Michael T. Lively, Ph.D.
Beethoven, Op. 127, Mvt. II, Theme
Sketch Fragment from the ARTARIA 206 Manuscript
Transcribed by Michael Lively
Performed by the Escher String Quartet
Southern Methodist University- April 20, 2016
Beethoven, Op. 127, Mvt. II, Variation 3
Sketch Fragment from the ARTARIA 206 Manuscript
Transcribed by Michael Lively
Performed by the Escher String Quartet
Southern Methodist University- April 20, 2016
“Social Emotional Learning and the Impact of the Covid-19 Pandemic on Music Theory Instruction”
South Central Regional Conference of the College Music Society.
Fort Smith, Arkansas- March 14, 2024.
“Multi-Linear Continuity and ‘Songs to the Dark Virgin’ by Florence Price.”
South Central Regional Conference of the College Music Society.
Ada, Oklahoma- March 12, 2022.
“A Proposal to Revise the Forte Chart.”
South Central Regional Conference of the College Music Society.
University of Central Arkansas- March 12, 2020.
“Story, Discourse, and the Rhetoric of Musicological Narrativity.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
Fort Worth, Texas- October 5, 2019.
“Gesualdo’s Moro lasso and the Freudian Repetition Compulsion.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
McKinney, Texas- April 7, 2018.
“Developing Variation and Structural Voice-Leading in Gesualdo’s Moro lasso.”
South Central Regional Conference of the College Music Society.
Durant, Oklahoma- March 17, 2018.
“Critical Thinking and the Pedagogy of Music Theory.”
South Central Regional Conference of the College Music Society.
Henderson State University- March 31, 2017.
“Multi-Linear Continuity, Musical Perception, and Renaissance Poly-Modality.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
Trinity University- April 2, 2016.
“A Multi-Linear Approach to Lewin’s Morgengruß.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
University of North Texas- April 11, 2015.
“Multi-Linear Continuity and David Lewin’s Analysis of Morgengruß.”
South Central Regional Conference of the College Music Society.
Tahlequah, Oklahoma- March 12, 2015.
“The Narrative Persona and the Nineteenth-Century Solo Concerto: An Analytical Study of Stylistic Competency and the Troping of Temporality.”
Southwest Regional Conference of the American Musicological Society (AMS-SW).
Rice University- October 5, 2013.
“‘Because True Nature Always Finds Its Principles in Art’: Non-Linear and Multi-Linear Continuity in the Second Movement of Beethoven’s Opus 127.”
South Central Regional Conference of the College Music Society.
Little Rock, Arkansas- March 5, 2011.
“Johannes Brahms and the Paratext of the Schumann ‘Clara’ Cipher.”
Schumann Perpectives: A View Across the Disciplines.
Texas Tech University- September 30, 2006.
“Hindemith, Schenker, and the University of North Texas: Early Comparative Studies Supervised by Robert W. Ottman During the Mid 1950s.”
Annual Conference of the Texas Society for Music Theory.
University of North Texas- February 25, 2006.
“D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material.”
South Central Regional Conference of the College Music Society.
University of Oklahoma- March 10, 2005.
“The Narrative in Hector Berlioz’s Harold in Italy.”
International Berlioz Bi-Centennial Symposium.
University of North Texas- November 11, 2003.
“D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material.”
Master’s Thesis, University of North Texas (2001).
[full text]
“Non-Linear and Multi-Linear Time in Beethoven’s Opus 127: An Analysis of the ‘Krakow’ Sketch Materials.”
Ph.D. Dissertation, University of North Texas, 2010.
[full text]
Peer-Reviewed Journal Articles
“Multi-Linear Continuity and ‘Songs to the Dark Virgin’ by Florence Price."
College Music Symposium 63 (2023)
“Gesualdo’s Moro lasso and the Freudian Repetition Compulsion.”
Gamut: Journal of the Music Theory Society of the Mid-Atlantic 9 (2020).
“Teaching Materials and Strategies for the AP Music Theory Exam.”
Music Educators Journal 104 (September 2017): 47-54.
“The Development, Implementation, and Supervision of Online Music Theory Courses.”
College Music Symposium 56 (2016).
[full text]
“Critical Thinking and the Pedagogy of Music Theory.”
Inquiry 30 (2015): 59-68.
[full text]
“Hindemith, Schenker, and the University of North Texas: Early Comparative Studies Supervised by Robert W. Ottman During the Mid 1950s.”
South Central Music Bulletin 6 (2007): 4-10.
[full text]
“D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material.”
Journal of Music Theory Pedagogy 19 (2005): 77-100.
[full text]
Conference Proceedings
“Gesualdo’s Moro lasso and the Freudian Repetition Compulsion.”
American Musicological Society Southwest Chapter Conference Proceedings 7 (2018).
[full text]
“Multi-Linear Continuity, Musical Perception, and Renaissance Poly-Modality.”
American Musicological Society Southwest Chapter Conference Proceedings 5 (2016).
[full text]
“The Narrative Persona and the Nineteenth-Century Solo Concerto: An Analytical Study of Stylistic Competency and the Troping of Temporality.”
American Musicological Society Southwest Chapter Conference Proceedings 3 (2013).
[full text]
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