Siglind Bruhn: Conference Papers
and Lectures Presented

 

 

 

 

 

 

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2011-2015
* “La Danse des morts: Arthur Honeggers Oratorium zu Hans Holbeins Holzschnitten nach dem Basler Totentanz,” seminar at the Catholic Academy inFreiburg, Germany (November 2013).
* “Michelangelos Skulptur ‘Il Penseroso’ und ihr Nachleben in Poesie, Malerei und Musik,” seminar at the Catholic Academy in Freiburg, Germany:(July 2013).
* “Michelangelos Skulptur ‘Il Penseroso’ und ihr Nachleben in Poesie, Malerei und Musik,” seminar at the Volkshochschule Denzlingen, Germany (March 2013).
* “La Danse des morts : Oratorio d’Arthur Honegger sur un livret de Paul Claudel inspiré des gravures sur bois de Hans Holbein le Jeune d’après le cycle des fresques du Grand-Bâle,” seminar for the Interarts Colloquium at the université Marc Bloch in Strasbourg, France (March 2013).
* “Three Representations of God’s Word in Twentieth-century Music,” presentation in the course of the Yale Consultation on Musik and Theology;Yale University Institute for Sacred Music (February 2013).
* “La Danse des morts: Arthur Honeggers Oratorium zu Hans Holbeins Holzschnitten nach dem Basler Totentanz,” seminar at the Volkshochschule Nördlicher Breisgau inEmmendingen, Germany (December 2012).
*
“‘Il Penseroso’: Michelangelos florentinische Skulptur und ihr thematisches ‘Nachleben’ in Poesie, Musik und Malerei,” seminar at the Volkshochschule Nördlicher Breisgau (April 2012).
*
“Musical Ekphrasis,” Post-Graduate Seminar at the Department for Comparative Studies, Universidad Nacional Autónoma de Mexico (March 2012).
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“Michelangelo’s Il Penseroso, from Stone to Tone: Intermedial Responses between Illustration and Ekphrasis,” Post-Graduate Seminar at the Department for Comparative Studies, Universidad Nacional Autónoma de Mexico (March 2012).
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“Musical Hermeneutics in Messiaen’s Vingt Regards sur l'Enfant-Jésus,” Post-Graduate Seminar at the Department for Comparative Studies, Universidad Nacional Autónoma de Mexico (February 2012).
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“An interdisciplinary approach to Hindemith's opera Mathis der Maler,” Post-Graduate Seminar at the Department for Comparative Studies, Universidad Nacional Autónoma de Mexico (February 2012).
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“Music and the Other Arts: Intentionality, Mediation, and Comprehension,” Post-Graduate Seminar at the Department for Comparative Studies, Universidad Nacional Autónoma de Mexico (February 2012).
*
Il Penseroso, from Stone to Tone: Intermedial Responses between Illustration, Song without Words, and Ekphrasis,” plenary talk presented at the Liszt Centenary Colloquium  I, “Les topiques du XIXe siècle et la musique de F. Liszt,” at the University of Strasbourg, France (September 2011)
*
“Olivier Messiaen’s opera Saint François d’Assise: A music-dramatic translation of the quest for ‘perfect joy’ and ‘divine truth’,” seminar presented in the context of a two-day Messiaen Festival at the Music Academy of Katowice, Poland (March 2011).
*
“The Theology and Aesthetics of Thomas Aquinas in Messiaens Oratorio on the Transfiguration,” seminar presented in the context of a two-day Messiaen Festival at the Music Academy of Katowice, Poland (March 2011).

2006-2010

*
“Symmetry and Symmetry Breaking in Olivier Messiaen’s Organ Meditations on the Mystery of the Holy Trinity,” paper presented at the international conference “Symmetry: Art and Science,” Gmünd, Austria (August 2010).
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“Olivier Messiaens Vingt Regards sur l’Enfant-Jésus als Basis seiner musiktheologischen Symbolsprache,” lecture presented in the context of “Kultur am Vormittag” at Volkshochschule Nördlicher Breisgau, Denzlingen, Germany (December 2009).
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“Der Isenheimer Altar in Paul Hindemiths Oper Mathis der Maler,” lecture presented at the Katholische Akademie Freiburg.Freiburg, Germany (June 2009).
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“Explorations of Universal Order and Beauty in Paul Hindemith’s Symphony ‘Die Harmonie der Welt’,” plenary presentation at the international conference “The Future of Aesthetics” held at the Norwegian University of Science and Technology in Trondheim, Norway (June 2009).
*
“The Theology and Aesthetics of Thomas Aquinas in the Compositions of Olivier Messiaen,” plenary presentation at The 1st International Fu Jen Academia Catholica Conference: “Interdisciplinary Dialogue on Catholic Studies” in Taipei, Taiwan (May 2009).
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“Der Isenheimer Altar in Paul Hindemiths Oper Mathis der Maler,” lecture presented to the Ökumenisches Bildungswerk Waldkirch und Kollnau, Germany (March 2009).
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Krakow, Poland: “Music as a Vehicle of Truth in Messiaen’s Saint François d’Assise,” paper presented at the conference “Music as the Message of Truth and Beauty” (Decem ber 2008).
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“Olivier Messiaens Vingt Regards sur l’Enfant-Jésus als Basis seiner musiktheologischen Symbolsprache,” lecture presented in the context of “Kultur am Vormittag” at Volkshochschule Nördlicher Breisgau, Emmendingen, Germany (December 2008).
*
“Sur les traces d’un « De musica » thomiste dans l’œuvre d’Olivier Messiaen,” plenary presented at the colloquium on occasion of the composer’s 100th birthday; Paris, France (November 2008).
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“Olivier Messiaens Saint François d’Assise: eine musikdramatische Darstellung der Suche nach ‘vollkommener Freude’ und göttlicher Wahrheit,” lecture presented in the context of “Kultur am Vormittag” at Volkshochschule Nördlicher Breisgau, Emmendingen, Germany (November 2008).
*
“Messiaens südamerikanische Tristanprojektion: der Liedzyklus Harawi,” paper presented at the conference “Musik aus dem Geist der Theologie. Annäherungen an Olivier Messiaen” held at the Katholische Akademie Freiburg (October 2008).
*
“Candor est lucis aeternae: Olivier Messiaen’s Oratorio on the Transfiguration,” paper presented to the students of the Yale Institute of Sacred Music, New Haven, Connecticut (September 2008).   
*
“Veiling and Revealing in Light and Music: Olivier Messiaen’s Oratorio La Transfiguration de Notre-Seigneur Jésus-Christ,” invited paper presented at “Messiaen 2008 International Centenary Conference,” Birmingham/UK (June 2008)
*
Frankfurt, Germany: “Liebe Sternenvogel,” invited paper presented at the Studientag “Der Ornitheologe Olivier Messiaen” (May 2008)
*
Emmendingen, Germany: “Paul Hindemiths Oper Mathis der Maler und Grünewalds Isenheimer Altar : Menschen im Schnittpunkt politischer, sozialer und ästhetischer bzw. religiöser Verantwortung,” seminar presented to the Volkshochschule (January 2008)
*
Växjö, Sweden: “Penrose, Seeing is Believing: Intentionality, Mediation, and Comprehension in the Arts,” keynote presentation for the NorSIS conference “Imagine Media” (October 2007)
* Freiburg, Germany: “Sehen heißt glauben: Bild, Text und Musik im zehnten Lied aus Olivier Messiaens Harawi: chant d’amour et de mort,” paper presented in the 6th Euroepan Music Analysis Conference (October 2007)
* Zurich, Switzerland: “The Many Faces of Peace: Reading the Subtext in Alban Berg’s op. 4, no. 5,” paper presented at the 9th conference of the International Musicological Society (July 2007)
* Cracow, Poland: “Introduction to Musical Ekphrasis,” seminar given to the sudents of Cracow Conservatory of Music (May 2007)
* Cracow, Poland: “The Musical Language of Olivier Messiaen,” seminar given to the sudents of Cracow Conservatory of Music (May 2007)
* Freiburg, Germany: “Viktor Ullmann, Leben und Werk,” seminar conducted for the Katholische Akademie Freiburg (May 2007)
* Ann Arbor, Michigan: “Musical Transmedializations of Poetry and Painting: Toward a Methodology of Musical Ekphrasis,” paper presented to the University of Michigan Philosophy Department Aesthetics Discussion Group (February 2007)
* Houston, Texas: “Candor est lucis aeternae: Olivier Messiaen’s Oratorio on the Transfiguration,” paper presented in the symposium “Credo: The Arts as Expressions of Belief”  at Houston Baptist University (January 2007)
* Växjö, Sweden: “Verklärte Nacht: Schönberg’s Musical Transmedialization of Richard Dehmel’s Poem on Fateful Love,” seminar for the research group in interarts studies at Växjö University (December 2006)
* Växjö, Sweden: “The Speaking Lyre: Musical Transmedializations of Poetry and Painting,” seminar for the research group in interarts studies at Växjö University (December 2006)
* Lund, Sweden: “Can Music Speak, Respond, and Comment?,” seminar for the students of the course in interarts studies at Lund University (December 2006)
*

Freiburg, Germany: “Die musikalische Deutung schmerzlichen Erinnerns: Walter Steffens’ Oper Eli nach dem Mysterienspiel von Nelly Sachs,” paper presented in the congress ‘Der Anfang von allem ist die Sehnsucht’: Tagung zu Leben und Werk von Nelly Sachs (1891-1970) anlässlich des 40. Jahrestages der Verleihung des Nobelpreises für Literatur 1966 (October 2006)

* Aix-en-Provence, France:“Les Dieux dans l’opéra moderne,” three-day seminar in the context of Les Journées Sainte Cécile organized by the Université de Provence (July 2006)
* Düsseldorf, Germany: “Religion in der modernen Oper, am Beispiel von Rautavaaras Thomas,” Fortbildungstagung der Gemeinschaft Evangelischer Erzieher (May 2006)
* Aix-en-Provence, France: “Trois Symboles d’une sémiotique existentielle”, paper presented at the international colloquium “Existential Semiotics” at the Université Aix-Marseille, Aix-en-Provence (April 2006)
* Aix-en-Provence, France: “Peinture chantante, poésie orchestrale : vers une théorie de l’ekphrasis musical,” seminar for the masters’ students in musicology at the Université de Provence (March 2006)
* Aix-en-Provence, France: “Un opéra composé de symboles musicaux: Mary of Egypt de John Tavener,” seminar for the musicology students at the Université de Provence (February 2006)

2001-2005

* Freiburg: Germany: “Messiaens musikalische Sprache des Glaubens. Aspekte seiner Kompositionstechnik in ihrer spezifisch hermeneutischen Perspektive,” paper presented in the special lecture series of Freiburg Music University (July 2005)
* Strasbourg, France: “L’ordre musical du monde: la pensée de Kepler dans la musique de Hindemith,” paper presented at the conference “Philosophie et musique, interrogations contemporaines” at the Université Marc Bloch, Strasbourg (May 2005)
* Copenhagen, Denmark: “Tradition and repetition, quotation and allusion in Respighi’s Trittico botticelliano,” paper presented to the postdoctoral centre “The Cultural Heritage of Medieval Rituals” at The University of Copenhagen (May 2005)
* Paris, France: “Peinture chantante, poésie orchestrale : vers une théorie de l’ekphrasis musical,” open lecture given at the Sorbonne, as part of a series organized by the IDEAC (February 2005)
* Copenhagen, Denmark: “Reclaiming or Rectifzing Heritage: An Operatically Couched Commemoration of the Last Supper,” paper presented at the conference “The Cultural Heritage of Medieval Rituals III: Heritages,” at The University of Copenhagen (December 2004)
* Ann Arbor, Michigan: “Piercing Maya’s Veil: Musical Symbols of Deception and Awakening in an Opera about the Buddha,” paper presented at the Institute for the Humanities, The University of Michigan (November 2004)
* Paris, France: “The Signifying Power of Musical Form in Hermann Hesse’s Glass Bead Game,” paper presented at the Eight International Congress on Musical Signification (October 2004)
* Alet-les-bains, France: “Musical Symbols of an Awakening to Love: Per Norgard’s Opera about the Buddha,” paper presented at the conference “Love -- East and West” of the Académie du Midi (June 2004)

*

Copenhagen, Denmark: “The Re-creation of the Universe: The Search for Heavenly Order and its Human Reflection in Hindemith’s Opera The Harmony of the World,” paper presented at the conference “The Cultural Heritage of Medieval Rituals II: Creation and the Arts,” at The University of Copenhagen (December 2003)

*

Ann Arbor, Michigan: “The Redeemer Apologizes: Harrison Birtwistle’s Opera The Last Supper,” paper presented at the Institute for the Humanities, The University of Michigan (October 2003)

* Copenhagen, Denmark: “Rituals and Genres in a 20th-century Operatic Portrayal of a Medieval Saint,” paper presented at the conference “The Cultural Heritage of Medieval Rituals I: Ritual and Genre” at The University of Copenhagen (December 2002)
* Ann Arbor, Michigan: “Saints in the Limelight: Representations of the Religious Quest on the Post-1945 Operatic Stage,” talk at the Institute for the Humanities, The University of Michigan (October 2002)
* Sheffield, UK: “Saint François d’Assise and the imitatio Christi: A Novel Component in Messiaen’s Musical Language,” paper presented at the Messiaen 2002 International Conference (June 2002) Copenhagen, Denmark: “Rituals and Genres in a 20th-century Operatic Portrayal of a Medieval Saint,” paper presented at the conference “The Cultural Heritage of Medieval Rituals I: Ritual and Genre,” at The University of Copenhagen (June 2002)
* Philadelphia, Pennsylvania: “Three Representations of God’s Voice in Twentieth-century Music,” paper presented for the panel on “Musical Symbolism in Cross-cultural Contexts” at the 24th Annual Meeting of the Society for Music Theory (November 2001)
* Houston, Texas: “Three Representations of God’s Word in 20th-Century Music,” paper presented at the conference “Synthesis! Spirituality and the Arts” at Houston Baptist University (October 2001)
* Ann Arbor, Michigan: “Three Representations of God’s Word in 20th-Century Music,” talk given at the Institute for the Humanities, The University of Michigan (October 2001)
* Imatra, Finland: “La danse des morts -- a folk tradition religiously contextualized: Arthur Honegger and Paul Claudel’s response to Hans Holbein’s woodcut series,” paper presented as part of the thematic session “Musical Ekphrasis” at the Seventh International Congress on Musical Signification, “Music and the Arts” (June 2001)
* Strasbourg, France: “Trois manières d’écouter des oiseaux sur une manivelle: la culture moderne à travers l’humour critique de Paul Klee et ses interprétations musicales,” paper presented at the Journées scientifiques “Méthodes nouvelles en musicologie” at the Université des Sciences Humaines Marc Bloch (May 2001)
* Strasbourg, France: “Une cycle d’estampes devient oratorio: La danse des morts d’Arthur Honegger et Paul Claudel en réponse a Hans Holbein,” seminar offered to the students of the interdisciplinary course “La musique et les arts plastiques” at the Université des Sciences Humaines Max Bloch (May 2001)
* Greifswald, Germany: “Three Representations of The Word in Twentieth-century Music,” paper presented at the conference “Words, Tones and Images: Intermedial Perspectives” organized by the Nordic Society of Interarts Studies (NorSIS) in collaboration with the Nordisches Institut EMAU, Universität Greifswald (May 2001)
* Lund, Sweden: “Vindication by Proxy: Paul Hindemith, Mathis Grünewald, and Saint Antony,” lecture given for the doctoral seminar in Interart Studies, The University of Lund (Sept. 1996)

1996-2000

* Hempstead, NY: “Saints in the Limelight: Musical Representations of the Holy on the Post-1945 Operatic Stage,” paper presented at the conference “Contemporary Opera at the Millennium,” organized at Hofstra University (November 2000)
* Arhus, Denmark: “Musical Manifestations of the Holy in Hindemith’s Saints,” paper presented at the Nordic Musicological Congress (August 2000)
* Lund, Sweden: “Three Ways of Listening to Birds on a Crank: Musical Interpretations of Paul Klee’s Witty Criticism of Modern Culture,” paper presented at the conference (May 2000)
* Ann Arbor, Michigan: “Three Ways of Listening to Birds on a Crank: Musical Interpretations of Paul Klee’s Witty Criticism of Modern Culture,” talk presented at the University of Michigan’s Institute for the Humanities (March 2000)
* Copenhagen, Denmark: “Mythopoesis and Musical Symbols of Suffering in a 20th-century Passion Play,” paper presented at the conference “Moments of Change-Transformations of Christian Traditions in the West: Representation and Interpretation in the Arts 1000-2000” (October 1999)
* Ann Arbor, Michigan: “Musical Coherence in Hindemith’s First Marienleben,” paper presented at the second World Conference of the International Association of Word and Music Studies(August 1999)
* Strasbourg, France: “Des cadres musicaux qui s-ouvrent vers l’extérieur: Implications herméneutiques dans deux des Vingts regards sur l’Enfant-Jésus d’Olivier Messiaen,” paper presented at the Colloquium “Approches herméneutiques de la musique,” organized at the Université des Sciences Humaines de Strasbourg (May 1999)
* Claremont, CA: “A Concert of Paintings: ’Musical Ekphrasis’ in the Twentieth Century,” paper presented at the Fifth World Conference of the International Association for Word and Image Studies (March 1999)
* Aix-en-Provence, France: “Musical Ekphrasis: Composers Transmedializing Poetry and Painting,” paper presented at the Sixth International Congress on Musical Signification (December 1998)
* Steamboat Springs, Colorado: “Music and The Sister Arts at the Dusk of Romanticism,” lecture presented at the “Strings in the Mountains” Music Festival (July 1998)
* Steamboat Springs, Colorado: “Schoenberg’s Musical Interpretation of Dehmel’s Poem Transfigured Night,” lecture given for the “Strings in the Mountains” Music Festival (July 1998)
* Prague, Czech Republik: “Musical Ekphrasis on a Puppet Drama of Death: Bohuslav Martinu’s La Mort de Tintagiles after Maurice Maeterlinck,” paper presented at the international colloquium Martinu and Prague in the Early Twentieth Century, Bohuslav Martinu Foundation (May 1998)
* Vienna, Austria: “Viktor Ullmann und Alexander Zemlinsky: Variationen zu Schoenberg,” paper presented at the international symposium “Wiener Schulen um Alexander Zemlinsky und Franz Schreker” (May 1998)
* Bloomington, Indiana: “Towards a Theory of Musical Transmedialization,” paper presented at the symposium “Word and Music: Interarts Connections,” University of Indiana at Bloomington (February 1998)
* Ann Arbor, Michigan: “Towards a Theory of Musical Ekphrasis,” presentation at the Department of German Languages and Literatures, University of Michigan (April 1998)
* Springfield, Missouri: “Vindication by Proxy: Paul Hindemith, Mathis Grünewald, and St. Antony,” convocation lecture, Drury College (January 1998) 
* Ann Arbor, Michigan: Ann Arbor, Michigan: “A Faun’s Tale, Told One Hot Afternoon: Mallarme, Debussy, Nijinsky,” talk at the Institute for the Humanities, University of Michigan (January 1998)
* Louisville, Kentucky: “(Re-)creative Sign Growth and Intersemiotic Transformation: Mallarmé’s Sister Poems, Interpreted in Music and Dance,” paper presented at the Annual Meeting of the Semiotic Society of America (Oct. 1997)
* Salzburg, Austria: “Ein Komponist individualisiert den Soldaten Jedermann: Vom sozialen Drama Büchners zum psychologischen Drama Bergs,” paper presented at the International Symposium “Alban Bergs Wozzeck und die zwanziger Jahre,” University of Salzburg (August 1997)
* Graz, Austria: “Piano Poems and Orchestral Narratives: Instrumental Music Speaks to a Literary Text,” keynote speech presented at the conference “Word and Music Studies: Assessing an Interart Discipline,” University of Graz (May 1997)
* Boston, Massachusetts: “Aesthetic Symbiosis and Spiritual Quest:,” paper presented at the Third International Congress of the International Society of Phenomenology, Aesthetics, and the Fine Arts (April 1997)
* Baton Rouge, Louisiana: “Frames that Expand Our View: Religious Symbolism in Two of Messiaen’s Vingt regards sur l’Enfant-Jésus,” paper presented at the Annual Conference of the Society for Music Theory (Oct. 1996)
* Santa Barbara, California: “More Prophets Than Expected: Religious Symbolism in Two of Messiaen’s Vingt regards sur l’Enfant-Jésus,” paper presented at the Annual Meeting of the Semiotic Society of America (Oct. 1996)
* Ypsilanti, Michigan: “From Image to Word, From Word to Tone: Pablo Picasso, Wallace Stevens, and Musical Ekphrasis in a Piano Poem by Maurice Ravel,” paper presented at the 18th Annual Conference of the Association for Integrative Studies “Integrative Knowledge” (Oct. 1996)
* Utrecht, The Netherlands: “Twentieth-Century Composers Looking Towards Asia,” paper presented at the 5th World Congress of the International Society for the Study of European Ideas (Aug. 1996)
*
Utrecht, The Netherlands: “Paul Hindemith, Mathis Grünewald, and Saint Antony: Parallel Biographies in the 20th, 16th and 3rd Centuries,” paper presented at the 5th World Congress of the International Society for the Study of European Ideas (Aug. 1996)
* Copenhagen, Denmark: “The Bible in Music: Messiaen’s Vingt regards sur l’Enfant-Jésu,” lecture given at the Center for Christianity and the Arts, The University of Copenhagen (Sept. 1996)
* Lund, Sweden: “Vindication by Proxy: Paul Hindemith, Mathis Grünewald, and Saint Antony;” lecture given for the doctoral seminar in Interart Studies, The University of Lund (Sept. 1996)
* Trondheim, Norway: “Vindication by Proxy: Paul Hindemith, Mathis Grünewald, and Saint Antony;” lecture given for the students in musicology, Trondheim University of Technology and Art (Sept. 1996)
* Copenhagen, Denmark: “Vindication by Proxy: Paul Hindemith, Mathis Grünewald, and Saint Antony;” lecture given at the Center for Christianity and the Arts, The University of Copenhagen (Sept. 1996)
* Chapel Hill, North Carolina: “Messiaen’s Symbolic Language,” talk given to the students of music theory at the University of North Carolina (April 1996)
* Albuquerque, New Mexico: “Debussy’s Realization of Poetic Texts,” talk given to the students of musicology/music theory at the University of New Mexico (March 1996)
* Tucson, Arizona: “Mid-life Crisis of Spiritual Dedication vs. Political Involvement: Hindemith, Grünewald, and Saint Antony,” talk given to the students of cultural studies at the University of Arizona (Feb. 1996)
* Ann Arbor, Michigan “Mid-life Crisis of Spiritual Dedication vs. Political Involvement: Hindemith, Grünewald, and Saint Antony,” talk given at the Institute for the Humanities (Feb. 1996)
* Ottawa, Canada: “The Many Faces of Peace: Reading the Subtext in Alban Berg’s op. 4, no. 5,” paper presented at the millennium conference “Austria, 996-1996: Music in a Changing Society” (January 1996)

1991-1995

* Old Town Alexandria, Virginia: “Symmetry and Irreversibility in Paul Hindemith’s Ludus Tonalis,” Plenary talk and recital opening the triennial world congress “Symmetries: Natural and Artificial”  (August 1995)
* Lund, Sweden: “An Old Ménage à Trois From a New Perspective: Aloysius Bertrand’s Poem ’Ondine’ in Gaspard de la Nuit and Maurice Ravel’s Musical Realization,” paper presented at the conference “Interart Studies: New Perspectives,” University of Lund, May 1995 
* Zerbst, Germany: “’Herr, gehe nicht ins Gericht’: A comparison of style and musical symbolism in the church cantata settings of this text by J. Fr. Fasch and J. S. Bach,” paper presented at the Biennial International Fasch Conference (April 1995)
* Big Rapids, Michigan: “’Ondine’ or an Old Ménage à Trois From a New Perspective: A Literary Motif and its Musical Interpretation in Maurice Ravel,” paper presented at the Annual Conference of the Michigan Academy of Science, Arts & Letters, Ferris State University (March 1995)

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Tsukuba, Japan: “Patterned Time: Boris Blacher’s Variable Meters” paper invited for the International Interdisciplinary Symposium “Katachi U Symmetry” (1994).

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Savannah, Georgia: “Evening Harmony and Morning Delight: Debussy’s Musical Realizations of Poems by Baudelaire and Lecomte de Lisle,” paper presented at the Conference of the College Music Society  (1994).

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Berkeley, California: “Symbolic Representations of Divine Attributes in the musical language of Olivier Messiaen,” paper presented at the Fifth Congress of the International Association for Semiotic Studies   (1994).

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Miami, Florida: “Evening Harmony and Morning Delight: Debussy’s Musical Realizations of Poems by Baudelaire and Lecomte de Lisle,”paper presented at the Annual Convention for Music Theory South East (1994).

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Ann Arbor, Michigan: “Woyzeck becomes Wozzeck. A composer gives individuality to an Everyman-soldier,” brown-bag talk presented at the Institute for the Humanities (1994).

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Ann Arbor, Michigan: “Music as a Language: the German concept of Gestaltung and its reference to applied music analysis,” seminar for the Society for Music Theory (1993).

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Ann Arbor, Michigan: “Hermeneutic Analysis in Music: its aim, scope, usefulness and dangers; with particular reference to the music of Berg, Debussy and Messiaen,”colloquium given for the Department of Musicology, University of Michigan  (1993).

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Ann Arbor, Michigan: “Articulation and Touch: genesis and application in the musical styles of the 18th and early 19th centuries,” lecture at the Piano Forum of the School of Music, University of Michigan (1993).

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Eugene, Oregon: “Symbolic Representations of Divine Attributes in Olivier Messiaen’s Vingt regards sur l’Enfant-Jésus,” paper presented at the West Coast Conference for Music Theory and Music Analysis (1993).

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Southampton (UK.): “Symmetry and Irreversibility in the Musical Language(s) of the Twentieth Century,” paper presented at the Conference of the Society for Music Analysis (1993).

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Taipei (Taiwan): “Philosophical Approaches in Music Education,” seminar for the International Piano Teachers Foundation, Taipei (1992).

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Seoul (Korea): “Educating Professional Musicians in the Musical Language(s) of the 20th Century,” paper presented at the 20th ISME International Conference (1992).

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Kyong-ju (Korea): “Aims and Course Content Relative to the Training of the Professional Musician,” paper presented at the international seminar of the ISME Commission for the Training of Professional Musicians (1992).

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Budapest (Hungary): “Hindemith’s Ludus Tonalis,” paper presented at the annual convention of EPTA European Piano Teachers Association (1992).

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Bialystok (Poland): lecture-recital on Hindemith’s piano music (1992).

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Warsaw (Poland): “Structural Concepts in 20th-Century German Music,” lecture-demonstration at the Frédéric Chopin Academy of Music (1992).

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Hong Kong: “Hindemith’s Ludus Tonalis,” lecture-demonstration at the 1991 Hong Kong Piano Weekend (1991).

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Hong Kong: featured lecturer at the Hong Kong Arts Festival;
(a) lecture series “Melodic Structure in Mozart’s Piano works,”
(b) lecture series “Mozart: Stories between the two staves” (1991).


1990 and before

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Taipei (Taiwan): “Creative Piano Education for Small Children,” seminar for the International Piano Teachers Foundation (1990).

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Helsinki (Finland): “The Socratic Approach to Teaching Music,” paper presented at the XIXth ISME International Conference (1990).

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Vienna (Austria): paper presented at the Seminar Competition and the Effects on the Training of the Professional Musician; on syllabus planning (1990).

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Tokyo (Japan): paper presented at the Seminar of the International Commission for the Education of the Professional Musician; on piano performance pedagogy (1988).

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Hong Kong: seminar at the Inaugural Conference of the Hong Kong Society for Music Education; on piano performance pedagogy (1988).

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Quito (Ecuador): seminar at the National Conservatoire of Ecuador; on 18th century performance practice and interpretation (1987).

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Innsbruck (Austria): paper presented at the ISME World Conference; on piano performance pedagogy (1986).

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Eugene/Oregon (USA): paper presented at the World Conference of the International Society for Music Education; on performance practice (1984). 

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Stuttgart (Germany): guest lecturer at GEDOK (Society for German and Austrian Artists); on principles of interpretation and Gestaltung (1983).

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Vienna (Austria): guest lecturer at the Musikhochschule; on performance practice (1982).