PRESENTATIONS/ PAPERS/WORKSHOPS (SINCE 1993)

' CROSS SECTIONS: IMPROVISATION AND GLOBAL THEMES IN JAZZ Institute on the Pedagogies of World Music Theories, University of Colorado, Boulder, CO

' REASSESSING THE CULTURAL AND MUSICAL LEGACY OF HENRY PURCELL'S DIDO AND AENEAS Co-sponsored by Arts/Humanities Division & Intercultural Affairs, Elms College, Chicopee, MA.

' DESCRIBING MUSIC: CREATING SONIC ENVIRONMENTS AND RITUAL SPACES
' ORDER AND BALANCE IN MUSIC OF THE ANTIQUITY
' HE WHO CONTROLS THE PAST CONTROLS THE FUTURE': HISTORICAL APPROACHES TO MUSICAL STYLE AND BIOGRAPHY
' ALTERITY: CASE STUDIES IN MUSICAL 'OTHERNESS'
' COMMUNAL CREATION: THE RELATIONSHIP BETWEEN COGNITION AND PEDAGOGY
' SAYING SOMETHING: HOW ROCK N' ROLL SHAPED A NEW KIND OF CULTURAL REVOLUTION
Great Composers Colloquia, Elms College, Arts and Humanities Division, Chicopee, Massachusetts

' IMPROVISATION & IDENTITY: DISCOVERING SELF AND COMMUNITY IN A TRANS-CULTURAL AGE
International Society of Improvised Music Conference, Lamont School of Music, University of Denver, CO

^' HOW A DRUM CIRCLE WORKS AT POWWOWS
The Hundredth Monkey Spiritual Center, Wilmington, VT

^' THE WORLD OF MUSIC: HOW CULTURES IMPROVISE
United Theological Seminary of the Twin Cities. Graduate Course: Spirituality & the Arts, New Brighton, MN

' THE SPIRITUAL AND THE MUSIC OF MOTOWN: UNIVERSAL MESSAGES
Sponsored by The United Black Fund of Greater Cleveland and American Legacy Magazine. Ohio Theatre, Playhouse Square. The DuffyLit Ensemble, Rollo Dilworth Conductor. Cleveland, OH

' RESEARCH CONTRIBUTOR, Four Parts, No Waiting: A Social History of American Barbershop Harmony, Gage Averill. American Musicspheres Series. New York: Oxford University Press, 2003 ISBN 0195116720

^' MUSIC AND MEMORY
Southeast Association Colorado Conference, UCC, Colorado Springs, CO

' PIANO JAZZ: IN CONVERSATION AND PERFORMANCE WITH BILL CARTER
Filmed by UCC Ministry of Imagination, Creativity & the Arts, Amistad Chapel, Cleveland, OH

^' DANCING IN THE STREETS: DETROIT AND MY LIFE IN IMPROVISATION
Southeast Association Wisconsin UCC, South Milwaukee, WI

^' DOOR TO THE DIVINE: SOUNDSCAPES IN WORLD RELIGIONS
Conference on Imagination, Creativity and the Arts, UCC New Jersey Association, Central Atlantic Conference, Summit, NJ

^' IMPROVISATION IN THE COMPOSING OF MUSIC
Conference on Imagination, Creativity and the Arts, UCC New Jersey Association, Central Atlantic Conference, Summit, NJ

' NOT THINKING IN JAZZ: MUSICAL & EXTRAMUSICAL METHODS & MATERIALS IN THE WORK OF CONTEMPORARY AFRICAN AMERICAN ARTISTS
[Primary Subjects: Cecil Taylor, Ornette Coleman, Yusef Lateef, and Wadada Leo Smith] Reassessing the Modern, Modernity and Modernism' Twentieth Annual National Conference on Liberal Arts and the Education of Artists. School of Visual Arts, New York, NY

' BLUES SPIRIT: J.C. HANDY'S VIEWS ON ORIGINS OF A MUSIC AS EMOTION, SCALE, AND FORM
Workshop for West Coast Seminarians Forum, National UCC Headquarters, Cleveland, OH

' DANCING WITH THE SPIRITS
Improv Workshop for Central Pacific Conference Spring Assembly of the UCC, Vancouver, WA

+ THELONIOUS MONK IN EUROPE
Colloquium. Department of Music, University of Nebraska, Lincoln, NB

' OLD AND NEW DREAMS: JAZZ STYLES AND PERFORMANCE PRACTICE IN THE POST BOP ERA
UNL student chapter of the International Association of Jazz Educators, Lincoln, NB

^' SWING, SWING, SWING: JAZZ MUSIC, DANCE, AND POETRY (1-6 GRADE)
Black History Month Lecture/Demonstration, St. Thomas Day School, New Haven, CT

' SCHOOL DAZE: WHAT TO LISTEN FOR IN JAZZ (1-6 GRADE), ROMARE BEARDEN DEDICATION
Black History Month Lecture/Demonstration, St. Thomas Day School, New Haven, CT

' THE HILLS ARE ALIVE W/ THE SOUND OF MUSIC: ORGANOLOGY IN THE SPHERE OF FIELDWORK
Introduction to the Arts, Elms College, Arts and Humanities Division, Chicopee, Massachusetts

' THE NATURE OF MUSICAL CHANGE IN ETHNOMUSICOLOGICAL SCHOLARSHIP
Colloquium, presented jointly to the departments of musicology, American studies, and African and Afro-American studies, Brandeis University, Waltham, Massachusetts

' UNIVERSAL BLUES: SEVDAH, SAUDADE, FLAMENCO, BOSSA NOVA, FADO
' FOLK USAGE AND POPULAR MUSIC: CONSIDERING GAETANO VELOSO AND PAUL McCARTNEY
' VERNACULAR USAGE AND POPULAR MUSIC: THE WORK OF THE BROTHERS SABRI AND BALFA
' BETWEEN THE SACRED AND THE SECULAR: HILDEGARD OF BINGEN AND SUSANNA BACA
' COMMERCIAL USAGE AND POPULAR MUSIC: ALICIA KEYS, USHER AND 3 MILLION WEB HITS
Great Composers Colloquia, Elms College, Arts and Humanities Division, Chicopee, Massachusetts

EXPATRIATION, CHOSEN EXILE, AND MUSICAL TRANSCULTURATION: AFRICAN AMERICAN JAZZ AMERICAN MUSICIANS IN EUROPE FROM BECHET TO BRAXTON
Conference sponsored by University of Gloucestershire, in conjunction with the European Blues Association, 2004

AFRICAN AMERICAN AVANT-GARDISM AND NEW JAZZ CRITICISM
International Association of Jazz Educators Conference, New York, New York, 2004

' MODERATOR, America Wins Again: Ken Burns and the Institutionalization of Jazz History.
Symposium on the Music of Makanda Ken McIntyre. New England Conservatory, 2002

' EXODUS TO EUROPE: OVERVIEW OF AFRICAN AMERICAN DISCOGRAPHICAL MOVEMENT OUTSIDE THE U.S.
International Jazz Education Conference,' Re-defining Music: Jazz in Europe,' Leeds College of Music, Leeds, United Kingdom

'^ THEMATIC DEVELOPMENT IN LESTER YOUNG'S SOLO ON "OH, LADY BE GOOD"
Vermont Jazz Center, Brattleboro, Vermont

' THELONIOUS MONK'S COMPOSITIONAL MANIPULATION OF POPULAR SONG FORM
Brattleboro Music School, Brattleboro, Vermont

' THE AFRICAN AMERICAN CONTRIBUTION TO AMERICAN POPULAR SONG
Memorial Hall Center for the Arts, Wilmington, Vermont

+ AFRICAN AMERICAN INNOVATION AND NEW JAZZ CRITICISM
Leeds International Jazz Conference, Leeds College of Music, Leeds, United Kingdom

' 'The Devil's Music:' THE RECEPTION OF JAZZ IN AMERICA
Fine Arts Division, Highline Community College, Seattle, Washington

+ "...we had ideas about Africanizing the 12-tone row":
THE IDIOMATIC TRANSFORMATION OF THELONIOUS MONK'S 'œEPISTROPHY' IN EUROPE
The College Music Society, Northeast Chapter Meeting, Crane School of Music, S.U.N.Y. Potsdam

+ CONCEPTUALIZING THE AVANT-GARDE IN AFRICAN AMERICAN EXPRESSIVE CULTURE
Colloquium, 'œJazz in Europe,' Charles University, Prague, The Czech Republic

' READER/EDITOR, Dixonia: The Bio-Discography of Bill Dixon, Benjamin Young.
Westport, Connecticut: Greenwood Press, 1998

+ THE AFRICAN AMERICAN CONTRIBUTION TO CREATIVE IMPROVISATIONAL MUSIC IN EUROPE: AN ESSAY IN HONOR OF THE 30th ANNIVERSARY OF HOLLAND'S INSTANT COMPOSERS POOL
Colloquium, 5th Guelph Jazz Festival, School of Literatures and Performance Studies in English.

' JAZZ AND THE SEVEN-YEAR ITCH: A CENTURY OF CHANGE
Glendon College, Living and Learning in Retirement/'Performing Arts in Toronto'

+ 'œCULTURE JAZZ:' THE TRANSMISSION AND RECEPTION OF AFRICAN AMERICAN
AVANT-GARDE MUSIC IN EUROPE
Indiana University of Pennsylvania/Sydney Bechet World Music Symposium

+ NOTIONS OF THE NEW: THE INCURSION OF NEW BLACK MUSIC IN EUROPE
University of Michigan/Music and Dance of Africa and the Diaspora

' THE MUSIC OF BILL DIXON AND ANTHONY BRAXTON
York University/Dacary Hall Lecture Series

+ INVENTING THE HERITAGE OF HARMONY: CONSTRUCTIONS OF RACE, ETHNICITY AND NATION IN THE SOCIETY FOR THE PRESERVATION AND ENCOURAGEMENT OF BARBERSHOP QUARTET SINGING IN AMERICA (S.P.E.B.Q.S.A.)
York University, Division of Social Anthropology/'Ethnicity and Nationalism'

+ BLACK MUSIC AS DOUBLE DIASPORA: PRECURSORS TO THE 'œNEW THING'S DISPERSION ABROAD
Sorbonne, University of Paris/Conference on the Legacy of African American Music in Europe
(co-sponsored by The University of Paris and Harvard University)

+ 'œI want them to be clear shapes with a life of their own:'
ON JUDITH DUNN AND THE BLACK CONTRIBUTION TO MODERN AMERICAN DANCE
Pomona College/Black Music and Dance Conference: An Integrated Approach

+ JAZZ IN SOUTH AFRICA: MARABI STYLE AND ITS JAZZ ANTECEDENTS
York University Graduate Music Program/'African Music'

+ THE SEMIOTICS OF ALBUM COVER ART: ESPERANTO RECORDS AND THE NEW JAZZ
York University Graduate Music Program/'Problems and Methods'

+ THE OCTOBER REVOLUTION IN JAZZ: CRITICAL REACTION TO THE 'œNEW THING'
Wesleyan University World Music Colloquium

+ THEORIES OF ETHNICITY AND ETHNIC CONTENT IN BARBERSHOP SINGING
Wesleyan University Ethnomusicology Colloquium

+ MUSIC AS NIHILISM/MUSIC AS SECESSIONISM/MUSIC AS
BLACK REVOLUTIONARY NATIONALISM
Wesleyan University Graduate Studies Program/'Sixties Movements'

+ SHIFTING MODERNIST IMPULSES IN JAZZ
Wesleyan University Program in Intercultural Studies

+ THEORIES OF AKAN IN AFRICAN AMERICAN EXPRESSIVE CULTURE
Wesleyan University Program in Intercultural Studies

' SURVEY OF DEVELOPMENTS IN MODERN JAZZ
Bennington College Music Division/'The Music of Bill Dixon'

' READER/EDITOR, The Musical World of Anthony Braxton, Michael Heffley.
Westport, Connecticut: Greenwood Press, 1996

' TRANSCRIBER, Saxophone Styles, David Bond. Masters Thesis, Tufts University, 1995
Musical transcription of solos by Coleman Hawkins, Lester Young, and Ornette Coleman

' FRAMING THE REVOLUTION: THE OCTOBER REVOLUTION IN JAZZ
Produced for WESU Radio, Middletown, Connecticut/'Crosscurrents'

' AESTHETIC CONVERGENCE: BLACK MUSICAL VANGUARDISM AND THE GENESIS OF CREATIVE IMPROVISATIONAL MUSIC IN EUROPE
Produced for WCRT Radio, Toronto, Ontario/'Global Music Perspectives