Published Writings, Conference Papers, and Lectures

 

Published Writings on Music Theory, Performance, and Movement


2007

Deepening Musical Performance and Interpretation through Movement, Indiana University Press.

2003

Review of CD MK 0049-2011: Vítezslava KaprákiváF: Portrait of the Composer, for Journal of the International Alliance for Women in Music, Spring 2004.

1997

Developing Schenkerian Hearing and Performing. Intégral. Rochester: Eastman School of Music, 1994: 8, 51-123.

1996

Four Distinct Movement Qualities in Music: A Performer’s Guide. Contemporary Music Review, edited by Raymond Monelle. Amsterdam: Harwood Academic Publishers 16:3, 39-53.

1995

Character and Characterization In Musical Performance: Effects of Sensory Experience on Meaning. Musical Signification: Proceedings of the Second International Congress on Musical Signification, edited by Eero Tarasti. Berlin: Mouton de Gruyter 285-99.

1992

Review of Ernst Kurth as Theorist and Analyst (1988) and Selected Writings of Ernst Kurth (1991) by Lee A. Rothfarb. Notes, Quarterly Journal of the Music Library Association December, 590-93.

1991

Generous Movement: A Practical Guide to Balance in Action. Co-authored with Roger Pierce, Ph.D. Redlands: Center of Balance Press.

1989

Balance. Somatics Magazine: Journal of the Bodily arts and Sciences. Co-authored with Roger Pierce, Ph.D. 7/3: 16-25.

1989

Expressive Movement: Posture and Action in Daily Life, Sports, and the Performing Arts. Co-authored with Roger Pierce. New York: Plenum Press. [Reprinted 2002, New York: Perseus Publishing.]

1987

Music and Movement: Beat; Juncture. The Semiotic Web, 1986, edited by Thomas A Sebeok and Jean Umiker Sebeok. Berlin: Mouton de Gruyter 514-35.

1984

Pain and Healing: for Pianists, III. Sitting Support. Co-authored with Roger Pierce. The Piano Quarterly summer: 126, 45-49.

1983

Pain and Healing: for Pianists, II. Reverberation. Co-authored with Roger Pierce. The Piano Quarterly summer: 122, 38-40.

1983

Action and Reaction in Prepared Piano: Performance and Notational Concerns. American Society of University Composers Article Series. Reprinted in Society of Composers, Inc. Monograph Series, 1991: 1, 1-8.

1983

Spanning: Essays on Music Theory, Performance and Movement. Redlands, California: Center of Balance Press. The essays in Spanning were previously published as journal articles. Among them are:

1984

Preface to Spanning. Perspectives of New Music. 22:2, 604-09.

1983

Climax in Music: Structure and Phrase, Part III. In Theory Only 7:1, 3-30.

1979

Performance Phrase: Structure and Phrase, Part II. In Theory Only 5:3, 3-24.

1978

Structure and Phrase, Part I. In Theory Only 4:5, 22-35.

1977

Juncture. In Theory Only 3:6, 23-34.

1977

Metric Structure, Part II. The Piano Quarterly summer: 98, 34-36.

1977

Metric Structure, Part I. The Piano Quarterly spring: 97, 29-32.

1982

Pain and Healing: for Pianists, I. The  Issues. Co-authored with Roger Pierce. The Piano Quarterly summer: 118, 43-47.

1980

Characterizing Movement. Newsletter, Institute for Wholistic Education (Amherst, MA) spring: 6, 18-24.

1979

Review of Ways of the Hand by David Sudnow (1978). In Theory Only 4:7, 31-34.

1976

Use of the Elbow and Access to the Heart. The Piano Quarterly winter: 92, 30-34.

1975

Ideation. The Piano Quarterly summer: 91, 34-37.

1975

Game Playing and Piano Playing. The Piano Quarterly winter: 88, 29-30.

1974

Doing and Overdoing in Piano Performance. The Piano Quarterly fall: 87, 40-41.

1974

Body and Performance. The Piano Quarterly spring: 87, 25-26.

1973

Toward Greater Expressiveness in Piano Performance. The Piano Quarterly winter: 80, 30-35.

1968: Analysis of Rhythm in Tonal Music. Ph.D. Dissertation, Brandeis University.


Conference Papers and Lectures

Music Theory, Performance, Movement, and Composition


10/18/08

Song Composition through Movement. Following a performance of the new song, To Rumi (poem by Robert Hatten), a paper presented to the Semiotics Society of America, Houston, TX.

4/11/08

Practicing Embodiment. Lecture and Workshop as part of the Symposium,

            “Embodiment in the Arts,” University of Virginia, Chalottesville, VA.

2/18/08

Deepening Musical Performance through Movement. Colloquium Lecture, College of Music, University of Colorado, Boulder.

2/20/04

Deepening Music Theory: Its Potential for Performance, Analysis, and Pedagogy,  No. 2. Distinguised             Lecture series, Department of Music, University of California, Santa Barbara.

8/28/03

Letting Gesture Through: Reverberation in Movement and Sound, Keynote Address, International                                                              Conference: Music and Gesture, Department of Music, Concert Hall, University of East     Anglia, Norwich, England, 7-8:30 p.m.

5/18/02

Deepening Music Theory Through Movement Research: Its Potential for Performance, Analysis, and Teaching, Keynote Address, Music Theory Midwest Annual Meeting, University of Minnesota, Minneapolis.

10/30/99

Whitman’s When Lilacs Last in the Dooryard Bloom’d, performance and paper, National Meeting of the Semiotic Society of America, Duquesne University, Pittsburgh (with Roger Pierce, Ph.D.).

10/15/98

“Whitman’s Crossing Brooklyn Ferry,” performance and paper, National Meeting of the     Semiotic Society of America, University of Toronto (with Roger Pierce).

10/17/97

From Imagined to Live Spontaneous Gesture in Composing and Performing, lecture-demonstration, National Meeting of the Semiotic Society of America, Louisville, KY.

10/18/96

Playfulness in Musical Performance: as Gestural Quality and as Sound, lecture-demonstration National Meeting of the Semiotic Society of America, Santa Barbara, CA.

11/3/95

Movement as a Model of Performance (with Professor Robert Hatten), lecture-demonstration, National Meeting of the Society for Music Theory, New York City.

10/21/95

From Gesture to Performance (with Robert Hatten), lecture-demonstration, National Meeting of the Semiotic Society of America, San Antonio, Texas.

4/8/95

The Integration of Movement with Performance in the Undergraduate Theory Program of the University of Redlands (with Professor Stephen Moore), demonstration-workshop, West Coast Conference of Music Theory and Analysis, University of British Columbia, Vancouver.

4/16/93

Characterization: An Instance of Developing Music Theory through Kinetic Experience, lecture-demonstration, Northwest Chapter of the College Music Society, University of Oregon, Eugene.

9/2/92

Shaping Music by Shaping Movement, lecture-demonstration, Third International Congress on Musical Signification, University of Edinburgh, Scotland.

7/27/91

Evoking a Client’s Responsibility: Reflections on a Pilgrimage (with Roger Pierce), two-day lecture-workshop, International Meeting of the Rolf Institute, Boulder, CO.

11/2/91

Chair, Session on Rhythm and Meter, National Conference of the Society for Music Theory, Cincinnati.

11/12/88

Character and Characterization in Musical Performance: Effects of Sensory Experience on Meaning, paper delivered at the Second International Congress on Musical Signification, University of Helsinki, Finland.

7/29/88

What Is Feminine about Music Composed by Women?—an exchange of letters with Elaine Barkin, UCLA—Festival on Women in Music, Minneapolis (Repeated on the Joan Halsey Lecture Series, University of Redlands, 5/2/89).

11/85

Organizer and Chair, Roundtable Discussion, "New Directions in Theoretical Research," National Meeting of the Society for Music Theory, Vancouver.

5/84

Reverberation in Music and Movement, Faculty Research Lecture, Memorial Chapel, University of Redlands.

1982

Composer-performer (Seven Waltzes for Emily Dickinson, prepared piano) and panelist, Conference on Women's Music, University of California, Santa Barbara.

3/80

Action and Reaction in Prepared Piano, paper-demonstration, National Meeting of the American Society of University Composers, Memphis State University, Memphis.

3/10/79

Timbre and Texture as They Qualify Time in Prepared Piano, paper-demonstration, Symposium on Time in Music; Rhythm and Percussion: East and West, University of Wisconsin, Milwaukee.

4/79

Education for Touching, Convocation Address, University of Redlands.


Articles by Alexandra and Roger Pierce

1982. “Pain and Healing: for Pianists, I. The  Issues.” The Piano Quarterly 118, 43-47.

1983. “Pain and Healing: for Pianists, II. Reverberation.” The Piano Quarterly 122, 38-40.

1984. “Pain and Healing: for Pianists, III. Sitting Support.” The Piano Quarterly 126, 45-49.