|
|
| * | Bydgoszcz,
Poland: “Aribert Reimann’s Musical Circumambulation of an Imagines
Tombstone Inscribed with Poerms by Percy B. Shelley,” invited paper at
the international conference “The Past and the Present in a Musical
Work,” held at the Music Academy(November 2019) | | * | Katowice,
Poland: Dutilleux’s late vocal works Correspondances and Le temps
l'horloge for soprano and orchestra”; seminar at the Music Academy(November 2019) | | * | Katowice,
Poland: “Dutilleux’s Mystčre de l’instant and Timbres, espaces,
mouvement; ou La nuit étoilée,” seminar at the Music Academy (November 2019) | | * | Katowice,
Poland: “Dutilleux’s Two Quartets: Ainsi la nuit (1973-76) and briefly:
Les citations (1985-2010)”; seminar at the Music Academy(November 2019) | | * | Katowice,
Poland: “Dutilleux and the Cello: Tout un monde lointain and briefly:
Trois strophes sur le nom de Sacher”; seminar at the Music Academy(November 2019) | | * | Katowice, Poland: “Debussy’s countries of nostalgia: Images pour orchestre”; seminar at the Music Academy (November 2019) | | * | Katowice, Poland: “Debussy and Whistler: Nocturnes”; seminar at the Music Academy (November 2019) | | * | Katowice, Poland: “Debussy’s threefold involvement with the Chansons de Bilitis”; seminar at the Music Academy (November 2019) | | * | Katowice, Poland: “Debussy’s Flute Music: Syrinx and Prélude ŕ l’aprčs-midi d’un faune”; seminar at the Music Academy. | | * | Karlsruhe, Germany: "The Correspondence of the Arts at the Launch of Modernism:
Paul Verlaine’s Manifesto in Claude Debussy’s Music," plenary
speech at the Symmetry Festival 2019 organized by
the International Symmetry Association (July 2019)
| | * | Emmendingen, Germany: “Anton Webern’s Streichquartett d-Moll nach Giovanni Segantinis Alpentriptychon,” paper presented for the Kulturkreis Emmendingen (May 2019) | | * | Warsaw, Poland: “Aribert Reimann’s Epitaph with poems by Shelley: A Cycle of Romantic Songs Centuries after Beethoven’s An die ferne Geliebte.” Invited paper presented at the international conference “Beethoven and the romantic song.” (April 2019) | | * | Kraków: Poland: “Sorrow and Serenity in Visions of Impermanence: Penderecki’s Eighth Symphony,” invited paper presented at the Conference on Polish Music (November 2018) | | * | Emmendingen, Germany: “Gaspard de la nuit: Ravel und die Gedichte des Teufels”, lecture at the Volkshochschule (June 2018). | | * | Warsaw:
Poland: “Verlaine’s Manifesto in Debussy’s Music: The Quest for
Freedom,” invited paper presented at the international conference “Beethoven and significant anniversaries.” (March 2018) | | * | Kraków:
Poland: “Debussy’s Response to Literary Developments and Change in
Compositional Technqiue,” doctoral seminar presented at Kraków Music
Academy (March 2018) | | * | Kraków: Poland: “Debussy’s Only Opera: Pelléas et Mélisande,” seminar at the Music Academy (March 2018) | | * | Kraków: Poland: “Debussy’s First Orchestral Triptych: Nocturnes” and “Debussy’s Third Orchestral Triptych: Images pour orchestre, surrounded by two commissions,” seminar at the Music Academy (March 2018) | | * | Kraków: Poland: “Debussy’s Flute Music: Syrinx and Sonata for Flute, Viola, and Harp,” seminar at the Music Academy (March 2018) | | * | Kraków:
Poland: “Debussy’s Exotic Piano Music” and “Debussy’s Piano
Music on Wind, Water, and Fog,” seminar at the Music Academy
(March 2018) | | * | Kraków: Poland: “Poetry and Music: Verlaine’s Manifesto in Debussy’s Music” and “Debussy and the chansons de Bilits,” seminar at the Music Academy (March 2018) | | * | Emmendingen,
Germany: “Lyrik und Musik: Verlaines Manifest in der Musik
Debussys,” paper presented for the Kulturkreis Emmendingen (March 2018) | | * | Wroclaw,
Poland: “Alexander Tansman’s musical response to Paul Gauguin’s
painting Jacob Wrestles with the Angel,” invited paper at the
international conference “Musical Analysis. Historia - theoria -
praxis.” (December 2017) | | * | Emmendingen, Germany: “Debussys Lieder der Bilitis”, lecture at the Volkshochschule (November 2017). | | * | Kraków,
Poland: “The Angel of the Apocalypse and Messiaen’s Quartet for the End
of Time”; seminar at the Music Academy (October 2017) | | * | Kraków,
Poland: “Olivier Messiaen’s piano cycles from the 1940s, Vingt Regards
sur l’Enfant-Jésus and Visions de l’Amen, and their spiritual
background in the writings of Columba Marmion and Ernest Hello”;
seminar at the Music Academy (October 2017) | | * | Kraków,
Poland: “Messiaen’s oratorio and organ cycle with texts by Thomas
Aquinas: La Transfiguration de Notre-Seigneur Jésus-Christ and
Méditations sur le mystčre de la Sainte Trinité”; seminar at the Music
Academy (October 2017) |
| * |
Kraków,
Poland: “Olivier Messiaen’s Turangalila Symphonie and its multiple
pictorial and literary inspirations”; seminar at the Music Academy
(October 2017). |
| * |
Kraków,
Poland: “Olivier Messiaen’s musical language of spiritual symbolism and
its manifestations in his 1941 Quartet for the End of Time and his 1944
piano cycle Vingt Regards sur l’Enfant-Jésus; doctoral seminar at the
Music Academy (October 2017). |
| * |
Kraków,
Poland: “Olivier Messiaen’s musical language of spiritual symbolism,
with exemplifications from his works of the 1940s through 1980s”;
doctoral seminars at the Music Academy (October 2017). |
| * |
Emmendingen, Germany: “Debussys exotische Klaviermusik”, lecture at the Volkshochschule (June 2017). |
| * |
Växjö,
Sweden: “Inspired by Duccio’s Altar Pieces and Bach’s Passions:
Frank Martin’s Violin Concerto Polyptyque,” lecture at Linnaeus
Academy (June 2017). |
| * |
Växjö,
Sweden: “Musical Ekphrasis: Transmedializations of Poetry, and
the case of Ravel’s Gaspard de la nuit,” lecture at Linnaeus
Academy (June 2017). |
| * |
Warsaw,
Poland: “Marta Ptaszyńnska’s Concerto for Marimba and Orchestra: an
ekphrastic triptych,” invited paper at the international
conference “Beethoven and the Fine Arts” (April 2017). |
| * |
Kraków,
Poland: “Musical Ekphrasis: Transmedializations of Poetry, and the case
of Ravel’s Gaspard de la nuit,” seminar at the Music
Academy (March 2017). |
| * |
Kraków,
Poland: “Musical Ekphrasis: Transmedializations of Poetry, and the case
of Debussy’s Prelude on Baudelaire’s poem Harmonie du soir,” seminar at
the Music Academy (March 2017). |
| * |
Zurich,
Switzerland: “La Danse des morts: Arthur Honeggers Oratorium zu Hans
Holbeins Holzschnitten nach dem Basler Totentanz,” invited paper at the
international conference “Zwischen Retrospektive und Reform: Musik,
Kunst und Kirche im frühen 20. Jhdt.” (February 2017). |
| * |
Emmendingen,
Germany: “Inspiriert von Duccios Altarbildern und Bachs Passionen:
Frank Martins Violinkonzert Polyptyque,” lecture at the Volkshochschule
Nördlicher Breisgau (December 2016). |
| * |
Emmendingen,
Germany: “Nobilissima Visione: Hindemiths Ballettmusik zu Giottos
Franziskus-Fresken”, lecture at the Volkshochschule (Juli
2016). |
| * |
Katowice, Poland: “Olivier Messiaen’s Turangalila Symphonie,” seminar at the Music Academy (May 2016). |
| * |
Katowice, Poland: “Olivier Messiaen’s organ meditations and oratorium,” seminar at the Music Academy (May 2016). |
| * |
Katowice, Poland: “Olivier Messiaen’s piano cycles from the 1940s,” seminar at the Music Academy (May 2016). |
| * |
Katowice, Poland: “Olivier Messiaen’s opera Saint Francois d’assise,” seminar at the Music Academy (May 2016). |
| * | Denzlingen,
Germany: “Europas klingende Bilder – Eine musikalische Reise. Etappe
4,” seminar at the Volkshochschule Nördlicher Breisgau / Denzlingen
(December 2015) | | * | Emmendingen,
Germany: “Europas klingende Bilder – Eine musikalische Reise. Etappe
4,” seminar at the Volkshochschule Nördlicher Breisgau /
Emmendingen (December 2015) | | * | Kraków,
Poland: “La Danse des morts, an oratorio by the Swiss Composer Arthur
Honegger on Woodcuts by Hans Holbein,” seminar at the Music Academy
(October 2015) | | * | Katowice,
Poland: “Musical Ekphrasis by 20th-century European composers,”
week-long seminar series at the Music Academy for the students of
musicology, music theory, and music education (October 2015) |
| * |
Emmendingen, Germany: “Europas klingende Bilder – Eine musikalische
Reise. Etappe 3,” seminar at the Volkshochschule Nördlicher Breisgau /
Emmendingen (April 2015). |
| * |
Denzlingen, Germany: “Europas klingende Bilder – Eine musikalische
Reise. Etappe 3,” seminar at the Volkshochschule Nördlicher Breisgau /
Denzlingen (April 2015). |
| * |
Katowice, Poland: “Paul Hindemith’s Opera Mathis der
Maler and its Relationship to the Isenheim Altarpiece,” seminar at the
Music Academy(March 2015). |
| * |
Katowice, Poland: “Nobilissima Visione: Paul
Hindemith’s Ballet Music on Giotto’s Florentine Frescos of Saint
Francis of Assisi,” seminar at the Music Academy (March 2015). |
| * |
Emmendingen, Germany: “Europas klingende Bilder –
Eine musikalische Reise. Etappe 2,” seminar at the
Volkshochschule Nördlicher Breisgau / Emmendingen (December 2014). |
| * |
Denzlingen, Germany: “Europas klingende Bilder – Eine
musikalische Reise. Etappe 2,” seminar at the Volkshochschule
Nördlicher Breisgau / Denzlingen (December 2014). |
| * |
Freiburg, Germany: “Musikalische Reflexionen zu Krieg und Frieden,” seminar at the Catholic Academy (November 2014). |
| * |
Denzlingen, Germany: “Musikalische Reflexionen zu
Krieg und Frieden,” seminar at the Volkshochschule Nördlicher
Breisgau / Denzlingen (November 2014). |
| * |
Emmendingen, Germany: “Musikalische Reflexionen zu
Krieg und Frieden,” seminar at the Volkshochschule Nördlicher
Breisgau / Emmendingen (November 2014). |
| * |
Osnabrück, Germany: “Musikalische Reflexionen zu
Krieg und Frieden,” seminar at Marienkirche and Musikhochschule
Osnabrück (October 2014). |
| * |
Oldenburg, Germany: “Musikalische Reflexionen
zu Krieg und Frieden,” seminar at the New Music Colloqium of Oldenburg
University (October 2014). |
| * |
Basel, Switzerland: “Musikalische Reflexionen zu Krieg und Frieden,” seminar at the Psychological Society of Basel (June 2014). |
| * |
“La
Danse des morts: Arthur Honeggers Oratorium zu Hans Holbeins
Holzschnitten nach dem Basler Totentanz,” seminar at the Catholic
Academy inFreiburg, Germany (November 2013). |
| * |
“Michelangelos
Skulptur ‘Il Penseroso’ und ihr Nachleben in Poesie, Malerei und
Musik,” seminar at the Catholic Academy in Freiburg, Germany (July
2013). |
| * |
“Michelangelos
Skulptur ‘Il Penseroso’ und ihr Nachleben in Poesie, Malerei und
Musik,” seminar at the Volkshochschule Denzlingen, Germany (March 2013). |
| * |
“La
Danse des morts : Oratorio d’Arthur Honegger sur un livret de Paul
Claudel inspiré des gravures sur bois de Hans Holbein le Jeune d’aprčs
le cycle des fresques du Grand-Bâle,” seminar for the Interarts
Colloquium at the université Marc Bloch in Strasbourg, France (March 2013). |
| * |
“Three
Representations of God’s Word in Twentieth-century Music,” presentation
in the course of the Yale Consultation on Musik and Theology;Yale University Institute for Sacred Music (February 2013). |
| * |
“La
Danse des morts: Arthur Honeggers Oratorium zu Hans Holbeins
Holzschnitten nach dem Basler Totentanz,” seminar at the
Volkshochschule Nördlicher Breisgau inEmmendingen, Germany (December 2012). |
*
|
“‘Il Penseroso’:
Michelangelos florentinische Skulptur und ihr thematisches ‘Nachleben’
in Poesie, Musik und Malerei,” seminar at the Volkshochschule
Nördlicher Breisgau (April 2012).
|
*
|
“Musical Ekphrasis,”
Post-Graduate Seminar at the Department for Comparative Studies,
Universidad Nacional Autónoma de Mexico (March 2012).
|
*
|
“Michelangelo’s Il
Penseroso, from Stone to Tone: Intermedial Responses between
Illustration and Ekphrasis,” Post-Graduate Seminar at the Department
for Comparative Studies, Universidad Nacional Autónoma de Mexico
(March 2012).
|
*
|
“Musical Hermeneutics in
Messiaen’s Vingt Regards sur l'Enfant-Jésus,” Post-Graduate
Seminar at the Department for Comparative Studies, Universidad Nacional
Autónoma de Mexico (February 2012). |
*
|
“An interdisciplinary
approach to Hindemith's opera Mathis der Maler,” Post-Graduate Seminar
at the Department for Comparative Studies, Universidad Nacional
Autónoma de Mexico (February 2012). |
*
|
“Music and the Other
Arts: Intentionality, Mediation, and Comprehension,” Post-Graduate
Seminar at the Department for Comparative Studies, Universidad Nacional
Autónoma de Mexico (February 2012).
|
*
|
“Il Penseroso, from Stone to Tone:
Intermedial Responses between Illustration, Song without Words, and
Ekphrasis,” plenary talk presented at the Liszt Centenary
Colloquium I, “Les topiques du XIXe sičcle et la musique
de F. Liszt,” at the University of Strasbourg, France (September 2011)
|
*
|
“Olivier Messiaen’s
opera Saint François d’Assise: A music-dramatic translation of
the quest for ‘perfect joy’ and ‘divine truth’,” seminar presented in
the context of a two-day
Messiaen Festival at the Music Academy of Katowice, Poland (March
2011). |
*
|
“The Theology and
Aesthetics of Thomas Aquinas in Messiaens Oratorio on the
Transfiguration,” seminar presented in the context of a two-day
Messiaen Festival at the Music Academy of Katowice, Poland (March 2011). |
*
|
“Symmetry and Symmetry
Breaking in Olivier Messiaen’s Organ Meditations on the Mystery of the
Holy Trinity,” paper presented at the international conference
“Symmetry: Art and Science,” Gmünd, Austria (August 2010). |
*
|
“Olivier Messiaens Vingt
Regards sur l’Enfant-Jésus als Basis seiner musiktheologischen
Symbolsprache,” lecture presented in the context of “Kultur am
Vormittag” at Volkshochschule Nördlicher Breisgau, Denzlingen,
Germany (December 2009). |
*
|
“Der Isenheimer Altar in
Paul Hindemiths Oper Mathis der Maler,” lecture presented at the
Katholische Akademie Freiburg.Freiburg, Germany (June 2009). |
*
|
“Explorations of
Universal Order and Beauty in Paul Hindemith’s Symphony ‘Die Harmonie
der Welt’,” plenary presentation at the international conference “The
Future of Aesthetics” held at the Norwegian University of Science and
Technology in Trondheim, Norway (June 2009). |
*
|
“The Theology and
Aesthetics of Thomas Aquinas in the Compositions of Olivier Messiaen,”
plenary presentation at The 1st International Fu Jen Academia Catholica
Conference: “Interdisciplinary Dialogue on Catholic Studies” in Taipei,
Taiwan (May 2009). |
*
|
“Der Isenheimer Altar in
Paul Hindemiths Oper Mathis der Maler,” lecture presented to the
Ökumenisches Bildungswerk Waldkirch und Kollnau, Germany (March
2009). |
*
|
Krakow, Poland: “Music
as a Vehicle of Truth in Messiaen’s Saint François d’Assise,”
paper presented at the conference “Music as the Message of Truth and
Beauty” (Decem ber 2008).
|
*
|
“Olivier Messiaens Vingt
Regards sur
l’Enfant-Jésus als Basis seiner musiktheologischen
Symbolsprache,”
lecture presented in the context of “Kultur am Vormittag” at
Volkshochschule Nördlicher Breisgau, Emmendingen, Germany
(December 2008).
|
*
|
“Sur les traces d’un
« De musica » thomiste
dans l’œuvre d’Olivier Messiaen,” plenary presented at the colloquium
on occasion of the composer’s 100th birthday; Paris, France (November
2008). |
*
|
“Olivier Messiaens Saint
François
d’Assise: eine musikdramatische Darstellung der Suche nach
‘vollkommener Freude’ und göttlicher Wahrheit,” lecture presented
in
the context of “Kultur am Vormittag” at Volkshochschule Nördlicher
Breisgau, Emmendingen, Germany (November 2008). |
*
|
“Messiaens
südamerikanische
Tristanprojektion: der Liedzyklus Harawi,” paper presented at the
conference “Musik aus dem Geist der Theologie. Annäherungen an
Olivier
Messiaen” held at the Katholische Akademie Freiburg (October 2008). |
*
|
“Candor est lucis
aeternae: Olivier
Messiaen’s Oratorio on the Transfiguration,” paper presented to the
students of the Yale Institute of Sacred Music, New Haven, Connecticut
(September 2008).
|
*
|
“Veiling and Revealing
in Light and Music: Olivier Messiaen’s Oratorio La Transfiguration de Notre-Seigneur
Jésus-Christ,” invited paper presented at “Messiaen 2008
International Centenary Conference,” Birmingham/UK (June 2008)
|
*
|
Frankfurt, Germany:
“Liebe Sternenvogel,” invited paper presented at the Studientag “Der
Ornitheologe Olivier Messiaen” (May 2008)
|
*
|
Emmendingen, Germany:
“Paul Hindemiths Oper Mathis der Maler und Grünewalds Isenheimer
Altar : Menschen im Schnittpunkt politischer, sozialer und
ästhetischer bzw. religiöser Verantwortung,” seminar
presented to the Volkshochschule (January 2008)
|
*
|
Växjö, Sweden:
“Penrose, Seeing is Believing: Intentionality, Mediation, and
Comprehension in the Arts,” keynote presentation for the NorSIS
conference “Imagine Media” (October 2007)
|
| * |
Freiburg, Germany: “Sehen heißt
glauben: Bild, Text und Musik im zehnten Lied aus Olivier Messiaens Harawi:
chant d’amour et de mort,” paper presented in the 6th Euroepan
Music Analysis Conference (October 2007) |
| * |
Zurich, Switzerland: “The Many Faces of
Peace: Reading the Subtext in Alban Berg’s op. 4, no. 5,” paper
presented at the 9th conference of the International Musicological
Society (July 2007) |
| * |
Cracow, Poland: “Introduction to Musical
Ekphrasis,” seminar given to the sudents of Cracow Conservatory of
Music (May 2007) |
| * |
Cracow, Poland: “The Musical Language of
Olivier Messiaen,” seminar given to the sudents of Cracow Conservatory
of Music (May 2007) |
| * |
Freiburg, Germany: “Viktor
Ullmann, Leben und Werk,” seminar conducted for the Katholische
Akademie Freiburg (May 2007) |
| * |
Ann Arbor, Michigan: “Musical
Transmedializations of Poetry and Painting: Toward a Methodology of
Musical Ekphrasis,” paper presented to the University of Michigan
Philosophy Department Aesthetics Discussion Group (February 2007) |
| * |
Houston, Texas: “Candor est lucis aeternae: Olivier
Messiaen’s Oratorio on the Transfiguration,” paper presented in the
symposium “Credo: The Arts as Expressions of Belief” at Houston
Baptist University (January 2007) |
| * |
Växjö, Sweden: “Verklärte Nacht:
Schönberg’s Musical Transmedialization of Richard Dehmel’s Poem on
Fateful Love,” seminar for the research group in interarts studies at
Växjö University (December 2006) |
| * |
Växjö, Sweden: “The Speaking
Lyre: Musical Transmedializations of Poetry and Painting,” seminar for
the research group in interarts studies at Växjö University
(December 2006) |
| * |
Lund, Sweden: “Can Music Speak, Respond, and
Comment?,” seminar for the students of the course in interarts studies
at Lund University (December 2006) |
| * |
Freiburg, Germany: “Die musikalische Deutung
schmerzlichen Erinnerns: Walter Steffens’ Oper Eli nach dem
Mysterienspiel von Nelly Sachs,” paper presented in the congress ‘Der
Anfang von allem ist die Sehnsucht’: Tagung zu Leben und Werk von Nelly
Sachs (1891-1970) anlässlich des 40. Jahrestages der Verleihung
des Nobelpreises für Literatur 1966 (October 2006)
|
| * |
Aix-en-Provence, France:“Les Dieux dans
l’opéra moderne,” three-day seminar in the context of Les
Journées Sainte Cécile organized by the Université
de Provence (July 2006) |
| * |
Düsseldorf, Germany: “Religion in der modernen
Oper, am Beispiel von Rautavaaras Thomas,” Fortbildungstagung
der Gemeinschaft Evangelischer Erzieher (May 2006) |
| * |
Aix-en-Provence, France: “Trois Symboles d’une
sémiotique existentielle”, paper presented at the international
colloquium “Existential Semiotics” at the Université
Aix-Marseille, Aix-en-Provence (April 2006) |
| * |
Aix-en-Provence, France: “Peinture chantante,
poésie orchestrale : vers une théorie de l’ekphrasis
musical,” seminar for the masters’ students in musicology at the
Université de Provence (March 2006) |
| * |
Aix-en-Provence, France: “Un opéra
composé de symboles musicaux: Mary of Egypt de John
Tavener,” seminar for the musicology students at the Université
de Provence (February 2006) |
| * |
Freiburg: Germany: “Messiaens
musikalische Sprache des Glaubens. Aspekte seiner Kompositionstechnik
in ihrer spezifisch hermeneutischen Perspektive,” paper presented in
the special lecture series of Freiburg Music University (July 2005) |
| * |
Strasbourg, France: “L’ordre musical du monde: la
pensée de Kepler dans la musique de Hindemith,” paper presented
at the conference “Philosophie et musique, interrogations
contemporaines” at the Université Marc Bloch, Strasbourg (May
2005) |
| * |
Copenhagen, Denmark: “Tradition and repetition,
quotation and allusion in Respighi’s Trittico botticelliano,”
paper presented to the postdoctoral centre “The Cultural Heritage of
Medieval Rituals” at The University of Copenhagen (May 2005) |
| * |
Paris, France: “Peinture chantante, poésie
orchestrale : vers une théorie de l’ekphrasis musical,” open
lecture given at the Sorbonne, as part of a series organized by the
IDEAC (February 2005) |
| * |
Copenhagen, Denmark: “Reclaiming or Rectifzing
Heritage: An Operatically Couched Commemoration of the Last Supper,”
paper presented at the conference “The Cultural Heritage of Medieval
Rituals III: Heritages,” at The University of Copenhagen (December 2004) |
| * |
Ann Arbor, Michigan: “Piercing Maya’s Veil: Musical
Symbols of Deception and Awakening in an Opera about the Buddha,” paper
presented at the Institute for the Humanities, The University of
Michigan (November 2004) |
| * |
Paris, France: “The Signifying Power of Musical Form
in Hermann Hesse’s Glass Bead Game,” paper presented at the
Eight International Congress on Musical Signification (October 2004) |
| * |
Alet-les-bains, France: “Musical Symbols
of an Awakening to Love: Per Norgard’s Opera about the Buddha,” paper
presented at the conference “Love -- East and West” of the
Académie du Midi (June 2004) |
|
*
|
Copenhagen, Denmark: “The Re-creation of the Universe:
The Search for Heavenly Order and its Human Reflection in Hindemith’s
Opera The Harmony of the World,” paper presented at the
conference “The Cultural Heritage of Medieval Rituals II: Creation and
the Arts,” at The University of Copenhagen (December 2003)
|
|
*
|
Ann Arbor, Michigan: “The Redeemer Apologizes:
Harrison Birtwistle’s Opera The Last Supper,” paper presented
at the Institute for the Humanities, The University of Michigan
(October 2003)
|
| * |
Copenhagen, Denmark: “Rituals and Genres in a
20th-century Operatic Portrayal of a Medieval Saint,” paper presented
at the conference “The Cultural Heritage of Medieval Rituals I: Ritual
and Genre” at The University of Copenhagen (December 2002) |
| * |
Ann Arbor, Michigan: “Saints in the Limelight:
Representations of the Religious Quest on the Post-1945 Operatic
Stage,” talk at the Institute for the Humanities, The University of
Michigan (October 2002) |
| * |
Sheffield, UK: “Saint François d’Assise and
the imitatio Christi: A Novel Component in Messiaen’s Musical
Language,” paper presented at the Messiaen 2002 International
Conference (June 2002) Copenhagen, Denmark: “Rituals and Genres in a
20th-century Operatic Portrayal of a Medieval Saint,” paper presented
at the conference “The Cultural Heritage of Medieval Rituals I: Ritual
and Genre,” at The University of Copenhagen (June 2002) |
| * |
Philadelphia, Pennsylvania: “Three Representations of
God’s Voice in Twentieth-century Music,” paper presented for the panel
on “Musical Symbolism in Cross-cultural Contexts” at the 24th Annual
Meeting of the Society for Music Theory (November 2001) |
| * |
Houston, Texas: “Three Representations of God’s Word
in 20th-Century Music,” paper presented at the conference “Synthesis!
Spirituality and the Arts” at Houston Baptist University (October 2001) |
| * |
Ann Arbor, Michigan: “Three Representations of God’s
Word in 20th-Century Music,” talk given at the Institute for the
Humanities, The University of Michigan (October 2001) |
| * |
Imatra, Finland: “La danse des morts -- a folk
tradition religiously contextualized: Arthur Honegger and Paul
Claudel’s response to Hans Holbein’s woodcut series,” paper presented
as part of the thematic session “Musical Ekphrasis” at the Seventh
International Congress on Musical Signification, “Music and the Arts”
(June 2001) |
| * |
Strasbourg, France: “Trois maničres
d’écouter des oiseaux sur une manivelle: la culture moderne
ŕ travers l’humour critique de Paul Klee et ses
interprétations musicales,” paper presented at the
Journées scientifiques “Méthodes nouvelles en
musicologie” at the Université des Sciences Humaines Marc Bloch
(May 2001) |
| * |
Strasbourg, France: “Une cycle d’estampes devient
oratorio: La danse des morts d’Arthur Honegger et Paul Claudel en
réponse a Hans Holbein,” seminar offered to the students of the
interdisciplinary course “La musique et les arts plastiques” at the
Université des Sciences Humaines Max Bloch (May 2001) |
| * |
Greifswald, Germany: “Three Representations of The
Word in Twentieth-century Music,” paper presented at the conference
“Words, Tones and Images: Intermedial Perspectives” organized by the
Nordic Society of Interarts Studies (NorSIS) in collaboration with the
Nordisches Institut EMAU, Universität Greifswald (May 2001) |
| * |
Lund, Sweden: “Vindication by Proxy: Paul Hindemith,
Mathis Grünewald, and Saint Antony,” lecture given for the
doctoral seminar in Interart Studies, The University of Lund (Sept.
1996) |
| * |
Hempstead, NY: “Saints in the
Limelight:
Musical Representations of the Holy on the Post-1945 Operatic Stage,”
paper presented at the conference “Contemporary Opera at the
Millennium,” organized at Hofstra University (November 2000) |
| * |
Arhus, Denmark: “Musical Manifestations of the Holy
in Hindemith’s Saints,” paper presented at the Nordic Musicological
Congress (August 2000) |
| * |
Lund, Sweden: “Three Ways of Listening to Birds on a
Crank: Musical Interpretations of Paul Klee’s Witty Criticism of Modern
Culture,” paper presented at the conference (May 2000) |
| * |
Ann Arbor, Michigan: “Three Ways of Listening to
Birds on a Crank: Musical Interpretations of Paul Klee’s Witty
Criticism of Modern Culture,” talk presented at the University of
Michigan’s Institute for the Humanities (March 2000) |
| * |
Copenhagen, Denmark: “Mythopoesis and Musical Symbols
of Suffering in a 20th-century Passion Play,” paper presented at the
conference “Moments of Change-Transformations of Christian Traditions
in the West: Representation and Interpretation in the Arts 1000-2000”
(October 1999) |
| * |
Ann Arbor, Michigan: “Musical Coherence in
Hindemith’s First Marienleben,” paper presented at the second World
Conference of the International Association of Word and Music
Studies(August 1999) |
| * |
Strasbourg, France: “Des cadres musicaux qui
s-ouvrent vers l’extérieur: Implications herméneutiques
dans deux des Vingts regards sur l’Enfant-Jésus d’Olivier
Messiaen,” paper presented at the Colloquium “Approches
herméneutiques de la musique,” organized at the
Université des Sciences Humaines de Strasbourg (May 1999) |
| * |
Claremont, CA: “A Concert of Paintings: ’Musical
Ekphrasis’ in the Twentieth Century,” paper presented at the Fifth
World Conference of the International Association for Word and Image
Studies (March 1999) |
| * |
Aix-en-Provence, France: “Musical Ekphrasis:
Composers Transmedializing Poetry and Painting,” paper presented at the
Sixth International Congress on Musical Signification (December 1998) |
| * |
Steamboat Springs, Colorado: “Music and The Sister
Arts at the Dusk of Romanticism,” lecture presented at the “Strings in
the Mountains” Music Festival (July 1998) |
| * |
Steamboat Springs, Colorado: “Schoenberg’s Musical
Interpretation of Dehmel’s Poem Transfigured Night,” lecture
given for the “Strings in the Mountains” Music Festival (July 1998) |
| * |
Prague, Czech Republik: “Musical Ekphrasis on a
Puppet Drama of Death: Bohuslav Martinu’s La Mort de Tintagiles after
Maurice Maeterlinck,” paper presented at the international colloquium
Martinu and Prague in the Early Twentieth Century, Bohuslav Martinu
Foundation (May 1998) |
| * |
Vienna, Austria: “Viktor Ullmann und Alexander
Zemlinsky: Variationen zu Schoenberg,” paper presented at the
international symposium “Wiener Schulen um Alexander Zemlinsky und
Franz Schreker” (May 1998) |
| * |
Bloomington, Indiana: “Towards a Theory of Musical
Transmedialization,” paper presented at the symposium “Word and Music:
Interarts Connections,” University of Indiana at Bloomington (February
1998) |
| * |
Ann Arbor, Michigan: “Towards a Theory of Musical
Ekphrasis,” presentation at the Department of German Languages and
Literatures, University of Michigan (April 1998) |
| * |
Springfield, Missouri: “Vindication by Proxy: Paul
Hindemith, Mathis Grünewald, and St. Antony,” convocation lecture,
Drury College (January 1998) |
| * |
Ann Arbor, Michigan: Ann Arbor, Michigan: “A Faun’s
Tale, Told One Hot Afternoon: Mallarme, Debussy, Nijinsky,” talk at the
Institute for the Humanities, University of Michigan (January 1998) |
| * |
Louisville, Kentucky: “(Re-)creative Sign Growth and
Intersemiotic Transformation: Mallarmé’s Sister Poems,
Interpreted in Music and Dance,” paper presented at the Annual Meeting
of the Semiotic Society of America (Oct. 1997) |
| * |
Salzburg, Austria: “Ein Komponist individualisiert
den Soldaten Jedermann: Vom sozialen Drama Büchners zum
psychologischen Drama Bergs,” paper presented at the International
Symposium “Alban Bergs Wozzeck und die zwanziger Jahre,” University of
Salzburg (August 1997) |
| * |
Graz, Austria: “Piano Poems and Orchestral
Narratives: Instrumental Music Speaks to a Literary Text,” keynote
speech presented at the conference “Word and Music Studies: Assessing
an Interart Discipline,” University of Graz (May 1997) |
| * |
Boston, Massachusetts: “Aesthetic Symbiosis and
Spiritual Quest:,” paper presented at the Third International Congress
of the International Society of Phenomenology, Aesthetics, and the Fine
Arts (April 1997) |
| * |
Baton Rouge, Louisiana: “Frames that Expand Our View:
Religious Symbolism in Two of Messiaen’s Vingt regards sur
l’Enfant-Jésus,” paper presented at the Annual Conference of
the Society for Music Theory (Oct. 1996) |
| * |
Santa Barbara, California: “More Prophets Than
Expected: Religious Symbolism in Two of Messiaen’s Vingt regards
sur l’Enfant-Jésus,” paper presented at the Annual Meeting
of the Semiotic Society of America (Oct. 1996) |
| * |
Ypsilanti, Michigan: “From Image to Word, From Word
to Tone: Pablo Picasso, Wallace Stevens, and Musical Ekphrasis in a
Piano Poem by Maurice Ravel,” paper presented at the 18th Annual
Conference of the Association for Integrative Studies “Integrative
Knowledge” (Oct. 1996) |
| * |
Utrecht, The Netherlands: “Twentieth-Century
Composers Looking Towards Asia,” paper presented at the 5th World
Congress of the International Society for the Study of European Ideas
(Aug. 1996) |
*
|
Utrecht, The Netherlands: “Paul Hindemith, Mathis
Grünewald, and Saint Antony: Parallel Biographies in the 20th,
16th and 3rd Centuries,” paper presented at the 5th World Congress of
the International Society for the Study of European Ideas (Aug. 1996) |
| * |
Copenhagen, Denmark: “The Bible in Music: Messiaen’s Vingt
regards sur l’Enfant-Jésu,” lecture given at the Center for
Christianity and the Arts, The University of Copenhagen (Sept. 1996) |
| * |
Lund, Sweden: “Vindication by Proxy: Paul Hindemith,
Mathis Grünewald, and Saint Antony;” lecture given for the
doctoral seminar in Interart Studies, The University of Lund (Sept.
1996) |
| * |
Trondheim, Norway: “Vindication by Proxy: Paul
Hindemith, Mathis Grünewald, and Saint Antony;” lecture given for
the students in musicology, Trondheim University of Technology and Art
(Sept. 1996) |
| * |
Copenhagen, Denmark: “Vindication by Proxy: Paul
Hindemith, Mathis Grünewald, and Saint Antony;” lecture given at
the Center for Christianity and the Arts, The University of Copenhagen
(Sept. 1996) |
| * |
Chapel Hill, North Carolina: “Messiaen’s Symbolic
Language,” talk given to the students of music theory at the University
of North Carolina (April 1996) |
| * |
Albuquerque, New Mexico: “Debussy’s Realization of
Poetic Texts,” talk given to the students of musicology/music theory at
the University of New Mexico (March 1996) |
| * |
Tucson, Arizona: “Mid-life Crisis of Spiritual
Dedication vs. Political Involvement: Hindemith, Grünewald, and
Saint Antony,” talk given to the students of cultural studies at the
University of Arizona (Feb. 1996) |
| * |
Ann Arbor, Michigan “Mid-life Crisis of Spiritual
Dedication vs. Political Involvement: Hindemith, Grünewald, and
Saint Antony,” talk given at the Institute for the Humanities (Feb.
1996) |
| * |
Ottawa, Canada: “The Many Faces of Peace: Reading the
Subtext in Alban Berg’s op. 4, no. 5,” paper presented at the
millennium conference “Austria, 996-1996: Music in a Changing Society”
(January 1996) |
| * |
Old Town Alexandria, Virginia:
“Symmetry
and Irreversibility in Paul Hindemith’s Ludus Tonalis,” Plenary talk
and recital opening the triennial world congress “Symmetries: Natural
and Artificial” (August 1995) |
| * |
Lund, Sweden: “An Old Ménage ŕ Trois
From a New Perspective: Aloysius Bertrand’s Poem ’Ondine’ in Gaspard
de la Nuit and Maurice Ravel’s Musical Realization,” paper
presented at the conference “Interart Studies: New Perspectives,”
University of Lund, May 1995 |
| * |
Zerbst, Germany: “’Herr, gehe nicht ins Gericht’: A
comparison of style and musical symbolism in the church cantata
settings of this text by J. Fr. Fasch and J. S. Bach,” paper presented
at the Biennial International Fasch Conference (April 1995) |
| * |
Big Rapids, Michigan: “’Ondine’ or an Old
Ménage ŕ Trois From a New Perspective: A Literary Motif
and its Musical Interpretation in Maurice Ravel,” paper presented at
the Annual Conference of the Michigan Academy of Science, Arts &
Letters, Ferris State University (March 1995) |
|
*
|
Tsukuba, Japan: “Patterned Time: Boris Blacher’s
Variable Meters” paper invited for the International Interdisciplinary
Symposium “Katachi U Symmetry” (1994).
|
|
*
|
Savannah, Georgia: “Evening Harmony and Morning
Delight: Debussy’s Musical Realizations of Poems by Baudelaire and
Lecomte de Lisle,” paper presented at the Conference of the College
Music Society (1994).
|
|
*
|
Berkeley, California: “Symbolic Representations of
Divine Attributes in the musical language of Olivier Messiaen,” paper
presented at the Fifth Congress of the International Association for
Semiotic Studies (1994).
|
|
*
|
Miami, Florida: “Evening Harmony and Morning Delight:
Debussy’s Musical Realizations of Poems by Baudelaire and Lecomte de
Lisle,”paper presented at the Annual Convention for Music Theory South
East (1994).
|
|
*
|
Ann Arbor, Michigan: “Woyzeck becomes Wozzeck. A
composer gives individuality to an Everyman-soldier,” brown-bag talk
presented at the Institute for the Humanities (1994).
|
|
*
|
Ann Arbor, Michigan: “Music as a Language: the German
concept of Gestaltung and its reference to applied music analysis,”
seminar for the Society for Music Theory (1993).
|
|
*
|
Ann Arbor, Michigan: “Hermeneutic Analysis in Music:
its aim, scope, usefulness and dangers; with particular reference to
the music of Berg, Debussy and Messiaen,”colloquium given for the
Department of Musicology, University of Michigan (1993).
|
|
*
|
Ann Arbor, Michigan: “Articulation and Touch: genesis
and application in the musical styles of the 18th and early 19th
centuries,” lecture at the Piano Forum of the School of Music,
University of Michigan (1993).
|
|
*
|
Eugene, Oregon: “Symbolic Representations of Divine
Attributes in Olivier Messiaen’s Vingt regards sur
l’Enfant-Jésus,” paper presented at the West Coast
Conference for Music Theory and Music Analysis (1993).
|
|
*
|
Southampton (UK.): “Symmetry and Irreversibility in
the Musical Language(s) of the Twentieth Century,” paper presented at
the Conference of the Society for Music Analysis (1993).
|
|
*
|
Taipei (Taiwan): “Philosophical Approaches in Music
Education,” seminar for the International Piano Teachers Foundation,
Taipei (1992).
|
|
*
|
Seoul (Korea): “Educating Professional Musicians in
the Musical Language(s) of the 20th Century,” paper presented at the
20th ISME International Conference (1992).
|
|
*
|
Kyong-ju (Korea): “Aims and Course Content Relative to
the Training of the Professional Musician,” paper presented at the
international seminar of the ISME Commission for the Training of
Professional Musicians (1992).
|
|
*
|
Budapest (Hungary): “Hindemith’s Ludus Tonalis,”
paper presented at the annual convention of EPTA European Piano
Teachers Association (1992).
|
|
*
|
Bialystok (Poland): lecture-recital on Hindemith’s
piano music (1992).
|
|
*
|
Warsaw (Poland): “Structural Concepts in 20th-Century
German Music,” lecture-demonstration at the Frédéric
Chopin Academy of Music (1992).
|
|
*
|
Hong Kong: “Hindemith’s Ludus Tonalis,”
lecture-demonstration at the 1991 Hong Kong Piano Weekend (1991).
|
|
*
|
Hong Kong: featured lecturer at the Hong Kong Arts
Festival;
(a) lecture series “Melodic Structure in Mozart’s Piano works,”
(b) lecture series “Mozart: Stories between the two staves” (1991).
|
|
*
|
Taipei (Taiwan): “Creative Piano Education for Small
Children,” seminar for the International Piano Teachers Foundation
(1990).
|
|
*
|
Helsinki (Finland): “The Socratic Approach to Teaching
Music,” paper presented at the XIXth ISME International Conference
(1990).
|
|
*
|
Vienna (Austria): paper presented at the Seminar
Competition and the Effects on the Training of the Professional
Musician; on syllabus planning (1990).
|
|
*
|
Tokyo (Japan): paper presented at the Seminar of the
International Commission for the Education of the Professional
Musician; on piano performance pedagogy (1988).
|
|
*
|
Hong Kong: seminar at the Inaugural Conference of the
Hong Kong Society for Music Education; on piano performance pedagogy
(1988).
|
|
*
|
Quito (Ecuador): seminar at the National Conservatoire
of Ecuador; on 18th century performance practice and interpretation
(1987).
|
|
*
|
Innsbruck (Austria): paper presented at the ISME World
Conference; on piano performance pedagogy (1986).
|
|
*
|
Eugene/Oregon (USA): paper presented at the World
Conference of the International Society for Music Education; on
performance practice (1984).
|
|
*
|
Stuttgart (Germany): guest lecturer at GEDOK (Society
for German and Austrian Artists); on principles of interpretation and
Gestaltung (1983).
|
|
*
|
Vienna (Austria): guest lecturer at the
Musikhochschule; on performance practice (1982).
|
|
