PUBLISHED ARTICLES WILLIAM P. DOUGHERTY SCHOLARLY ACTIVITIES Semeiosis in a Schubert Song. Chinese Journal of Semiotics. In press. What are Signs in Song?: A Guess at the Riddle. Semiotike, special edition on Peirce and music. Edited by Maciej Jablonski. In press. Ein unregelmäßiges Duett : The Duet Settings of Nur wer die Senhsucht kennt. In Music: Function and Value, II: 204-13. Edited by Teresa Malecka and Margorzata Pawlowska. Kraków: Akademia Muzyczna w Krakowie and Musica Iagellonica, 2013. Signs in Song: A Peircean Analysis of a Schubert Lied. In Semiotics 2011, 308-15. Edited by John Deely, Terry Prewitt, and Karen Haworth. Lantham, MD: University Press of America, 2012. Cycling Song: The Wilhelm Meister Collections. In Musical Semiotics: A Network of Significations in Honor and Memory of Raymond Monelle, pp. 73-85. Edited by Esti Sheinberg. Aldershot: Ashgate Press, 2012. Review of David Lidov, Is Language a Music?. Music Theory Spectrum 31, no. 2 (Fall 2009): 372-8. Interpreting Interpretation: Janáček s String Quartet No. 1. In Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis, pp. 105-18. Edited by Siglind Bruhn. Hillsdale, NY: Pendragon Press, 2008. Longing for Longing: Song as Transmutation. In Essays on Word/Music Adaptation and on Surveying the Field, pp. 161-75. Edited by David Urrows. Amsterdam and New York: Rodopi, 2008. Mignon in 19 th -Century Song: Text, Context, and Intertext. In Word and Music Studies: Essays in Honor of Steven Paul Scher and on Cultural Identity and the Musical Stage, pp. 123-41. Edited by Suzanne M. Lodato, Suzanne Aspden, and Walter Bernhart. Amsterdam and New York: Rodopi, 2002. Mixture, Song, and Semeiotic. In Music and Signs: Semiotic and Cognitive Studies in Music, pp. 368-78. Edited by Ioannis Zannos. Bratislava: ASCO Art and Science, 1999. A local habitation : Creativity, Semeiotic, and Music Composition. In Semiotics 1997. Edited by William Spinks and John Deely. Bloomington: Indiana University Press, 1998.
Musical Semiotics: A Peircean Perspective. In Musical Significans, a special issue of Contemporary Music Review, Vol. 16, part 4, pp. 29-39. Edited by Raymond Monelle. Amsterdam: Harwood Academic Publishers, 1997. The Quest for Interpretants: Toward a Peircean Paradigm for Musical Semiotics. Semiotica 99/1-2 (1994), 163-84. The Play of Interpretants: A Peircean Approach to Beethoven s Lieder. In The Peirce Seminar Papers: An Annual of Semiotic Analysis, Vol. I, pp. 67-95. Edited by Michael Shapiro. Oxford: Berg, 1993. On Musical Semiotics: The Role of Directional References in Musical Signification. In Semiotics 1990, pp. 3-12. Edited by Terry Prewitt, John Deely, and Karen Haworth. Lanham, MD: University Press of America, 1991. Reading Beethoven s Readings: Toward a Semiotics of Song. In Semiotics 1988, pp. 57-65. Edited by Terry Prewitt, John Deely, and Karen Haworth. New York: University Press of America, 1989. The Significance of Silence in the String Quartets of Beethoven. The Journal of the Graduate Music Students at The Ohio State University 7 (1981), 19-45. PRESENTATIONS Rubinstein s Mélange: A Wilhelm Meister Cycle. Paper presented to a conference honoring the memory of Raymond Monelle, University of Edinburgh, Scotland, August 2012. Signs in Song: A Peircean Analysis of a Schubert Lied. Paper presented to the Semiotic Society of America National Meeting. Pittsburgh, October 2011. Ein unregelmäßiges Duett : The Duet Setting of Nur wer die Senhsucht kennt. Paper presented to the Eleventh International Congress on Musical Signification. Krakow, Poland. October 2010. by knowing which, we know something more. Paper presented to the Semiotic Society of America National Meeting, Houston, October 2008. Interpeting Interpretation: Janácek s String Quartet No. 1. Paper presented to the International Musicological Society in a special session devoted to Musical Ekphrasis. Zurich, Switzerland. July 2007. Lamenting Longing: Song as Transmutation. Paper presented to the International Word and Music Association. Santa Barbara. August 2005.
Sehnsucht nach Sehnsucht: Song and Semeiotic. Paper presented to the Eighth International Congress on Musical Signification. Paris, France. October 2004. Semeiosis in a Schubert Song. Paper presented to the Semiotic Society of America National Meeting. Toronto, October 2001. Mignon in 19 th -Century Lieder: From Text to Context to Intertext. Paper presented to the International Word and Music Association. Sydney, Australia. July 2001. The Mignon Figure Across 19 th -Century Song. Paper presented to the Seventh International Congress on Musical Signification, Imatra, Finland, June 2001. The Power That Transforms: Settings of Mignon s Requiem. Paper presented to the Semiotic Society of America National Meeting. Pittsburgh, October 1999. The Mignon Archetype in 19th-Century Lieder. Paper presented to the Sixth International Congress on Musical Signification. Aix-en-Provence, France, December 1998. To (Un)Know Mignon: Forgotten Settings of Kennst du das Land. Paper presented to the Semiotic Society of America National Meeting. Toronto, October 1998. Mixture, Song, and Semeiotic. Paper presented to Fifth International Symposium on Systematic and Comparative Musicology: Music and Signs. Berlin, Germany, October 1997. A local habitation : Creativity, Semeiotic, and Music Composition. Paper presented to the Semiotic Society of America National Meeting. Louisville, October 1997. This paper was presented in conjunction with a plenary session that included a taped performance of my Awakenings for orchestra. Song as Semeiotic. Paper presented to the Fifth International Congress on Musical Signification, Bologna, Italy, November, 1996. So laßt mich scheinen : Mignon in 19th-Century Song. Paper presented to the Semiotic Society of America National Meeting. Santa Barbara, October 1996. Mixture as a Sign in a Schubert Song. Paper presented to the Society of Music Theory National Meeting. New York City, November 1995. The Art Song Considered as Semeiotic Paper presented to the Semiotic Society of America National Meeting. San Antonio, October 1995. 1-2- (b) 3: Mixture as a Musical Sign. Paper presented to the Semiotic Society of America National Meeting. St. Louis, October 1993.
Die bildende Kraft: Beethoven s and Schubert s Settings of Mignon s Poems from Wilhelm Meisters Lehrjahre. Paper presented to the Semiotic Society of America National Meeting. Chicago, November 1992. Pursuing Interpretants: Toward a Peircean Semiotics of Music. Paper presented to the Society of Music Theory National Meeting. Kansas City, October 1992. Musical Semiotics: A Peircean Perspective. Paper presented at the Third International Congress on Musical Signification. Edinburgh, Scotland, September 1992. The Play of Interpretants: Beethoven s Lieder as Semiotic. Paper presented to the Society of Music Theory National Meeting. Cincinnati, November 1991. A Peircean Perspective on the Lied. Paper presented to the Semiotic Society of America National Meeting. College Park, Maryland, October 1991. Convergences, Compromises, and Confrontations: The Art Song as Interdisciplinary Sign. Paper presented to the College Music Society, Northeast Chapter, Bates College, April 1991. The Composer s Relationship to the Text: A Semiotic Perspective. Paper presented to the Semiotic Society of America National Meeting and the Oklahoma Project of Discourse and Theory Conference on Crossing the Disciplines: Cultural Studies in the 1990s, University of Oklahoma, October 1990. This paper was part of a special session devoted to the art song that used my song Dolmen as the analytic centerpiece. On Musical Semiotics: The Role of Directional References in Musical Signification. Paper presented to the Semiotic Society of America National Meeting and the Oklahoma Project of Discourse and Theory Conference on Crossing the Disciplines: Cultural Studies in the 1990s, University of Oklahoma, October, 1990. Mirrors from a Vast Pool: Debussy s and Ravel s Setting of Mallarmé s Soupir. Coauthored with Claudia Stanger. Paper presented to the American Comparative Literature Association National Meeting, Pennsylvania State University, March 1990. One through Two to Ten: Beethoven s and Schubert s Settings of Goethe s Nur wer die Sehnsucht kennt. Paper presented to the College Music Society National Meeting, St. Louis, October 1989. Narrative (W)Holes in Britten s Spring Symphony. Co-authored with Claudia Stanger. Paper presented to the American Comparative Literature Association National Meeting, Brandeis University, March 1989.
Reading Beethoven s Readings: Toward a Semiotics of Song. Paper presented to the Semiotic Society of America National Meeting, Cincinnati, October 1988. The Composer as Reader: Beethoven s Multiple Text Settings. Paper presented to the Central Midwest Theory Society, University of Iowa, May 1988. Poetry s Signifying Potential: Musical Setting as Structural Analysis. Co-authored with Claudia Stanger. Paper presented to the Northeast Modern Language Association, Boston, April 1987. BOOK REVIEWS FOR CHOICE (The Review Journal of The American Library Association) Review of Beethoven by William Kinderman. Choice 33, No. 5 (January 1996). Review of The Beethoven Quartet Companion edited by Robert Winter and Robert Martin. Choice 32, No 6 (February 1995). Review of Beethoven s Sonatas and the Creative Experience by Kenneth Drake. Choice 32, No. 4 (December 1994). Review of The Style Hongrois in the Music of Western Europe by Jonathan Bellman. Choice 32, No. 1 (September 1994). Review of Ole Bull: Norway s Romantic Musician and Cosmopolitan Patriot by Einar Haugen and Camilla Cai. Choice 31, No. 4 (December 1993). Review of Beethoven s Ninth Symphony by Heinrich Schenker, translated by John Rothgeb. Choice 30, No. 7 (March 1993). Review of Beethoven s Compositional Process edited by William Kinderman. Choice 30, No. 2 (October 1992). Review of Ludwig van Beethoven: Approaches to His Music by Carl Dahlhaus. Choice 29, No. 8 (April 1992). Review of Brahms and His World edited by Walter Frisch. Choice 28, No. 8 (April 1991). Review of Stravinsky: The Music Box and the Nightingale by Daniel Albright. Choice 28, No. 5 (January 1991). Review of A Commonsense View of All Music : Reflections on Percy Grainger s Contribution to Ethnomusicology and Music Education by John Blacking. Choice 26, No. 2 (October 1988). Review of Tchaikovsky s Musical Style by Henry Zajaczkowski. Choice 25, No. 8 (April 1988). Review of New Sounds: A Listener s Guide to New Music by John Schaefer. Choice 25, No. 5 (January 1988). Review of The Changing Image of Beethoven: A Study in Mythmaking by Alessandra Comini. Choice 25, No. 3 (November 1987). Review of Source Book of Proposed Music Notation Reforms by Gardner Read. Choice 25, No. 1 (September 1987).
Review of Beethoven s Critics: Aesthetic Dilemmas and Resolutions during the Composer s Lifetime by Robin Wallace. Choice 24, Nos. 11/12 (July-August 1987).