Graham Phipps received his Ph.D. from the University of Cincinnati. His areas of expertise are primarily, history of music theory from 1700 to the present, and the Second Viennese School; and secondarily, history of theory and analysis procedures for music of the sixteenth and seventeenth centuries. He is an active researcher having worked in archival collections in Austria, Germany, Switzerland, Italy and Norway. He has published in The Musical Quarterly, The Journal of Musicology, College Music Symposium, Music Analysis, and 19th Century Music, on such topics as Chopin, Richard Strauss, and Second Viennese School topics. His essay on Exploration of the Past, published by The University of Chicago Press. He has also contributed a number of book reviews to Notes. Currently he is completing a book on the instrumental music of Richard Strauss and Luigi Dallapiccola. He has presented numerous papers in local, national and international conferences on a variety of subjects, and has international conferences on a variety of subjects and has been the invited lecturer for special conferences and colloquia throughout the United States and in Australia.
International Who's Who in Music and Musicians' Directory. Eleventh Edition. Edited by Ernest Kay. Cambridge: Cambridge University Press, 1988.
Bailey, Kathryn. The Twelve-Note Music of Anton Webern: Old Forms in a New Language. Cambridge: Cambridge University Press, 1991, pp. 334 and 443.
Beach, David. "The Current State of Schenkerian Research." Acta Musicologica 57(1985):306.
Damschroder, David and David Russell Williams. Music Theory from Zarlino to Schenker: A Bibliography and Guide. Harmonologia No. 4. Joel Lester, Series Editor. Stuyvesant, N.Y.: Pendragon Press, 1990, pp. 325, 331 and 434.
Whittall, Arnold. "The Theorists' Sense of History: Concepts of Contemporaneity in Composition and Analysis." Journal of the Royal Musical Association 112/1(1987):7.
Williamson, John. Strauss: Also Sprach Zarathustra. Cambridge Music Handbooks. Julian Rushton, General Editor. Cambridge: Cambridge University Press, 1993, p. 90.
Faculty Research Grant, University of North Texas,
"Luigi Dallapiccola's Twelve-Tone Music of the 1970s," Archivio Contemporaneo "A. Bonsanti," Florence, Italy, May-June 2000.
Faculty Research Grant, University of North Texas,
"First Book of Masses for Six Voices from the Augsburg Sts. Ulrich und Afra Basilica: A Source for Sixteenth-Century South German Polyphonic Stylistic Norms," Staats- und Stadtbibliothe, Augsburg, Germany, May-June 1998.
Faculty Research Grant, University of North Texas, "Luigi Dallapiccola's Twelve-Tone Opera, Ulisse: A Sketch Study," Archivio Contemporaneo "A. Bonsanti," Florence, Italy, May-June 1997.
Faculty Research Grant, University of North Texas, "Hans Leo Hassler's Sacri Concentus: A Study of the Part Books, Staats- und Stadtbibliothek, Augsburg, Germany, May-June 1996.
Faculty Research Grant, University of North Texas, "The First Twelve-Tone Period of Luigi Dallapiccola: A Sketch Study," Archivio Contemporaneo "A. Bonsanti," Florence, Italy, May-June 1995.
Faculty Research Grant, University of North Texas, "Harmony and Its Relationship to Form in the First Style Period of Richard Strauss (1866-95): A Study of Sketchbooks I and II," Bayrische Staatsbibliothek, Munich, Germany, July-August 1994.
Faculty Research Grant, University of North Texas, "An Archival Study of Six Twelve-Tone Works by Luigi Dallapiccola," Archivio Contemporaneo "A. Bonsanti," Florence, Italy, May-June 1993.
Faculty Research Grant, University of North Texas, "Chromatic Harmony in the Lieder Collections by Richard Strauss from the Period 1886 to 1889: An Archival Study," Bayrische Staatsbibliothek, Munich, Germany, July-August 1992.
Faculty Research Grant, University of North Texas, "A Study of the Archival Materials for Webern's Last Pre-Twelve-Tone Compositions: Opp. 14, 15, and 16," at the Paul Sacher Foundation, Basel, Switzerland, May-June 1991.
Stipend from the Paul Sacher Foundation, Basel, Switzerland to pursue archival research on the sketchbooks of Anton Webern, supplemented by a Faculty Development Leave from the University of North Texas, from September 1, 1989 to July 1, 1990.
Faculty Research Grant, University of North Texas, "A Study of the Manuscript Sketches for Anton Webern's Lieder Collections, Opp. 17, 18, and 19 at the Pierpont Morgan Library," New York December-January 1988-89.
Faculty Research Grant, University of North Texas, "Traditional Tonality in Webern's Twelve-Tone Music," The Paul Sacher Foundation, Basel, Switzerland, May-June 1987.
Faculty Research Grant, University of North Texas, "The Early Style of Edvard Grieg: A Study of the Leipzig Notebooks," Bergen, Norway, May 1985.
Faculty Research Grant, Colorado State University, continuation of Sechter studies in Vienna, Austria, January 1980.
NEH Summer Stipend, "A Sketch Study of Three Early Twelve-Tone Works by Luigi Dallapiccola," Archivio Contemporaneo "A. Bonsanti," Florence, Italy, May-July 1994.
Grant-in-Aid, The American Council of Learned Societies, "Aspects of Traditional Tonality in the Twelve-Tone Music of Anton Webern: A Study of the Sketchbooks at the Paul Sacher Stiftung," Basel Switzerland, May-June 1988.
N.E.H. Summer Institute: "Theory and Practice of Sixteenth-Century Music," directed by Howard M. Brown and Benito Rivera, The Newberry Library, Chicago, Illinois, July-August 1987.
N.E.H. Summer Institute: "The Editing of Classic Music," directed by Howard Serwer and Eugene Helm, The University of Maryland, College Park, Maryland, 1985.
N.E.H. Summer Seminar: "Patterns of Stylistic Development in Joseph Haydn's Music," directed by A. Peter Brown, Indiana University, Bloomington, Indiana, 1984.
N.E.H. Summer Seminar: "Medieval and Renaissance Music: From Notation to Performance," directed by Margaret Bent, Brandeis University, Waltham, Massachusetts, 1981.
N.E.H. Summer Stipend, to study manuscripts of compositions and theoretical treatises of Simon Sechter in libraries in Vienna, Austria, 1978.
N.E.H. Summer Seminar: "The 'Classics' of Music as Seen by Tovey," directed by Joseph Kerman, University of California, Berkeley, California, 1977.
"Origins of the Second Viennese School and Analytical Strategies for its Music," invited lecture, Estonian Academy of Music, Tallinn, Estonia, October 15, 2001
"Dichten mit Tönen: Richard Strauss's Commentary on Nikolaus Lenau's Don Juan." Institute of Advanced Musical Studies, King's College, London, March 1999.
"The Distorting Power of Memory: Thematic Reminiscences in Luigi Dallapiccola's Ulisse." Special Seminar on Twentieth-Century Music and the Stage. Institute of Advanced Musical Studies, King's College, London, March 1999.
"A View from the Bridge: An Alternative to Formalism in Music," presented in the "Correlation of the Arts" program at San Jose State University, San Jose, California, October 1998.
"Composing in the Same Style as Before Only Better: A Discussion of Arnold Schoenberg's Musical Concepts," guest lecture for the Louisville Symphony Orchestra concerts at the University of Louisville, Kentucky, and at Indiana State University, Terre Haute, Indiana, September 10-13, 1991.
"Harmonic Readings in Twelve-Tone Music: Application of Schoenberg's Theoretical Ideas," The University of Sydney, Australia, May 1989.
"The Music of Arnold Schoenberg: An Evolutionary Concept in a Reactionary Environment," guest lecture for the University Honors Program at Portland State University, Portland, Oregon, February 1987.
"The Harmony in Richard Strauss's Ruhe meine Seele: A Schoenbergian Reading," The University of Sydney, Australia, June 1986.
"Subdominant Transposition: A New Source for Tonal Surprise in Nineteenth-Century Music," University of Connecticut, Storrs, Connecticut, November 1983.
"The Orchestral Variations: Webern's Tribute to Bela Bartok," University of Connecticut, Storrs, Connecticut, March 1983.
"The Traditional Basis of Schoenberg's Musical Thought," presented either as a single two-hour lecture or as a pair of lectures at:
University of Connecticut, Storrs, Connecticut, April 1982.
University of Maryland, Baltimore County Campus, April 1982.
University of Cincinnati, Cincinnati, Ohio, March 1982.
Brigham Young University, Provo, Utah, February 1982.
Washington University, St. Louis, Missouri, April 1981
Lectures on Campus
"From Klang to Kunst: Some Preliminary Steps Toward a Theory of Brahms's Musical Language," for Musicology, Theory, and Ethnomusicology Division, February 2001.
"Dichten mit Tönen: How Music Poeticizes," Heidegger Conference, April 2000.
"Questions of Tonality and Modality in a Motet by Heinrich Schütz," for Music History, Theory, and Ethnomusicology Division, October 1999
"The Italians in Augsburg_ (subtitled: "What Lies Beneath the A in Augsburg), for Music History, Theory, and Ethnomusicology Division, April 1999
"Striving" Heidegger Conference, February 1996
"The Classics of Music," for the Honors Program, April 1995.
"Bruckner and Music Analysis: Some Hints from Heidegger's Views on Technology," Heidegger Conference, February 1994.
"A View from the Bridge: An Alternative to Formalism in Music," Heidegger Conference, December 1992.
"A Listener's Guide to Webern's Twelve-Tone Music," for Music History and Theory Division, February 1992.
"The Musical Work as a Founding of Truth," Heidegger Conference, February 1992.
"Destruktion and the Path Metaphor in Music: Webern's Guided Tour of Schoenberg's Musical Thought," Heidegger Conference, December 1990.
"Relations and Cross Relations in Bach and Mozart: A Study in Satz and Ursatz," for Music History and Theory Division, February 1986.
Presentations for "Great Books" and "The Capstone Seminar"
For the past ten years, I have participated in and brought several graduate music students to a weekly forum in which topics on History, the Arts, and Philosophy (from Plato and Aristotle to the present) have been discussed through readings and consultation with experts from across the university campus. In this forum, I have presented discussions on Western Music from all chronological periods as well as such topics as Thomas Mann's Doctor Faustus (taken from my study at the Thomas Mann Archive in Zurich, Switzerland), Henry Adams' Mont St. Michel and Chartres, Robert Musil's Man Without Qualities, Goethe's Faust, Elias Canetti's Auto da Fe, Hermann Broch's Sleepwalkers and The Death of Virgil, Günter Grass's Tin Drum and Ein weites Feld, Alfred Döblin's Berlin Alexanderplatz and November 1918, and Theodor Fontane's Effi Briest.
Papers Read at Professional Meetings and Conferences
"Luigi Dallapiccola's Method of Twelve-Tone Composition: Some Observations from the Years 1951-52," Fourth International Conference on Music Theory, Estonian Academy of Music, Tallinn, Estonia, April 4-5, 2003.
"Die Überleitung in der Sonaten(haupt)satzform. Auf den Spuren Martin Heideggers in ersten Satzes der II. Sinfonie von Brahms" Kongress der Gesellschaft für Musiktheorie, Dresden, Germany, October 12, 2001. One of only two American scholars invited for first meeting of this new German-language society.
"A Path that Cannot be Retraced: Final Attainment of Tonic in Instrumental Works by Johannes Brahms" and "The Finale of Brahms's Third Symphony," Third International Conference on Music Theory, Estonian Academy of Music, Tallinn, Estonia, March 8-9, 2001.
"Berg's Wozzeck: A Twentieth-Century Commentary on a Nineteenth-Century Tragedy," for Symposium on Alban Berg's Wozzeck sponsored by the Dallas Opera, held at Southern Methodist University, Dallas, Texas, December 2, 2000.
"Reconciling the Fiery Elements, Part II: Richard Strauss's Symphonia Domestica," International Symposium titled: The Music of Richard Strauss,hosted in the College of Music at the University of North Texas, February 3, 2000.
"Heinrich Schütz's Heu mihi, Domine: Traditional and Progressive Attributes in the F-Repertory," Conference titled; Théorie et Analyse Musicales 1450-1650, Louvain-la-Neuve, Belgium, September 25, 1999.
"Der musicalische Quack-Salber: A Satirical View of Musical Life in in Early Eighteenth-Century Germany." South Central Society for Eighteenth-Century Studies, Edmond, Oklahoma, February 1997.
"The Gender Metaphor in Eighteenth-Century German Music Pedagogy." South Central Society for Eighteenth-Century Studies, New Orleans, Louisiana, February 1996.
"Formbildung in the Castellio Movement of Dallapiccola's Canti di liberazione." The American Musicological Society, New York, New York, November 1995.
"Dallapiccola's Webern Study Project: Sources for Traditional 'Tonal' Procedures in Quaderno musicale di Annalibera," Luigi Dallapiccola (1904-75) Convegno Internazionale di Studi, Florence Italy, February 17, 1995.
"Auserwähltes Volk and Unvorstellbarer Gott: Music and the Word in Schoenberg's Moses und Aron," Southwest Commission on Religious Studies, Section on Arts, Aesthetics, and Religion, Dallas, Texas, March 1994.
"The Sketches for the First Movement of Webern's Concerto, op. 24: An Accounting for Classical Procedures of Pitch Organization and Phrase Structure." The American Musicological Society, Pittsburgh, Pennsylvania, November 1992.
"An Interpretive Reading of Stravinsky's Huxley Variations Based Upon the Composer's Program Notes," Texas Society for Music Theory, University of Houston, Texas, February 1991.
"Tertian Harmonies that were Meant to be Heard in the Twelve-Tone Music of Anton Webern," Texas Society for Music Theory, Huntsville, Texas, February 1989.
"The Musical Circles of Johann David Heinichen and Georg Andreas Sorge: Possible Models for Johann Sebastian Bach's Modulatory Keyboard Fantasy Style," South Central Society for Eighteenth-Century Studies, Denton, Texas, March 1987.
"Toward a 'System of Presentation' for Schoenberg's Music," Aspects of Listening Conference, Temple University, Philadelphia, Pennsylvania, February 1987.
"Eighteenth-Century Views on the Augmented-Sixth Chord: Documentation of a Shift from Contrapuntal to Harmonic Theory," Society for Music Theory, Bloomington, Indiana, November 1986.
"The Logic of Richard Strauss's Tonality in Don Quixote: Schoenberg's Grundgestalt Clarifies, Schenker's Ursatz Obscures," Texas Society for Music Theory, Commerce, Texas, March 1985.
"Pitch Organization and Text Setting as Determinants of Musical Form in Webern's Cantata I, Opus 29," Society for Music Theory, Philadelphia, Pennsylvania, October 1984.
"The Tritone as an Equivalency: A Contextual Perspective for Approaching Schoenberg's Music," Rocky Mountain Chapter of the American Musicological Society, Albuquerque, New Mexico, April 1981.
"Kirnberger, Marpurg, and Mozart; Empiricism or Rationalism?" South Central Society for Eighteenth-Century Studies, Austin, Texas, March 1981.
Richard Strauss Studies, coedited with Timothy Jackson, forthcoming from Cambridge: Cambridge University Press, with essays by thirteen authors including my contribution titled, "Correspondences and Tensions between the Thematic, the Tonal, and the Grammatical in Richard Strauss's Symphonia Domestica."
"The Classical Italian Vocal Tradition Meets the New Vienna School: Dallapiccola's Liriche greche," forthcoming in Italian Music during the Fascist Period, Cremona, Italy: Fondazione Locatelli.
"Die Überleitung in der Sonaten(haupt)satzform. Auf den Spuren Martin Heideggers im ersten Satz der II. Sinfonie von Brahms," forthcoming in Musiktheorie zwischen Historie und Systematik: Kongreßbericht der Gesellschaft der Musiktheorie, Dresden, Germany.
"The Finale of Brahms's Third Symphony" and "A Path that Cannot be Retraced: Final Attainment of Tonic in Instrumental Works by Johannes Brahms," Proceedings of the Third International Conference on Music Theory, Tallinn, Estonia, 2003, pp. 78-92 and 173-79,.
"Heinrich Schütz's Heu mihi, Domine: Traditional and Progressive Attributes in the F-Mode Repertory," Théorie et analyse musicales 1450-1650 (Proceedings of the International Conference Louvain-la-Neuve, September 23-25, 1999), Louvain-la-Neuve, Belgium: Publications d'histoire de l'art et d'archéologie de l'université catholique de Louvain, 2001, pp. 369-401.
"Bruckner's Free Application of Strict Sechterian Theory with Stimulation from Wagnerian Sources; An Assessment of the First Movement of the Seventh Symphony," in Perspectives on Anton Bruckner, London: Ashgate Press, 2001, pp. 228-58.
Review of Anton Bruckner: Symphony No. 8 by Benjamin M. Korstvedt, Cambridge University Press, in Notes: Quarterly Journal of the Music Library Association (June 2001): 902-3.
Review of A View of Berg's Lulu Through the Autograph Sources by Patricia Hall, University of CaliforniaPress, in The Opera Quarterly 15/2(Spring 1999):297-302.
"Webern studiato da Dallapiccola: fonti per procedimenti tonali nel Quaderno musicale di Annalibera. In Dallapiccola: Letture e prospettive. [The Published Proceedings of Luigi Dallapiccola (1904-1975): Convegno Internazionale di Studi, Florence 1995]. Milan: Ricordi, 1997, pp. 183-202.
Review of Vom Einfall zum Kunstwerk: Der Kompositionsprozeß in der Musik des 20. Jahrhunderts, Laaber: Laaber Verlag, 1993, forthcoming in Notes: Quarterly Journal of the Music Library Association 51/3(March 1995):895-99.
"The 'Nature of Things' and the Evolution of Nineteenth-Century Musical Style: An Essay on Carl Dahlhaus's Studies on the Origin of Harmonic Tonality," Theoria 7(1993):141-63.
"Harmony as a Determinant of Musical Structure in Webern's Variations for Orchestra," Music Theory and Exploration of the Past, Chicago: University of Chicago Press, 1993, pp. 473-504.
Review of Arnold Schoenberg: Notes, Sets, Forms. Silvina Milstein. Music in the Twentieth Century. General Editor: Arnold Whittall. Cambridge: Cambridge University Press, 1992, in Notes: Quarterly Journal of the Music Library Association 50/1(September 1993):153-56.
Review of Schoenberg's Error. William Thomson. Studies in the Criticism and Theory of Music. Philadelphia: University of Pennsylania Press, 1991, in Notes: Quarterly Journal of the Music Library Association 49/2(December 1992):575-76.
"Harmonic Thought in Webern's Sketches," Mitteilungen der Paul Sacher Stiftung 4(January 1991):31-33.
Performing edition of "Kyrie" from Solemn Mass in A by Simon Sechter, Lawson-Gould Music Publishers, Inc., 1987.
"The Logic of Tonality in Strauss's Don Quixote: A Schoenbergian Evaluation," 19th-Century Music 9/3(Spring 1986):189-205.
"The Tritone as an Equivalency: A Contextual Perspective for Approaching Schoenberg's Music," The Journal of Musicology 4/1(Winter 1985-86):51-69.
"Simon Sechter: A Practical Nineteenth-Century Theorist," The Southwest Journal of Music 1/1(Fall 1985):9-37.
"Comprehending Twelve-Tone Music as an Extension of the Primary Musical Language of Tonality," College Music Symposium 24/2(Fall 1984):35-54.
"Tonality in Webern's Cantata I," winner of the Elizabeth Lutyens Essay Prize, Music Analysis 3/2(July 1984):125-58.
"A Response to Schenker's Analysis of Chopin's Etude, Opus 10, Number 12, Using Schoenberg's Grundgestalt Concept," The Musical Quarterly 69/4(Fall 1983):543-69.
Review of "Sechter, Simon" from The New Grove Dictionary of Music and Musicians. 19th-Century Music 5/2(Fall 1981):167-68.
"Moses und Aron: The Musical and Dramatic Image." The Opera Journal 9(Fall 1976):27-34.
Scholar in Residence during the week of September 9-13, 1991, for the 1991 "Classics in Context Festival" of the Louisville Symphony Orchestra, Louisville, Kentucky, sponsored by the Goethe Institute of Cincinnati, Ohio. (See Guest Lectures, above.)
Resident Consultant on topics of fin-de-siècle Vienna, University Honors Program during the week of February 9-13, 1987, at Portland State University, Portland, Oregon. (See Guest Lectures, above)
"Simon Sechter: A Practical Nineteenth-Century Theorist," Rocky Mountain Chapter of the American Musicological Society, Tempe, Arizona, April 1979.
"A Response to Schenker's Analysis of Chopin's Etude, Opus 10, Number 12, Using Schoenberg's Grundgestalt Concept." Society for Music Theory, Minneapolis, Minnesota, October 1978.
"The Grundgestalt Principle in Schoenberg's Variations for Orchestra, Opus 31," Rocky Mountain Chapter of the American Musicological Society, Boulder, Colorado, April 1977.