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Faculty & Staff Profiles

Walter T. Everett

Professor of Music Theory


Walter Everett, a member of the School of Music faculty since 1989, is the author of The Foundations of Rock (Oxford University Press, 2008), a project underwritten by a Fellowship from the National Endowment for the Humanities and by grants from the Society for Music Theory and the School of Music, Theatre & Dance.  This text is supported by a website including more than 400 audio and visual resources created by Mr. Everett.  His book The Beatles as Musicians is available in two volumes: The Quarry Men through Rubber Soul and Revolver through the Anthology. This book has been translated into Spanish, as Los Beatles como músicos, published by Eterna Cadencia in Buenos Aires.  He is also the editor of the book Expression in Pop-Rock Music.  Mr. Everett’s essays on text-music relations in song and opera, rock music, and Schenkerian theory have appeared in Music Theory Spectrum, the Journal of Music Theory, Music Analysis, The Musical Quarterly, Music Theory Online, Popular Music, Contemporary Music Review, the Mozart-Jahrbuch, College Music Symposium, Theory and Practice, In Theory Only, Beatlestudies, Beiträge zur Popularmusikforschung, Genre, Interdisciplinary Literary Studies, Soundscapes, and in nine books edited by others. He is also a contributor to The Grove Dictionary of American Music and provided approximately fifty popular-music examples for Miguel Roig-Francoli’s textbook, Harmony in Context. Mr. Everett is the recipient of many awards, including the Kjell Meling Award for Distinction in the Arts and Humanities.

Mr. Everett has addressed numerous audiences, including appearances as keynote speaker for the Society for Music Theory, the Florida State University Music Theory Forum, a joint meeting of the Texas Music Theory Society and the South-Central Society for Music Theory, the Great Lakes Chapter of the College Music Society, and the Beatles 2000 conference in Jyvaskyla, Finland.  He has given papers at three meetings of the British Music Analysis Conference (in Cardiff, London, and Southampton), the International Association for the Study of Popular Music, and the 1991 Mozart-Kongress (Salzburg), as well as numerous presentations to the Society for Music Theory, the Music Theory Society of New York State, and Music Theory Midwest. He has also been an invited speaker at more than twenty universities.  Mr. Everett conducted archival work with composers’ manuscripts in New York and Bonn.  He has served as chair of the Society for Music Theory Publications Committee, on the editorial boards of Music Theory Spectrum and Theory and Practice, as a prepublication reviewer for several book publishers, as chair of the Madison program committee for SMT, as a consultant to the College Board and reader for the Graduate Record Examinations in Music Theory, as Fellow of the Mannes Institute for Advanced Studies in Music Theory (Chromaticism, 2006), as co-chair and faculty member of the Mannes Institute for Jazz-Rock Studies (2008), and as faculty member of the summer post-graduate seminar, “Methods of Popular Music Analysis” at the University of Osnabrück (2011).


Bio last updated September 2018


Education

BS (music education, piano concentration), Gettysburg College
MM (music theory), University of Cincinnati College-Conservatory of Music
PhD (music theory), University of Michigan

Publications

Last updated September 2018.

Sex and Gender in Rock and Pop from the Beatles to Beyoncé, trade book with multimedia materials for a general readership, co-authored with Katie Kapurch.  Under contract with Bloomsbury Press, MS due in 2021.

What Goes On: The Beatles, Their Music and Their World, textbook and extensive multimedia materials for non-music majors, co-authored with Tim Riley.  Oxford University Press launch scheduled for Fall 2019 (final draft submitted August 2018).

The Foundations of Rock From “Blue Suede Shoes” to “Suite: Judy Blue Eyes.” New York: Oxford University Press, 2009.  425 + xvi pages.
Funded by an NEH Fellowship (2003-2004) and grants from the University of Michigan and the Society for Music Theory, this book introduces the general reader to the worlds of timbre, form, melodic materials and construction, harmonic function and color, rhythmic and accentual patternings, the parsing of lyrics, the role of engineering, and modes of critical contextualization and interpretation, through a selection of the seven thousand examples studied from this revolutionary body of music.  An accompanying website illustrates the book’s arguments with 285 original audio examples and 125 photographs.  Reviewed in Journal of Music Theory, Music Analysis, and Journal of the Society for American Music.

The Beatles as Musicians, The Quarry Men through Rubber Soul.  New York: Oxford University Press, 2001. 452 + xix pages.  Currently in 6th printing.

The Beatles as Musicians, Revolver through the Anthology.  New York: Oxford University Press, 1999.  395 + xix pages.  Currently in 15th printing.

Spanish translation, Los Beatles como músicos, published by Eterna Cadencia (Buenos Aires, Argentina), 2013.

These books represent a detailed, chronologically ordered study of the Beatles’ performance practice and composition, from their earliest group efforts in 1957 to the band’s demise in 1970.  Not only published recordings, but many outtakes, rehearsals, compositional sketches, and incomplete songs are the basis of this recording-based study.  A potential third volume, covering the solo music of the ex-Beatles, is envisioned.  While written for the professional music researcher, this project has gained a wide audience among the general public, with very favorable reviews in MOJO, Goldmine, and Beatlefan as well as in MLA Notes, Music Theory Spectrum, Music Analysis, The Journal of Musicological Research, and Music Theory Online.  See also one knowledgeable fan’s extensive review.

Expression in Pop-Rock Music: Critical and Analytical Essays.  2nd Edition, New York: Routledge Press, 2007.  (1st edition, New York: Garland Publishing, 2000).  Nominated for the Tenth Annual Gleason Award.  Reviewed in Music and Letters, Popular Music, and MLA Notes.

American Rock and the Classical Music Tradition, a special issue of Contemporary Music Review (18/4).  Co-edited with John Covach. London: Harwood Academic Publishers, 2000.

Traditions, Institutions, and American Popular Music, a special issue of Contemporary Music Review (19/1).  Co-edited with John Covach. London: Harwood Academic Publishers, 2000.

“The Love There That’s Sleeping: Guitars of the Early Beatles,” The Beatles in Context, edited by Ken Womack for Cambridge University Press. MS submitted September 2018.

“The Beatles’ ‘Day Tripper’: A Tortured Stretching of the Twelve-Bar Blues,” Routledge Companion to Music Theory Pedagogy, ed. Leigh vanHandel. MS submitted July 2018.

“Children of Nature: Origins of the Beatles’ Tabula Rasa,” in Mark Osteen, ed., Umbrella: The Beatles’ White Album at Fifty, The University of Michigan Press (in press; launch expected in Fall 2019).

“Death Cab for Cutie’s ‘I Will Follow You Into the Dark’ As Exemplar of Conventional Tonal Behavior in Recent Rock Music.”  In Song Interpretation in 21st-Century Pop Music, ed. Ralf von Appen, André Doehring, Dietrich Helms and Allan F. Moore.  London: Ashgate, 2015, pp. 9-28.

“Any Time at All: The Beatles’ Free Phrase Rhythms.”   In The Cambridge Companion to the Beatles ed. Kenneth Womack.  Cambridge University Press, 2009, pp. 183-99.

“New Drummer Ringo Starr.”  In Read the Beatles: Classic and New Writings on the Beatles, Their Legacy, and Why They Still Matter, ed. June Skinner Sawyer and Astrid Kirchherr. Penguin Books, 2006, pp. 292-95.

“Painting Their Room in a Colorful Way: The Beatles’ Exploration of Timbre.”   In Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four ed. Kenneth Womack and Todd Davis. State University of New York Press, 2006, pp. 71-94.

“Detroit and Memphis: The Soul of Revolver.”  In “Every Sound There Is”: The Beatles’ Revolver and the Transformation of Rock and Roll, ed. Derek Scott and Russ Reising. London: Ashgate, 2002, pp. 25-57.

“Confessions from Blueberry Hell, or, Pitch Can Be a Sticky Substance.” In Expression in Pop-Rock Music:  A Collection of Criticial and Analytical Essays, ed. Walter Everett.  Garland Publishing, 2000, pp. 269-345.  Sizeable portion of this essay also published as “Sistemi tonali nelle Musiche Pop/Rock: Un’Introduzione,” Rivista di Analisi e Teoria Musicale 2002/2 (79-114), as translated by Roberto Agostini, Luca Marconi, and Stefano Mengozzi. Revised as “Pitch Down the Middle” for Routledge edition of Expression in Pop-Rock Music, pp. 111-174.

“The Learned vs. the Vernacular in the Songs of Billy Joel,” for American Rock and the Classical Music Tradition, a special issue of Contemporary Music Review, 18/4, devoted to the relations between Concert and Popular Musics. London: Harwood Academic Publishers, 2000, pp. 105-129.  Reprinted in Rock Music, ed. Mark Spicer for The Library of Essays on Popular Music (Ashgate, 2011).

“‘High Time’ and Ambiguous Harmonic Function.”  In Perspectives on the Grateful Dead, ed. Rob Weiner, Greenwood Press, 1999, pp. 119-125.

“Swallowed by a Song: Paul Simon’s Crisis of Chromaticism.”  In Understanding Rock, ed. John Covach and Graeme Boone.  Oxford University Press, 1997, pp. 113-153.

“The Beatles as Composers: The Genesis of Abbey Road, Side Two.”  In Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann, University of Rochester Press, 1995, pp. 172-228.

Also contributed about fifty pop-music examples for Miguel Roig-Francoli’s textbook, Harmony in Context (McGraw-Hill, 2001).

“Becoming Beethoven: Bonner Zeit Transitions as Stylistic Groundwork.”  Currently under review.

The Representation of Meaning in Post-Millennial Rock.”  Black Box Pop: Beiträge zur Popularmusikforschung 38 (2012): 149-69.

“‘If You’re Gonna Have a Hit’: Intratextual Mixes and Edits of Pop Recordings.”  Popular Music 29/2 (2010): 229-250.  Reprinted in Lori Burns, ed., The Pop Palimpsest: Intertextuality in Recorded Popular Music (University of Michigan Press, 2017).

“Beyond the Palace: Casing the Promised Land.”  [A study of the theme of transcendence in the songs of Bruce Springsteen]  Interdisciplinary Literary Studies 9/1 (Fall 2007): 81-94.

“Westergaard’s Theory of Tonal Rhythm.”  In Theory Only 13/5-8 (June 2007): 35-53.

“Deep-Level Portrayals of Directed and Misdirected Motions in Nineteenth-Century Lyric Song.”  Journal of Music Theory 48/1 (Spring 2005), pp. 25-68.

Making Sense of Rock’s Tonal SystemsMusic Theory Online 10/4, December 2004. Reprinted in Critical Essays in Popular Musicology, ed. Allan Moore, Ashgate (2007).

“A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan.”  Music Theory Spectrum 26/2 (Fall 2004): 201-235.

“A True Story: The Expression of Troubling Societal Values in the Music of Postmodern Rock.”  Genre 34 (Fall-Winter 2001): 205-218.

“The Future of Beatles Research.”  Beatlestudies 3 (2001): 25-44.

“Voice Leading and Harmony as Expressive Devices in the Early Music of the Beatles:  ‘She Loves You’.”  College Music Symposium 32 (1992): 19-37.

“Text-Painting in Mozart’s Three Lieder (KV 596-598) of 14 January 1791.”  Mozart-Jahrbuch 1991: 201-05.

“Voice Leading, Register and Self-Discipline in Die Zauberflöte.”  Theory and Practice 16 (1991): 103-26.

“Grief in Winterreise: A Schenkerian Perspective.”  Music Analysis  9/2 (July 1990): 157-75.

“Text-Painting in the Foreground and Middleground of Paul McCartney’s Beatle Song, ‘She’s Leaving Home’: A Musical Study of Psychological Conflict.”  In Theory Only  9/7 (March 1987): 5-21.

“Fantastic Remembrance in John Lennon’s ‘Strawberry Fields Forever’ and ‘Julia’.”  The Musical Quarterly  72/3 (1986): 360-93. Reprinted in Critical Essays in Popular Musicology, ed. Allan Moore, Ashgate (2007).

“An Update on the Current State of Schenkerian Research: Volumes Edited by Hedi Siegel and Allen Cadwallader.” Theory and Practice 19 (1994): 121-52.

“An Appreciation of Pepper, Fifty Years On,” commissioned for Beatlefan 38/4 (May-June 2017).

Contributor of the article, “The Beatles,” to The Grove Dictionary of American Music (2013).

Contributor to “Report on the 2008 Mannes Institute for Advances Studies in Music Theory: Jazz Meets Pop,” Music Theory Online 14/3, September 2008.

“High Art Born of Deep Crisis: ‘Strawberry Fields Forever,”  Beatles Special Edition, ed. Ben Nussbaum (i-5 Publishing; 2014).

What a Rock Concert Should Do: Paul McCartney, Driving USA 2002.” Soundscapes 5 (May 2002) (24 KB).

Review of Richard Middleton’s Reading Pop (Oxford University Press, 2000), Music Theory Online 7/6, December 2001.

“Children of Nature: Origins of the Beatles’ Tabula Rasa,” The Beatles’ White Album: An International Symposium, Monmouth University (November 2018).

“The Blood Rushes In: Sex and Masculinity in ‘Candy’s Room’ and ‘Prove It All Night,'” co-authored with Katie Kapurch; paper presentation for conference dedicated to Bruce Springsteen’s Darkness at the Edge of Town, Monmouth University (April 2018).

“Behind the Curtains: Sgt. Pepper’s Lonely Hearts Club Band,” lecture presented to the Ann Arbor District Library (April 2018).

“Command, Surrender and Transferral in Patti Smith’s ‘Land,” lecture presented to Texas State University, San Marcos (March 2018).

Abbey Road: The Beatles’ Swan Song,” lecture presented to the Ann Arbor District Library (April 2017).

Workshops in the Pedagogy of Music Theory: week-long residence leading ten one-hour sessions for faculty members from four continents, at the University of Massachusetts—Amherst (June 2016).

“Two Approaches to Beatles Research: Plumbing the Recording Process and Parsing a Text,” lecture presented at Duke University (November 2015) and Johns Hopkins University (April 2016).

Untitled two-hour faculty lecture delivered at the “Methods of Popular Music Analysis,” seminar, University of Osnabrück (September 2015).

“It Was Fifty Years Ago Today: The Beatles in 1964,” lecture presented at Winthrop University (October 2014).

“Get Off My Lawn!  The Challenges and Opportunities Presented by Digital Technologies to Today’s Rock-Music Theorist.”  The Institute for Popular Music, The University of Rochester (July 2014).

Instant Combustion: Fairly Sensational, Dramatic, Wonderful, Funny, Exciting!” Keynote address for the conference, “It Was Fifty Years Ago Today!: An International Beatles Celebration,” The Pennsylvania State University at Altoona.   Lecture for the University of Rochester Institute for Popular Music’s “In Performance Series.”  Lecture for the symposium, “Tomorrow Never Knows: The Beatles in Text and Image—Materiality and Meaning,” The University of Pennsylvania (all February 2014).

Roundtable Panelist on the Music of the Beatles with Allan Kozinn, Mark Lewisohn, and Ken Scott at the Paley Media Center, New York City (October 2013).

Keynote address, “Setting the Stage: The Beatles in 1963,” The Society for Music Analysis, Liverpool, England (July 2013); revision presented at Belmont University (September 2013).

“And Your Bird Can Sing,” lecture presented at Louisiana State University (February 2013), The Peabody Institute (April 2016), and Texas State University (April 2018).

“The Beatles’ Recording of ‘A Day In the Life,” The Pennsylvania State University (March 2012); revisions presented to the Fargo Public Library (November 2012), Louisiana State University (February 2013), the University of Western Ontario (March 2013), and for the “Summit of Creativity” conference, University of Michigan (June 2017).

“A Memoir: The Evolution of Beatles Research, 1971 to Date,” lecture presented at Gettysburg College (March 2012).

Respondent to David Temperley’s article, “Scalar Shifts in Popular Music,” Music Theory Online webinar (February 2012).

“Harmony and Voice Leading in Rock Music Produced After 1980,” faculty lecture delivered at the “Methods of Popular Music Analysis,” seminar, University of Osnabrück (September 2011). Revised version delivered by invitation at Gettysburg College (March 2012).

“Complexity and Meaning in Post-Millennial Rock Music,” invited plenary talk delivered at the Conference of the Arbeitskreis Studium Populärer Musik, Mannheim, Germany (November 2010).  Revised version delivered by invitation at Indiana University (April 2011).

“Of Harry Pa(r)tch and Other Challenges to Tonal Centricity in Early 21st-Century Rock,” Princeton University (April 2010).

“The Creation of ‘Strawberry Fields Forever,'” Minnesota State University at Moorhead (May 2009); repeated for Gettysburg College, The Pennsylvania State University, and Glacier Hills Retirement Community, Ann Arbor (all March 2012), Lycoming College (November 2017), and Texas State University (March 2018).

“Melodic Contour and Ornamentation in Pop-Rock Music of the 1950’s and ’60s,” Michigan State University (April 2009).

“Children of Nature: Origins of the Beatles’ Tabula Rasa,” Skidmore College, on the occasion of the 40th Anniversary of the release of the Beatles’ “White” Album (November 2008).

Lead presentation for plenary session, “Popular Music and the Canon,” The Society for Music Theory, Nashville (November 2008).

Panel presentation on Professional Development in Pop-Music Scholarship, Pop-Music Interest Group, Society for Music Theory, Nashville (November 2008).

“Text-Music Relations in 1960’s Pop” for Daniel Harrison’s Music 275 class, Yale University (October 2008).

Plenary presentation, “The State of Popular Music Scholarship Today,” Eastman School of Music, as part of the 2008 Mannes Institute (June 2008).

“’It Fits In Well With the Chords I’m Playing’: Melody in Pop-Rock Music of the 1950s and ‘60s,” University of Iowa (May 2008).

“Rocking the Arts,” an address given in acceptance of the Kjell Meling Award for Distinction in the Arts and Humanities, The Pennsylvanis State University at Altoona (October 2007).

Keynote address: “From ‘Blue Suede Shoes’ to ‘Suite: Judy Blue Eyes’: The Foundations of Rock,” Great Lakes Chapter, College Music Symposium, Bowling Green, Ohio (March 2007).

“Good Vibrations: The Foundations of Rock,” College-Conservatory of Music, University of Cincinnati (May 2006).

“Painting Their Room in a Colorful Way: The Beatles’ Exploration of Timbre,” Music of the Americas Study Group, University of Michigan (February, 2006); Skidmore College (October, 2005); Texas A&M (February 2005); Saint Marys College, South Bend, Indiana (February 2003).

“Tracing the Evolution of John Lennon’s ‘Strawberry Fields Forever’ Through Its Compositional Drafts,” University of North Carolina at Chapel Hill (Nov. 2003).

“Deep-Level Portrayals of Directed and Misdirected Motions in Nineteenth-Century Lyric Song,” University of North Carolina at Chapel Hill (November 2003).

Keynote address: “Making Sense of Rock’s Tonal Systems,” Florida State University Forum (March 2002); previously presented as a featured paper at the “Music Analysis and Popular Music” conference, University of Cardiff, Wales (Nov 2001).

“Detroit and Memphis: The Soul of Revolver,”  Skidmore College (September 2001).

Keynote address: “Takin’ It to the Streets: Egghead Trainspotting for Everyone,” Combined meeting of the Texas Music Theory Society and the South-Central Society for Music Theory, Houston (February 2001).

“The Expression of Troubling Societal Values in Postmodern Rock Music,” University of Texas at Austin (February, 2001), University of Oregon (March 2001).

Keynote address: “The Future of Beatles Research,” Beatles 2000 Conference, Jyväskylä, Finland (June 2000).

“Motown, Michigan and Music Theory,” Music Theory Midwest, Kalamazoo (May 1996).

“Paul Simon’s Crisis of Chromaticism: the Aggregate and the Spiral,” College-Conservatory of Music, University of Cincinnati (January 1996).

“The Beatles in the Studio,” College-Conservatory of Music, University of Cincinnati (December 1995).

“‘Lucy in the Sky with Diamonds’ and ‘I Am The Walrus,'” College-Conservatory of Music, University of Cincinnati (December 1995).

“Musical Expression at Deep Structural Levels in Learned and Vernacular Vocal Repertoires (II),” Indiana University (February 1995).

“Voice Leading and Harmony in the Early Music of the Beatles,”  International Association for the Study of Popular Music, London, England (July 1992).

“Peter Westergaard’s Theory of Tonal Rhythm,” Society for Music Theory, Cincinnati (November 1991)

“Power in the Music of the Beatles,” Power Conference, University of Rochester (January 1989).

“Middleground Motives as Unifiers of the Theme of Illusion in Schubert’s Winterreise,”  Eastman School of Music (January 1989).

“Text-Related Middleground Motives as a Device of Intersong Unity in Schubert’s Winterreise,” Cincinnati College-Conservatory of Music (May 1987).

“Command and Surrender in Patti Smith’s ‘Land,” Women in the Creative Arts conference, Australian National University, Canberra (August 2017).

“Fair Use Considerations in Rock Scholarship,” Society for Music Theory, Vancouver (November 2016).

“Towards a Best Use of Graduate-Student Assistants for Grading Essays in Large-Enrollment Courses,” Professional Development panel, Society for Music Theory, Milwaukee (November 2014).

Bonner Zeit Transitions: Rhenish Things Not Put Away,” University of Michigan (October 2012).

“Reaching Beyond the Field,” Professional Development panel, Society for Music Theory, Minneapolis (November 2011).

“The Intercontinental Guitar Style of Jimi Hendrix,” New World Coming: The Sixties and the Shaping of Global Consciousness conference, Queen’s University, Kingston, Ontario (June 2007).

“Beyond the Palace: Casing the Promised Land,” Glory Days: A Bruce Springsteen Symposium, Monmouth University, NJ (September 2005).

“Sam Phillips’ ‘Five Colors’: Which is the Way?,” Pop-Music Interest Group, Society for Music Theory, Seattle (November 2004).

“Hand Jive and Ear Prudence,” guitar lecture-demonstration presented with John Covach, Society for American Music, Cleveland (March 2004).

“The Values of Traditional Historiographical and Theoretical Approaches for the Study of Rock Music,” Society for Music Theory/”Musical Intersections” megaconference, Toronto (November 2000).

“A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan,” Society for Music Theory, Atlanta (November 1999).

“Singing About the Fundamental Line: Vocal Portrayals of Directed and Misdirected Motions,” Society for Music Theory, Phoenix (October 1997).

“David Brackett, Wilson Pickett, Nirvana and Lucifer,” Re*pre*sent*ing Rock conference, Duke University (April 1997).

“Any Time at All: The Beatles’ Free Phrase Rhythms,” Society for Music Theory, Baton Rouge (November, 1996) and Music Theory Midwest, Kalamazoo (May 1996).

“The Learned vs. The Vernacular in the Songs of Billy Joel: ‘James’ vs. ‘Laura’,” Conference on Cross (Over) Relations, Eastman School of Music (September 1996).

“Adjunctive Tonal Structures and the Dissociative Condition in the Music of the Beatles,”  Society for Music Theory, Tallahassee (November 1994).

“Musical Expression at Deep Structural Levels in Learned and Vernacular Vocal Repertoires (I),” Inaugural meeting of the Society for Music Analysis, jointly with the Royal Musical Association, Southampton (March 1993).

“Voice Leading and Harmony in the Early Music of the Beatles,” Society for Music Theory, Kansas City (October 1992).

“Chromatic Structures in Paul Simon’s Still Crazy After All These Years,” Society for Music Theory, Cincinnati (November 1991).

“The Beatles as Composers: The Genesis of Abbey Road, Side Two,” City University Music Analysis Conference, London (September 1991).

“Text-Painting in Mozart’s Three Lieder (KV 596-598) of 14 January 1791,” Mozart-Kongress, Salzburg (February 1991).

“Harmonic Function and Ambiguity in the Music of the San Francisco Counterculture,” Society for Music Theory/American Musicological Society/Society of Ethnomusicology, Oakland (November 1990).

“Voice Leading, Register and Self-Discipline in Die Zauberflöte.”  Society for Music Theory, Oakland (November 1990) and Music Theory Society of New York State, Rochester (October 1990) .

“Ambiguity of Directed Harmonic Motion in Rock Music of the 1960s,” International Association for the Study of Popular Music, New Orleans (May 1990).

“Text-Related Middleground Motives as a Device of Intersong Unity in Schubert’s Winterreise,” Society for Music Theory/American Musicological Society, Austin (October 1989).

“Analytical Considerations in ‘Underground’ Rock Music of the Late 1960’s,” Inaugural meeting of Music Theory Midwest, Northwestern University (May 1990).

“Schenker’s Duck-Rabbit: Seeking a Clearer Understanding of the 5-6 Exchange,” Music Theory Society of New York State, New York (September 1989).

“Middleground Motives as Unifiers of the Theme of Illusion in Schubert’s Winterreise.”  Symposium of Research in Music Theory, Indiana University (April 1988).

“Middleground-Level Text-Painting in Two Examples from Schubert’s Winterreise,” Great Lakes Chapter of College Music Society, Northwestern University (April 1986).

“Text-Painting in the Foreground and Middleground of Paul McCartney’s Beatle Song, ‘She’s Leaving Home’: A Musical Study of Psychological Conflict,” Indiana University (1986), and Midwest College Music Society, Kansas City (1985).

Additionally, presentations to the Michigan Theory Department Colloquium in October ’16, June ’13, Oct ’12, Apr ’10, Nov ’10, Mar ’99, and to the Michigan Music Theory Society in Mar ’93, Fall ’92, Wtr ’92, Jan ’91, Nov ’90, Oct ’89, Sept ’89, ’82, ’81.

Subject of hour-long interview by Allan Kozinn, Steve Marinucci and Ken Michaels on podcast, “Things We Said Today” (26 February 2018, show #264).

Subject of 45-minute interview by Vincent Benitez for the eLearning Institute, Pennsylvania State University.

Subject of interview for “The Compulsive Reader.”

Grants from the University of Michigan Office of Research, University of Michigan Arts Engine and University of Michigan School of Music, Theatre and Dance, to support the symposium, “Summit of Creativity: A Celebration of the Fiftieth Anniversary of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band,” at the University of Michigan in June 2017 ($20,000 combined).

Fellowship at the Rock and Roll Hall of Fame Archives, Cleveland, Ohio, for a week’s residency studying documents related to Patti Smith, July 2016 ($2,000).

Faculty Research Fund Block Grant for research on Beatles book for Oxford, 2014 ($650).

Horace H. Rackham Spring / Summer research Grant, a partnership with supporting Ph.D. student for preliminary research for book in rock music, 2011 ($6,000).

Faculty Research Fund Block Grant for travel in Germany (library work on Neefe, Luchesi and Sterkel at Beethoven Archiv, Bonn), 2010 ($1,423).

Society for Music Theory Publication Subvention for performance of audio examples for The Foundations of Rock, 2008 ($633).

Faculty Research Fund grant, School of Music, for performance of audio examples for The Foundations of Rock, 2007 ($1,500).

Kjell Meling Award for Distinction in the Arts and Humanities, 2007 ($1,000).

National Endowment for the Humanities Fellowship, 2003-2004 ($40,000 towards release time for academic-year research).

Horace H. Rackham Faculty Fellowship Enhancement Award, 2003 ($3,000).

Faculty Career Development Award, 2001 ($5,000).

Office of the Vice-President for Research, Preliminary Grant for book, The Beatles as Musicians, 1993 ($5,722).

Faculty Research Fund grant, School of Music, for materials for above, 1993 ($1,948), 2001 ($3,500).

Faculty Research Fund grant, School of Music, for computer input for above, 1995 ($2,040).

Faculty Research Fund grant, School of Music, for copyright permission fees for above, 1996 ($1,200).

Faculty Research Fund grant, School of Music, for music calligraphy for above, 1994 ($200).

Horace H. Rackham Faculty Fellowship for book chapter, “The Beatles as Composers: The Genesis of Abbey Road,” 1991 ($7,000).

Commission as consultant for David Appleby’s book on Villa-Lobos for Greenwood Press, 1988 ($500).

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