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Philip Lambert
Position: Professor, Baruch College and the Graduate Center
Campus Affiliation: Baruch College|CUNY Graduate Center
Degrees/Diplomas: PhD, Eastman
Research Interests: post-tonal theory; popular music; musical theater

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).



To Broadway, To Life! The Musical Theater of Bock and Harnick. Oxford and New York:  Oxford University Press, 2010.

Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. New York: Co
ntinuum, 2007.

The Music of Charles Ives
. New Haven: Yale University Press, 1997.

Ives Studies (editor). Cambrige: 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.