Faculty: Theory/Analysis
Philip Lambert
Professor, Baruch College and the Graduate Center
(PhD, Eastman)
Department of Fine and Performing Arts
Baruch College
55 Lexington Avenue
New York, NY 10010
philip.lambert@baruch.cuny.edu
Philip Lambert specializes in music since 1900, with research
interests that include the music of Charles Ives, theories of musical
transformation such as those pioneered by David Lewin, popular music, and
the musical theater. He was editor of Theory & Practice volumes 19-21
(1994-1996), and Music Theory Spectrum volumes 20-22 (1998-2000).
REPRESENTATIVE PUBLICATIONS:
Books:
Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the
Beach Boys' Founding Genius. Continuum, 2007.
The Music of Charles Ives. Yale University Press, 1997.
Ives Studies (editor). Cambridge University Press, 1997.
Papers in Professional Journals:
"Brian Wilson's Pet Sounds." Twentieth-Century Music 5/1 (2008):
109-133.
"Isographies and Some Klumpenhouwer Networks They Involve." Music Theory
Spectrum 24/2 (2002): 165-195.
"On Contextual Transformations." Perspectives of New Music 38/1 (2000):
45-76.
"Berg's Path to Twelve-Note Composition: Aggregate Construction and Association in
the Chamber Concerto." Music Analysis 12/3 (1993): 321-42.
"Toward a Theory of Chord Structure for the Music of Ives." Journal of Music
Theory 37/1 (1993): 55-83.
"Ives and Counterpoint." American Music 9/2 (1991): 119-48.
"Another View of Chromâtimelôdtune." Journal of Musicological Research
11 (1991): 237-62.
"Aggregate Structures in Music of Charles Ives." Journal of Music Theory 34/1
(1990): 29-55.
"Interval Cycles as Compositional Resources in the Music of Charles Ives." Music
Theory Spectrum 12/1 (1990): 43-82.
"Ives's 'Piano-Drum' Chords." Intégral 3 (1989): 1-36.
"Eighteenth-Century Harmonic Theory in Concept and Practice: Kollmann's Analysis of
J. S. Bach's Chromatic Fantasy." In Theory Only 8/3 (1984): 11-29.
Chapters in Book:
"Charles Ives and His Universe Symphony." In Posthumous
Collaborations: Essays About Completions of Unfinished Compositions, ed. James L.
Zychowicz (Bloomington: Indiana University Press, in press).
"Ives's Universe." In Ives Studies, ed. Philip Lambert
(Cambridge University Press, 1997), 233-59.
"Ives and Berg: 'Normative' Procedures and Post-Tonal Alternatives." In A
Continuing Spirit: Charles Ives and the Classical Tradition, ed. Geoffrey Block and
J. Peter Burkholder (Yale University Press, 1996), 105-30.
Book or Music Reviews:
James Crabb and Geir Draugsvoll, Duos for Classical Accordions. In Free-Reed
Journal 1(1999): 53-57.
David Lewin, Musical Form and Transformation. In Music Theory Spectrum
16/2 (1994): 276-85.
Stuart Feder, Charles Ives, "My Father's Song": A Psychoanalytic Biography,
and Larry Starr, A Union of Diversities: Style and Substance in the Music of Charles
Ives. In Newsletter of the Institute for Studies in American Music 22/1
(Fall 1992): 5.
Joel Lester, Analytic Approaches to Twentieth-Century Music. In Theory and
Practice 14-15 (1989-90): 209-15.
Charles Ives, Three Improvisations for piano and The Unanswered Question.
In Notes 44 (1987): 352-55.
