Curriculum Vitae

Education

Publications

Books

• Live the Opposite Daring: Gerhard Stäbler, music, graphic, concept, event, commissioning editor, writer and translator; Pfau Verlag, Saarbrücken, 2015.
• Music, Sound and Silence in Buffy the Vampire Slayer, commissioning co-editor and writer with Janet Halfyard & Vanessa Knights, Ashgate, 2010. Winner, Long Mr. Pointy Award for Best Whedon Studies Book, Whedon Studies Association, 2011.
• Other Darmstadts: The Transgressive Avant-Garde, commissioning co-editor and writer with Christopher Fox & Martin Iddon. Contemporary Music Review (monograph series, Taylor & Francis), vol. 26 no. 1 (Feb. 2007).

Books in Progress

• HIV/AIDS and Politics (Focus on Jung & Politics Series). Monograph commissioned for Routledge [in progress].
• Transcendence and Music. Monograph based on lectures commissioned by Carolyn and Ernest Fay Series in Analytical Psychology, Jung Center of Houston, Texas.
• The Passionate Body: AIDS as Cultural Complex. Monograph under consideration [in progress].
• Sex vs. Death: Music about AIDS. Monograph under consideration [in progress].

Articles

• ‘Towards a Rhizomatic Future: Directions for Sylvano,’ in: Perspectives on Sylvano Bussotti (ed. Julia Freund, Federica Marsico & Matteo Nanni), Wolke Verlag, 2025, pp. 199–225.
• ‘Splintered afterlives: AIDS, death and beyond’, in: Jungian Dimensions of the Mourning Process, Burial Rituals and Access to the Land of the Dead: Intimations of Immortality (ed. Elizabeth Brodersen), Routledge, 2024, pp. 71–83.
• ‘Death and the Analyst: Facing people with AIDS’, in: Jungianeum, An(n)uario/Yearbook/Jahrbuch 2022 (ed. Stefano Carpani), vol. 1 no. 1, Chiron, 2023, pp. 59–71.
• ‘Illness as Metaphor’ (interview), in: Lockdown Therapy: Jungian Perspectives on How the Pandemic Changed Psychoanalysis (ed. Stefano Carpani & Monica Luci), Routledge, 2023, pp. 17–30.
• ‘C.G. Jung and Thinking about HIV/AIDS,’ in Breakfast at Küsnacht: Conversations on C.G. Jung and Beyond (ed. Stefano Carpani), Chiron, 2020, pp. 13–34.
• ‘Negotiating with the Archetype: Essentialism versus Heteronormativity,’ in Queer Sounds and Spaces, special issue of Radical Musicology, vol. 7, July 2019, link.
• ‘Afterword: The World Only Spins Forward,’ in Rethinking Difference in Gender, Sexuality, and Popular Music: Theory and the Politics of Ambiguity (ed. Gavin Lee), Routledge, 2018.
• ‘Being Exhibit A: Teaching AIDS and Music in the University Classroom,’ in International Perspectives on Teaching with Disability: Overcoming Obstacles & Enriching Lives (ed. Michael Jeffress), Routledge, 2018.
• ‘Deaths and Silences: Coding and Defiance in Music about AIDS’, in Oxford Handbook of Music Censorship (ed. Patricia Hall), Oxford University Press, 2017.
• ‘Politics as Avoidance: Death, Illness, and the Meanings of HIV/AIDS,’ in The Analyst in the Polis, vol. 1; Proceedings from the 2nd Conference on Analysis & Activism (Stefano Carta et al., eds.), IAAP, 2015, pp. 218–27.
• ‘Who Dies? Transformations in Derek Jarman’s Last Films’, in HIV in World Culture: Three Decades of Representations (ed. Gustavo Subero), Ashgate, 2013, pp. 107–120; reprinted Routledge, 2016.
• ‘Assassin in a Three-Piece Suit: Slow Fire, Minimalism, and the Eighties’, in Hit the Road, Jack: Essays in the Culture of the American Road (ed. Gordon Slethaug & Stacilee Ford). McGill-Queen’s University Press, 2012, pp. 126–46.
• ‘Rock, Television, Paper, Musicals, Scissors: Buffy, The Simpsons, and Parody’, in Music, Sound and Silence in Buffy the Vampire Slayer (ed. Paul Attinello, Janet Halfyard & Vanessa Knights), Ashgate, 2010, pp. 235–47.
• ‘Against History: Defining, & Defending, Systematic Musicologies’, in Filigrane: Musique, esthétique, sciences, société, no. 11 (Summer 2010): ‘New Musicology, Perspectives critiques’ (ed. Makis Solomos), pp. 25–36.
• ‘Time, Work and Chronic Illness’ in MTO: Music Theory Online, vol. 15 nos. 3/4 (August 2009), link.
• ‘The Universe Will Tell You What It Needs: Being, Time, Sondheim’, in Musicological Identities: Essays in Honor of Susan McClary (ed. Steven Baur, Raymond Knapp & Jacqueline Warwick), Ashgate, 2008, pp. 77–91.
• ‘chemical bodies’ (Fifth Column) in Radical Musicology (link), May 2008.
• ‘Postmodern or modern: a different approach to Darmstadt’ in Other Darmstadts (ed. Paul Attinello, Christopher Fox & Martin Iddon), Contemporary Music Review vol. 26 no. 1 (February 2007), pp. 25–37.
• ‘Dialectics of Serialism: Abstraction and Deconstruction in Schnebel’s für stimmen (… missa est)’ in Other Darmstadts, Contemporary Music Review vol. 26 no. 1 (February 2007), pp. 39–52.
• ‘Gay Darmstadt: Flamboyance and Rigor at the Summer Courses for New Music’ (co-author with David Osmond-Smith) in Other Darmstadts, Contemporary Music Review vol. 26 no. 1 (February 2007), pp. 105–14.
• ‘Closeness and Distance: Songs about AIDS’, in Queering the Popular Pitch (ed. Sheila Whiteley and Jennifer Rycenga), Routledge, 2006, pp. 221–31.
• ‘Fever / Fragile / Fatigue: Music, AIDS, Present, and…’, in Sounding Off: Theorizing Disability in Music (ed. Neil Lerner and Joseph Straus), Routledge, 2006, pp. 13–22.
• ‘Authority and freedom: Toward a sociology of the gay choruses.’ In: Queering the Pitch: The New Gay and Lesbian Musicology, ed. Philip Brett, Elizabeth Wood and Gary Thomas. New York: Routledge, 1994, pp. 315–346. Reprinted in second edition, 2006.
• ‘Hieroglyph, gesture, sign, meaning: Analyzing Bussotti’s Pièces de chair II’ in Perspectives in Systematic Musicology: Selected Reports in Ethnomusicology XII (ed. Roger Kendall and Roger Savage). University of California, 2005, pp. 219–27.
• ‘Passion/Mirrors (A Passion for the Violent Ineffable: Modernist Music and the Angel / In the Hall of Mirrors)’ in Beyond Structural Listening: Postmodern Modes of Hearing (ed. Andrew Dell’Antonio). University of California Press, 2004, pp. 154–72.
• ‘Imploding the System: Kagel and the Deconstruction of Modernism’ in Postmodern Music / Postmodern Thought (ed. Judy Lochhead and Joseph Auner). Routledge, 2002, pp. 263–85.
• ‘Pfitzner, Palestrina, Nazis, Conservatives: Longing for Utopia.’ Journal of Musicological Research, vol. 15, no. 1 (1995), pp. 25–53.
• ‘Performance and/or Shame: A Mosaic of Gay (and Other) Perceptions.’ repercussions, vol. 4, no. 2 (Fall 1995), pp. 97–130.
• ‘A Letter from Darmstadt.’ repercussions, vol. 4, no. 1 (Spring 1995), pp. 85–101. Reprinted in Crosscurrents and Counterpoints: Offerings in Honor of Bengt Hambræus at 70, ed. Per Broman, Nora Engebretsen & Bo Alphonce. University of Göteborg, 1998.
• ‘Geroglifico, gesto, segno, significato: analisi di Pièces de chair II de Sylvano Bussotti,’ trans. Roberto Favaro. Musica/Realtà, no. 46 (March 1995), pp. 111–121.
• ‘Pfitzner, Palestrina, Nazis, Konservative, oder Die Sehnsucht nach der Utopie,’ trans. Heinz-Klaus Metzger. Palestrina zwischen Démontage und Rettung: Musik-Konzepte no. 86 (October 1994), pp. 60–83.
• ‘Hearing Stäbler from a continent away: politics and silence in the song cycles.’ In: Angefügt, nahtlos, ans Heute: Zur Arbeit des Komponisten Gerhard Stäbler, ed. Johannes Bultmann and Hanns-Werner Heister. Wolke Verlag, 1994, pp. 169–187.
• ‘Signifying chaos: Towards a semiotic analysis of Sylvano Bussotti’s Siciliano.’ repercussions, vol. 1, no. 2 (Fall 1992), pp. 84–110.

Editing

• Member of Editorial Board, 2006–, Music and Politics web journal — link.
• Member of Editorial Collective, 2006–, Radical Musicology web journal — link.
• Associate Editor & Member of Editorial Board, 2001–13, Twentieth Century Music, Cambridge University Press.
• GLSG Newsletter. Co-editor, co-founder and writer for biannual newsletter of the Gay & Lesbian Studies Group of the American Musicological Society, 1990–93. Archive: link.

Brief Articles, Reviews

• ‘What We Say About AIDS,’ Durham U. Center for the Medical Humanities: The Polyphony, December 2022. link
• ‘Remembering Richard Toop (1945–2017),’ Tempo no. 72 (2017), pp. 81–7.
• Program note and biography on Schnebel’s Schubert-Phantaisie, BBC Symphony Orchestra, 2013.
• Entries on Amirkhanian, Childs, Hassell, Kagel, Schnebel, Shere and Stäbler for the New Grove Dictionary of Music and Musicians, 7th ed., Macmillan, 2000; reprinted in Grove Dictionary of American Music, 2002. Revisions of Amirkhanian, Childs, Hassell, and Shere for revised edition of Grove Dictionary of American Music, 2011.
• David Tudor – Bandoneon! (a combine) [DVD]. Assisted for Nine Evenings DVD series. Experiments in Art & Technology & ARTPIX, 2009.
• Review of Mr McFall’s Chamber concert, June 9, 2006, on Newcastle University Popular Music Research Group website & Vamos Festival website.
• ‘Möglichkeiten des Zeichens / The Possible Sign’, introduction to SoundVisions (ed. Torsten Mueller, Kunsu Shim and Gerhard Stäbler). Saarbrücken: PFAU-Verlag, 2005, pp. 12–19.
• Review of Iva Bittová’s Elida (CD), Opera Today website, September 2005. link
• ‘Lines that Go Outside the Boxes: Mauricio Kagel’ for Cut and Splice Festival, presented by Sonic Arts Network and BBC 3, May 2005.
• Biography for Mauricio Kagel: Werkverzeichnis, brochure ed. Joyce Shintani for Universal Edition, Vienna, January 2000.
• Entries on Bussotti, Henze, Del Tredici, Susa, Choruses & Bands, and Music & AIDS for glbtq.com [defunct], an online encyclopedia of gay & lesbian culture (ed. Claude Summers), 2003. Reprinted in The Queer Encyclopedia of Music, Dance, and Musical Theater, Cleis Press, 2004.
• ‘About Philip Brett.’ GLSG Newsletter, vol. 14 no. 1 (Spring 2004), pp. 14–15.
• ‘Six-Part Counterpoints’ (co-contributor); British Postgraduate Musicology [defunct], February 2004.
• Entries on Choruses & Bands, Musicology & Music Studies for Encyclopedia of Lesbian, Gay, Bisexual, and Transgendered History in America, Scribner’s, 2004.
• ‘Music and AIDS: Some Interesting Works.’ GLSG Newsletter, vol. 10 no. 1 (Spring 2000), pp. 4–6.
• Entries on Bussotti, Davies, Henze, Music and Musicians 1: Classical Music, Sims, Sylvester for Gay Histories and Cultures: An Encyclopedia (ed. George Haggerty), Garland Press, 2000.
• Entry on Notation: 20th Century for Reader’s Guide to Music: History, Theory and Criticism (ed. Murray Steib), Routledge, 1999.
• Review of Mauricio Kagel scores, Norden, Westen, Opus 1991, Passé composé, Interview avec D. in Notes, vol. 56 no. 2 (December 1999), pp. 478–81.
• Review of Karlheinz Stockhausen score, Punkte für Orchester (1952/62): Korrekturen bis 1993 in Notes, vol. 55 no. 4 (June 1999), pp. 1014–16.
• Review of Isang Yun scores, in Notes, vol. 54 no. 3 (March 1998), pp. 779–81.
• Review of Mauricio Kagel scores, in Notes, vol. 53 no. 4 (June 1997), pp. 1307–9.
• ‘Out in Academia.’ GLSG Newsletter, vol. 5, no. 2 (October 1995), pp. 18–20.
• Baker’s Biographical Dictionary of Musicians, 8th ed. Research and writing of 167 dictionary entries for Nicolas Slonimsky. Schirmer/Macmillan, 1992.
• The Orchestra: The Instruments Revealed – Featuring Benjamin Britten, The Young Person’s Guide to the Orchestra. Contributor to multi-leveled electronic text for CD-ROM. Warner New Media, 1991.
• New Music America Catalogue. Biographical/descriptive catalogue of 130 contemporary composers and performers for New Music America ’85/Los Angeles. High Performance, vol. 8 no. 3 (issue 31), 1985.

Creative Writing

• The City, story in Pink Lane Poetry Book, Pink Lane Poetry & Performance, April 2010.
• The Exodus, poem used as text for composition by Matthew Rowan, They offered prayers, original in style, for baritone and piano trio (2010).
• Reitalianization, story in Hey Paesan!: Writing by Lesbians and Gay Men of Italian Descent, ed. Giovanna Capone, Denise Leto & Tommi Mecca. Three Guineas Press, 1999.
• Going to Japan, story in His: Brilliant New Fiction by Gay Writers, ed. Robert Drake and Terry Wolverton. Faber & Faber, 1995.
• Easter and ‘This poisoned morning…’, poems, in New Press Literary Quarterly, vol. 9 no. 4 (Fall 1993).
• Chant, for Jay, poem, in New Press Literary Quarterly, vol. 9 no. 3 (Summer 1993).
• ‘Ravel glides through my fingers…’, poem, in San Francisco Sentinel, vol. 21, no. 17 (April 29, 1993), p. 31. Winning entry in newspaper competition.
• Ave, story, and Absalom, poem, in Blood Whispers, ed. Terry Wolverton. Gay & Lesbian Community Services Center, 1991.
• Reise nach Japan (‘Going to Japan,’ story, trans. into German by Erwin Matalla & Jörn Wolters). Aktiv, Hamburg, August 1991; Haki Journal, Hamburg, September 1991.
• The Exodus, poem in Harbinger, ed. Terry Wolverton and Benjamin Weissman. Los Angeles Arts Festival and Beyond Baroque Foundation, 1990.
• The AIDS Show, play (co-author) in West Coast Plays, vol. 17/18, California Theater Council, 1985. Author of ensemble pieces ‘Parties 1981–1985’ and ‘Hospital.’ Produced at Theater Rhinoceros, San Francisco, September 1984 – September 1986; revised and retitled as Unfinished Business to May 1987. Toured New York, Boston, Denver, San Diego, San Jose, Santa Rosa, Fresno. Independent productions included Chicago, Dallas, Seattle, San Diego, Indianapolis, Columbus, Kalamazoo, and London.

Journalism

• ‘Out of date beliefs about HIV are “fueling discrimination” in the North East…’ Chronicle Live, Newcastle upon Tyne, 1 July 2017. link
• ‘PrEP: What is the ground-breaking HIV drug…’ Chronicle Live, 3 August 2016. link
• ‘As Charlie Sheen reveals he is HIV positive…’ Chronicle Live, 17 November 2015. link
• ‘A support group is helping HIV sufferers in the North East educate the community…’ The Journal (Newcastle upon Tyne), 29 July 2014.
• ‘A New Perspective from Newcastle: The Patient Participation Team.’ Impact no. 11 (Winter 2006), National AIDS Trust UK, pp. 14–15.
• South China Morning Post, Hong Kong — music reviews (1997–2000): 20+ reviews including Arditti String Quartet, Shockheaded Peter, Sondheim, Hamburg New Music Ensemble, Kremerata Baltica, Kirov Orchestra and Chorus, Meredith Monk, Hong Kong Philharmonic, and others.
• ‘Electronic Traitors: Globalink’s Language Translation Programs.’ BMUG Newsletter, Fall 1997, vol. 13 no. 2, pp. 147–50.
• ‘Hand it Over: An Insider’s Account of the Takeover of Hong Kong and its Meaning to Gay Life.’ Frontiers Newsmagazine, vol. 16 no. 7 (July/August 1997).
• ‘Fast Music for Fast Food.’ Asian Home Gourmet, vol. 4 no. 2 (Summer 1997), p. 13.
• ‘Driving a Tack with a Sledgehammer – Shanghai: Great Moments CD-ROM.’ BMUG Newsletter, Fall 1996, vol. 12 no. 2, pp. 221–3.
• River Fund San Francisco, wrote and produced AIDS support organization newsletter, no. 1, February 1996.
• ‘Peter Handke: Die Stunde da wir nichts voneinander wußten.’ Review, Schaubühne am Lehniner Platz, Berlin. Funnel / Fulbright Newsletter, no. 2 (May 1994), pp. 26–9.
• ‘Gentleman and Scholar,’ interview by Richard Thigpen. Positive Living, vol. 2 no. 8, August 1993.
• ‘Single-Handed Success: Leon Fleisher’s keyboard comeback.’ Piano & Keyboard, no. 163 (July/August 1993), pp. 29–33.
• Reviews of books for Positive Living, newsletter of AIDS Project Los Angeles, January 1992 to June 1993 (multiple reviews).
• ‘Blurbs on books about AIDS.’ APLA Update, vol. 3 no. 6, July 1991.
• ‘SCREAM’ (SCREAM concert review). Journal SEAMUS, vol. 2 no. 1 (February 1987).
• Reviews in Castro Times (San Francisco), 1983.

Concert and recording notes

For numerous ensembles and soloists, including:

• San Francisco Symphony Orchestra & Chorus; Houston Symphony Orchestra; Seattle Symphony Orchestra; San Francisco Chamber Orchestra.
• Chanticleer; Ariel, A Contemporary Vocal Ensemble; Golden Gate Men’s Chorus; Die Männerstimmen; Marin Contemporary Vocal Ensemble; San Francisco Gay Men’s Chorus; Gay Men’s Chorus of Los Angeles; University of California Choral Ensembles, Berkeley; Konzertchor Darmstadt.
• Camerata Records; 92nd Street Y, New York; Berkeley Stage (on Ligeti); Society of Gay & Lesbian Composers; Da Camera Society / Music in Historic Sites; Malibu / Strawberry Creek Music Festival; Sitka / LA Festival of Chamber Music; UCLA Center for the Arts; UCLA Department of Music.

Presentations

Invited and Keynote

• International Association of Jungian Studies — ‘The Passionate Body: AIDS and Archetype’ (invited online presentation). November/December 2021
• Conference ab sentits, ESMUC (conservatory), Barcelona — ‘The Passionate Body: AIDS, Emotion, Complex’ (invited keynote). November 2021
• Perspectives on Sylvano Bussotti, Universität Gießen — ‘A Rhizomatic Future: Directions for Sylvano’ (invited online keynote). September 2021
• Music & the Exceptional 2015 – Falling Out of Line, Kunstuniversität Graz — ‘The Rules of Exceptions: Being and Projecting Difference’ (invited keynote). December 2015
• Schnebel 80: Rückblicke – Ausblicke, Universität der Künste Berlin — ‘The Integrity of Musical Discourse: Schnebel and a Connected Universe’. October 2010
• World AIDS Day Conference, Centre for Life, Newcastle upon Tyne — ‘Art about AIDS’. December 2009
• Roche Molecular Symposium, Shrigley Hall, Macclesfield — ‘Art about AIDS’. June 2008
• Institute of Musical Research, U. of London — Directions in Musical Research Seminar — ‘AIDS Rage: Paranoia and Anger in Music about AIDS’. November 2007
• Musicological Society of Australia, South Australia Chapter, Adelaide University — ‘Sex vs. Death: Music about AIDS’. April 2002
• Naomi Cumming Postgraduate Award Day, MSA, Adelaide University — ‘Defining and Defending Systematic Musicologies’ (invited keynote). December 2001
• Musicological Society of Australia, South Australia, Adelaide University — ‘Pfitzner, Palestrina, Nazis, Conservatives: Longing for Utopia’. October 2001
• UCLA Musicology Graduate Students Society, Distinguished Lecture Series — ‘The Structure of Graphic Scores: Bussotti, Haubenstock-Ramati, Logothetis, & a Typology of Concepts’. January 2001
• Självreflexivitet i musikforskningen, Turku, Finland — ‘In the Hall of Mirrors’ (invited keynote). October 1999
• Gay & Lesbian Study Group of the AMS, ForePlay Conference, Minneapolis — ‘Performance and/or Shame’. October 1994

National and International Conferences

• Interdisciplinary Perspectives on Emotions & their Impact, C. G. Jung Institut Zürich — ‘Queer/Jung’; & double-panel co-organizer. July 2023
• International Association for Analytical Psychology Congress, Buenos Aires — ‘Death and the Analyst: Facing People with AIDS’ (online). August 2022
• LGBTQ+ Music Study Group, 3rd Symposium, U. of Southampton — ‘The Passionate Body: AIDS as Cultural Complex’. April 2019
• Royal Musical Association Annual Conference, Bristol — ‘Crossing Spaces in Difficult Times’. September 2018
• International Association of Jungian Studies, Cape Town — ‘The Passionate Body: Death, Life and HIV/AIDS’. July 2017
• Analysis & Activism II, IAAP, Rome — ‘Politics as Avoidance: Death, Illness, and the Meanings of HIV/AIDS’. December 2015
• Second International Conference on Music & Consciousness, Oxford University — ‘Time, Unconscious, and/or Archetype in the Musical Work’. April 2015
• The Sublime in Creativity & Destruction: A Jung/Lacan Conference, Cambridge U. — ‘The Boy in the House of Death: The Katha Upanishad and Knowledge’. September 2014
• Jani Christou Conference, Goldsmiths University, London — ‘Time, Dream and/or Archetype in the Musical Work’. November 2013
• American Musicological Society, New Orleans — ‘Who Dies? Musical/Textual Construction in Jarman’s Edward II’. November 2012
• Myth, Literature, & the Unconscious, U. of Essex — ‘Death’s Wardens: Archetypal Figures and AIDS in Stage & Film’. September 2010
• LGBT Health Summit, Gateshead — ‘AIDS Rage: Anger in Music about AIDS’. October 2009
• American Musicological Society, Nashville — ‘AIDS Rage’. November 2008
• AIDS in Culture IV, Mexico City — ‘AIDS Rage’ (read by Fred Maus). December 2007
• Fifth Biennial Conference on Music since 1900, University of York — ‘Portraits of intimacy: Sylvano, voix de femme, Cathy, and la passion’. July 2007
• IASPM 14th Biennial Conference, Mexico City — ‘AIDS Rage’ & ‘Sexo contra muerte: AIDS and Popular Hispanic Music’ (co-author with Vanessa Knights). June 2007
• Society for Latin American Studies, Newcastle University — ‘Sexo contra muerte’ (co-author with Vanessa Knights). April 2007
• Music and Consciousness, University of Sheffield — ‘The Universe Will Tell You What It Needs: Being, Time and Sondheim’. July 2006
• Popular Musics of the Hispanic and Lusophone Worlds, Newcastle University — ‘Sexo contra muerte’ (co-presenter with Vanessa Knights). July 2006
• ‘Cathy Berberian, Pioneer’, Amsterdam School for Cultural Analysis — ‘Portraits of intimacy’. April 2006
• Royal Musicology Association, Cardiff University — ‘Against History’. September 2003
• Music and Gesture, University of East Anglia, Norwich — ‘A Separate Music: Meredith Monk and Notation, Performance, Voice’. August 2003
• Society for Music Analysis, Hull University — ‘Dialectics of Serialism’. July 2003
• IASPM 12th Biennial Conference, Montreal — ‘Closeness and Distance: Songs about AIDS’. July 2003
• Third Biennial Conference on 20th-Century Music, University of Nottingham — ‘Hieroglyph, gesture, sign, meaning’. June 2003
• Society for American Music, Tempe, Arizona — ‘A Separate Music’. March 2003
• International Musicological Society, 17th Congress, Leuven — ‘The Structure of Graphic Scores’. August 2002
• Cultural Studies Association of Australia, U. of Tasmania — ‘Hieroglyph, gesture, sign, meaning’. December 2001
• Second Biennial Conference on 20th-Century Music, Goldsmiths College — ‘Gay Darmstadt’ (co-author with David Osmond-Smith). June 2001
• MUSICology 2001, MSA, Melbourne — ‘Gay Darmstadt’. April 2001
• Toronto 2000: Musical Intersections, SAM — ‘I Just Bette: Narcissism, Gay Identification, and the Divine Miss M’. November 2000
• Toronto 2000: Musical Intersections, GLSG/AMS & SMT, U. of Toronto — ‘Gay Darmstadt’. November 2000
• MSA / NZMS Annual Conference, Sydney — ‘A Passion for the Violent Ineffable’. April 2000
• American Musicological Society, Kansas City — ‘Battles of Vision & Reason: Bussotti’s Graphic Scores’. November 1999
• British Musicological Societies / First Biennial Conference on 20th-Century Music, Surrey — ‘A Passion for the Violent Ineffable’. July 1999
• Society for Music Theory, Phoenix — ‘Dialectics of Serialism’. November 1997
• International Musicological Society, 16th Congress, London — ‘Imploding the System: Kagel’. August 1997
• Feminist Theory & Music IV, University of Virginia — ‘At three in the morning, with both pedals down: Tori Amos’. June 1997
• American Musicological Society, New York — ‘Rebellion in Darmstadt’. November 1995
• 37th Ferienkurse für Neue Musik, Darmstadt — ‘Radical Musicologies in America’. August 1994
• American Musicological Society, Montréal — ‘Paradox, Alienation, Violence’. November 1993
• Feminist Theory & Music II, Eastman School of Music — ‘Pfitzner, Palestrina, Nazis, Conservatives: Erasing Women’ (presented by Philip Brett). June 1993
• Society for Ethnomusicology, Chicago — ‘Authority and freedom’. November 1991
• Feminist Theory and Music: Toward a Common Language, Minneapolis — ‘Authority and freedom’. July 1991

Regional Conferences

• Women’s & Gender Studies, U. of Texas at Austin — ‘Towards the Authentic: Aspects of Meredith Monk’s Theater’. October 2003
• Centre for Cultural Analysis, U. of Leeds, CongressCATH 2003 — ‘Hieroglyph, gesture, sign, meaning’. July 2003
• Feminist Musicology, Roehampton Institute — ‘I Just Bette’. January 2003
• National University, Singapore — ‘Infusing the Tea: Asian Sounds in American Music’. May 1999
• AMS, Northern California & Pacific Southwest, Stanford U. — ‘Imploding the System: Kagel’. May 1996
• West Coast Conference of Music Theory & Analysis, UC Davis — ‘Imploding the System: Kagel’. April 1996
• Music Frontiers 1993: Darmstadt/San Diego, UC San Diego — ‘Hieroglyph, gesture, sign, meaning’. May 1993
• AMS, Northern California & Pacific Southwest, San Luis Obispo — ‘Pfitzner, Palestrina…’. April 1993
• West Coast Conference of Music Theory & Analysis, UC Santa Barbara — ‘Signifying chaos’. April 1992
• UC Berkeley Symposium: Music, Politics, & the Transcendental Strain — ‘Adjacencies: Response to Anthony Newcomb and Chris Williams’. April 1992
• Society for Ethnomusicology, Southern California Chapter, Dominguez Hills — ‘Authority and freedom’. March 1992

Colloquia & Symposia

• University of San Francisco, Performing Arts & Social Justice — ‘The Passionate Body’. April 2025
• C. G. Jung Institute of San Francisco — ‘The Passionate Body: AIDS and Archetype’. December 2022
• C. G. Jung Institute of Los Angeles — ‘The Passionate Body: AIDS and Archetype’. November 2022
• University of Essex, Psychosocial & Psychoanalytic Studies — ‘The Passionate Body’. February 2022
• University of York, Politics Society, LGBTQ History Month — ‘A Psychology of the Politics of AIDS’. February 2022
• International Association of Jungian Studies, Seminar — ‘AIDS & COVID in the World’ (online, two parts). November & December 2021
• Guild of Pastoral Psychology, London — ‘The Passionate Body’ (online). February 2021
• LGBTQ+ Society, Newcastle U., Pride Event — ‘Art & AIDS’. February 2021
• Association of Jungian Analysts, London — ‘The Passionate Body’. January 2020
• LGBT History Project NE, World AIDS Day — ‘Transformations: Symbols and Stories of HIV/AIDS’. December 2018, February 2019
• HIV/AIDS & the Politics of Queer History, Newcastle U. — ‘The Passionate Body: HIV/AIDS & its Cultural Projections’. April 2018
• LGBT History Project NE, Newcastle Civic Centre — ‘AIDS Rage’. February 2017
• Liverpool Hope University — ‘The Structure of Graphic Scores’. March 2013
• Royal Northern College of Music, Manchester — ‘The Structure of Graphic Scores’. October 2011
• St. Paul’s School, London — ‘The Structure of Graphic Scores: Music Against the Grain’. March 2011
• University of York, Department of Music — ‘Who Dies?’. March 2011
• Newcastle University, ICMuS — ‘Who Dies?’. April 2010
• University of Glasgow, Department of Music — ‘AIDS Rage’. March 2010
• Durham University, Geography — ‘AIDS Rage’. February 2010
• University College Cork, Music — ‘AIDS Rage’. March 2009
• North-East Network for Medicine & the Arts, Durham U. — ‘AIDS Rage’. December 2008
• Newcastle U., History of Medicine — ‘AIDS Rage’. March 2008
• Newcastle University, ICMuS — ‘AIDS Rage’. November 2007
• University of Liverpool, Music — ‘Rock, Television, Paper, Musicals, Scissors’. December 2006
• Newcastle U., Cultural Technologies of the Body Research Group — ‘A Separate Music: Meredith Monk’. December 2006
• Newcastle General Hospital, Infectious Diseases Unit — ‘Art about AIDS’. May 2006
• Symposium: Music & Politics, Newcastle University — ‘Sexo contra musica’. May 2006
• University of London, Institute for the Study of the Americas — ‘SIDA y musicá’. November 2005
• University of York, Music — ‘Closeness and Distance: Songs about AIDS’. February 2005
• Newcastle University, Medical School, MEDSHINE — ‘Art about AIDS’. November 2004
• ‘Conserving the Classical’, Symposium for Lawrence Kramer, ICMuS — ‘Radical, Classical, Oedipal: Battles over a Darmstadt Canon’. May 2004
• University of Glasgow, Music — ‘Closeness and Distance’. March 2004
• University of Edinburgh, Music — ‘Closeness and Distance’. March 2004
• University College Cork, Music — ‘Closeness and Distance’. February 2004
• University of Huddersfield, Music — ‘Closeness and Distance’. November 2003
• University of Texas at Austin, School of Music — ‘The Structure of Graphic Scores’. October 2003
• Newcastle University, Voice Research Group — ‘Analyzing Vocal Timbre’. May 2003
• Newcastle University, Music — ‘Sex vs. Death: Music about AIDS’. November 2002
• University of Sydney, Music — ‘Sex vs. Death’. May 2002
• University of Victoria at Wellington, NZ — ‘Performance and/or Shame’. October 2001
• UCLA, LGBT Studies Program — ‘I Just Bette’. October 2000
• University of Sussex, Music — ‘Pleasure, Perversion and Discretion in the Postwar Avant-Garde: Bussotti’s La passion selon Sade’ (with David Osmond-Smith). October 2000
• Stanford University, Music, Opera Discussion Group — ‘Pfitzner, Palestrina…’. January 2000
• San Francisco State, De Bellis Collection — ‘Passion according to Bussotti’. January 2000
• University of Maryland, College Park — ‘AIDS and Music’. November 1999
• University of Hong Kong, Music — ‘Battles of Vision & Reason’. October 1999
• University of Sydney, Music — ‘Rebellion in Darmstadt’. March 1998
• University of Hong Kong, Music — ‘Rebellion in Darmstadt’. November 1997
• Chinese University of Hong Kong, Music — ‘Rebellion in Darmstadt’. November 1997
• University of California, Riverside, Music — ‘Pfitzner, Palestrina…’. November 1992

Panels

• Occupy the Pianos, St. John’s Smith Square, London — ‘Queer Pitch’ (concert discussion panel). September 2015
• Music & the Exceptional 2015, Kunstuniversität Graz — ‘Music and AIDS’. December 2015
• Music, Culture & Community in the Fight against HIV/AIDS, Newcastle U. — ‘Western Music & Writing about AIDS’ & Panel Discussion. November 2013
• World AIDS Day Conference, Centre for Life, Newcastle — ‘Living with AIDS’ & Final Panel Discussion. December 2009
• AMS, Nashville — ‘Scholars with Disabilities’: ‘Time, Work, and Chronic Illness’. November 2008
• Music & Machines: Improvisation, Newcastle University — ‘Graphic Scores: the Depth of Difference’. December 2007
• The American Musical on Stage & Screen, UCLA — ‘Gender & Sexuality’ (invited). October 2007
• Kettle’s Yard, University of Cambridge — ‘Musical Experiments at Black Mountain College’. March 2006
• Royal Music Association, U. of Leeds — ‘Queer Theory’. January 2006
• Changing Tomorrow, National AIDS Trust, U. of Leicester — ‘What makes involvement work?’ (invited plenary). September 2004
• IASPM 12th Biennial Conference, Montreal — ‘Queering the Pitch’. July 2003
• University of Hong Kong, American Studies — ‘The Wizard of Oz’. March 1999
• Readers & Writers Conference, San Francisco — ‘Trends in Queer Studies’. April 1996
• Feminist Theory & Music III, UC Riverside — ‘Negotiating the Faultlines’. June 1995
• Readers & Writers Conference, San Francisco — Chair & panelist: ‘Out in Academia’. February 1995
• 37th Ferienkurse für Neue Musik, Darmstadt — ‘Analytical & Terminological Problems of Contemporary Music’; ‘Über den Werdegang von Aldo Clementi & Sylvano Bussotti’. August 1994
• Antioch University, Los Angeles, Psychology — ‘Lesbian, Gay & Bisexual Lifestyles’. November 1992
• UC Berkeley Symposium — ‘Music, Politics, and the Transcendental Strain’. April 1992

Session Chair

• AV 08 Audio-Visual Festival, Newcastle — ‘Variations Now: On John Cage’s Variations VII’. February 2008
• Fifth Biennial Conference on Music since 1900, U. of York — ‘Cultural Interconnections’. July 2007
• Music and Consciousness, U. of Sheffield — ‘Cultural Case Studies’. July 2006
• IASPM 12th Biennial Conference, Montreal — ‘Womyn, Communities and Music’. July 2003
• Third Biennial Conference on 20th-Century Music, U. of Nottingham — ‘Virtual Theatres’. June 2003
• Feminist Theory & Music III, UC Riverside — ‘Music and AIDS’. June 1995
• Readers & Writers Conference, San Francisco — Chair & panelist: ‘Out in Academia’. February 1995

Public Venues

• Newcastle World AIDS Day — speaker, candlelight vigils (December 2004, 2005, 2006, 2015, 2022); Stop AIDS Concert Benefit (December 2012); Newcastle Assembly Rooms (December 2011); MC & speaker, Newcastle Centre for Life (December 2009); MC & speaker, Sage Gateshead (December 2007, 2008).
• Patient Participation Team, Royal Victoria Infirmary, Newcastle — Speaker (Oct 2003 to July 2019); General Manager (Oct 2003 to Nov 2006; Oct 2013 to July 2016); Training Manager (Jan 2009 to Apr 2010, Sep 2011 to Oct 2013); Listening Service Manager (May to Oct 2013).
• Newcastle upon Tyne Hospitals, World AIDS Day Fundraiser (online). December 2021
• Free Improv Event & World AIDS Day Fundraiser, Culture Lab, Newcastle U. December 2021
• Youth Stops AIDS, Newcastle U. branch — speaker. May 2019
• Eyes Open / Blue Sky Trust AIDS Quilt Workshops, Newcastle & Gateshead. November 2015
• Nachtfoyer: Live the Opposite Daring: Gerhard Stäbler, book launch, Kunsthalle Düsseldorf. September 2015
• Summer Films, Jam Jar Cinema, Newcastle (introductions & discussions). July/August 2015
• Pride and Joy, community chorus — ‘Music Making and the LGBT Community’. February 2015
• Central Library, Newcastle — ‘Dreams, Symbols, Meaning & Jung’. October 2014
• Central Library, Newcastle — ‘Art about AIDS’. November 2013
• Northern Stage, Newcastle — ‘Art about AIDS’ & chair of public discussion (production of ‘Angels in America’). May 2007
• ‘Writing the Virus’, Proudwords Festival, Newcastle — co-presenter of public workshop. October 2006
• Art Café at Betty’s, Pride on Tyne — ‘Art about AIDS’. November 2005
• SAGE Gateshead — Preconcert speaker. November 2005
• Da Camera Society, Music in Historic Sites, Los Angeles — Preconcert speaker. January to May 1991

Interviews

• ‘Interview with Paul Attinello, a queer musicologist and psychoanalyst.’ Gavin Lee, Global Music History Microlessons, March 2026. YouTube
• ‘What is your relation to death and mortality?’ Andrew Marshall, The Meaningful Life (podcast), March 2022. Podcast
• ‘Samtal om coronakrisen med jungterapeuten Paul Attinello.’ Jung-podden, April 2020. SoundCloud
• ‘C.G. Jung, Covid-19 & Illness as Metaphor’ with Stefano Carpani, March 2020. YouTube
• ‘C.G. Jung & Thinking about HIV/AIDS’ with Stefano Carpani, November 2019. YouTube
• BBC Radio Newcastle, Breakfast Show — July 2010, October 2011, November 2011, November 2012, April 2014, June 2016, August 2016, November 2017, December 2017, December 2019.
• Made with Pride Television / Radio, December 2016.
• Metro & Magic News, Metro Radio, Newcastle, November 2005, November 2015.
• Brooklyn is Burning, documentary on gayngsta rap dir. Siobhan Schwartzberg, August 2014 (in production).
• ITV, Tyne Tees TV News, December 2005, November 2012, November 2013.
• Pride Radio / Hi We Can Help, Newcastle, November 2012, July 2013.
• BBC Radio Newcastle, Evening News, January 2009.
• BBC Radio Newcastle, Mike Parr’s Breakfast Show, December 2005; panelist Jan/Apr/Aug 2006, April 2007.
• BBC Radio, Hear & Now (broadcast concert), January 2007.
• BBC Radio Newcastle, Mid-Morning Programme, December 2006.
• BBC TV, ‘Look North,’ December 2005.
• BBC Radio 3, ‘Hear and Now,’ Aldeburgh Festival, November 2003.
• Radio 5UV Adelaide, ‘Art Breakfast’ (K. Kenealy), April 2002.
• Radio 5UV Adelaide, ‘On Campus’ (E. Shaw), October 2001.
• Radio New Zealand, ‘On Stage’ (P. Bushnell), January 1999.

Literary Readings

• Pink Lane Poetry Slams, Newcastle upon Tyne — September 2011; April 2010; November 2009 (1st place); September 2009 (2nd place).
• Green Festival, Pink Lane Poetry Slam, Newcastle. June 2010
• Stop AIDS Benefit Reading/Concert, Newcastle. February 2010
• Postgraduate Improvisation Group/P.I.G., Newcastle University — ‘In Bed’, long poem as basis for ensemble musical improvisation. December 2009
• Proudwords Launch, Newcastle. October 2004
• A Different Light Bookstore, San Francisco. October 1995, June 1993
• Boadecia’s Books, Kensington, California. October 1995
• Readers & Writers Conference, San Francisco. February 1995
• University of California, Irvine (two readings). December 1994
• Being Alive, Los Angeles. April 1993
• Beyond Baroque, Arts Contingent / March on Washington Benefit, Venice, CA. November 1992
• Los Angeles Poetry Festival, A Different Light Bookstore, West Hollywood. October 1992
• Pierce College, Woodland Hills, CA. October 1992
• Gay & Lesbian Services Center of Southern California, LA. Aug 1992, Aug 1991, Jun 1991, May 1991, Aug 1990
• National Lesbian & Gay Health Conference, LA. July 1992
• Gay Writers Series, A Different Light, West Hollywood. April 1992
• Gay Writers Series, A Different Light, Los Angeles. August 1991
• Bump & Grind Coffee Bar, Los Angeles. July 1991
• UCLA Kerckhoff Art Gallery. January 1991, February 1991
• A Different Light Bookstore, Los Angeles. December 1990
• A Different Light Bookstore, West Hollywood. December 1990
• Beyond Baroque, Venice, CA. September 1990
• Highways Performance Space, Santa Monica. July 1990
• University of Redlands, Redlands, CA. April 1990

Organized

• University of California, Irvine (two readings). December 1994

Broadcast

• ‘Absalom’ (poem). On Violet Ink: Writings by Gays & Lesbians. National Public Radio, produced by Terry Wolverton and Catherine Stifter, released nationally, June 1991.

Teaching

Postgraduate Advising (incomplete)

• Supervisor, Ph.D. — Johann Hasler (2010); Charles Bramley; Eric Doughney; Ann-Marie Hanlon (2012); Ryan Hepburn; Vera Brozzoni; Maria Christophi; Kenneth MacLean; Patricia Moran; Rachel Revely; Merrie Snell; Michelle Waggener (2014); Stephanie Naisbett (2023); Chia-Ling Peng (2025).
• Supervisor, M.A. — Adam Parkinson, Brendan Ratliff, Merrie Snell, Lee Wyatt (September 2007); Ann-Marie Hanlon, Jennifer Johnson (September 2006).
• Supervisor, M.Mus. — Teresa Magnowska, Luis Ortega Sanchez (Fall 2008).
• Supervisor, M.Litt. — Eric Doughney, Jenny McAlone (Fall 2010).
• Dissertation Supervisor, M.Mus. — William Schrimshaw, Simon Quinlan (September 2006); Marco Pennetta (September 2009); Anne-Claude Zuang.
• Internal Examiner, Ph.D. — Iain Stannard (November 2003); Paul Fleet (July 2007); Rachel Segal (July 2010).
• External Examiner, Ph.D. — Staatliche HS für Musik u. Kunst, Stuttgart: N. Andrew Walsh (December 2020); U. of Essex: Camila Souza-Novaes (July 2019); Goldsmiths/U. of London: Maria Yerosimou (December 2014); Université Paris-Est: Joyce Shintani (April 2008); Dartington College of Arts: Michael McInerney (January 2007); University of Adelaide: Andrew Williams (October 2004).
• External Examiner, M.Phil. — Cambridge University: Henry Stoll (September 2014).
• External Examiner, M.A. — Queensland University: Gavin Carfoot (January 2005).
• External Examiner, M.Phil. — University College Cork: Eva McMullan (January 2004).

Guest lectures for HKU courses

• Music — Performance 1 & 2; Postgraduate Reading Course.
• American Studies — Arts in America; Foundations in American Culture; The Road in American Culture; American Youth Cultures; Asia on America’s Screen.
• Comparative Literature — Digital Culture & New Media Technologies.

Postgraduate Advising and Committees (HKU)

• Advisor, M.Phil. — John von Seggern, ‘Internet & MP3 Music,’ December 2001.
• Advisor, M.Phil. — Rawin Panyaniti, ‘Bartók as Ethnomusicologist and Composer,’ June 1999.
• Co-Advisor, M.Phil. — Anthony Ho, ‘Highland Bagpipe Music as Colonialism in Hong Kong,’ June 2001.
• Internal Examiner, Ph.D. — Brian Thompson, November 2000.
• Internal Examiner, M.Phil. — Raymond Mok, April 2000.
• Internal Examiner, M.Phil. — Rawin Panyaniti, May 1999.
• Additional Examiner, M.Phil. — Chan Tong Ti Trudy, November 1998.
• Chair, M.Phil. — Chan Tracy, October 1999.

Extensive involvement in curriculum reform, including proposing courses, revision and modification of curriculum, and tracking required courses; performance coaching; class performances.

Guest Lecturer

• University of Sunderland — ‘Presentation of 20th & 21st Century Musics’, December 2005.
• University College Cork — ‘Performance Theory’ & composers’ seminar, February 2004.
• Huddersfield Contemporary Music Festival, November 2003 (pre-concert lecture).
• University of Texas at Austin, Music Leadership Program, October 2003.
• University of Sydney, Composition Seminar, May 2002.
• University of Western Sydney, Research Methods Seminar, May 2002.
• Adelaide University, ‘Music, Media and Contemporary Society,’ May 2002.
• Hong Kong Academy for Performing Arts, School of Dance, Department of Musical Theater, May, October 1999; March, April 2000.
• Hong Kong Urban Services Department, Training School, November 1998, December 1999, May 2000.
• The River School, Sebastian, Florida, December 1992, May 2000.
• City College of San Francisco, March 1996 and October 1996.
• San Jose State University, April 1995.

Service & Administration

Newcastle University, International Centre for Music Studies — Committees & Duties

• Degree Program Director (9/03–2/05, 2/09–present); Assistant Degree Program Director (2–8/03) — B.Mus. (Honors) Program with Year Abroad.
• Degree Program Director — Combined Studies, 9/08–present.
• International Officer, 2/03–2/05, 2/09–present.
• Library Liaison & Committee Chair, 2/09–1/12.
• Director of Postgraduate Studies, School of Arts & Cultures, 1/06–1/08.
• Head of Postgraduate Studies, ICMuS, 9/05–1/08; Degree Program Director, M.A., 9/05–1/08; Degree Program Director, M.Mus., 1/06–8/06.
• Admissions & Recruitment — 2002–04.
• Administrator, Royal Music Association, Research Student Conference, March 2005 (Music & Letters Conference Grant, £300/US$ 500).
• Organizer, Voice Research Group, Seminar on Voice Quality, May 2003.
• Representative, Association of University Teachers, School of Arts & Cultures, 2003–2006.

University of Hong Kong — Committees & Duties

• American Studies Program Committee — Department Representative.
• European Studies Program Committee — Department Representative.
• Faculty Working Group on Institutional Curricular Reform — Department Representative.
• Graduate Faculty Committee for Diploma & M.A. in Arts & Entertainment Administration — Member.
• Arts Faculty Timetable Committee — Department Representative.

Department of Music (HKU)

• Undergraduate handbook, postgraduate handbook, non-major courses flyer — text, design and production.
• Administration of department Web page.
• Student Course Evaluations Coordinator.
• Coordinator of Rayson Huang Lecturer visit by Meredith Monk.
• Coordinator of workshop and colloquium by composer Gerhard Stäbler.

External Service

• Hong Kong Examinations Authority, Advanced Level Examinations in Music, Sixth Form Subject Committee in Music, member 1997–2000.
• Hong Kong Academy for the Performing Arts, School of Dance, Music Theatre Department — Examiner, Vocal Examinations, June 1999.

Peer reviewer

• Routledge, 2019, 2023.
• International Journal of Jungian Studies, 2020.
• U. Michigan Press, 2018, 2019.
• Musical Quarterly, 2014.
• Ashgate Publishing Group, 2004, 2011.
• AHRC Peer Review, 2010.
• American Music, 2003, 2010.
• Transposition: Musique et sciences sociales, 2012.
• Women and Music: a Journal of Gender and Culture, 2008.
• Journal of the American Musicological Society, 2002, 2003, 2004, 2007.
• Social Science & Humanities Research Council of Canada, February 2006.
• Journal of the Royal Musicological Association, 2003.
• Canadian University Music Review, 2003.
• Proceedings, Musicological Society of Australia, 2003 (Cambridge U. Press).
• Continuum, Journal of the Cultural Studies Association of Australia, 2002.
• New Music, electronic journal, University of Huddersfield, 2000.

Other

• Co-chair, AMS Council Outreach Committee, 2000–2001; Member, 1999–2001.
• Member-at-large, Advisory Council, American Musicological Society, 1999–2001.
• Founder/organizer, Gender & Sexuality Group, Musicological Society of Australia, 2001.
• Co-founder, Society of Gay & Lesbian Composers, San Francisco, from 1981. Regular triennial concerts 1985–98; peak membership of 50.
• Member, C. G. Jung Institut Zürich Research Group, November 2020 — August 2023.
• Member, C. G. Jung Institut Zürich Alumni Association Management Committee, 2019– .
• Member, Selection Committee, Cambridge University Press Award, Society for American Music, 2009, 2010.
• Member, Selection Committee, Philip Brett Award, GLSG/AMS, 2003, 2004.
• Member, Voice Research Group, ICMuS, Newcastle University, 2003– .
• Associate Member, Centre for Contemporary Music, Durham University, 2003– .
• Member, Popular Music Research Group, ICMuS, Newcastle University, 2002– .
• Member, Program Committee, Feminist Theory & Music Conference IV, 1996–7.
• Member, Steering Committee, Philosophy of Music Group, Society for Music Theory, 1995–6.
• Member, Steering Committee, West Coast Conference of Music Theory & Analysis, 1992–3.
• Representative for Systematic Musicology to Graduate Music Student Association, UCLA, 1986–7.

Professional memberships since 1993 include: American Musicological Society, College Music Society, Gay & Lesbian Study Group of the AMS, International Association for the Study of Popular Music, International Musicological Society, Musicological Society of Australia, Royal Musical Association, Society for American Music, Society for Ethnomusicology, Society for Music Analysis, Society for Music Theory.

Grants & Awards

• School of Arts & Cultures Research Fund, Newcastle University, January 2008 (£450 / US$ 750).
• British Academy, Overseas Conference Grant, May 2003 (£563 / US$ 950).
• Arts & Humanities Research Fund, Newcastle University, April 2003 (£300 / US$ 500).
• David Tudor Library Research Grant 2000–01, Getty Research Institute, Los Angeles (US$ 2,500 / £1,500).
• Research Grants Council ‘Competitive Bid’ Research Grant Award, 1998–2001, University Grants Council, Hong Kong (HK$ 938,000 / £65,000 / US$ 121,000), for research in postwar European avant-garde music.
• Committee on Research and Conference Grants, University of Hong Kong
  • CRCG Research Grant Award, 2000–2001 (HK$ 100,000 / £7,000 / US$ 12,900).
  • CRCG Research Grant Award, 1998–99 (HK$ 60,000 / £4,200 / US$ 7,750).
  • CRCG Research Grant Award, 1997–98 (New Staff) (HK$ 90,000 / £6,300 / US$ 11,600).
  • CRCG Conference Grants — November 2000, November 1999, August 1997, June 1997.
• Fulbright Award, 1993–4 (Institute of International Education, Full Maintenance plus Graduate Fellowship Stipend, plus extension). Fellowship for research at Internationales Musikinstitut Darmstadt and Paul Sacher Stiftung, Basel; conference at Institut für Neue Musik und Musikerziehung, Darmstadt.
• ‘Re-Theorizing Music’ research group, Resident Graduate Fellowship, UC Humanities Research Institute, UC Irvine, September–December 1994.
• Internationale Ferienkurse für Neue Musik, Internationales Musikinstitut Darmstadt — stipend, July–August 1994.
• Dissertation Year Fellowship, 1995–6, UCLA (US$ 14,000 / £8,000).
• New York Residency Fellowship, UCLA, 1987. Interviews with composers and performers; research at American Music Center and Lincoln Center Library of Performing Arts.
• Clifton Webb Endowment stipend, 1992, UCLA.
• Ingolf Dahl Competition, Nominated Finalist, Northern California and Pacific Southwest Chapters, AMS, San Luis Obispo, 1993.
• Robert Wilson Workshop in Contemporary Performance. Scholarship to perform in first version of Wilson’s Lear. UCLA, 1985.
• Merit Fellowships in Systematic Musicology, UCLA, 1984–5, 1985–6.

Compositions & Arrangements Performed

• Seven Last Haiku, for piano, cello and speaking voice — Newcastle University Contemporary Music Ensemble, April 2011.
• Tango: A slow hot wind, for piano or keyboard — Yvar Mikhashoff, October 8, 1987, UC San Diego.
• Voyelles, for soprano and piano — Renée Fladen-Kamm and Brenda Tom, Society of Gay & Lesbian Composers concert, San Francisco, March 23, 1986; Carole Schaeffer and Irene Alm, UCLA, April 23, 1986.
• Sudden Travel Plans: HD 5 (and) Colors — live improvisational computer music for two video/dance performance works. Created and performed for benefit produced by Jim Boggs for Youth at Risk Dance Troupe on Macintosh and synthesizers, November 1987.
• The Gift, performance — co-author; Hollywood Senior Citizens Center, January 1987.
• In Communicado, collaborative theater work, co-author; music for synthesizer, computer and voices — Erica Nashan and the composer, December 14–15, 1985, Pasadena.
• Hard Candy Christmas by Carol Hall, arranged for TTBB chorus — Golden Gate Men’s Chorus, San Francisco, December 1993; Gay Men’s Chorus of Los Angeles, December 1987.
• Pacific Variations from songs by Stephen Sondheim, arranged for TTBB chorus — Gay Men’s Chorus of Los Angeles, July 1987.
• Company by Stephen Sondheim, arranged for TTBB chorus — Gay Men’s Chorus of Los Angeles, soloist Sue Fink, April 1986 and June 1986.
• Ein Kind geborn, anonymous, arranged for SATB chorus — University Chorus, UC Berkeley, December 7, 1983.
• Nowadays by Kander & Ebb, arranged for TTBB chorus — Men About Town, San Francisco, 1981, 1982.

Texts for performance

• ‘[a] Lear’, performed by Pink Lane Poetry Slams, Newcastle upon Tyne, September 2011.
• HKU University Choir & HKAPA Brass Ensemble — ‘A Celebration of Christmas,’ December 1999; script based on traditional Christmas texts for two readers, including myself.
• Vocal Minority, San Francisco — ‘Broadway/Rhythm,’ 1989; dialogue transitions for jazz/pop concert.
• Gay Men’s Chorus of Los Angeles — ‘Home for the Holidays,’ December 1987; script based on traditional Christmas texts for two readers.

Selected Performances

Concert

• New Music Ensemble, ICMuS, Newcastle University — Soloist: Rzewski, Coming Together; Kagel, Tango alemán; Lang, Are You Experienced?; Cage, Indeterminacy.
• UCLA Contemporary Ensemble — Soloist: Stravinsky, Elegy for J.F.K. and Pribaoutki; Soloist: Walton, Façade.
• Ariel, A Contemporary Vocal Ensemble, San Francisco — Soloist/Ensemble; performed with San Francisco Contemporary Music Players; directed and programmed holiday ensembles.
• 37th Internationale Ferienkurse für Neue Musik, Darmstadt — Soloist: Harald Münz, deChiffrAGE (1993) for speaker and computer.
• Bass Soloist — Corpus Christi Catholic, Pacific Palisades; St. Mary’s Episcopal, Palms; St. Stephen’s Catholic, San Francisco; Christ Episcopal, Washington, DC; Balinese Gamelan, University of Hong Kong.
• New Vocal Ensemble, ICMuS, Newcastle University — Ensemble.
• John Dryden in Music: Department of Musicology, UCLA — Ensemble.
• Sanford Dole Ensemble, San Francisco — Ensemble.
• Die Männerstimmen, A Chamber Chorus, San Francisco — Soloist and Ensemble.
• Music at the Cathedral of San Marcos; J. Paul Getty Museum, Los Angeles — Ensemble.
• Byrd Consort Renaissance Quintet, San Francisco — Ensemble.
• Caroling Company, Los Angeles — Soloist and Ensemble.
• San Francisco Symphony Chorus — Ensemble.
• Oakland Symphony Chorus — Ensemble.
• Konzertchor Darmstadt — Soloist and Ensemble.
• Gay Men’s Chorus of Los Angeles — Soloist and Ensemble.
• Company L.A. — Soloist and Ensemble.
• San Francisco Gay Men’s Chorus — Soloist and Ensemble.
• Golden Gate Men’s Chorus, San Francisco — Ensemble.
• Men About Town, San Francisco — Soloist and Ensemble.
• San Francisco Gay Men’s Chorus Chamber Singers — Ensemble.

Stage

* indicates leading roles

• Lear, performance — Cornwall* — Robert Wilson, director; Metromedia Studios, Hollywood.
• In Communicado, performance — Performer/writer/composer* — Monrovia Arts Center, Monrovia, California.
• The Sand Hills, opera — Spirit Leader* — Bovard Auditorium, USC, Los Angeles.
• A Hand of Bridge, one-act opera — David* — Schoenberg Hall, UCLA.
• L’Abandon d’Ariane, one-act opera — Dionysos* — Schoenberg Hall, UCLA.
• The Tide, one-act opera — Banker* — Schoenberg Hall, UCLA.
• Fountain of Youth, musical — Francisco* — New Performance Gallery, San Francisco.
• Cabaret, musical — The Emcee* — Ross Valley Players, Ross, California.
• Fifty Years of Broadway, cabaret revue — Co-created, co-starred* — Plush Room, Fanny’s Cabaret, Roxy Roadhouse, etc., San Francisco.
• The AIDS Show, theater — Original Cast Actor*/Co-Author — Theater Rhinoceros, San Francisco.
• Sacred Cow, theater — Peter* — New Zephyr Theater, San Francisco.
• She Loves Me, musical — Kodaly* — Steinway Theater, Los Angeles.
• The Gift, performance work — Performer/writer/director* — Hollywood Senior Citizens Center.
• Harrowing of Hell, performance work — First Player* — Noh Oratorio Society, Project Artaud, San Francisco.
• Don Carlo, opera — Inquisition Monk — David Alden, director, San Jose Symphony Opera.
• The Wedding, theater — Young Man — Theater Guild of SF, Victoria Theater, San Francisco.
• Sun in the Underworld, Final Triumph, theater — Staged readings, Playwrights’ Center, San Francisco.
• The Four-Note Opera, opera — The Bass — University of Virginia, Charlottesville.
• CBMG Video Magazine — Entertainment Anchor — Couldn’t Be More Graphic, San Francisco.
• Solo Cabaret Performances* — Plush Room, Fanny’s Cabaret, Trinity Place, Chez Jacques, St. Francis Yacht Club, etc., San Francisco; University of Hong Kong.

Selected Other Experience