Is Language a Music? and Other Writings on the Semiotics of Music, Indiana University Press, 2004.
Elements of Semiotics, St. Martin’s Press, NYC, 1999.
(B) Chapters in Books:
“Reflections on musical topics and musical character in performance,” in Music Semiotics: A Network of Significations. [Essays in honor and memory of Raymond Monelle.] Esti Sheinberg, ed., Ashgate, 2012.
“Emotive Gesture in Music and its Contraries,” Chapter 2 in Anthony Gritten and Elaine King, eds., Music and Gesture. Ashgate, 2006
Entry on “Semiotics of Music” for the Encyclopedic Dictionary of Semiotics (McMillan and Indiana University Press)
“The Lamento di Tristano” Chapter 4 in Mark Everist, ed., Models of Musical Analysis, Vol. I, Music before 1600. Blackwell, 1992, pp. 66-92.
Entries on “Sign,” “Aesthetics,” “Articulation,” “Semiosis,” “Betrand Russell,” “Nattiez” and “Clynes” for the Encyclopedia of Semotics and Cultural Studies, Paul Bouissac, gen. ed. Oxford Press, New York. 1998
“Coordination of Microstructure and Macrostructure,” in A Festschrift for Manfred Clynes, Martha Mills, Danielle Williams, eds., 1999. MMB Music, Saint Louis, MO.
(C) Papers in Refereed Journals
“Resisting Representation” 2001. Ex Tempore, Vol. X/2, pp 16-38.
“Musical Semiotics–Science, Letters, or Art?” 1998. Integral, Vol. 10, 1996. 10, pp125-145.
“Mind and Body in Music” Semiotica, 1987. 66-1/3 (1987) 70-97.
“The Allegretto of Beethoven’s Seventh” American Journal of Semiotics, Vol.1, No.1-2, 1981, pp.142-65.
“Describing a Signified for music” Semiotic Inquiry, Vol.1, No.2, 1981.
“Technique and Signification in the Twelve-Tone Method,” Degrés, VII:18, 1979, pp.C1-9. Also in The Sign in Music and Literature, Univ. of Texas, 1980.
“Structure and Function in Musical Repetition,” CAUSM Journal, Vol.VIII, No.1, 1979, pp.1-32.
“Nattiez’s Semiotics of Music,” Canadian Journal of Research in Semiotics, Vol.V, No.2, 1978, pp.13-54.
“A Melody Writing Algorithm Using a Formal Language Model” (with J. Gabura), Computers in the Humanities IV-314, 1973, pp. 138-48. (Also in French translation by Latraverse and Nattiez,
in 1975, above.)
“Freedom and Responsibility in Musical Interpretation,” Canadian Music Book, 1974.
“Musical and Verbal Semantics” Semiotica, XXXI-3/4, 369-391.
(D) Papers in Refereed Conference Proceedings
2005. “Repairing Errors in the Musical Theory of Meter” in C. Brüstle, N. Ghattas, C. Risi, S. Schouten (Hg.) Aus dem Takt: Rhythmus in Kunst, Kultur und Natur. (Transcript Verlag Bielefeld, Germany)
“Our Time with the Druids: What and how we can recuperate from our obsessions with tree diagrams and other segmental hierarchies” Proceedings of the Third International Congress on Musical Semiotics, In Contemporary Music Review, Vol. 16, Part 4, pp1-28 1997. Harwood Academic Publishers, U.K.
“La mesure musicale: mesure de notation et mesure d’audition.” In Les Universaux en musicique: Actes du 4e Congrès international sur la signification musicale, pp629-634 Paris, 1994. Publications de la Sorbonne, Paris. 1999.
“Toward a reinterpretation of compositional theory.” pp. 11-26 in Eero Tarasti, ed., Musical Signification: Essays in the semiotic theory and analysis of Music. Mouton de Gruyter, Berlin, 1995.
“A Sign Theory of Consciousness” Semiotic Society of America, Chicago, October, Semiotics 1992.
“Semiotics and the Fine Arts in the Liberal Arts Curriculum” Semiotic Society of America, Semiotics 1991.
“Inventing Languages” in Resonant Intervals: Interdisciplinary Perspectives in Music, Tim Buell, ed. (Articles based on Keynote Addresses at the Resonant Interval Conference, Calgary, 1990) In Preparation.
“Locke’s Formula and the Scope of Semiotics”, Semiotics 1988, Prewitt, Deely and Hayworth, eds., Univ. Press of America, New York, 1989, pp.173-9.
“A Doctrine of Autonomy in Signs,” Semiotics 1982, Deely, Evans, eds., pp. 567-76; Semiotic Society of America, 1988.
“Mimesis in Music,” Semiotics, 1987.
“Syntactic Strata in Music,” International Association for Semiotic Studies, Milan, 1974. In A Semiotic Landscape, Mouton, (1979).
“Between Insight and Explanation,” Linguistic Association of Canada and the United States, Toronto, 1975. LACUS Forum, No.2, pp.619-626.
(E) Technical Reports
“Biological, cultural and formal factors in Music.” (mimeo) 1993. (Paper read to American Association for the Advancement of Science, Boston, 1993.
“Experiments with Clynes’ Sentograph” (mimeo) 1991.
Musical Structure and Musical Significance–I (Working Paper). Toronto Semiotic Circle Monograph series (70 pp. mimeo), 1980, University of Victoria in the University of Toronto.
On the Musical Phrase, No.1 in Monographies de semiologie et d’analyses musicales, Faculte de Musique, University of Montreal, 1975, 100pp.
2008. Review of Alexandra Pierce, Deepening Musical Performance through Movement, in Open Space, 10:108-13. Fall, 2008.
2007. Review of David Noble, Beyond the Promised Land, in Review of Radical Political Economics, 39:4 p613-15. Fall 2007.
Preface to Naomi Cumming, The Sonic Self, Indianna University Press, sched. 2000.
“Why Read Deeley?” Preface to John Deely, “How does Semiosis Effect Renvoi?”, Thomas A. Sebeok Fellowship Lecture, American Journal of Semiotics, XI 1-2:3-7 (1994).
Preface to Hatten, Musical Meaning in Beethoven, Indiana University Press, 1994.
“A Guidebook for Musical Semiotics,” Review of Monelle, Linguistics and Semiotics in Musicology, Semiotic Review of Books. V.1:2-3, Jan., 1994.
“Cross Talk,” Editorial review of Varela, Thompson and Rosch, The Embodied Mind: Cognitive Science and Human Experience. Semiotic Review of Books, III 3:1-2, Sept. 1992.
“Timely Lessons from the Music Studio”. Review of Jonathon Kramer, The Time of Music, in Semiotic Review of Books p3-4; I.3, 1990
with Gaynor Jones, “A comparison of poeticity in two settings by Brahms of `Erlaube mir feins madchen,'” 1981. unpublished ms.
Review of Semiotics of Art, Prague School Contributions, Matejka and Titunik, eds., RACAR IV; 2, 1977, pp.117-18.
“Towards a Universal Musicology” Review of Nattiez, Music and Discourse, in Semiotic Review of Books, In press.
“Music and Consciousness” in Semiotics as a Bridge Between the Humanities and the Sciences. Peron, Sbrocchi, Colilli, Danesi, editors. 2001. Legas (ottawa).
with Helen Hall, “The Resonant Intervals Conference”, Musicworks, No. 25.
Recent Lectures and Presentations. (Excluding Musical Concerts)
“Against ‘Music Semiotic’ ” Princeton University, Oct. 2012.
“For Rumi” Song cycle and commentary. Presented to special session of the Semiotic Society of America, Houston, Oct. 2008.
“General Semiotics, Music, and Some Problems in Philosophy – A view from the Studio.” Colloquium for the Department of Musicology, University of Göttingen, Germany, June, 2008.
“Thinking Curves: Cognitive models for emotion expression with some remarks on the music video, “Yes We Can” of Will-I-Am. Colloquium for the Institute for Languages of Emotion, Frie Universität, Berlin. May, 2008.
“Liszt’s ‘Bagatelle ohne Tonart’”. School of Music, Barcelona, May, 2007
“Some Remarks on the Sonata for Piano, Op.90, of Beethoven with regard to theories of representation.” Keynote Address to Graduate Students Biennial Symposium, Indiana University, Feb. 2006.
“Representations of the Body in Music.” Public lecture in the series, Thinking About Music, Cincinatti College and Coservatory of Music, October, 2005.
Performance of Sonatas with no Style and Trinkets (with Patricia Wait, clarinet) at York University, Sept., 2005 and Cincinatti College Conservatory of Music, Oct. 2005.
“Errors in the Theory of Meter” to the conference on “Rhythm as Process” at the Free University of Berlin, May, 2004.
Tour of lectures on musical semiotics and performances of my piano compositons at Memorial University, Newfoundland; the National University, Mexico City, University of Vera Cruz in Xalappa, Mexico, the University of Durham in England, the University of Freiberg in Germany, the Orpheus Institute in Ghent, the University of Leipzig, the Technical University of Berlin, Eastern Mediterranean University of North Cyprus. 2003-4
“Musical Signification in General Semiotics” to the conference on “Musical Experiences and Values” Free University of Berlin, June, 2004
“Gesture in Music and its Contraries.” Keynote address to the Norwich conference on Music and Gesture, Norwich, England, 2003.
“Why We Still Need Pierce.” International Musicological Society, Leuven, Belgium, August, 2002.
“The Project of Abstraction and the Persistence of the Figure in Twentieth Century Music and Painting” International Congress on Musical Signification, Imatra, Finland, 2001.
also Participant in Roundtable on Current theories of Musical Semiotics, ICMS as above.
“Genuine and False Problems in Theories of Musical Representation: A Semiotic Perspective” to interdisciplinary panel, MUSIC 2000 meeting in Toronto November, 2000.
“The Phenomenon of Sound in Music”. Semiotic Society of America, October, 1999, Pittsburgh.
“Song as Monument: Dr. Beverly St. Marie’s ‘Bury My Heart at Wounded Knee’” International Congress on Musical Signification, Bologna, 1996.