Conference papers
“The Map as an Anchor in Anthologies of American Folksong,” presented at the annual meeting of the Society for Textual Scholarship, Loyola University Chicago / The Newberry Library, May 26–68, 2022.
“‘The end of my capability in that class of piece’: the Gilbert/Sullivan formula at its breaking point,” presented at The London Stage and the Nineteenth-Century World IV, New College, Oxford, April 6–8, 2022.
“‘Those pure young lips thus sporting with its horrors’: D’Oyly Carte’s child productions,” presented at the ninth biennial conference of the North American British Music Studies Association, virtual conference, July 21–26, 2020.
“Pirating Pinafore: Sousa’s 1879 orchestration,” presented (with research collaborator Elyse Ridder) at Music in Nineteenth-Century Britain, Christ Church University, Canterbury, July 3–5, 2019; and at the Capital Chapter of the American Musicological Society, Library of Congress, Washington, DC, September 21, 2019.
“The sources of Bach’s passaggio chorales: all ‘bad quartos’?,” presented at the annual meeting of the Society for Textual Scholarship, NYU / The New School, March 20-22, 2019.
“Arthur Sullivan’s cosmopolitan dramaturgical ideal,” presented at the conference The London Stage and the Nineteenth-Century World II, New College, Oxford, April 5–7, 2018.
“Rethinking Primary Sources in the Music History Classroom” (collaborative workshop with Timothy Cochran (Eastern Connecticut State), Rebecca Cypess (Rutgers), and Blake Howe (LSU)), presented at the annual meeting of the American Musicological Society, Rochester, NY, November 9–12, 2017.
“The Savoy Opera verse-ensemble and its continental antecedents,” presented at the conference The London Stage and the Nineteenth-Century World, New College, Oxford, April 15–16, 2016; and at the seventh biennial conference of the North American British Music Studies Association, Syracuse University, Syracuse, NY, August 4–7, 2016.
“Editorial intervention in Bach’s ‘passaggio chorales’,” presented at the Southeast Regional Chapter of the American Musicological Society, Duke University, March 5–6, 2016.
“Britten’s War Requiem as post-Christian passion,” presented at the symposium Instruments of Peace: the arts, reconciliation, and sacred space, Erskine College, Due West, SC, April 3–4, 2014; other versions subsequently presented at the Southeast Regional Chapter of the American Musicological Society, University of South Carolina, October 11, 2014; and at the symposium Dreams of Germany: Music and (Trans)National Imaginaries in the Modern Era, German Historical Institute, London, February 5–7, 2015.
“Gilbert’s Italianate recitatives—Sullivan’s solutions,” presented at Music in Nineteenth-Century Britain, Queen’s University, Belfast, July 21–23, 2011; and at the annual meeting of the American Musicological Society, San Franscisco, CA, November 10–13, 2011.
“Recitative and Parlante in the Savoy Operas,” presented at the fourth biennial conference of the North American British Music Studies Association, Drake University, Des Moines, July 29–August 1, 2010.
“William Walton’s film scores: new evidence in the autograph manuscripts,” presented at Music and the Moving Image, New York University, May 29–31, 2009; and at the Southeast Regional Chapter of the American Musicological Society, UNC-Greensboro, March 27, 2010.
“New evidence in the autograph of Walton’s film-score Richard III”, presented at the third biennial conference of the North American British Music Studies Association, York University, Toronto, ON, July 31–August 3, 2008.
“On the ‘English Musical Renaissance’ and the Career(s) of Sir Arthur Sullivan,” presented on the NABMSA panel (Mis)Appropriations of History: Constructions of the English Musical Renaissance at the annual meeting of the American Musicological Society, Washington DC, October 27–30, 2005.
“Vaughan Williams, The Poisoned Kiss, and the legacy of the Savoy Operas,” presented at Britannia (re-)sounding: the inaugural conference of the North American British Music Studies Association, Oberlin College Conservatory of Music, Oberlin, OH, June 17–18, 2004.
“Pomp & Consequences: a ‘ceremonial’ style in English music, c. 1880–1980s,” presented at the eighth annual Conference on Holidays, Ritual, Festival, Celebration, and Public Display at Bowling Green State University, Bowling Green, OH, June 3–5, 2004; expanded version presented at Victorians and the Twentieth Century at the Leeds Centre for Victorian Studies, Trinity & All Saints College, Leeds, July 13–15, 2005.
“William Walton, English Modernism, and the Mantle of Elgar” presented at the conference The Cultural Politics of English Modernism, 1920-1950, Cornell University, Ithaca, NY, September 20–21, 2002.
“Music, Writing, and ‘Unlearning’,” presented at the annual national convention of the College Music Society, Santa Fe, NM, November 15–18, 2001.
“Sir Arthur Sullivan, Patriotism, and Edwardian Music,” presented at Music in Nineteenth-Century Britain, Royal College of Music, London, July 16–19, 2001.
Other talks presented
“Sinatra’s 1950s comeback,” faculty lecture for the University of Mary Washington Alumni College, May 31, 2019.
“Developing a chorale in many divers ways: Bach’s extant settings of Vom Himmel hoch da komm ich her,” faculty lecture-recital, Erskine College, November 19, 2016.
“Musical borrowing and other cheating,” faculty lecture, Erskine College, September 7, 2015.
“Beethoven’s country music,” faculty lecture, Erskine College, September 25, 2014.
“The Long Shadow of J. S. Bach,” faculty lecture, Erskine College, September 30, 2013; and at the Gari Melchers Home and Studio, Stafford, VA, November 11, 2018.
“Why does music matter?,” inaugural lecture in the Erskine City Initiative series, 2012–13.
“Handel’s ‘Water Musick’ and the birth of the orchestra,” faculty lecture, Erskine College, September 3, 2012.
“Gilbert & Sullivan: creativity in conflict,” presentation for the English Speaking Union, Jacksonville, FL, April 18, 2010.
“Teaching improvisation as a skill best learned early,” presentation for the Lower Piedmont Music Teachers Association, Anderson, October 9, 2007.
“Patriotism and British Music, c. 1900,” presented to the Harvard University Music Department, Cambridge, MA, December 7, 2001.
