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Juan Alamo

Ensoñación (Reverie). Summit Records, 2021.

Stephen Anderson

Dominican Jazz Project. Desde Lejos. Summit Records, 2021.

Mosaic album coverRahsaan Barber

Mosaic. Jazz Music City, 2021.

Andrea Bohlman

“Electronic Music, Sampling, and the Tape Snippet: How the Experimental Studio of Polish Radio Made Itself Useful,” Contemporary Music Review 39, No. 6 (2020), 708–32.

“Music and Europe.” In Excursions in World Music, edited by Timothy Rommen, 288–321. 8th Edition. New York: Routledge, 2021.

“Communication, Technology, Media.” In Critical Themes in World Music: A Reader for Excursions in World Music, Eighth Edition, edited by Timothy Rommen, 61–70. New York: Routledge, 2021.

“Friend and Force: Nadia Boulanger in Polish Musical Culture,” with J. Mackenzie Pierce. In Nadia Boulanger and Her World, edited by Jeanice Brooks, 229–53. Chicago: University of Chicago Press, 2020.

Evan Bonds

“‘Wozzeck’s Worst Hours’: Alban Berg’s Presentation Copy of Wozzeck to Eduard Steuermann.” Notes: Quarterly Journal of the Music Library Association 76/4 (2020): 527–34.

“Expression.” In The Oxford Handbook of Western Music and Philosophy, 705–22. Ed. Tomás McAuley, Nanette Nielsen, Jerrold Levinson. New York: Oxford University Press, 2021.

Tim Carter

“Epyllia and Epithalamia: Some Narrative Frames for Early Opera.” The Italianist 40/3 (2020): 382–399.

Annegret Fauser

“‘L’orchestre dans les sons brave l’honnêteté…’ : Le rôle de l’élément érotique dans l’oeuvre de Massenet”/“‘The Orchestra, in its Sounds, Defies Virtue…’: The Role of the Erotic in the Works of Massenet” (English translation), and “Réflexions rétrospectives”/“Retrospective Reflections” (English translation). Transposition: Musique et sciences sociales 9 (2021): “Musique et Sexualité.”

“From the Trenches: Extracts from the Final Issue of the Paris Conservatory Gazette.” In Nadia Boulanger and Her World, edited by Jeanice Brooks, 54-84. Chicago: University of Chicago Press, 2020.

“Compositeur, critique, champion de la musique américaine: les écrits d’Aaron Copland,” translated by Vincent Giroud. In La Critique musicale au XXe siècle, edited by Timothée Picard, 1105-11. Rennes: Presses Universitaires de Rennes, 2020.

“Gendered War, Mobilization, Culture and Music in the Age of World Wars.” In Oxford Handbook of Gender, War and the Western World since 1600, edited by Stefan Dudink, Karen Hagemann, and Sonya Rose, 410-31. Oxford and New York: Oxford University Press, 2020.

“Afterword: Trans/national Soundscapes in World War II.” In Music in World War II: Coping with Wartime in Europe and the United States, edited by Pamela M. Potter, Christina Baade and Roberta Montemorra Marvin, 263-73. Bloomington, IN: Indiana University Press, 2020.

Instrumental Music Education book coverEvan Feldman

With Ari Contzius. Instrumental Music Education: Teaching with the Musical and Practical in Harmony. Third Edition. New York: Routledge, 2020.

Michael Figueroa

“‘Behind the Sounds’: Matti Caspi, Shlomo Gronich, and the Politics of Genre in Israel.” Journal of Musicology 38/4 (2021): 401–18.

Tatiana Hargreaves

Soledad. Bandcamp, 2021.

Mark Katz

Response to H-Diplo Roundtable XXII-5 on Build: The Power of Hip Hop Diplomacy in a Divided World, H-Diplo, September 28, 2020,

“Listening to Recorded Sound.” In The Bloomsbury Handbook of Music Production, ed. Simon Zagorski-Thomas and Andrew Bourbon, 383–91. London: Bloomsbury, 2020.

Jocelyn Neal

“Tennessee Whiskey and the Politics of Harmony,” Special Issue: Uncharted Country: New Voices and Perspectives in Country Music Studies, ed. Nadine Hubbs and Francesca Royster. Journal of Popular Music Studies vol. 32 no. 2 (2020): 214-237.

“Parton, Dolly,” Biographie in: MGG Online, hrsg. von Laurenz Lütteken, Kassel, Stuttgart, New York 2016ff., 2020,

Girl looks at open score in the stacks of the music library

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