Charles Ives's Song "Vote for Names"
Current Musicology, No. 23, pp. 56-68. 1977.
    Suggested realization of an unfinished sketch of a song.

Vocal Sonata Forms of Mozart
Current Musicology, No. 28, pp. 19-29. 1979.
     Analysis of Mozart vocal works in terms of the model of sonata form current in 
     Mozart's time.

A Shorthand for Atonal Music
The Music Review, Vol. 41, pp. 297-301. 1980.
     Suggested revision of music notation to facilitate reading and analysis of atonal 

Serialism in the Works of Charles Ives
Tempo, No. 138, pp. 21-32. 1981.
     Specific examples demonstrating that Ives was the first composer to conceive of 
     serialism and to employ it skillfully.

Expanded Unisons in Bartok
The Journal of Musicological Research, Vol. 4, pp. 21-38. 1982.
     Proposes that many seconds in Bartok are treated as if they were expanded 

Descriptive Theory and the Standard Table of Triads
Israel Studies in Musicology, Vol. 3, pp. 144-155. 1983.
     Discusses the presentation of tables of triads in treatises of harmony from different 
     periods, and places them in a historical perspective.

Schoenberg Opus 33a Revisited
Tempo, No. 146, pp. 31-42. 1983.
     Analysis of this piece, demonstrating that it does not actually embody Schoenberg's 
     own theory of dodecaphony.

Pedal Points, Old and New
The Journal of Musicological Research, Vol. 4, pp. 369-397. 1983.
     Correlates the characteristics of pedal points in different periods, and shows how 
     their harmonic meaning changes with the level of dissonance.

The Demise of Inversion
Current Musicology, No. 37/38, pp. 137-149. 1984.
     Proposes that inversion disappears together with harmonic function.

Ives: un exemple de polyphonie complexe
Contrechamps, No. 7, pp. 155-175. 1986.
     Detailed analysis of the song Aeschylus and Sophocles by Charles Ives, elucidating   
     its unique texture.

Mann Describes Wagner: A Literary Coup de Maitre
The Music Review
, Vol. 51, pp. 77-94. 1990.
     Analysis of one paragraph from Doktor Faustus by Thomas Mann: a masterful 
     description of the Prelude to Act 3 of Wagner's opera Die Meistersinger.

Review of Charles Ives by Wolfgang Rathert
Tempo, No. 175, pp. 31-32. 1990.
     Shows that the book is no more than an annotated bibliography.

Persistent Notes and Proximity Harmonization
Indiana Theory Review. Vol. 14, pp. 95-131. 1993.
     Proposed identification of a technique employed by twentieth-century composers: 
     organizing chords according to the width of their component intervals.

D'Annunzio and Mann: Antithetical Wagnerisms
The Journal of Musicology. Vol. 4, pp. 499-524. 1993.
     Comparison of the treatment and description of Wagner's music in the writings of 
     these two authors, especially their respective descriptions of Tristan und Isolde. The 
     conclusion is that the difference between the two authors is the difference between a 
     Fascist and an anti-Fascist.

Puccini's Tosca: An Essay in Wagnerism
The Music Review. Vol. 53/4 pp. 268-90. 1992.
     Analysis of Tosca on the hypothesis that all its themes are leitmotives reveals that the 
     opera is more Wagnerian than Wagner's own operas.

Mann's Waelsungenblut and Wagner's Walkuere
The Music. Review
, Vol. 55/4 (November 1994), pp. 293-310.
     Explication of the manner in which the plot and the literary devices in Mann's  
     novella depend upon Wagner's opera. Discussion of the anti-semitic aspects of 
     both works. The conclusion is, that Mann employed his cruel stereotype of Jews 
     in order to make a point, not about Jews, but about Wagner.