- Critical Editions
- Invited Papers for Conferences
- Public Lectures and Papers
- Special Occasions
- Program Notes
- Miscellaneous Publications and Writings
Harmony, by Walter Piston, revisions and additions for the fourth edition (W. W. Norton, 1978) and fifth edition (W. W. Norton, 1987).
Instructor’s Manual for the same, fifth edition, Norton, 1987.
Handwritten Music, 1979, unpublished.
Mostly Short Pieces: An Anthology for Harmonic Analysis, W. W. Norton, 1992.
Instructor’s Manual for the same, Norton, 1992.
Debussy and the Veil of Tonality: Essays on His Music, Pendragon Press, 2004. Click here for an excerpt.
The Selected Letters of Bernard DeVoto and Katharine Sterne, University of Utah Press, 2012. Click here for an excerpt.
A Musical Life in Two Worlds: The Autobiography of Hugo Leichtentritt, edition with annotations, privately published by the Harvard Musical Association, 2014.
Melody and Musical Texture, textbook in 15 chapters, unpublished, seeking a publisher. You can read Chapter 1 here.
Three articles for Dictionary of Contemporary Music (E. P. Dutton, 1974).
Eight articles for The New Harvard Dictionary of Music, third edition (Harvard University Press, 1986).
“Some Notes on the Unknown Altenberg Lieder,” Perspectives of New Music V/1 (Fall-Winter, 1966).
“Berg and Pacifism,” International Alban Berg Society Newsletter No. 2 (1971).
“Alban Bergs Drei Orchesterstücke op. 6: Struktur, Thematik und ihr Verhältnis zu Wozzeck,” Alban Berg Symposion Wien 1980: Tagungsbericht, Alban Berg Studien, Band 2, Universal, Vienna (1981; translated by Harro Stammerjohann). [English Version]
“Alban Berg’s ‘Marche macabre’.” Perspectives of New Music 22 (Fall, 1983-Summer, 1984).
“Alban Berg and Creeping Chromaticism,” in Alban Berg: Historical and Analytical Perspectives, ed. David Gable and Robert Morgan (Oxford University Press, 1991).
“Alban Berg: The Composer of Songs,” in The Berg Companion, ed. Douglas Jarman (Macmillan, 1989).
“Paris: 1918-1945,” Chapter 2, in the final volume, Modern Times, in an 8-volume series, Music and Society, published by Macmillan/Prentice-Hall in conjunction with Granada Television, edited by Stanley Sadie (1993).
“Program Music, Character Pieces, Impressionism: Placing Debussy,” Cadenza 1/6, October-November 1987 (program guide for WJHU-FM, Baltimore).
“l’Espagne, toujours l’Espagne!”, ibid., 2/4, June-July 1988. (About Spanish nationalist music by French composers)
“I am the vessel…”, ibid., 3/3, April-May 1989. (About Stravinsky)
Alterations and corrections for Stravinsky’s Les Noces, in “Scores & Parts,” Journal of the Conductor’s Guild 10/1-2 (Winter-Spring, 1989).
“Nonclassical Diatonicism and Polyfocal Tonality: The Case of Nielsen’s Fifth Symphony, First Movement,” in The Nielsen Companion, edited by Mina Miller (Faber & Faber, 1995).
“The Russian Submediant in the Nineteenth Century,” Current Musicology 59 (October, 1995, published 1997).
“The Strategic Half-Diminished Seventh Chord and the Emblematic Tristan Chord: A Survey from Beethoven to Berg,” International Journal of Musicology, Vol. 4 (1995, published 1997).
“The Death Leitmotif in Wozzeck and Lulu,” in Encrypted Messages in Alban Berg’s Music (Garland Publishing, 1998).
“Melville Smith: Organist, Educator, Early Music Pioneer, and American Composer,” in >Perspectives on American Music, 1900-1950, Vol. 3 (Garland Press, 2000).
“Copland and the ‘Boulangerie,'” in Copland Connotations: Studies and Interviews (Boydell Press, 2002).
“Debussy’s Neglected Fantaisie,” Pendragon Review no. 2 (2002).
“Some Aspects of Parallel Harmony in Debussy,” in Liber Amicorum Isabelle Cazeaux: Symbols, Parallels and Discoveries in Her Honor (Pendragon Press, 2005)
25 articles (approximately) for Encyclopedia Britannica, on-line edition.
“Boris’s Bells, By Way of Schubert and Others,” Current Musicology 83 (Spring, 2007).
“Über einige Fanfarenfiguren von Alban Berg,” in Rudolf Stephan zum 80. Geburtstag, Alban Berg Studien, vol. 6, Vienna, Universal Edition (2008).
“Debussy’s Absolute Pitch and Choice of Keys,” for a conference, “Claude Debussy’s Legacy: Du Rêve for Future Generations,” University of Montreal, February-March 2012; published in Debussy’s Resonance (University of Rochester Press, 2018)
“Memory and Tonality in Debussy’s Prélude à l’Après-midi d’un faune,” Cahiers Debussy 37-38 (2014).
Alban Berg, Fünf Orchesterlieder nach Ansichtskartentexten von Peter Altenberg, op. 4, full orchestral score with preface, in Alban Berg: Sämtliche Werke, I. Abteilung, Band 6: Orchestergesänge, 1997, Vienna, Universal Edition, UE 18156. Study score (Einzelausgabe) of the same, UE 34123, 2000.
Igor Stravinsky, Piano-Rag-music, Practical Performing Edition (2010), published here for the first time
Alban Berg: Arnold Schönberg: Gurrelieder: Führer, Grosse Ausgabe; Alban Berg: Arnold Schönberg: Pelleas und Melisande op. 5: Kurze thematische Analyse; Alban Berg: Arnold Schönberg: Kammersymphonie op. 9: Thematische Analyse; and [Author uncertain]:Arnold Schönbergs Fis-moll Quartett: Eine technische Analyse, all in Journal of the Arnold Schoenberg Institute 16/1-2 (June-November 1993, published spring 1995). ASCAP-Deems Taylor Award, December 1995. Reprinted in Pro Mundo — Pro Domo: The Writings of Alban Berg, edited by Bryan R. Simms (Oxford University Press, 2014).
Correspondence of Alban Berg and Anton Webern, approximately 600 letters; from the Polnauer transcription of handwritten and typed originals; unedited and unpublished.
“Alban Berg zum Gedenken: The Berg Memorial Issue of 23: A Viennese Music Journal,” annotated translation, in Alban Berg and His World, edited by Christopher Hailey (Princeton University Press, 2010).
“Die symphonische Laufbahn Gottfried von Einems in den USA,” Gottfried von Einem – Kongreß, Vienna, 1998 (mostly an analysis of Einem’s Symphonische Szenen op. 22); published in a Kongreßbericht, 2003.
“Los cuartetos de Revueltas,” II Coloquio Internacional Silvestre Revueltas, Mexico City, 1998 (translated by Lois Grossman).
“Revueltas’s Melodic Processes from the Quartets to Sensemayá,” for a conference at the University of Rhode Island, October 1999.
“Rodrigue et Chimène and Debussy’s Developing Wagnerism,” for a Harvard Humanities Center seminar on opera; February 2005. Revised and expanded for a Debussy centenary conference, Manchester-Glasgow, April 2018.
(other than for professional societies and conferences)
“Arnold Schoenberg’s Moses und Aron: A Twentieth-Century Midrash in Music,” Tufts Hillel, 1982; New England Jewish Arts Festival, 1983. Revised as “Arnold Schoenberg: Musician and Jew,” Hebrew Union College / Jewish Institute of Religion, 1984; New England Conservatory, 1985; final version, “Arnold Schoenberg and Judaism: The Harder Road,” Tufts University, 1989; Arnold Schoenberg Institute, Los Angeles, 1990.
“Walter Piston: Practical Theorist,” Harvard University, 1994.
Two papers, “The Sterne Letters,” and keynote address, at a conference, “The Life and Legacy of Bernard DeVoto,” Weber State University, February 1994. Revised versions, at “Devoted to the American West: The Century of Bernard DeVoto, 1897-1997,” Eisenhower Center for American Studies, University of New Orleans, January, 1997.
“The Selected Letters of Bernard DeVoto and Katharine Sterne,” J. Willard Marriott Library, University of Utah, October, 2013
Producer for recordings by Northeastern Records, New World Records, Cambria Records, and Koch International Records.
Liner notes for recordings by Northeastern Records, Nonesuch Records, and Albany Records.
Willi Reich, Alban Berg: Leben und Werk; Perspectives of New Music 4/2, Spring-Summer 1966.
Two Universal Edition anthologies of new piano music, ibid., 8/1, Fall-Winter 1969.
Laurence David Berman, The Evolution of Tonal Thinking in the Works of Claude Debussy (dissertation, Harvard University, 1965), Current Musicology 9, 1969.
George Perle, Serial Composition and Atonality, second edition, Music Library Association Notes, September 1969.
Pierre-Daniel Templier, Erik Satie, and Emile Vuillermoz, Gabriel Fauré, ibid., June 1971.
James Harding, Erik Satie, ibid., September 1976.
Arbie Orenstein, Ravel: Man and Musician, ibid., September 1977.
George Perle, Serial Composition and Atonality, fourth edition, and Twelve-tone Tonality, ibid., December 1978.
Arnold Schoenberg, Theory of Harmony, ibid., September 1979.
George Perle, The Operas of Alban Berg: Volume 1, Wozzeck, ibid., June 1981.
Charles M. Joseph, Stravinsky and the Piano, ibid., December 1984.
Alexandra Orlova, Musorgsky’s Days and Works: A Biography in Documents; Opera Quarterly, Winter 1984-85.
Mosco Carner, Alban Berg, ibid., Autumn 1985.
Three recordings of Berg’s Wozzeck, ibid., Autumn 1985.
George Perle, The Operas of Alban Berg: Volume 2, Lulu, ibid., June 1987.
Alban Berg, “Hier ist Friede…”, facsimile edition of arrangement for chamber ensemble, ibid., December, 1990.
Two new editions of Ravel’s Gaspard de la nuit, ibid., June 1991.
A third new edition of Gaspard de la nuit, and Marius Constant’s orchestration of the same work, ibid., December 1992.
Claude Debussy, Nocturnes for orchestra, Oeuvres complètes de Claude Debussy, edited by Denis Herlin, ibid., 2001.
Claude Debussy, Rodrigue et Chimène, Oeuvres complètes de Claude Debussy, edited by Richard Langham Smith, ibid., December 2004.
Carl Maria von Weber and Gustav Mahler, Die drei Pintos, edited by James Zychowicz, ibid., 2002; the same, recording by Naxos Records, in “Naturlaut,” on-line periodical, 2005.
Douglas Jarman, The Music of Alban Berg; Journal of the American Musicological Society 33/1.
Reviews of six recordings of Wozzeck and four of Lulu for the Metropolitan Opera Guide to Recorded Opera, W. W. Norton, 1993.
Richard Crawford, R. Allen Lott, and Carol J. Oja, editors, A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock; American Music 10/1, Spring 1992.
George Perle, The Listening Composer; American Music 11/3, Fall 1993.
Howard Pollack, Harvard Composers: Walter Piston and His Students, from Elliott Carter to Frederic Rzewski; Fontes Artis Musicae 42/1, 1995.
Marianne Wheeldon, Debussy’s Late Style, Music Library Association Notes, December 2009.
Roy Howat,The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier; Music Library Association Notes, June 2010.
“Artur Schnabels Briefwechsel mit Mary Virginia Foreman,” Musik & Aesthetik 19, vol. 75, July 2015.
“Alban Berg’s Picture Postcard Songs,” essay for League of Composers-ISCM, Boston Section, publication series, 1985; reprinted in Chicago Symphony program guide, February 21-23, 1985; revised and expanded for Boston Symphony Orchestra program guide, January 29-February 3, 1987.
Notes on Berg’s Three Pieces for orchestra, Opus 6, for Boston Symphony Orchestra program guide, December 16-18, 1982; reprinted in Chicago Symphony Orchestra program guide, February 21-23, 1985, and in Boston Symphony Orchestra program guide, March 11-16, 1993.
Notes on Berg’s Wozzeck, for Boston Symphony Orchestra program guide, April 17-21, 1987; as “Wozzeck in Context,” revised and abridged for English National Opera Guide No. 42, London, John Calder, 1990.
“Bridging Two Centuries: The Music of Alban Berg,” introductory note for three Boston Symphony Orchestra program guides, Spring 1993.
Approximately 80 individual program notes for student and faculty performances.
Memorial note for Walter Piston, Perspectives of New Music, Spring-Summer 1977.
“Art and Nature, Still Allied,” memoir, Buckingham Browne and Nichols Alumni Bulletin, 1982.
“Thoughts on a Tercentenary,” Tufts Journal, 6/14, March 28, 1985 (about J. S. Bach).
Catalogue of manuscript works of Gregory Tucker (d. 1972), in connection with donation of manuscripts to MIT Music Library, 1983 (unpublished).
Catalogue of manuscript works of Philip Batstone (1933-92), in connection with donation of manuscripts to Harvard University Library, 1992 (unpublished).
Catalogue of manuscript works of Donald Sur (1935-99), Tufts University Archives (unpublished).
“Reflections from the Wall,” Tufts Journal, 11/6, March 1990.
“Searching for Family: Report from Italy,” May 26-28, 1996 (unpublished).
Preface to Bernard DeVoto, The Year of Decision: 1846, new printing, Truman Talley Books of St. Martin’s Griffin, 2000.
Afterword to Bernard DeVoto, The Western Paradox: A Conservation Reader, Yale University Press, 2001.
Twelve-Tone Technique: A Primer (unpublished).
A Field Guide to Chromaticism (unpublished).