1. Italian opera
a. “Dahlhaus e Donizetti: l’analisi musicale nel contesto culturale,” paper given at convegno in honor of Bill Ashbrook, Bergamo October 2002, to appear in a Festschrift for him. (2006?)
2. Indic musicology
a. “Sargam notation and r?g r?gin? theory,” much expanded version of a paper originally presented at the symposium The History of North Indian Music: 14th 20th Centuries, Rotterdam, December 1997, to be published in the proceedings (2006).
b. “The structure of musical discourse: a view from Madras” [cf. no. 14 above — “The structure of musical meaning: a view from Banaras” — to which this is the companion]; on the “linguisticity” of Indian music, based on a study of the South Indian r?ga Ritigaula from the 17th to the 20th century; presented at the Symposium Notions of syntax in language and music, Paris, March 2003, to be published in 2006 (?)
c. “Rasa as a regulative concept”: valedictory address for the conference on Rasa and the Arts, Kashi Hindu Visvavidyalaya (Banaras Hindu University), Varanasi (India), 19 25 January 1997. (Owing to the death in 1998 of the convener, PremLata Sharma, no information about possible publication is yet available.)
1. Italian opera
a. “Otello I.2 3: a case study in multivalent analysis,” paper presented at the Verdi Wagner conference, Cornell University, October 1984, read several times since; presently being expanded into a book with the title Verdian musical dramaturgy. Portions have appeared in Italian in no. 47 and no. 45, above. Portions of nos. 25, 28, 29, 33, 34, 36, 40, 48, 53, 61, 62, 65, and 70 will also be utilized, with additional material, including some from A.1.a/b above, and B.1.b/c/d just below.
b. “Il Macbeth di Felice Varesi” was presented in Cremona in October 1992 as part of a series of lectures for the Scuola di paleografia e filologia musicale (faculty of the University of Pavia). In preparation for publication in English.
c. “Verdi's Il trovatore: ‘something special and original’,” presented at American Institute for Verdi Studies colloquium on Il trovatore, New York, 25 May 1991.
d. “Presenza del teatro realistico borghese nella drammaturgia del duetto verdiano,” presented on 13 September 1986 at the conference "L'opera fra Venezia e Parigi" at the Fondazione Cini in Venice.
e. “Metastasio into melodramma,” paper on selected two act remakes of Metastasio's libretti La clemenza di Tito and Alessandro nell'Indie, from Mazzolà/Mozart (1791) to Tottola/Pacini (1824), presented at a libretto conference sponsored by the Werner Reimert Stiftung, at Bad Homburg (Frankfurt), 18 20 May 1987 [project to be revived as part of a continuation of nos. 3, 8, and 13 above, to be revised, and B.1.f below].
f. “Il Muzio tramutato, Part II: the Minato original as set by Cavalli and Stradella, and Stampiglia's rifacimento as set by Bononcini” [unwritten companion to no. 13 above, to be revived, and see nos. 3 and 8 above, to be revised along with no. 13]
2. Indic musicology
a. “Durational and syllabic rhythms in the k?rtan.ams of Muttuswami D?ks.itar and Ty?gar?ja” originated in the Dr. V. Raghavan Shastyabdhapurthy Endowed Lecture, delivered at the 75th Anniversary meeting of The Music Academy (Madras) in December 2001, now under extensive revision as a written paper, with extensive examples in transliteration and Roman sargam, eventually to be submitted to their Journal. At present the D?ks.itar material is in good shape, but the linguistic aspect of the Ty?gar?ja material needs extensive further study. A trial approach to the Ty?gar?ja matterial, was published, without the musical examples or tables and unedited, as no. 68 above. (And see 3.b below.)
b. “Varieties of the raga Tod.? ”: the annual Louis C. Elson Lecture, Harvard University, 15 April 1994, based on part of no. 10 above. Also given at Columbia University, 6 December 1994, and CUNY, 28 October 1997.
c. The audible icon [the aesthetic and systemic intersection of painting and music in North Indian raga paintings and music]; cf. no. 20, and nos. B.3.a just below and B.2.b just above. A lecture demonstration entitled “The audible icon: r?ga ?s?var? in Indian music and painting” has been given many times (to be revived and revised for eventual publication in connection with the project on Comparative melodic typology).
d. "Indian musical notation and the improvisatory tradition," paper given at the annual conference Musica antiquae Europae Orientalis, Bydgoszcs (Poland), September 1994 (and cf. A.2.a above)
3. Comparative musicology
a. “?s?var? and Nav? in India, Kashmir, and Central Asia”, paper originally given at the Congress of the International Council for Traditional Music (ICTM), Schladming (Austria), July 1989. Revised for seminar at the University of Texas (Austin), March 1997. A version was prepared for the MESA conference in San Francisco, November 2004, but the panel was cancelled owing to a hotel strike. Given in Rome (in Italian), May 2005.
b. “Logogenic rhythm revisited: Words and music in Verdi and Tyagaraja,” paper at the annual AMS meeting in Seattle, November 2004. Given at the University of Fribourg and (in Italian) at the University of Milan, May 2005
c. “On musical translation: the cross cultural use of technical language” (a discussion of terminology in Indian, Western, and Javanese musical discourse): originally the position paper for a Symposium entitled Culture specific theoretical systems at the annual meeting of the Society for Ethnomusicology, Vancouver, in November 1985; previously presented at the International Conference on Terminology in the Social Sciences and Humanities, Mysore, January 1982; the material was used as the basis for a graduate seminar on “technical language in music” in the Fall of 1995 at Harvard.
d. “Meanings in musics,” lecture given at Cornell University, 28 April 2003, including comparison of Indian attempts to apply the aesthetic doctrine of rasa to music and medieval/Renaissance attempts to invoke the Classical doctrine of modal ethos.
e. “Semantic fields of the term maq?m in musical and musicological discourse,” presented at the 3rd International Musicological Symposium (on traditional music in the life of contemporary cultures of the Near and Middle East), Samarkand, 5 October 1987. A badly garbled version was published as no. 56 above.
f. “????? ? ?????? ?? ?????” presented at the 1400 anniverary Borbad Symposium, Dushanbe (Tajikistan), 23 29 April 1990; revision of a paper “Segah east of Eden” that had been read at the UNESCO Symposium on Music and the Silk Routes, Baghdad, September 1989. A still earlier version originally for East Berlin in 1988 had been published in English in 1991, as no. 38.
(Items B.3.a/d/e and B.2.b above, along with item B.4.b below and some Anglo American folksongs, provided material for a five lecture series at the University of Chicago in April 1993, later drastically compressed into a single lecture for the Israeli Forum for Mediterranean Culture, Jerusalem, in April 1996; they are part of the project Comparative melodic typology that will also include some material from nos. 1, 14, 15, 18, 38, 54, 66, and 67 above.)
g. “Dyadic counterpoint, musica ficta, and the contratenor bassus, from Dufay to Moazrt,” originally intended to honor Margaret Bent’s 65th birthday on 23 December 2005, using revisions and extensions from no. 3.f above, now provabably to be dropped.
4. Tonality in pre-tonal Western music
a. "The Lydian mode: Gregor Meyer reads Glarean," paper presented at the Symposium Music as heard: Listeners and listening in late medieval and early modern Europe, directed by Rob C. Wegman, Princeton, September 1997. Another version appeared as Part II of no. 59 above.
b. "Melodic types and modal categories in Gregorian monophony", paper read at the symposium "L'Oktoechos" at Royaumont, France), September 1992.
(The two previous items are to be incorporated into a book long under contract with the University of Chicago Press, entitled Is mode real? Tonal focus in pre tonal polyphony, along with material from nos. 12, 18, 21, 23, 32, 46, 50, 55, and 60 above, with additional material)
1. Indic musicology
a. Music in ancient Indian drama: expanded from a paper originally given at a conference on Sanskrit theater at the University of Hawaii, Fall 1974; last updated in 1988.
2. 20th-century Western music
a. "Symmetries, sets and sketches in Schoenberg's Third Quartet", lecture given at Brigham Young University, March 1983.
