“Best Friends, Worst Enemies: Politics and Poetry in Contemporary Russian Rap.” Hunter College Music Department, “Music, Talk, and Tea” Colloquium series, July 15, 4pm. PDF-Handout. Live YouTube video stream.
“Best Friends, Worst Enemies: Politics and Poetry in Contemporary Russian Rap.” Elizabeth Hemmerdinger Center (706 Hunter East), Hunter College, March 17, 6pm. (CANCELED due to COVID-19.)
Workshop on critical-race studies in music, and presentation on Russian rap. University of Massachusetts, Amherst, March 5–6.
“Belief, Spirituality, and Mysticism in the Music of Sofia Gubaidulina.” Annual convention for the Association for Slavic, East European & Eurasian Studies, Nov. 23–26.
“A Racist Music.” BBC Radio 3, Sunday Feature, November 24, 2019. Contributor to this feature in which Errollyn Wallen explores and challenges the legacy of John Powell (1882-1963), a once-celebrated composer whose racist politics scarred the lives of generations of Americans.
“The Myth of the Beatles: A Critical-Race Analysis of Popular Music Studies in Music Theory.” “The Future of Pop: Big Questions Facing Popular Music Studies in the 21st Century,” pre-conference symposium in advance of the American Musicological Society’s annual conference, Northeastern University, Oct. 31 to Nov. 3.
“Best Friends, Worst Enemies: Politics and Poetry in Contemporary Russian Rap.” University of Arizona Humanities Festival, invited keynote speaker, Oct. 18, 2019.
VICE Investigates: Russia’s War on Hip-Hop. Consultant. This VICE documentary aired on Hulu on November 2, 2019.
“Music Theory’s White Racial Frame” Panel on “Perspectives on Music Theory and Race,” South African Society for Research in Music, Thirteenth Annual Congress, Stellenbosch University, Stellenbosch, South Africa, Sep. 4–7, 2019.
Joint Session, AMS/SMT, “The Politics of Soviet Musicology and Music Theory.” Paper entitled, “1930 Conference on Boleslav Yavorsky’s Ladovy Rhythm.”
“Music and Musicology in the Age of Post-Truth,” University College Dublin. Paper entitled, “Was Heinrich Schenker a White Supremacist, and If So, What Then?”
Invited lecturer, Gnesin Institute of Music, Moscow, Russia. “Pochemu amerikantsy tak liubiat Shenkera (i Rimana eshche bol’she!)” (Why Americans so love Schenker [and Riemann even more!]).
International Musicological Society, 20th Quinquennial Congress, Tokyo, Japan. “How Do I Play that A#?: Theory and Practice in English and Russian Music Encyclopedias.”
International Musicological Society, 20th Quinquennial Congress, Tokyo, Japan. “Structural Layers in a Chopin Analysis by Sergei Protopopov.”
Invited speaker, colloquium series, Penn State University. “Ein russischer Ursatz, or a new Octatonicism? The Theory of Modal Rhythm in Chopin and Stravinsky.”
“A Symposium on Prokofiev and the Russian Tradition,” Louisiana State University, February 25–27. “A Russian Fundamental Structure in a Chopin Analysis by Sergei Protopopov.”
Society for Music Theory, Annual Meeting, St. Louis, MO, Oct. 29 to Nov. 1. “Ein russischer Ursatz?: Structural Layers in a Chopin Analysis by Sergei Protopopov.”
The Second Biennial Conference of the Russian Society for Music Theory, Moscow Conservatory, Russia, Sep. 26–29. “Pochemu amerikantsy tak liubiat Shenkera (i Rimana eshche bol’she!)” (Why Americans so love Schenker [and Riemann even more!]). Paper delivered in Russian.
“Past the ‘-Post’: Theorizing the Post-Post-Soviet via (New) Media and Popular Culture,” University of Amsterdam, Netherlands, June 11–12. “Dissent in Post-‘Post-Soviet’ Russia as Expressed in Vasya Oblomov’s Parodic Narratives.”
Russian Music Theory Interest Group of the Society for Music Theory, Annual Meeting, Milwaukee, WI. “Introduction to Yavorsky’s Theory.”
The Eighth European Music Analysis Conference, Leuven, Belgium. “Octatonic or Diminished?: Russian Modal Interpretations of Stravinsky’s Pitch Organization.”
Participant in the Eastman Institute for Music Theory Pedagogy, Eastman School of Music, Rochester, NY, June 22–27, 2014.
Society for Music Theory, Annual Meeting, Charlotte, NC. “The Expression Parameter and the Music of Sofia Gubaidulina.”
Inaugural meeting of the Russian Society for Music Theory, St. Petersburg, Russia. “Chto khoteli Babbitt i Forte? Amerikanskaia teoriia riadov v perspektive.” (What did Babbitt and Forte Want? American Set Theory in Perspective.) Paper delivered in Russian.
Manhattan School of Music Precollege Division Workshop, “Structure and Performance of Music by Anton Webern.” Performance, Presentation, and Masterclass on Webern’s op. 11, Drei kleine Stücke, for cello and piano, March 23, 2013.
Society for Music Theory, Annual Meeting, held jointly with AMS and SEM, New Orleans, LA. “Examining (Dis)Unity in Rap and Problems in Music Theory.”
International conference “Rethinking Stravinsky: Sounds and Gestures of Modernism” at Fisciano-Salerno, Campus Universitario, and Fondazione Filiberto Menna. Paper entitled “Octatonic or Diminished?: Russian Modal Interpretations of Stravinsky from an American Perspective.”
Society for Musicology in Ireland, 10th Annual National Meeting, Dundalk Institute of Technology, Dundalk, Ireland. “Hemitonicism in the Music of Anton Webern.”
New England Conference of Music Theorists, New London, CT. “The Expression Parameter in the Music of Sofia Gubaidulina.”
Music Theory Society of New York State, New York, NY. “Russian Pitch-Class Set Analysis and the Music of Webern.”
American Musicological Society, Greater New York Chapter, New York, NY. “The Parameter Complex in the Music of Sofia Gubaidulina.”
Music Theory Midwest, University of Nebraska, Lincoln, NE. “A Hemitonic Approach to the Atonal Music of Anton Webern.”
International conference “Beyond the Centres: Musical Avant-Gardes Since 1950” at the Aristotle University of Thessaloniki, Greece. Paper entitled “Nikolai Roslavets, Yuri Kholopov, and the (Post-) Soviet Conception of a Musical Avant-Garde.”
American Musicological Society, Annual Meeting, Nashville, TN. Panel entitled “Fisk University: On Black Musical Heritage, Leaders, and Legacies.” Lecture/recital on the solo cello works of Arthur Cunningham and Gary Powell Nash, two figures from the legacy of Fisk University.
Association for the Study of Nationalities Annual Meeting, Columbia University, New York, NY. Paper entitled “Reexamining Rubinstein, Serov, Stasov and the Struggle for a National Musical Identity in 19th-Century Russia.”
Invited Guest Lecturer, Emory University, Atlanta, GA. Talk entitled “Demystifying Scriabin the Mystic: a Harmonic and Theosophic Journey.”
Participant in the College Music Society’s Summer Institute on the Pedagogies of World Music Theories, University of Colorado, Boulder, CO.
AMS/SMT Annual Meeting, Los Angeles. Paper entitled “Collision in Time: Musical Changes in Reality Rap.”
Research and Co-Chair of the National Symposium of Multicultural Music at the University of Tennessee, Knoxville, TN. Review paper proposals, correspond with all potential participants, and coordinate and chair paper-presentation sessions.
German Society for Music Theory, Fifth Congress, Hamburg, Germany. Paper entitled “Stravinsky’s Harmony, in Context.”
Music Theory Society of New York State, 33rd annual meeting, Baruch College, New York, NY. Paper entitled “Yuri Kholopov’s Monofunctional Sphere.”
First international conference of the Répertoire International de Littárature Musicale (RILM), CUNY, New York, NY. Paper entitled “Russia’s New Grove: Priceless Resource or Propagandistic Rubbish?” A look at Yuri Keldysh’s six-volume Music Encyclopedia.
Research Chair of the National Symposium of Multicultural Music at the University of Tennessee, Knoxville, TN. Review paper proposals, correspond with all potential participants, and coordinate and chair paper-presentation sessions.
2003 CMS International Conference. University of Costa Rica, San Jose, Costa Rica. Paper entitled “Musical Ostinato and Its Relation to the Lyric in Reality Rap.”
Presider and Chair at the session “What’s Happening? Music to Last a Lifetime,” at the National Symposium on Multicultural Music at the University of Tennessee, Knoxville, TN.
12th Biennial Conference on 19th-Century Music. International Music Conference, University of Leeds, United Kingdom. Paper entitled “Late Scriabin Revisited: the Seventh Sonata.”
The Russian Avant-Garde: Past, Present, and Future. International Music Conference, the University of London, Goldsmiths College, United Kingdom. Paper entitled “American and Russian Views on Late Scriabin: Where to Turn?”