invited)

“Diachronic Transformation in a Schenkerian Context. A Study of the Brahms Haydn Variations Op. 56a-b,” in Schenker Studies 2, eds. Hedi Siegel and Carl Schachter, Cambridge University Press (1999), pp. 195-237. (refereed)

“Brahms’s 9 Lieder und Gesaenge, Opus 63,” in The Compleat Brahms. A Guide to the Musical Works of Johannes Brahms,” ed. Leon Botstein (New York and London: W. W. Norton & Company, 1999), pp. 251-254. (invited)

“Diachronische Transformation im Schenkerschen Kontext: Brahms’ Haydn-Variationen,” in Johannes Brahms. Quellen – Text – Rezeption – Interpretation. Internationaler Brahms-Kongress Hamburg 1997, eds. Friedhelm Krummacher and Michael Struck (Munich: Henle Verlag, 1999), pp. 453-92. (invited)

“The Adagio of Bruckner's Sixth Symphony: The Anticipatory Tonic Recapitulation in Bruckner, Brahms, and Dvorak.” In Perspectives on Anton Bruckner, eds. Timothy L. Jackson, Paul Hawkshaw, and Crawford Howie, (London: Ashgate Press, 2001). (refereed)

“Die Wagnersche Umarmungs-Metapher bei Bruckner und Mahler” (“The Wagnerian ‘Embrace’ Metaphor in Bruckner and Mahler,”), in Bruckner-Probleme, Beiheft zum Archiv für Musikwissenschaft, ed. Albrecht Riethmüller (Stuttgart: Franz Steiner Verlag, 1999), pp. 134-52. (invited)

“Observations on crystallization and entropy in the music of Sibelius and other composers,” in Sibelius Studies, eds. Timothy L. Jackson and Veijo Murtomaki (Cambridge: Cambridge University Press, 2001), pp. 175-275. (refereed)

“A Contribution to the Musical Poetics of Dmitri Shostakovich: Observations on ‘Putting the Jew back in Christ,” in Dmitri Schostakowitsch und das juedische musikalische Erbe, eds. Ernst Kuhn, Andreas Wehrmeyer und Guenter Wolter (Berlin: Verlag Ernst Kuhn, 2001), pp. 19-55. (invited)

“Brucknerian Models: Sonata Form and Linked Internal Auxiliary Cadences,” Sibelius Forum II. Proceedings from the Third International Jean Sibelius Conference, Helsinki December 7-10, 2000, Sibelius Academy, 2003, pp. 155-171. (invited)

"The problem of the second group in the first movement of Tubin's Fifth Symphony: A Schenkerian View," Yearbook of the International Eduard Tubin Society. Vol. 3 (2003). International Eduard Tubin Society: Tallinn, 2003. ISSN 146-7077, pp. 59-69. (invited)

Translation of Schenker’s article on Mozart’s A minor Sonata in Der Tonwille, ed. William Drabkin (New York: Oxford University Press, 2004), pp. 55-71. (refereed)

“Paul Kletzki and Reinhard Oppel: two forgotten composers,” JMI International Forum for Suppressed Music Newsletter No. 6, January 2004.http://www.jmi.org.uk/suppressedmusic/publications/ifsmnews6.html

CD Program booklet for BIS CD 1399, Paul Kletzki, Third Symphony “In Memoriam,” Concertino for Flute, 2004.

"Schliesse mir die Augen beide: an Analysis of Six Settings by Berg, Oppel, Tintner, Zilcher, and Kletzki," A Composition as a Problem. Vol. IV. Scripta Musicalia: Tallinn (2004), pp. 51-88.

"Representations of "Exile" and "Consolation" in Hindemith"s Mathis der Maler," A Composition as a Problem. Vol. IV. Scripta Musicalia: Tallinn (2004), pp. 17-44.

“The Finale of Tubin’s Fifth Symphony from a Schenkerian Perspective.” Proceedings of the International Conference "Eduard Tubin 100.” (Tallinn: Estonian Academy of Music and Theatre, 2007).

“The Urlinie in Hindemith’s String Quartet Op. 22, Second Movement?” in a Composition as a Problem, A Composition as a Problem. Vol. V. Scripta Musicalia: Tallinn (2008), pp. 146-174.

“Eine Annäherung an Paul Kletzki.” Musica Reanimata Nr. 58 (2006), pp. 6-17.

“Hinauf strebt's : Song Study with Carl Schachter” in Structure and Meaning in Tonal Music: Festschrift in honor of Carl Schachter, eds. Poundie Burstein and David Gagné, (Hillsdale, NY :; Pendragon Press, Year: 2006), pp. 191-202.

“Sibelius the Political” in Sibelius in the Old and New World: Aspects of His Music, Its Interpretaton, and Reception, eds. Timothy L. Jackson and Veijo Murtomäki (Peter Lang: New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, 2010, pp. 69-124.

“The Urlinie in Hindemith’s String Quartet Op. 22 Second Movement?” in A Composition as a Problem V, (Tallinn: Estonian Academy of Music and Theatre, 2008), pp. 146-86.

“Escaping from a Black Hole: Facing Depression in Academia,” read at the National Joint Conference of the American Musicological Society and the Society for Music Theory, Nashville, 7 November, 2008, published in Music Theory Online (MTO) Volume 15, Numbers 3 and 4, August 2009.

“Punctus contra punctam: Hans Weisse’s Counterpoint Studies with Heinrich Schenker,” read at the National Joint Conference of the American Musicological Society and the Society for Music Theory, Nashville, 7 November, 2008, The Journal of Schenkerian Studies IV (2010), pp. 87-186.

“Thierfelder’s 1935 Open Letter to Sibelius and Adorno’s Critique – Some Preliminary Observations,” Säteitä (Sibelius Academy Yearbook, 2010), pp. 10-42.

“Heinrich Schenker’s Comments on Some Compositions by Reinhard Oppel,” A Composition as A Problem VI (2012), pp. 5-95.

Obituary/eulogy for Prof. Edward Laufer, “Musae Iovis plangite!” in the Society for Music Theory Newsletter (Volume 37/2), pp. 20-21.

Program book essay for the special Festival Concert for the 150 th Birthday Celebration of Richard Strauss in the National Theater of the Bavarian State Opera [Bayerische Staatsoper, Munich], June 10, 2014. The essay won a German award. [Bayerische Staatsoper, Munich], June 10, 2014. The essay won an award from a Munich newspaper. One German newspaper reviewer asked: “How to deal with the resulting orbit of the Nazi period late works by Richard Strauss? By playing them - and at the same time dealing with them. Exemplary is the way that happened in the program of the gala concert of the Bavarian State Opera: Timothy L. Jackson writing of the "Metamorphoses" does not mince words - without polemics, informed by documents in archives and without glossing over the older literature….. Unfortunately, the program book was the best thing of that evening. One consolation: Performances pass; the program book remains.”

Program book essay for the Production of Richard Strauss’s Ariadne at the National Theater for the Bavarian State Opera, June 15, 2015. Anmerkungen zur Oper Arabella: Aspekte biografischer Verstrickungen [Observations on the Opera Arabella: Aspects of the Biographical Omissions] in the Program Book for the performance of Richard Strauss's Arabella in the National Theater of the Bavarian State Opera, Munich, July 2015. Das Programmbuch zu Richard Strauss' Arabella Festspielpremiere am 06. Juli 2015 im Nationaltheater. Mit Originalbeiträgen von Barbara Zuber, Sergej Kiamin, Timothy Jackson und Rainer Karlitschek. Fotos von Wilfried Hösl, 208 Seiten. [The Program Book for Richard Strauss’s Arabella, Festival Premiere on July 6, 2015 in the National Theater, 208 pages]. The publisher, the Bavarian State Opera [Bayerische Staatsoper], is one of the most prestigious opera houses in Germany. https://www.staatsoper.de/en/info-service/shop/programme-oper.html

“The ‘Pseudo-Einsatz’ in Two Handel Fugues: Heinrich Schenker’s Analytical Work with Reinhard Oppel” in Bach to Brahms. Essays in Musical Design and Structure, edited by David Beach and Yosef Goldenberg (Rochester and London: Rochester University Press, 2015), pp. 173-203.

“The First Movements of Anton Eberl’s Symphonies in E flat major and D minor, and Beethoven’s Eroica:" Towards “New” Sonata Forms?” in Explorations in Schenkerian Analysis, eds. Su Yin Mak and David Beach (Rochester and London: Rochester University Press, 2016), pp. 61-98.

“Elucidations of Post-Tonal Free Composition,” Journal of Schenkerian Studies X (2017), pp. 23-177.

"The Company You Keep:’ Recipients of the Honorary Doctorates from the 1936 Heidelberg Celebration – Sibelius and Those Honored with Him,” in Jean Sibelius’s Legacy, edited by Daniel Grimley (Professor of Music, Merton College, Oxford) and Veijo Murtomäki (Professor, Sibelius Academy) (Cambridge: Scholars Press, Cambridge, UK, 2017), pp. 88-110. An earlier version was read at the Sixth International Sibelius Symposium held in Hämeenlinna, Finland, 8 December 2015.

PAPERS PRESENTED

“Richard Strauss’s Winterweihe — An Analysis and Study of the Sketches.” Read in Richard Strauss-Arbeitsgruppe, Ludwig Maximilians Universität, Munich, 1986. (Invited)

“The Enharmonics of Faith: Enharmonic Symbolism in Bruckner’s Christus factus est (1884).” Read at the Eastman School of Music and University of Western Ontario, 1989. (Invited)

“Schoenberg’s Op. 14 Songs: Textual Sources and Analytical Perception.” Read at Music Theory Society of New York State, 20th Anniversary Meeting, Eastman School of Music, 1990. (Refereed)

“The Metamorphosis of Richard Strauss’s Metamorphosen — New Analytical and Source Critical Discoveries.” Read at the N.Y.-St. Lawrence American Musicological Society Chapter Meeting, Hobart and William Smith Colleges, Geneva, New York, October 1991. (Refereed)

“Schubert’s Revisions of Der Jüngling und der Tod D 545a-b and Meeres Stille D 216a-b.” Read at American Musicological Society Chapter Meeting, New York-St. Lawrence Chapter, Syracuse, 1990. (Refereed) Read at Canadian Society for Eighteenth Century Studies, Queen’s University, 1990. (Refereed)

“Bruckner’s Metrical Numbers.” Read at Music Theory Canada 1990 Conference, University of Western Ontario. (Refereed)

“Mahler, Strauss, and Bruckner’s Wagner-Rezeption,” in Bruckner Studies 2. Read at the Music Theory Midwest Conference in May 1991. (Refereed)

“Bruckner’s Rhythm: Syncopated Hyperrhythm and Diachronic Transformation in the Second Symphony.” Read at the 1992 Bruckner Symposion in Linz. (Invited)

“Linear Counterpoint as Redemption Metaphor.” Read at the National Meeting of the Society for Music Theory, Kansas City, October 1992. (Refereed)

“Diachronic Transformation in a Schenkerian Context. A Study of the Brahms Haydn Variations Op. 56a-b.” Read at the Second International Schenker Conference, the Mannes School of Music, New York City, March 1992. (Refereed) Revised version read at the International Brahms Symposium, Harvard University, April 1997. (Refereed)

“The Tragic Reversed Recapitulation in the German Classical Tradition.” Read at the New England Conference of Music Theorists at Tufts University, Boston, in March 1993. (Refereed)

“Aspects of Sexuality and Structure in the Later Symphonies of Tchaikovsky.” Read at the National Meeting of the American Musicological Society, Minneapolis, October 1994. (Refereed)

“The Finale of Bruckner’s Seventh Symphony and Tragic Reversed Sonata Form.” Read at the International Symposium Perspectives on Anton Bruckner at Connecticut College in February 1994. (Invited)

“Bruckner’s Oktaven.” Read at the National Meeting of the American Musicological Society, Pittsburgh, November 1992. (Refereed) Read at the International Bruckner Conference in Manchester, April 1996. (Refereed)

“‘A Heart of Ice:’ Crystallization in Sibelius’s Pohjola’s Daughter and Other Works.” Read at the Second International Sibelius Conference in Helsinki, November 1995. (Invited)

“The Wagnerian ‘Embrace’ Metaphor in Bruckner and Mahler.” Read at "Das Bruckner-Problem" Conference, Freie Universität, Berlin, October 1996. (Invited)

“Dmitri Shostakovich, the Composer as Jew.” Read at the Israel Festival, Jerusalem, June 10, 1996. (Invited) Read as a ‘University Lecture’ at Oxford University, 22 October 1997. (Invited)

“Diachronische Transformation in Brahms Haydn-Variationen.” Read at the International Brahms Symposium at the University of Hamburg, April 1997. (Refereed)

“The Schenker-Oppel Exchange: Schenker as Composition Teacher.” Read at the National Meeting of the Society for Music Theory, Chapel Hill, December 1998. (Refereed)

“Shostakovich’s ‘Jewish’ Bach and Mussorgsky.” Read at the National Meeting of the American Musicological Society, Boston, October 1998. (Refereed)

“Reinhard Oppel’s Freie Satz: the Kleine Klavierstueck No. 3 and Bach’s Sinfonia in E minor.” Read at the Third International Schenker Symposium, Mannes College of Music, March 1999. (Refereed)

“The ‘Healing’ Metaphor in Schumann and Pfitzner.” Read at the International Hans Pfitzner Symposium in Turnau, Germany, June 1999. (Invited)

“The ‘Pseudo-Einsatz’ in Two Handel Fugues: Heinrich Schenker’s Analytical Work with Reinhard Oppel.” Read at the National Meeting of the Society for Music Theory in Toronto, November 2000. (Refereed)

“Sibelius’s Brucknerian Models.” Read at the Fourth International Sibelius Symposium in Helsinki, December 2000. (Invited)

“Brahms’s Auxiliary Cadence Sonata Forms.” Read at the Third International Music Analysis Symposium in Tallinn, Estonia, March 2001. (Invited)

Regents’ Faculty Lecture at the University of North Texas, “’The New Teaching:’ Nov. 6, 2002.

"Schliesse mir die Augen beide: an Analysis of Five Settings by Berg, Oppel, Tintner, and Kletzk." Read at the Fourth International Music Analysis Symposium in Tallinn, Estonia, April 2003. (Invited)

"Representations of "Exile" and "Consolation" in Hindemith"s Mathis der Maler," A Composition as a Problem. Read at the Fourth International Music Analysis Symposium in Tallinn, Estonia, April 2003. (Invited)

"The problem of the second group in the first movement of Tubin's Fifth Symphony: A Schenkerian View," Meeting of the International Eduard Tubin Society, Tallinn, Estonia, 2004.

“Paul Kletzki (1900-1973) and the Holocaust: A Jewish Composer and His Stigmata.” Arts and Reconciliation Conference at the University of Pretoria, 14-20 March 2005. (Invited)

“Large-scale Tonal Resolution in the Finale of Tubin’s Fifth Symphony.” Read at The international conference Eduard Tubin 100, in Tallinn, Estonia, June 16-18, 2005. (Invited)

“‘A Tale of Two Songs,’ Hindemith’s Vom Tode Mariae I (1922-23) and Reinhard Oppel’s Die Gunst des Augenblicks (1925): Studies of Schenker’s Influence on Contemporary Composers.” Read at the Fourth International Schenker Symposium, March 17-19, 2006, Mannes College, New York City. (Refereed)

Served on the Program Committee for the Intercongressional Symposium of the International Musicological Society (SIMS 2006): Göteborg, Sweden, and chaired session on 23 June 2006.

“The Urlinie in Hindemith’s String Quartet Op. 22, Second Movement?” Fifth International Conference on Music Theory, September 28-30, 2007 Estonian Academy of Music and Theatre in Tallinn. (Invited)

“Strauss contra Mahler: Observations on Program and Structure in the Alpensinfonie,” Strauss Among the Scholars, Magdalen College, Oxford, 29 June, 2007 (refereed) http://straussatoxford2007.co.uk/

“Allen Forte’s Unpublished Analyses of Beethoven’s Pastorale, First Movement, and Bartok’s Fourteen Bagatelles for Piano, No. 8: Possible Integrations of Linear and Set-Theoretic Approaches,” Sixth European Music Analysis Conference, 14 October, 2007 (Refereed) http://www.rhul.ac.uk/music/golden-pages/files/DeckblattProgramm.pdf

“Escaping from a Black Hole: Facing Depression in Academia,” National Joint Conference of the American Musicological Society and the Society for Music Theory, Nashville, 7 November, 2008 (Refereed) http://www.ams-net.org/nashville/Nashville-final-program.pdf

“Hans Weisse’s Counterpoint Studies with Heinrich Schenker,” National Joint Conference of the American Musicological Society and the Society for Music Theory, Nashville, 7 November, 2008 (Refereed) http://www.ams-net.org/nashville/Nashville-final-program.pdf

"'The Canary in the Mine:' Paul Kletzki and Wilhelm Furtwängler,” "Revival and New Directions? Jewish Arts in German-Speaking Countries," Arizona State University, Tempe, October 5, 2009 (Invited) http://jewishstudies.clas.asu.edu/german2

“Sibelius and the SS,” National Meeting of the American Musicological Society, Philadelphia, 13 November, 2009 (Refereed) http://www.ams-net.org/philadelphia/AMS_Philadelphia_Abstracts.pdf

"Schenker’s Comments on Oppel’s a cappella Mass (1926), Gunst des Augenblicks (1925), Mein Herz (1926), and Benedictus (1908)" - Sixth International Conference on Music Theory in Tallinn, Estonia, October 15–17, 2010

"Sibelius and the SS (Revised)" The Fifth International Sibelius Symposium,” Worcester College, Oxford University, September 18, 2010

"Biographical and Analytical Perspectives on Friedrich Hartmann's Song of the Four Winds." Keynote Address at the Conference, “Music and Exile: North-South Narratives,” Goethe Institute, Johannesburg, South Africa, January 27, 2010

“Dessau’s Einstein, Ariadne auf Naxos and the Failure of Humanism.” National Meeting of the AMS, SMT, and SEM, New Orleans, November 2, 2012.

“Korngold: The Lost Musician?” Tuesday, February 25th at 6.30pm at the Jewish Community Center – Zale Auditorium. Sponsored by the Dallas Opera and Dallas Holocaust Museum. Panel Moderator: Cantor Richard Cohn, Temple Emanu-El; Panelists: Keith Cerny, The Dallas Opera, General Director and CEO; Dr. Timothy Jackson, Professor of Music Theory, University of North Texas; Barton Weiss, Associate Professor of Film/Video, University of Texas Arlington and 3 Stars Jewish Cinema.

“Toward a Free Composition for Post-Tonal Music,” Fifth International Schenker Symposium at the Mannes College of Music in New York City on March 15, 2013.

“The First Movement of Anton Eberl’s Symphony in E flat and Beethoven’s Eroica – Towards a ‘New’ Sonata Form?” presented at the Fifth International Music Analysis Symposium held in Tallinn, Estonia at the Estonian National Academy of Music on January 8th 2014.

“The First Movement of Anton Eberl’s Symphony in D minor – Towards a ‘New’ Sonata Form,” presented at the VIIIth EUROPEAN MUSIC ANALYSIS CONFERENCE or EUROMAC, presented September 17 - 21, 2014 in Leuven, Belgium. [Please note that I discussed a different symphony by Eberl in this paper in Leuven.]

“Liszt and the Nazis” presented at the American Liszt Society Festival held at UNT, 18 September 2015.

"Richard Strauss and Japanese Fascism," presented at the National Meeting of the AMS, November 2015.

“The Company You Keep:” Recipients of the Honorary Doctorates from the 1936 Heidelberg Celebration – Sibelius and Those Honored Alongside Him," presented at the VI International Sibelius Symposium, Helsinki, December 2015.

“Puccini’s Transformations of Partimento Models,” presented at the National Meeting of the Society for Music Theory in Vancouver, Canada, November 20, 2016.

Co-authored with Prof. Veijo Murtomäki (Sibelius Academy, Helsinki), “'Punctuation Form' and Expressive Contents in the First Main Period of Selected G minor Symphonies's First Movements of the Classical Era --Kochian-Schenkerian Approaches,” read at the IX EUROPEAN MUSIC ANALYSIS CONFERENCE or EUROMAC in Strasbourg, July 1, 2017.

Co-authored with Prof. Justin Lavacek (College of Music, UNT), “bIV in Theory and Chopin,” presented at the National Meeting of the Society for Music Theory, Arlington, Virginia, November 2017.

Invited Lectures and Workshops, Reviews:

Visiting Lecturer,

Two-Day Workshop, A Linear Approach to the Analysis of Post-tonal Music, Freiburg Hochschule für Musik, 20-23 June, 2007.

Two-Day Workshop in Schenkerian Analysis, Luzern Hochschule für Musik, 18-20 October, 2007.

Short Residence (March 31-April 5, 2008) at the Sorbonne in Paris: Professor of Music Theory et Director of the Center for Schenkerian Studies à l'Université de North Texas, donnera deux conferences à Paris Sorbonne séminaire d'études ethnomusicologiques de Paris-Sorbonne 31 mars de 10h et 13h salle D116 Maison de la Recherche, "The application of Schenkerian analysis to ethnomusicology, with a discussion of Jewish elements in the music of Shostakovich,” et conférence doctorale en musicology, "The Urlinie in Hindemith’s String Quartet Op. 22, Second Movement," samedi 5 avril 10h- 13h salle F 363 en Sorbonne.

"Sibelius the Political, Sibelius and Nazism." Guest lecture at the University of Strasbourg, April 7, 2008.

Guest Lecturer, McGill University, March 2-7, 2009.

Reviewer for the Social Sciences and Humanities Research Council of Canada, 2008.

Reader for Music and Letters, Oxford University Press, 2008.

Reviewed the manuscript of Steven vande Moortele's book on Two-Dimensional Sonata Form for Marike Schipper, the director of the Universitaire Pers Leuven in Belgium (December 2008).

Representative activities related to my research: websites, opera performances, concerts, radio programs, documentaries, reviews and CDs:

Facilitated donation of Hans Weisse’s Counterpoint Studies with Heinrich Schenker to the special collections of the Willis Memorial Library by the family of Hans Weisse (see also my paper at the Joint National Meetings of the American Musicological Society (AMS) and Society for Music Theory (SMT), Nashville, 2008).

Supervised the construction of the Allen Forte Archive, Saul Novack Electronic Archive, and the Hans Weisse Electronic Archive, by Schenker Center Research Assistant Chia-Ying (Charles) Wu, please see: http://forte.music.unt.edu/?q=node/814; http://novack.music.unt.edu/; http://weisse.music.unt.edu/node/36.

Co-organized (with Eileen Hayes, Division Chair, and Cara Stroud, UNT undergraduate honors student) "Hans Weisse Memorial Concert" with pre-concert lecture by Allen Forte, Wednesday, April 8, 2009. The concert, which presented Zehn biblische Sprüche für eine mittlere Frauenstimme (Alt) mit obligater Begleitung einer Klarinette (Klarinette in A u. B.) from 1925, Second String Quartet, first two movements (1933), Sonata for Piano and Violin (1932), third movement, and Small Chamber Concerto for Flute, Oboe, and Harpsichord (1937), was attended by the composer's granddaughter Dr. Bronwyn Cooper-Weisse and her family. Coordinated residence by Allen Forte (see attached poster) and raised $5000 from private donor to support residence.

Filmed by UNT's audio-visual department for a documentary produced in New Zealand in May 2008, for which I  was a "talking head" about "Lost Composer" Richard Fuchs. The film was produced by Danny Mulheron about his grandfather, composer Richard Fuchs, who emigrated from Nazi Germany to New Zealand in 1938 - one of the lucky few who got out just in time.

  In view of my various publications on Strauss, I served as consultant re. Strauss's Vier letzte

Lieder and the Lieder in general for René Fleming's latest recording (2008) (without acknowledgment).

  As Fulbright Professor in Seoul in the fall semester of 2005, I co-organized a concert of music by

“Lost Composers” Heinrich Schenker, Reinhard Oppel, Paul Kletzki, and Otto Vrieslander on November 28 at Paiknam Hall, Hanyang University, which was broadcast by KBSM FM 1, the main radio station in Korea. The concert involved participation by Joseph Banowetz (Professor of Piano at UNT), Robert Davidovici (Professor of Violin at Florida International University and Concert Master of the Osaka Philharmonic), Heejung Kang Jackson (Adjunct Instructor in the Keyboard Division, UNT), and Locky Chung (Professor of Voice at Hanyang University).

During 2003-4, I supervised work on the world premiere of the opera Dorian Gray by Swiss composer Hans Schaeuble. In 2000, with Opera Director Stephen Dubberly, I applied for and won a grant of $65,000 from the Hans Schaeuble Foundation in Zurich to support type-setting a publishable full-score performing edition of the opera, a staged production by the UNT Opera Division. The opera was performed and recorded at UNT during the week of February 7, 2004.

In 2003, I co-organized a “Lost Composers Concert” on November 11, 2003 (“Kristallnacht”) at Pier 21 in Halifax, Nova Scotia Canada. The concert featured post-war world-premiere performances of Paul Kletzki’s String Quartet in A minor, opus 1 and Reinhard Oppel’s String Quartet No. 2 in D minor and Cello Sonata in B minor (1904), and performances of five Lieder by Oppel in the presence of the composer’s son Kurt. The performers included the Blue Engine String Quartet, Sung-ha Shin Bouey (soprano, Assistant Professor of Voice, the University of Prince Edward Island), Peter Allen (pianist), and Shimon Walt (cellist). This performance was broadcast nationally in Canada by CBC Radio 2 along with my pre-concert lecture. The concert was well-publicized in Canada with pre-concert feature articles appearing on the “Canada” page of the Saturday edition of the Globe and Mail (Canada’s equivalent to the New York Times) on Nov. 10, 2003. The scores of the Oppel Quartet and Cello Sonata were prepared by my Graduate Research Assistant John Norine.

Recording of Paul Kletzki’s Third Symphony by the Norrköping Symphony (Sweden) conducted by Maestro Thomas Sanderling and produced by Robert Suff. The score and parts of the Symphony were type-set under my supervision; I worked with Sanderling and Suff during the week of recording sessions to correct mistakes in the score and consult on interpretative issues. The resulting BIS CD-1399 was released in June 2004.

December 10-22, 2004, I organized a lecture-concert tour of Israel featuring the “Lost Composers.” Illustrating my lectures were: Prof. Joseph Banowetz, piano (UNT), Dr. Heejung Kang, piano (UNT), Prof. Sung-Ha Shin-Bouey, soprano (University of Prince Edward Island), and Prof. Robert Davidovici, violin (Miami International University). The repertoire featured included: Reinhard Oppel, Waltzes (1929), Dr. Heejung Kang; Paul Kletzki, Fantasy Op. 9 (1924), Prof. Paul Banowetz, Lieder by Arnold Mendelssohn, Paul Kletzki, Heinrich Schenker, and Reinhard Oppel, Prof. Sung-Ha Shin-Bouey accompanied by Dr. Heejung Kang; Paul Kletzki, Violin Concerto, Op. 19 (1928), Prof. Robert Davidovici accompanied by Dr. Heejung Kang; and Paul Kletzki Piano Concerto, Op. 22 (1930), Prof. Joseph Banowetz accompanied by Dr. Heejung Kang. The venues were: the Hebrew University of Jerusalem, Bar Ilan University, the BYU Center for Near Eastern Studies in Jerusalem, the Ghetto Fighters’ House in the Western Galilee, and the Targ Center. I delivered pre-concert lectures at all of these venues, and the complete concert and my lecture at the Targ Center were broadcast live on Israel Radio.

Recording of Rediscovered Lieder and Piano Pieces. Music by Paul Kletzki, Reinhard Oppel, Heinrich Schenker, and Carlo Taube. The CD, which I produced and for which I wrote the program notes, presented nine world premiere recordings of songs and piano pieces by the above-mentioned composers. All of the music by Oppel is preserved in the Oppel Collection.

Concert of Two Great Composers: Three Great Works on April 25, 2003 at UNT. Post-war world premiere performance of Paul Kletzki’s Concerto for Piano Op. 22 (1930), first two movements, version for two pianos, by Joseph Banowetz and Heejung Kang. World premiere performance of Kletzki’s Concertino for Flute and Orchestra, Op. 34 (1940), arrangement for flute and piano by the composer, James Scott (flute) and Gustavo Romero (piano). I prepared the program and delivered a short lecture.

Concert celebrating the arrival of the Josef Knettel Memorial Collection at the Willis Music Library, UNT, in the summer of 2003, with additional material continuing to arrive throughout 2003 and 2004. Josef Knettel, a close friend and colleague of Reinhard Oppel, was a composer and well-known choral conductor based in Bingen, Germany. As part of the event, Dr. Dieter Maas, Knettel’s grandson, who has collected all of Knettel’s available manuscripts, books, and scores, and generously donated them to the Willis Music Library, spoke about his grandfather’s life and work. I delivered a short lecture.

Concert “Lost Composers: Music from the Holocaust,” March 12, 2004. Post-war world-premiere performance of Paul Kletzki’s Trio for Piano, Violin, and Cello, Op. 16 (1926), Joseph Banowetz, piano; Robert Davidovici, violin; Carter Enyeart, cello. Post-war world-premiere performance of the Finale of Kletzki’s Piano Concerto, Joseph Banowetz, piano I, Heejung Kang, piano II. Lieder by Otto Vrieslander, Josef Knettel, and Reinhard Oppel, Sung-Ha Shin Bouey, soprano; Heejung Kang, piano. Program booklet by Timothy L. Jackson.

Organized and prepared the world premiere performance of Kletzki’s Second Symphony in G Minor by the Dallas Symphony, Andrew Litton conducting, on October 3, 2002, which was broadcast on the Dallas Classical Music radio station WRR 90.1 along with an interview with me concerning my research on Kletzki.

CBC documentary “Who was Reinhard Oppel?” publicizing the Oppel Collection at UNT, which was broadcast nationally in Canada on “In Performance” on Nov. 13, 2002.

CBC recording of the concert of Oppel’s music that I organized with Dr. Howard Dyck (Order of Canada), conductor of the choir Consort Caritatis, in Toronto in association with my presentation on Oppel and Schenker at the “Toronto 2000" meeting (of the American Musicological Society and Society for Music Theory, and other professional music societies).

Organized the post-war premiere of Paul Kletzki’s Violin Concerto, Op. 19 (1928) on February 9, 2007, at Lincoln Center by Robert Davidovici (violinist), Leon Botstein (conductor), and the American Symphony. Working under my supervision, my graduate Research Assistant John Norine prepared the score and parts, and I contributed an essay to the program in which UNT was recognized. The premiere was favorably reviewed in the New York Times.

Additional Responsibilities and Other Activities:

While at UNT (1998-present):

With Jae-Sung Park (Professor, Chair of Graduate Studies and Professor of Music Theory, Hanyang University), co-organized the “Music Theory Festival” at Hanyang University in Seoul, Korea, November 19-December 2, 2005.

With Lester Brothers (Chair, Division of Music Theory, History, and Ethnomusicology), Ruusamari Teppo, Veijo Murtomaki (Professor of Musicology, Sibelius Academy), co-organized “The Fourth International Sibelius Symposium” at the College of Music, January 16-21, 2005.

With Graham Phipps (Professor of Music Theory, UNT), co-organized conference “The Music of Richard Strauss” at the College of Music, February 3-4, 2000.

While at Connecticut College: Co-organized three conferences, two of which were international: Perspectives on Anton Bruckner 2. Co-organized with A. C. Howie. Department of

Music, University of Manchester, April 1-4, 1996. Perspectives on Bruckner as Composer, Theorist, Teacher, and Performer. Co-organized

with Paul Hawkshaw (Yale University). Connecticut College, February 22-23, 1994. Conference reviewed by Edward Rothstein in the New York Times.

New England Conference of Music Theorists. Connecticut College, April 9-10, 1994.

Consulting:

While at UNT (1998-present): Interviewed about “Lost Composers” Project on Italian Radio in October

2005. Participated as a Strauss “expert” in a BBC Radio documentary on

Richard Strauss made to commemorate the 50th anniversary of his death. Wrote program notes for Nimbus CD of the Berlin Philharmonic Strings performing

Richard Strauss’s Metamorphosen and Arnold Schoenberg’s Verklaerte Nacht due to be released in 2000.

Delivered pre-concert lectures on Bruckner’s Ninth Symphony and Mahler’s Fourth Symphony and Mahler’s Fourth Symphony for the Dallas Symphony Orchestra pre-concert lecture series.

Invited to lecture in the context of an International Course on the music of Johannes Brahms in Barcelona, Spain (20 November, 1999).

At the Aula de Musica, Madrid (Spain’s oldest university), I have been invited to lead four three-hour master classes on “Symphonic Form and Structure in Schumann, Bruckner, and Brahms, and Their Contemporaries (13-14 November, 1999).

While at Connecticut College (1991-98):

I served as the primary consultant and “expert” witness for the following radio documentaries and programs, which were broadcast nationally in Canada by CBC Radio Canada. (CBC, the Canadian Broadcasting Corporation, is the equivalent to the BBC in Britain, and NPR in the US.)

CBC, memorial program on the life and music of Alfred Schnittke (August 1998) CBC, 6-part documentary on the life and music of Sergei Rachmaninov (April 1998) CBC, “Who was Richard Strauss?” 5-part documentary on the life and music of Richard

Strauss (October 1996). CBC, “The Case for Bruckner,” 6-part documentary on the life and music of Anton

Bruckner (September 1995) CBC, Individual programs on Max Reger, Karl Amadeus Hartmann, and Erwin Schulhoff

for "Critic's Choice." BBC, Interviewed on Bruckner Documentary (aired nationally in Britain in Fall 1996). Interviewed about Strauss and Bruckner research on NPR (“The Arts Today”), CBC (“As

It Happens”), and BBC (“Music Matters”).

Dissertations and Theses Supervised

2016 Benjamin Graf Doctoral dissertation: “An Analytical Study of Paradox and Structural Dualism in the Music of Ludwig van Beethoven.” Completed. https://digital.library.unt.edu/ark:/67531/metadc849697/m2/1/high_res_d/GRAF-DISSERTATION-2016.pdf

2016 Daniel Adamson Doctoral dissertation: “A Comparative Analysis of Haydn’s Horn Concerto and Trumpet Concerto.” Completed. https://digital.library.unt.edu/ark:/67531/metadc862771/ 2014 Alexander Amato Doctoral dissertation: “Thematic and Formal Narrative in Respighi’s Sinfonia Drammatica.” Completed. https://digital.library.unt.edu/ark:/67531/metadc500165/m1/1/ 2014 René Perez Torres Doctoral dissertation: “The 34 Canciones Hispanoamericanas para canto y piano by Gualterio Armando: A Schenkerian view of the Hispano-American Soul.” Completed. http://digital.library.unt.edu/ark:/67531/metadc500165/m2/1/high_res_d/dissertation.pdf 2014 Colin Davis Doctoral Student, ABD, Doctoral dissertation: “Facets of Polyphonic Harmony in Ferruccio Busoni's Orchestral Elegies” Completed. https://digital.library.unt.edu/ark:/67531/metadc794924/m2/1/high_res_d/dissertation.pdf

2013 Ryan Taycher: Masters thesis: “Redeeming the Betrayer: Elgar’s Portrayal of Judas in the Apostles” Completed. https://digital.library.unt.edu/ark:/67531/metadc407739/m1/3/?q=%22Department%20of%20Music%22 2010 Jason Patterson Masters thesis: “The Adagio of Mahler's Ninth Symphony: A Schenkerian Analysis and Examination of ‘the Farewell Story’” http://iii.library.unt.edu/search~S12?/XJason+Patterson&searchscope=12&SORT=D/XJason+Patterson&searchscope=12&SORT=D&SUBKEY=Jason+Patterson/1%2C24%2C24%2CB/frameset&FF=XJason+Patterson&searchscope=12&SORT=D&1%2C1%2C 2010 Stefan Treber Masters thesis "A Schenkerian Analysis of Beethoven's E Minor Piano Sonata, Opus 90" http://digital.library.unt.edu/ark:/67531/metadc28486/ 2010 Michael Lively Doctoral Student, Ph.D. awarded, Doctoral dissertation: "Non-Linear and Multi-Linear Time in Beethoven's Opus 127: An Analytical Study of Structural Voice Leading in the 'Krakow' Sketch Materials." http://iii.library.unt.edu/search~S12?/XMichael+Lively&searchscope=12&SORT=D/

XMichael+Lively&searchscope=12&SORT=D&SUBKEY=Michael+Lively/1%2C62%2C62%2CB/frameset&FF=XMichael+Lively&searchscope=12&SORT=D&1%2C1%2C 2009 Jennifer Sadoff Auerbach, Ph.D. awarded, Doctoral dissertation: “Drafts, Page Proofs, and Revisions of Schenker’s Der freie Satz: The Collection at the Austrian National Library and Schenker’s Generative Process,”http://digital.library.unt.edu/ark:/67531/metadc9936/ 2007 Jongkyun Kim, Masters thesis: "The Fundamental Unity in Brahm's Horn Trio, Op. 40," http://digital.library.unt.edu/permalink/meta-dc-3953:1 2007 Colin Davis, Masters Student, Masters thesis: “Toward a Unified Whole, Allan Pettersson's Symphony no. 5," http://digital.library.unt.edu/permalink/meta-dc-3983:1 2006 Christina Armanderez, Masters Student, Graduate Mentoring/Advising, “The influence of Fredrik Melius Christiansen on six Minnesota conductor-composers," http://iii.library.unt.edu/search/X?SEARCH=Armendarez&searchscope=12&SORT=D 2006 René Perez Torres, Masters Student, Graduate Mentoring/Advising, “Bach's Mass in B minor: an analytical study of parody movements and their function in the large-scale architectural design of the mass,” http://www.unt.edu/etd/all/Dec2005/Open/perez_torres_rene/thesis.pdf 2004 William Pavlak, Masters Student Graduate Mentoring/Advising, "Sibelius's Seventh Symphony: Genesis, Design, Structure, and Meaning,http://digital.library.unt.edu/permalink/meta-dc-4495:1" 2004 Emöke Ujj-Hilliard, Doctoral Student, DMA awarded, Graduate Mentoring/Advising, “An analysis of the genesis of motive, rhythm, and pitch in the first movement of the Sonata for two pianos and percussion by Béla Bartók," http://www.unt.edu/etd/all/May2004/ujj-hilliard_emoke/dissertation.pdf