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BOOKS

• Schoenberg’s Tonal Music: Depictive Text-Painting and the Birth of the Musical Idea (Cambridge University Press, forthcoming).
• Schoenberg’s Atonal Music: Musical Idea, Basic Image, and Specters of Tonal Function (Cambridge University Press, 2019).
• Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge University Press, 2014).
• Co-editor (with Andrew Aziz), Making Waves: West Coast Perspectives of Pitch, Narrative and Form (Cambridge Scholars Publishing, 2020).
• Co-editor (with Heather Holmquest, Russell Knight, Inés Thiebaut and Brent Yorgason), Form and Process in Music, 1300-2014: An Analytic Sampler (Cambridge Scholars Publishing, 2016).
• Co-editor (with Brad Osborn, Tim Pack and Stephen Rodgers), Analyzing the Music of Living Composers (and Others) (Cambridge Scholars Publishing, 2013).
• Co-editor (with Bruce Quaglia), Musical Currents from the Left Coast (Cambridge Scholars Publishing, 2008). 

ARTICLES/REVIEWS

• “What Is Developing Variation?  Contextualizing Three Different Accounts of the Motivic Variation Process Within the Larger Field of Thematic Analysis,” in The Oxford Handbook of Variation Forms and Techniques, ed. Jeffrey Swinkin (Oxford University Press, forthcoming)
• “The Twelve-Tone Method,” in Schoenberg in Context, ed. Alexander Carpenter (Cambridge University Press, forthcoming).
• “Arnold Schoenberg and the ‘Musical Idea’,” in The Cambridge Companion to Serialism, ed. Martin Iddon (Cambridge University Press, forthcoming).
• “Symmetry and the Musical Idea in Schoenberg’s Opus 33a,” MusMat Series, Vol. I, forthcoming.
• “George Walker’s Piano Music: Traditional Forms in Tonal, Serial and Atonal Styles,” Music Theory Online 28/3 (September 2022).
• “Verklärte Nacht, Op. 4: Depictive Text-Painting and the Birth of the “Musical Idea,” Naxos Musicology International, released June 2021.
• “Schoenberg’s Opus 33b and the Problem of its Contrasting ‘Continuation’ and Second Theme,” Music Analysis 37/2 (July 2018): 203-242.
• “Little High, Little Low: Hidden Repetition, Long-Range Contour and Classical Form in Queen’s Bohemian Rhapsody,” in Form and Process in Music, 1300-2014: An Analytic Sampler (Cambridge Scholars Publishing, 2016).
• “Away With Motivic Working?’ Not So Fast: Motivic Processes in Schoenberg’s Op. 11, No. 3,” Music Theory Online 21/3 (September 2015).
• “Interval Symmetries as Divine Perfection in Schoenberg’s Moses und Aron,” Konturen 5 (2014): 31-58.
• “Presentation of ‘Musical Idea’ through Tetrachord Exchanges and Rhythmic/Metric Correspondences in the Intermezzo and Gavotte of Schoenberg’s Suite for Piano, Op. 25,” Intégral 27 (2013): 1-52.
• “Mahler’s Musical Idea: A Schenkerian-Schoenbergian Analysis of the Adagio from Symphony No. 10,” in Analyzing the Music of Living Composers (and Others), ed. Jack Boss, Brad Osborn, Timothy Pack and Stephen Rodgers (Cambridge Scholars Publishing, 2013), pp. 115-31.
• "The ‘Musical Idea' and the Basic Image in an Atonal Song and Recitation of Arnold Schoenberg," Gamut 2/1: 223-66.
• “The ‘Musical Idea’ and Motivic Structure in Schoenberg’s Op. 11, No. 1,” in Musical Currents from the Left Coast, ed. Jack Boss and Bruce Quaglia (Cambridge Scholars Publishing, 2008), pp. 256-81.
• "The 'Musical Idea' and Global Coherence in Schoenberg's Atonal Music," Intégral 14/15: 209-64.
• "Schenkerian-Schoenbergian Analysis" and Hidden Repetition in the Opening Movement of Beethoven's Piano Sonata Op. 10, No. 1," Music Theory Online 5/1.
• "The 'Continuous Line' and Structural and Semantic Text-painting in Bernard Rands's Canti d'Amor," Perspectives of New Music 36/2: 143-85.
• "Schoenberg on Ornamentation and Structural Levels," Journal of Music Theory 38/2: 187-216.
• "Schoenberg's Op. 22 Radio Talk and Developing Variation in Atonal Music," Music Theory Spectrum 14/2: 125-49.
• Book Reviews of Schoenberg’s Musical Imagination by Michael Cherlin in Music Theory Online, Schenker Studies 2, ed. by Carl Schachter and Hedi Siegel, in Notes, and Analytic Approaches to Twentieth-Century Music by Joel Lester in Journal of Music Theory.