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“Un-notated Performance Conventions, Early Piano Recordings, and Brahms’s Waltzes.” 


“Ritual Dances: The Tarantella Finale, The ‘Sacrificial Dance’, and Stravinsky’s Strategies in the Symphony in Three Movements.”

“Disability and Analysis: Reconsidering Brahms’s Second Piano Concerto.”  


“The Brahmsian Sublime.” 


“From Song to Concerto: Recomposition, Retrieval, and Closure in Amy Beach’s Piano Concerto, op. 45”



Articles in Refereed Journals

The Voice of Enigma: Intertextuality in ‘Im wunderschönen Monat Mai.’” Intégral: The Journal of Applied Musical Thought 36 (2023): 175-191.

Book Chapters

Brahms ‘versus’ Liszt: The Internalization of Virtuosity.” In Robert Doran (ed.), Liszt and Virtuosity (University of Rochester Press, 2020).

(Co-Winner of the 2023 Triennial Alan Walker Book Prize, awarded by the American Liszt Society) 

Book Reviews

Liszt’s Representation of Instrumental Sounds on the Piano: Colors in Black and White, by Hyun Joo Kim.” Journal of the American Liszt Society 73-74 (2022-2023): 148-151.

Brahms’s Violin Sonatas: Style, Structure, Performance, by Joel Lester.” Music Theory Online 28 (2). 



“The Brahmsian Sublime.” American Brahms Society, New Orleans, November 2022.


“Form in Performance: Ilona Eibenschütz’s Cadential Focal Impulses.” Society for Music Theory: Performance and Analysis Interest Group, New Orleans, November 2022. 


“Ritual Dances: The Tarantella Finale, The ‘Sacrificial Dance,’ and Stravinsky’s Strategies in the Symphony in Three Movements.” Stravinsky in America Conference, Louisiana State University, Baton Rouge, February 2022.


“Why Does Brahms’s Piano Music Feel Awkward to Play?” Michigan Music Teachers Association, University of Michigan, Ann Arbor, October 2021.


“Theological Contexts for Virtuosity: Listening to Messiaen’s Vingts regards sur l’enfant-Jésus (1944)” (with Stephanie Venturino). Society for Christian Scholarship in Music, February 2021.


“Failed Musical Memory and Intertextuality in Brahms’s Op. 83 Andante.” Society for Music Theory, San Antonio, November 2018.


“Analysis, Intuition, and Performance: Brahms’s Cello Sonata in E Minor, Op. 38, II. Minuet and Trio” (with Daniel Ketter). Music Theory Society of New York State, Hunter College, New York, April 2018.


“Developing Variation as Formal Determinant: Syntagmatic and Paradigmatic Perspectives.” Texas Society for Music Theory, Dallas Baptist University, February 2018.

(Winner of the 2018 Colvin Award for Best Student Paper, awarded by the Texas Society for Music Theory)


“Failed Music Memory and Intertextuality in Brahms’s Op. 83 Andante.” Music Theory Society of New York State, Hobart and William Smith Colleges, Geneva, NY, April 2017.



“The Brahmsian Sublime.” Forschungszentrum der Johannes Brahms Gesamtausgabe, Musikwissenschaftlichen Institut of the Christian-Albrechts-Universität, Kiel, Germany, June 2023.


“Brahms and the Piano.” Grand Rapids Piano Teachers Forum, Grand Rapids, MI, March 2022.


“Perspectives on Brahms: Analysis, Interpretation, and Performance.” Lawrence University, Appleton, WI, January 2022.


“Music Theory, Memorization, and the Piano,” Holland Piano Teachers Forum, Holland, MI, September 2021.


“Perspectives on Mahler’s ‘Blumine’ and ‘Rückert Lieder.’” Pre-Concert Talk for the Minnesota Orchestra, January 2020.


“Clara Schumann’s Piano Concerto in A Minor, Op. 7 and its Intertextual Resonances.” Performing Clara Schumann: Keyboard Legacies and Feminine Identities in the Long Romantic Tradition, Cornell University, Ithaca, NY, November 2019.


“How Lovely is Thy Dwelling Place: Brahms’s German Requiem.” Lecture for the Basilica Cathedral Choir at The Basilica of Saint Mary, Minneapolis, MN, October 2019.





“Brahms’s Re-Creativity in Opp. 80-90.” PhD Diss., advised by Jonathan Dunsby. Eastman School of Music, University of Rochester, 2020.ool of Music, University of Rochester, 2020. 

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