Bach
Copying Bach: Compositional Emulation and Originality in Apprenticeships with J. S. Bach, 1720–1750,
Ph.D. Dissertation, Cornell University, 2019.
Keyboard Technique as Contrapuntal Structure in J. S. Bach’s Clavier Works,
Understanding Bach 10 (2015): 85–108.
Review of Johann Sebastian Bach, Complete Organ Works, vols. 1 and 2, ed. David Schulenberg,
Eighteenth-Century Music 12, no. 2 (2015): 246–47.
Haydn
Minor-Mode Sonata-Form Dynamics in Haydn’s String Quartets,
HAYDN: Online Journal of the Haydn Society of North America 9, no. 1 (2019). https://www.rit.edu/affiliate/haydn/volume-91-spring-2019/.
Keyboard Music
Pierre Nicolas La Font’s Recently Recovered Harpsichord Music and Its New Critical Edition,
Keyboard Perspectives 11 (2019): 37–45.
Review of John Sheeles, Suites of Lessons for the Harpsichord or Spinet, Book 1 (1724) and Book 2 (c.1730), 2 vols., ed. Michael Talbot,
Eighteenth-Century Music 16, no. 1 (2019): 74–76.
François Couperin on Touch, Movement, and the Soul,
Keyboard Perspectives 10 (2017): 19–37.
Charles Dieupart’s Six suittes (1701–1702) and the en concert Performance Tradition,
The Viola da Gamba Society Journal 4 (2010): 6–35.
Renaissance Studies
Improvised Ensemble Counterpoint: On the Notation of the Bass in Agostino Agazzari’s Eumelio (1606),
Early Music 48, no. 2 (2020): 177–192.
Brumel’s Laudate Dominum de caelis and the ‘French-court’ Motet,
Journal of the Alamire Foundation 18, no. 1 (2016): 33–54.
Agostino Agazzari, Eumelio (Rome, 1606). A-R Editions (under contract).
Creative
“Contemplating with Raphael (Short Essay),” Fragments: Journal of Art and Thought 1 (2019).
“Matter and Substance (Prose-Poem),” Fragments: Journal of Art and Thought 1 (2019).
“Dialogue (Poem),” Claritas 7 (2019): 23.
“Vision (Prose-Verse Diptych),” Claritas 7 (2019): 24.