The Rite in Concert: Orchestra and Digital Repercussions,” in Cambridge Companion to The Rite of Spring, ed. Davinia Caddy, Cambridge University Press
“The Mistaken Art” Analitica: Rivista online di studi musicali, 16 (2025)
Co-authored with Trudi Wright, “Digital Open Access and Open Educational Resources for the Music History Classroom” Journal of American Musicology Society 77,3 (Fall 2024)
Co-edited with Georgia Volioti, Recorded Music in Creative Practices: Mediation, Performance, Pedagogy, Routledge Press, 2024.
“Afterword: Acknowledging our Cyborg Identities” in Recorded Music in Creative Practices: Mediation, Performance, Pedagogy, eds. Georgia Volioti and Daniel Barolsky. Routledge Press, 2024
Co-edited with Louis Epstein, Open Access Musicology Vol. 2 (Lever Press, 2023)
“Wagner on Conducting: The Aesthetics of Anti-Semitism,” in Open Access Musicology Vol. 2 (Lever Press, 2023)
“For Whom the Berceuse Tolls: Josef Hofmann going beyond the text,” in Leech-Wilkinson,
Daniel (2020). Challenging Performance: Classical Music Performance Norms and How to Escape Them.
“Composing Performances: Ernst Levy, Brahms, and the Handel Variations” in Quodlibet , 76 (2021)
Review of Music in the Classical World: Genre, Culture, History by Bertil Van Boer, Notes, the Quarterly Journal of the Music Library Association (March 2021)
“The Pianist in the Recording Studio: Reimagining Interpretation,” in Stravinsky in Context, ed. Graham Griffiths (Cambridge: Cambridge University Press, 2020)
Co-edited with Louis Epstein, Open Access Musicology Vol. 1 (Lever Press, 2020)
“Performers and Performances as Music History: Moving Away from the Margins,” in Norton Guide to Teaching Music History*, ed. Matthew Balensuela (New York: W. W. Norton, 2019). *Winner of the 2020 American Musicological SocietyTeaching Award
“Recordings,” in The Cambridge Haydn Encyclopedia, eds. Caryl Clark and Sarah Day-O’Connell (Cambridge: Cambridge University Press, 2019).
Review of Performative Analysis: Reimagining Music Theory for Performance by Jeffrey Swinkin, Notes, the Quarterly Journal of the Music Library Association , 74,4 (June, 2018).
Review of Beethoven’s 32 Piano Sonatas: A Handbook for Performers by Stewart Gordon, Notes, the Quarterly Journal of the Music Library Association , 74,3 (March, 2018).
Commentary on Neumann’s “Phenomena, Poiēsis, and Performance Profiling: Temporal-Textual Emphasis and Creative Analysis in Turandot at the Metropolitan Opera” Empirical Musicology Review , 12,3-4 (2017).
Co-authored and co-edited with Edward Klorman, Introduction to “Performance and Analysis Today: New Horizons,” Music Theory Online , 22,2 (2016). (Peer Reviewed)
Co-authored with Sara Gross Ceballos, Rebecca Plack, & Steven Whiting, “Performance as a Master Narrative in Music History,” Journal of Music History Pedagogy , 3,1 (2012).
Co-authored with Peter Martens, “Rendering the Prosaic Persuasive: Gould and the Performance of Bach’s C-minor Prelude (WTC I),” Music Theory Online , 18,1 (2012).
Review of Keeping Score by Michael Tilson Thomas with the San Francisco Symphony, Journal of Music History Pedagogy , 2,1 (2011).
“Embracing Imperfection in Benno Moiseiwitsch’s Prelude to Chopin,” Music Performance Research Journal , 2,1 (2008): 48-60.
“The Performer as Analyst,” Music Theory Online , 13,1 (2007).
“Performing Polishness: The Interpretation of Identity,” in European Meetings in Ethnomusicology 9 (2002): 187-96.
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