BOOKS
Shakespeare, Madness and Music: Scoring Insanity in Cinematic Adaptations, Scarecrow Press, 2009.

The Conservatoire Américain: a History, Scarecrow Press, 2007.

EDITED COLLECTIONS
Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press, 2010.

BOOK CHAPTERS
“The Use of Early Modern Music in Film Scoring for Elizabeth I,” in Early Modern Women and Music, ed. Leslie C. Dunn and Katherine R. Larson, Ashgate, forthcoming, 2012.

“The Sounds of India in Supple’s Twelfth Night,” in Shakespeare in Bollywood and Beyond, ed. Craig Dionne and Parmita Kapadia, Routledge. (in progress)

““Just Like Romeo and Juliet”: Shakespeare, Satire, and Song,” in Shakespeare Spin-Offs, ed. Amy Scott-Douglass, Routledge. (in progress)

“The Lady Vanishes: Vocality and Agency in Cinematic Ophelias,” in The Afterlife of Ophelia, ed. Deanne Williams and Kaara L. Peterson, Routledge, forthcoming, 2012.

 “‘The Status is Not Quo’: Gender and Performance in Dr. Horrible’s Sing-Along Blog,” Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press, 2010.

“‘The Future is the Past’: Music and History in Firefly,” Space and Time: Essays on Visions of History in Science Fiction and Fantasy, ed. David C. Wright and Allen W. Austin, McFarland Press, 2010.

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RESEARCH ARTICLES (REFEREED)
“Louise Talma’s Christmas Carol,” Notes, June 2010.

“Topsy-Turvy Victoriana: Locating Life and Death in Corpse Bride,” Aether, issue 5b, June 2010.

 “Silencing Ophelia: Male Aurality as a Controlling Element in Olivier’s Hamlet,” Scope, Issue 14, June 2009.

“Secret Rooms and Borrowed Pianos: Two Women’s Roles in Preserving the Conservatoire Américain during the Occupation,” Women in French Studies: Selected Essays from the 2006 WIF conference, March, 2009.

“‘Excellence in Execution’ and ‘Fitness for Teaching’: Assessments of Women at the Conservatoire Américain,” Women and Music: A Journal of Gender and Culture, vol. 11, November 2007.

REVIEW ARTICLES
“Guides to Writing about Music,” Journal of Music History Pedagogy, Vol. 2, No. 1. (Fall 2011), 2011.

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REVIEWS     
Gabriel Fauré, Piano Trio; String Quartet; La Bonne Chanson, Notes, December 2011.

Mark Adamo, Little Women (video), Notes, September 2011.

Bruno Monsaingeon, Nadia Boulanger – Mademoiselle (video) Notes, March 2010.

Royal S. Brown, Film Musings, Scope, Issue 14, June 2009.

Gian Carlo Menotti, Help! Help! The Globolinks (video), Notes, August 2008.

Philip Hayward, ed., Off the Planet: Music, Sound and Science Fiction Cinema, The Journal of Film Music, Fall 2008.

Caroline Potter, Nadia and Lili Boulanger, Notes, December 2007.

Phil Powrie and Robynn Stilwell, eds., Changing Tunes: The Use of Pre-existing Music in Film, Notes, March 2007.

Sergei Rachmaninoff, The Miserly Knight (video), Notes, March 2006.

Gilbert Amy, Mémoire pour violoncelle et piano d'après Shin'anim sha'ananim (1979-1989); Georges Aperghis, Sonate pour violoncelle seul (1994); Nicolas Bacri, Suite no. 1 "Preludio e Metamorfosi,", pour violoncelle seul, opus 31 no. 1 (1987-94); Jacques Castérède, Sonate pour violoncelle et piano (1996); Alexander Comitas, Yiddish Suite pour violoncelle et piano, opus 17 (1995); Thierry Escaich, Nocturne pour violoncelle et piano (1997); Renaud Gagneux, Trois bagatelles pour violoncelle seul, opus 49 (1997); Ingrid Guymer, Seven Sketches pour violoncelle seul (1989) and Chainmail pour violoncelle solo (1995); Georges Migot, Sonate et Rhapsodie pour violoncelle seul ; Serge Nigg, Duo élégiaque pour violoncelle et piano; Ton-That Tiêt, Xuân Vũ pour violoncelle et piano; Jean-Jacques Werner, Clair-obscur pour violoncelle et harpe (1996), Notes, September 2002.

Richard Hickox, Holst’s The Scholar Gypsy (CD), Music Research Forum, vol. 16, June 2001.

Diana Burrell, Heron: For Cello and Piano (1988); Barbara Heller, Lalai: Schlaflied zum Wachwerden? für Violoncello und Klavier (1989); Tania León, Four Pieces for Violoncello (1981); Augusta Read Thomas, Spring Song for Solo Cello (1995), Notes, March 2001.

Mark N. Grant, Maestros of the Pen, Music Research Forum, vol. 15, June 2000.

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DICTIONARY ARTICLES
New Grove Dictionary of American Music, 2nd ed.  
            Diamond, Beverly
            Hamm, Charles (Edward)
            Koskoff, Ellen
            McCulloh, Judith
            Pollock, Howard
            Tick, Judith                                                            

INVITED ARTICLES
“‘Two Hard Etudes and a Schumann Number’: American Women, Repertoire and Mentoring in France, 1921-1951,” The Journal of the International Alliance for Women in Music, September 2006.

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CONFERENCE PAPERS
“Arden and the Ardennes: Musically Evoking France in As You Like It,” American Shakespeare Center’s Blackfriars Conference, 25-30 October, 2011.

“Constructing Iconic Englishness: Scoring Elizabeth I in Film,” Shakespeare Association of America, Gender and Song in Early Modern England seminar, 7-9 April 2011.

“‘Shakespeare Pie’: Popular Song and the New Shakespeare Burlesque,” International Association for the Study of Popular Music-US annual conference, 9-13 March 2011.

 “Louise Talma’s Performances of The Alcestiad,” Alive by Her Own Hand: Women Composers as Performers of Their Work conference, Brandeis University, 23-24 January 2011.

“Music and Gender in Film Adaptations of As You Like It,” Shakespeare Association of America, Female Icons seminar, 1-3 April 2010.

“Passion, Devotion, Sacrifice: Reading Talma’s The Alcestiad,” American Musicological Society, Greater New York chapter, 3 October 2009; Society for American Music annual conference, Ottawa, 17-21 March 2010.

“Popular Song and the Post-Modern Burlesquing of Shakespeare,” Shakespeare Association of America Shakespeare Spin-Offs seminar, April 9-11, 2009.

“The Origins of The Alcestiad: From Voi che sapete to Apollo’s Tone Row,” First International Thornton Wilder Conference, 2-4 October 2008, Ewing, New Jersey.

 “Silencing Ophelia: Male Aurality as a Controlling Element in Olivier’s Hamlet,” North American British Music Studies Association biennial conference, 31 July-2 August 2008, Toronto; Music and the Moving Image IV, New York, 29-31 May 2009.

“Acceptance and Exclusion: Women in the Studio of Nadia Boulanger,” Society for American Music annual conference, 1-4 March 2007, Pittsburgh, Pennsylvania.

“‘Two Hard Etudes and a Schumann Number’: American Women, Repertoire and Mentoring in France, 1921-1951,” International Association of Women in Music Congress, 11-13 May 2006, Miami, Florida.

“Women, Pianos, and War: Musical Education and the French Resistance,” The Third International Women in French Conference, 6-9 April 2006, Durham, New Hampshire.  

“Music as an Interpretative Frame in Four Hamlets: The Integration of Score and Text in Modern Film” with Ruth Benander, British Shakespeare Association Biennial Conference 2005, 1-4 September 2005, Newcastle-upon-Tyne, England.

“Bounded in a Nutshell: the Limitations of Music as Guide in Almereyda’s Hamlet,” with Ruth Benander, 2005 Popular Culture Association/American Culture Association national conference, 23-26 March 2005, San Diego, California.

“Finding Mentors Abroad: American Women and their Musical Education in France, 1921-1951,” Society for American Music annual conference, 16-19 February 2005, Eugene, Oregon.

Keynote address: “Mademoiselle’s Fontainebleau,” American Music Research Center, Fourth Annual Susan Porter Memorial Symposium, “Nadia Boulanger and American Music” at the University of Colorado at Boulder, 7 October 2004.

“Sviatoslav Richter and Rita: Art Music and Satire in Monty Python,” Britannia (Re-) Sounding: Music in the Arts, Politics, and Culture of Great Britain, the first biennial conference of the North American British Music Studies Association conference, 18-19 June 2004, Oberlin, Ohio; Midwest Popular Culture Association Annual Meeting, 15 October 2005, St. Louis, Missouri; American Musicological Society South-Central Chapter meeting, 8-9 April 2005, Bowling Green, Kentucky.

“Secret Rooms, Borrowed Pianos, and Les plus grands musicians du moment: Gaby Casadesus, Lucie Delécluse, and Franco-American Musical Exchange during the Second World War,” American Musicological Society Midwest Chapter meeting, 20 September 2003, Chicago, Illinois; Society for American Music annual conference, 11 March 2004, Cleveland, Ohio.

“At Home in Exile: The Conservatoire Américain de Fontainebleau during the Second World War,” Pacific Northwest Graduate Students Conference, University of Victoria, 13 October 2001, Victoria, British Columbia.

“A Brilliant Beginning?: The First Decade of the Conservatoire Américain de Fontainebleau,” Society for American Music annual conference, 24 May 2001, Port-of-Spain, Trinidad.

“The Founding of the Conservatoire Américain de Fontainebleau,” University of Cincinnati College-Conservatory of Music Friday Forum Lecture Series, 2 June 2000, Cincinnati, Ohio.

“The Founding of the Conservatoire Américain de Fontainebleau: New Research into its Goals and Ambitions,” American Musicological Society New England Chapter meeting, 8 April 2000, Cambridge, Massachusetts.   

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OTHER PROFESSIONAL LECTURES
“Finding and Solving Mysteries: Louise Talma’s Early Life and Works,” Westminster Choir College Sigma Alpha Iota Women in Music week lecture, with premiere performance of three early songs by Talma, 3 March 2011.

“Listening to Lady Macbeth,” Bryn Mawr Film Institute, 9 February 2010.

Keynote address: “Hearing and Reading Music in Twelfth Night,” seminar on Twelfth Night, American Shakespeare Center, 16 January 2010.

“Passion, Devotion, Sacrifice: Reading Talma’s The Alcestiad,” Beinecke Fellow lecture, Beinecke Rare Book and Manuscript Library, Yale University, 25 September 2009.

“Musicology on the Side,” American Musicology Society Annual Meeting, Committee for Career-Related Issues, 14 November 2003, Houston, Texas.

“Il Faut Souffrir: Nadia Boulanger at Fontainebleau,” University of Cincinnati College-Conservatory of Music Friday Forum Lecture Series, 30 January 2004, Cincinnati, Ohio.

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