My research in music theory covers a broad range of areas and approaches. I investigate the phenomenon of implication in tonal music, employing the Schenkerian model. A book on implication in music of the eighteenth-century is nearing completion, and volumes dealing with nineteenth- and twentieth-century music will follow. I have published several extensive studies of chromaticism in eighteenth-century music, based on an approach suggested by Schoenberg and Webern at the beginning of the twentieth century. My work on post-tonal and serial music uses a variety of approaches, including pitch-class set theory. I combine analytical methods to explore the co-existence of tonal and extra-tonal structural relations in post-tonal music. I have published cultural historical studies on Liszt and Scriabin. My courses in analysis and performance employ topical, semiotic, and hermeneutic approaches, in addition to those mentioned above. My work in music cognition includes a published article on the keyboard as basis for musical imaging in Western art music. I am a pianist, and, while I perform in concerts only occasionally, my teaching and lecturing continually address performance concerns.