classical music reviews for the Wall Street Journal; a column in the NewMusicBox webzine; writing for many other places, including Symphony magazine, the publication of the American Symphony Orchestra League

composer, resuming my career after a long hiatus, with a new opera (my fifth) in progress, along with other works

consultant for the Philadelphia Orchestra, working on special projects to be announced; I've also worked with the St. Louis Symphony and the Philadelphia Orchestra, writing marketing copy for their season brochures that describes the music at each concert; I'm about to do the same for the Pittsburgh Symphony

member of the Graduate Studies faculty at Juilliard, teaching two courses -- "Music Criticism" and "Classical Music in an Age of Pop." My detailed account of how I teach that second course appeared in the Journal of Popular Music Studies (Volume 9-10, 1997-1998), published by the U.S. branch of the International Association for the Study of Popular Music.

consulting, public speaking, radio broadcasts, chairman of panel discussions for a variety of organizations, including Lincoln Center, the Cleveland Orchestra, the St. Louis Symphony, the Rock and Roll Hall of Fame, the Mellon Foundation, Opera America, the American Symphony Orchestra League (I've spoken at their national conference in each for the past four years, and one year did an all-day workshop on how to talk about music), the Scottsdale Center for the Arts, the Voice of America, New York Kids (a New York radio show, on which I taught kids to be music critics) and the New York State Council on the Arts

Los Angeles Herald-Examiner: chief pop music critic (January 1988 to closing of paper in November1989)

Village Voice: columnist on new and experimental classical music (biweekly 1980-81; weekly 1982-85); monthly column on standard classical music (1985-86)

Wall Street Journal: frequent articles about classical music for "Leisure and the Arts" page (1982-86)

Vanity Fair (from about the third issue to the advent of Tina Brown): classical music critic; reviews of classical records, critical commentary on upcoming events

regular columns or commentary for Minnesota Public Radio, Keynote, Saturday Review, Canadian Broadcasting Company

on-air commentary as one of WNYC-FM's "New York Voices"

freelance articles and reviews for Rolling Stone, Spin, the Los Angeles Times, Opera News, the Village Voice, Vogue, Details, Opera News, Artforum, Ovation, Musician, The Opera Quarterly, Connoisseur, Diversion, High Fidelity, Heavy Metal, The Absolute Sound, and many other publications; essays for the Metropolitan Opera, Next Wave Festival, New Music America, the Juilliard American Opera Center, and the Expo '86 world's fair; liner notes for CBS and Nonesuch Records; many radio and TV appearances

University of Minnesota: Visiting Lecturer in Musicology, teaching two graduate courses: "American Music Since 1945," about the postwar development of rock, pop, jazz, Broadway, and classical music, and "Music as Political Discourse," analysis of the implicit politics of a variety of musical idioms (spring quarter, 1988)

Center for Arts Criticism, St. Paul, MN: leader, intensive three-day workshop for music critics (1987)

Yale University: Lecturer, teaching undergraduate courses in opera and orchestration, and giving private lessons in composition (1972-74)

scholarly articles on Philip Glass, Meredith Monk, and other composers for The New Grove Dictionary of American Music

editor, articles on contemporary classical music for Minnesota Composers Forum newsletter (1987)

wrap-up speaker, conference on music and society (University of Minnesota, 1985); international conference on music and drama (Toronto, 1984)

two-week speaking tour of Japan as representative of American Embassy and United States Information Agency (1984)

lecturer, participant in, or chairman of panel discussions at conferences and other events sponsored by New York Philharmonic, Aspen Music Festival, New Music Seminar, Foundations Forum (annual hard rock and heavy metal conference), American Music Theater Festival, University of Wisconsin, Opera Colorado, Walker Arts Center, Music Critics' Association, New York City Opera Guild, Pre-Philharmonic Lecture Society, Music From Japan, New Museum, Richard Wagner Society, New Haven Symphony Orchestra, Dance Critics' Association, Eastman School of Music, American Symphony Orchestra League, Center for Communications

Grammy Award show: special consultant to producer Pierre Cossette (1989)

National Endowment for the Arts: helped determine and implement national funding policy for opera and musical theater as member of the New American Works and Overview panels of the Opera-Musical Theater program, and as member of pre-panel for composers' grants from the Music Program; on-site evaluations of artistic and administrative capabilities of opera and music-theater producers (1983-86)

National Institute for Music Theater: chairman of National Artistic Advisory Committee meeting in which Institute's programs were entirely revamped; chairman, Composer-Librettist Workshop panel; member and chairman, Awards Panel; seminar coordinator, colloquium on "Strategies for Artistic Growth" (1983-86)

consultant for radio station WNCN, developing general-interest cultural magazine for possible publication by station (1986-7)

dramaturg, Eugene O'Neill Theater Center, Music-Theater Conference (1985)

New York State Council on the Arts: Arts Program Analyst, Music Program; evaluated artistic and administrative capabilities of large and small New York State musical organizations, recommended funding from annual Music Program budget of approximately $5 million, organized and chaired conference of New York State Opera Companies (1976-1979)

consultant and/or panelist (helping plan policy and to decide on or evaluate grants for composers, performers, and institutions) for Exxon Corporation, Minnesota Composers Forum, Illinois Arts Council, Massachusetts Arts Council, Office of the Borough President of Manhattan, National Public Radio, Martha Baird Rockefeller Foundation, Texas Opera Theater, Mary Flagler Cary Charitable Trust, and other organizations

B.A., cum laude, Harvard University; major in government, specialty in Soviet studies.

Senior Diploma in Voice, Longy School of Music (Cambridge, MA)

Master of Music in Composition, Yale School of Music