2024 “What is a riff? A Structural Definition and its Analytical Consequences for Process and Form in Heavy Metal (third expansion).” Presented at the Annual Conference of the Music Theory Society of New York State (MTSNYS), Ithaca College, Ithaca New York, April 6-7, 2024.
2023 “What is a riff? A Structural Definition and its Analytical Consequences for Process and Form in Heavy Metal (expanded).” Presented at the 34th Annual Conference of the Music Theory Midwest, University of Manitoba, Manitoba Canada, May 5-6, 2023.
2022 “Dream Theater’s The Astonishing: The Unification of the Literary and Musical.” Presented at Progressive Rock: Geography, Culture, Discourse, The 5th Biennal International Conference of the Progect Network for the Study of Progressive Rock, St. Peter’s College, University of Oxford, Oxford England.
2022 “Distortion and the Aesthetics of Drone.” Presented at the Symposium in Honor of Jonathan Bernard at the University of Washington, Seattle (June 17-18).
2022 “What is a riff? A Structural Definition and its Analytical Consequences for Process and Form in Heavy Metal.” Presented at the 30th Annual Meeting of the West Coast Conference of Music Theory and Analysis in Irvine California (May 27-28).
2021 “Teaching on Zoom.” Roundtable on Virtual Teaching presented at the West Coast Conference of Music Theory and Analysis.
2018 “Distortion and Texas Blues.” Presented at The Electric Guitar in American Culture, Texas Tech University (October 12-14).
2017 “TC-Generated Pcset Chains and their Transformational Network in sur incises by Pierre Boulez.” Presented at the 40th Annual Society of Music Theory National Meeting in Arlington Virginia (November, 2-5).
2016 “Pcset Chains, transformational Networks, and TC-Generated Hexachordal Complexes in Some Recent Music by Pierre Boulez. Presented at the 45th Annual Meeting of the Music Theory society of New York State (April 2-3).
2016 Preconcert lecture on Le marteau sans maître at the University of Kentucky, Lexington. Invited by Dieter Henning (March 24).
2015 “The Hybrid Compositional System.” Presentation at the West Fork New Music Festival.
2015 “Harmonic Process and Formal Structure in Some Recent Music by Boulez.” The Grawemeyer Award for Music Composition 30th Anniversary Conference.
2014 “Harmonic Process and Formal Structure in Some Recent Music by Boulez.” European Music Analysis Conference, Leuven Belgium.
2013 “Transpositional Combination and Its Relationship to the Serial Structure of “avant “L’Artisanat furieux”” from Le marteau sans maître by Pierre Boulez.” SMT Charlotte, NC.
2013 “The Structural Role of Distortion in Hard Rock and Heavy Metal.” The International Conference on the Analysis of Popular Music, Society for Music Analysis, Liverpool England.
2008 “The Symbiosis of Disability” American Musicological Society, Nashville.
2008 “Reevaluating Complex Pitch-Class Set Multiplication and its Relationship to Transpositional Combination in Boulez’s Le marteau sans maître,” University of Illinois.
2007 “Normal Form, Successive Interval Arrays, Transformations and Set Classes: a Re-evaluation and Reintegration,” International Conference of the Society for Mathematics and Computing in Music, Berlin.
2007 “Normal Form, Successive Interval Arrays, Transformations and Set Classes: a Re-evaluation and Reintegration,” Eastman School of Music.
2005 “Reevaluating Complex Pitch-Class Set Multiplication and its Relationship to Transpositional Combination in Boulez’s Le marteau sans maître,” Society for Music Analysis, London.
2003 “Aspects of Saturation and Ordering in Twelve-Tone Music," co-authored with Robert Morris, American Mathematical Society, Baton Rouge, (March).
2001 “Transformational Networks, Transpositional Combination, and Aggregate Partitions in Processionalby George Crumb,” George Crumb Festival, Eastman School of Music.
2001 “Transformational Networks, Transpositional Combination, and Aggregate Partitions in Processionalby George Crumb,” SMT Philadelphia.
1999 “Conflict Between Pitch Class and Timbre Functions in Metallica’s ‘Devil Dance’ and ‘Enter Sandman,’” SMT Atlanta.
1996 “The Hybrid System,” SMT Baton Rouge.
1990 “Elliott Carter's Night Fantasies: The All-Interval Series as Registeral Phenomenon,” SMT Oakland.
1989 “What Do You Hear, Groupwise,” SMT Austin.
1988 “The Reinterpretation of Charts in the Recent Music of Milton Babbitt,” SMT Baltimore.
1988 “Aggregate Rhythms,” Melbourne Australia.