Research Outputs

  • Adjunct Associate Professor Sally Macarthur

    PUBLICATIONS

    Books Sole Author

    1. Towards a Twenty-First Century Feminist Politics of Music. Farnham, England and Burlington, Vermont: Ashgate, 2010.
    2. Feminist Aesthetics in Music. Westport, Connecticut: Greenwood Press, 2002.

    Books Edited

    1. Music’s Immanent Future: The Deleuzian Turn in Music Studies. London and New York: Routledge, 2016.
    2. (Inter)cultural Issues and Musical Contexts. Sydney: Australian Music Centre, 2006.
    3. Musics and Feminisms. Sydney: Australian Music Centre, 1999.
    4. Proceedings of the New Music Australia Conference 1992. Sydney: Australian Music Centre, 1998.

    Peer-Reviewed Journal Articles

    1. ‘If we are habits, nothing but habits, is music a feminist failure?’, Journal of Music Research Online vol. 12 (2021): 1-18.
    2. ‘An international perspective on managing a career as a woman composer’, International Journal of Arts Management, vol 21, no 3 (2019): pp 4-13.
    3. ‘Hiding gender: how female composers manage gender identity’, Journal of Vocational Behavior, vol 113 (2019): pp 20-32.
    4. ‘Creating a career as a woman composer: implications for music in higher education’, British Journal of Music Education, vol 35, no 3 (2018): pp 237-253.
    5. ‘The rise and fall, and the rise (again) of feminist research in music: “what goes around comes around”’, Musicology Australia, vol 39, no 2 (2017): pp 73-95
    6. ‘Transposing musicology: an essay in honour of Elizabeth Wood’, Musicology Australia, vol 39, no 1, (2017): pp 46-64.
    7. ‘Renovating Music Analysis’, Musicology Australia Vol. 38, No. 2 (2016): 182-193.
    8. ‘Dialoguing with the Divided Self as the Outline of a Becoming-Woman in Music’, Australian Feminist Studies, Vol. 30, No. 86 (2015): 386-401.
    9. ‘The Ubiquitous Century: Music and the Digital Arts’, Musicology Australia, Vol 37, No. 1 (2015): 76-84.
    10. ‘The Woman Composer, New Music and Neoliberalism’, Musicology Australia, Vol 36, No. 1 (2014): 36-52.
    11. ‘The Superstar Composing Machine: Capitalism, Identity, Politics’, International Journal of Humanities and Social Science, Vol. 3, No. 21 (2013): 90-98.
    12. ‘Sounding Noise’, Musicology Australia Vol. 35, No. 2 (2013): 285-294.
    13. ‘The Radical Potential of Becoming-Woman and Intra-action in the Music of Anne Boyd’, Australian Feminist Studies Vol. 28, No. 27 (2013): 294-310.
    14. ‘Music and Violence’, Musicology Australia, Vol. 34, No. 1 (2012): 101-110.
    15. ‘The Power of the Virtual in Music Scholarship: Composing a Woman’s Musical Future as a ‘Becoming-Other-Than-Itself”’, Journal of Music Research Online (2012): 1-13
    16. ‘Composing the “Woman” Composer’, Musicology Australia, Vol. 33, No. 1 (2011): 129-138.
    17. ‘Chaos, Territory, Music Research’, Musicology Australia, Vol. 32, No. 1 (2010): 121-130.
    18. ‘Women, New Music and the Composition of Becomings’, Cultural Studies Review Vol. 16, No. 2 (2010): 248-270.
    19. ‘Post/Modernizing Australian Music’, Musicology Australia, Vol. 31 (2009): 63-74.
    20. ‘A Thousand Dissonances: Music Research and the Nomadic Female Composer’, Australian Feminist Studies, Vol. 24, No. 59 (2009): 53-69.
    21. ‘A Becoming-Infinite Cycle in the Music of Anne Boyd’, Radical Musicology, Vol. 3 (2008): http://www.radical-musicology.org.uk/2008.htm, 54 pars
    22. ‘A Musical Woman in a Man’s World: Rebecca Clarke’, Musicology Australia, Vol. 29 (2007): 161-166.
    23.  ‘The Beautiful, Disgusting and the Sublime: An Essay Review of Gender and Aesthetics’, Action, Criticism & Theory for Music Education, Vol. 5, No. 1 (2006): http://mas.siue.edu/ACT/, 1-12.
    24. ‘Music and Collaborative Structures: Ros Bandt’, Contemporary Music Review: Reclaiming the Muse, Vol. 11 (1994): pp. 13-17.
    25. ‘Conducting the past to the present: The music of Ann Carr-Boyd’, Contemporary Music Review: Reclaiming the Muse, Vol. 11 (1994): pp. 61-64.
    26. ‘Music as Lifestyle, Politics as Music: Moya Henderson’, Contemporary Music Review: Reclaiming the Muse, Vol. 11 (1994): pp. 141-145. 

     

    Refereed Book Chapters

    1. ‘Nomadic Improvising and Sites of Difference’ in Daniel T. Fischlin and Eric Porter (eds), Sound Changes: Improvisation, Co-Creativity and Transcultural Difference. Ann Arbor: University of Michigan Press, 2021, 101-124
    2.  ‘The Rise and Rise of Women in Australian Composition’ in Rhiannon Mathias and Chris Collins (eds) Handbook of Women Composers. London and New York: Routledge, in press.
    3.  ‘Seeking the Indigenous dimensions of the Australian classical music field’ in Lawrence Bamblett, Fred Myers and Tim Rowse (eds), The Difference that Identity Makes: Indigenous Cultural Capital in Australian Cultural Fields. Canberra: Aboriginal Studies Press, 2019, 200-216.
    4. ‘A Micropolitics of Becoming-Woman and Moya Henderson’s Rinse Cycle’ in Taru Leppänen, Pirkko Moisala, Milla Tiainen & Hanna Väätäinen (eds), Musical Encounters with Deleuze and Guattari. New York and London: Bloomsbury, 2017, 51-66.
    5.  ‘Introduction’ in Macarthur, Sally, Lochhead, Judith Irene, Shaw, Jennifer Robin (eds), Music's Immanent Future: The Deleuzian Turn in Music Studies. London and New York: Routledge, 2016. 14-24.
    6. ‘The Academic Music Machine’ in Music's Immanent Future, 25-31.
    7. ‘Intra-active soundings: becoming-woman, becoming-minor’ in Music's Immanent Future, 55-64.
    8. ‘Meeting the composer halfway: which Anne Boyd?’ in Music's Immanent Future, 79-87.
    9. ‘Immanent listening’ in Music's Immanent Future, 140-146.
    10. ‘Difference, Becoming and Event in Women’s Music: Anne Boyd’s Ganba’ in Kordula Knaus and Susanne Kogler (eds), Musik – Kultur – Gender. Köln: Böhlau-Verlag, 2013, 209-226.
    11. ‘Women, Spirituality, Landscape: The Music of Anne Boyd, Sarah Hopkins and Moya Henderson’ in Fiona Richards (ed.) The Soundscapes of Australia: Music, Place and Spirituality. Aldershot: Ashgate, 2007, 51-74.
    12. ‘Gender and the Tertiary Music Curriculum in Australia’ in Catherine Grant (ed.), Music in Australian Tertiary Institutions: Issues for the 21st Century, http://www.nactmus.org.au/NACTMUS2007/musical_culture_of_australia.html, 2007, 1-38.
    13. ‘The Cultural Work of the Musical Work’ in Sally Macarthur, Bruce Crossman, and Ronaldo Morelos (eds), Intercultural Music: Creation and Interpretation. Sydney: Australian Music Centre, 2006, 14-26.
    14. ‘Visions of a New Spirituality in Australia: The Music of Anne Boyd’ in Linda Kouvaras, Ruth Lee Martin, and Graham Hair (eds), Loose Cannons: Conference Proceedings of the Women’s Music Festival. Amaroo, ACT: Southern Voices, 2004, 121-139.
    15. ‘Lesbian Politics and the Sydney Gay and Lesbian Choir’ in Denis Crowdy, Shane Homan and Tony Mitchell (eds.), Musical In-Between-ness: The Proceedings of the 8th IASPM Australia-New Zealand Conference. Sydney: UTS, 2002, 227-240.
    16. ‘Performance Rites: AMEB, or not to be?’ in Sally Macarthur and Cate Poynton (eds), Musics and Feminisms, Sydney: Australian Music Centre, 1999, 19-27.
    17. ‘Love and Passion in Alma Mahler’s Ansturm’ in Peter Platt (ed.), Predictions and Inaccuracies: Collisions of Musical Histories Approaching the Millennium. Sydney: Sydney Chapter of the Musicological Society, 1999, 53-65.
    18. ‘Feminism and Music’ in Barbara Caine (General Editor) Australian Feminism: A Companion. Oxford: Oxford University Press, 1998, 460-61.
    19. ‘Feminism and Music’ in Sally Macarthur (ed.) Proceedings of the New Music Australia Conference 1992. Sydney: Australian Music Centre, 1998, 460-61.
    20. Sexing the Tune: Moya Henderson’s ‘Stubble’. Sydney: University of Western Sydney Women’s Research Centre, 1998, 5-27.
    21. ‘Moya Henderson’ in Warren Bebbington (ed.), The Oxford Companion to Australian Music. Melbourne: Oxford University Press, 1997, 264-65.
    22. ‘Keys to the Musical Body’ in Barbara Caine and Rosemary Pringle (eds) Transitions: New Australian Feminisms. Sydney: Allen & Unwin, 1995, 120-33.
    23. ‘Breaking the Sound Barrier: Can You Hear Me?’ in Thérèse Radic (ed.) Repercussions: Australian Composing Women's Festival and Conference, 1994. Melbourne: National Centre for Australian Studies, Monash University, 1995, 103-107.
    24. ‘Women Composers have got Australia Covered’ in Susan Hawthorne and Renate Klein (eds) Australia for Women: Travel and Culture. Melbourne: Spinifex Press, 1994, 173-184.
    25. ‘Women Composers have got Australia Covered’, in German, trans. Ursula Grave, Australien der Frauen: Reise & Kultur. Munich, Germany: Frauenoffensive Verlag, 1994, 167-175.
    26. ‘Where are the Women Composers?’ in Graeme Skinner (ed.), The Composer Speaks. Sydney: Sounds Australian, 1991, 17-21.
    27. ‘Moya Henderson’ in Brunhilde Sonntag and Renate Mattei (eds) Annaherung V: an sieben Komponistinnen. Kassel, Germany: Furore-Verlag, 1988, 43-52.

    The Conversation Articles:

    1. ‘The sound of silence: why aren’t Australia’s female composers being heard?’ (31 May 2016)
    2. ‘Sculthorpe shaped composers with a connection to this land’ (15 August 2014)
    3. ‘Bizet’s femme fatale: Carmen and the Music of Seduction’ (13 May 2014)
    4. ‘What is the role of the conductor?’ (Explainer, 20 December 2013)
    5. ‘Music is the loser in the quest for innovation’ (26 November 2013)
    6. ‘Off key: women composers get a raw deal on play rates’ (29 August 2013).

    Other Professional Articles

    1. ‘Images of Landscape in the Music of Anne Boyd’, Journal of the IAWM, Vol. 18, No. 1 (2012): 7-14.
    2. ‘Boyd, Anne’ in Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/03773 (accessed March 15, 2012).
    3. ‘Raising the Platform for Women’, Music Forum, Vol. 12, No. 2 (Feb-Apr. 2006): 40-43.
    4. ‘Visions of a New Spirituality in Australia: The Music of Anne Boyd’, Postwest, Vol. 19 (2001): 45-49.
    5. ‘Dissonances: Reflections on Music Research and the Academy’, Postwest, Vol. 15 (1999): 49-54.
    6. ‘Arts in the Age of Economic Rationalism’, Postwest, Vol. 14 (1999): 14-17.
    7. ‘Is Feminism Past the Post?’, 2MBS-FM Guide (July 1999): 8-10.
    8. ‘Women’s Music: A Measure of the Beautiful?’, Women and Music: Checks and Balances in special issue Sounds Australian: Journal of the Australian Music Centre, Vol. 51 (1998): 4-5.
    9. ‘Resonances: Reflections on the 3rd Australian Women’s Festival and Conference’, Music Forum, Vol. 4, No. 3 (1998): 29-31.
    10. ‘Resonances’, International Alliance for Women in Music, Vol. 4, No. 1 (1998).
    11. ‘Review: James R Briscoe (ed.), Contemporary Anthology of Music by Women’, Musicology Australia, Vol. XXI (1998): 61-63.
    12. ‘Centennial Conference: Celebrating 100 Years of Music at The University of Melbourne’, Postwest: Faculty of Visual and Performing Arts Research Bulletin, Vol. 2, No. 2 (1995): 3-4.
    13. ‘Review: Jim Davidson, Lyrebird Rising: Louise Hanson-Dyer of L’Oisseau-Lyre 1884-1962’, Musicology Australia, Vol. XVIII (1995): 71-73.
    14. ‘Feminism and Music: The Female Energy in Anne Boyd’s Cycle of Love’, The Women's Issue: Sounds Australian, Vol. 40 (1993-94): 32-35.
    15. ‘Writing Difference into the Musical Body’, Music in New Zealand (Spring 1993): 10-13; 104.
    16. ‘Criticism: the “irritable bowel syndrome” of music’, Sounds Australian, Vol. 35 (1992): 37-40.
    17. ‘Celebrating Difference in Music at the 1991 Gender and Music Conference’, Sounds Australian, Vol. 33 (1992): 5-9; 12.
    18. ‘Feminine Cadences – and Dissonances’, 24 Hours (Dec 1991): 47-49; 53.
    19. ‘Ripping the Beard Off Analysis: Writing Moya Henderson and Gillian Whitehead into the Discourse’, Sounds Australian, Vol. 31 (Spring 1991): 29-34; 47.
    20. ‘Moya Henderson in Profile’, 2MBS-FM Programme Guide (January 1990): pp. 7-9.
    21. ‘Women in the Tertiary Music System: Is It Really All Games?’ Sounds Australian, Vol. 24 (1989-90): 24-27.
    22. ‘Sarah Hopkins’, Sounds Australian: The Woman Composer, Vol. 21 (Autumn 1989): 18-19.
    23. ‘Ann Carr-Boyd’, Sounds Australian: The Woman Composer, Vol. 21 (Autumn 1989): 18.

    Sites Listing Publications:

    ORCID: https://orcid.org/0000-0003-1034-9479
    Google Scholar: https://scholar.google.com/citations?user=_vXXOrkAAAAJ&hl=en

  • Dr Julja Szuster

    PUBLICATIONS

    Music Edition

    Alessandro Stradella Cantate Morali  Edizione Nazionale dell’Opera Omnia di Alessandro Stradella Vol 21 . Pisa: Edizioni ETS, forthcoming.

    Peer-reviewed Journal Articles

    1. “Transposing Musicology: An Essay in Honour of Elizabeth Wood”. Review article by Sally Macarthur and Julja Szuster. Musicology Australia, 39/1 (July 2017) 46-64.
    2. “The Injustice of the 1914 Assault on Hermann Heinicke”. Journal of the Historical Society of South Australia, 43 (2015) 99-110.

    Book, Edited

    Owner-Bound Music Collections in Australia and New Zealand. Eds. Rosemary Richards and Julja Szuster. Melbourne: Lyrebird Press, forthcoming.

    Book Chapters

    1. “Philipp Oster’s Album: Evidence of an Early South Australian Music Library”. In Owner-Bound Music Collections in Australia and New Zealand. Eds. Rosemary Richards and Julja Szuster. Melbourne: Lyrebird Press, forthcoming.
    2. “An inconvenient truth: The Elder Conservatorium during World War l”. In Beyond the Stage. Creative Australian Stories from the Great War. Eds. Anna Goldsworthy and Mark Carroll. Adelaide: Wakefield Press, 2020, 71-83.
    3. “The performance history of Bach’s St Matthew Passion in South Australia”. In J.S. Bach in Australia: Studies in Performance and Reception. Melbourne: Lyrebird Press. 2018, 71-86.
    4. “Music of and at the Time of the Jubilee Exhibition”. in Adelaide Jubilee International Exhibition and Building. eds. Christine Garnaut, Bridget Jolly and Julie Collins. Sydney: Crossing Press, 2016, 173-183.
    5. “George Loder’s Contribution to Music Life in Colonial Australia”, in Musicians of Bath and Beyond: Edward Loder (1809-1865) and His Family. ed. Nicholas Temperley. Woodbridge, Suffolk and Rochester, New York: Boydell & Brewer, 2016, 149-166.
    6. “Hermann Heinicke, a Champion of Professional Orchestral Music in 1890s Adelaide: A Contemporary Counterpart to Marshall-Hall in Melbourne” in Marshall-Hall’s Melbourne: Music, Art and Controversy, 1891-1915. eds. Therese Radic and Suzanne Robinson. (Melbourne: Australian Scholarly Publishing, 2012) 108-122.
    7. “Concert Life in Adelaide, 1834 - 1986” in From Colonel Light into the Footlights: the Performing Arts in South Australia from 1836 to the Present. Adelaide: Pagel, 1988, 173-192.

    Encyclopedia Entries

    1. “Adelaide”. Major update of the article by Andrew McCredie MGG 2 (1994). Die Musik in Geschichte und Gegenwart. Bärenreiter and Metzler, 2017. www.mgg-online.com
    2. “Music”, article in eEncyclopedia of Women and Leadership in Twentieth-Century Australia, May 2014.
    3. Article on G.W.L. Marshall-Hall in the New Grove Dictionary of Music and Musicians London: Macmillan, 1980.

    Book Review

    Review of Diversity in Australia’s Music: Themes Past, Present, and for the Future. Dorottya Fabian and John Napier, eds. Newcastle upon Tyne: Cambridge Scholars Publishing, 2018. Context  43 (2018): 88-92.

    Other Professional Articles

    1. “Assessment in Music” Sounds Australian  53(1999) 4-5
    2. Articles on the Adelaide Symphony Orchestra, Adelaide Festival, State Opera of South Australia and the Adelaide Aboriginal Orchestra in the Oxford Companion to Australian Music, Melbourne: OUP, 1997.
    3. “Dollars and Sense: Music Funding in South Australia” Sounds Australian 43 (Spring 1994) 29-30.
    4. “Barbara Strozzi: the First Professional Woman Composer” 24 Hours (October 1990).

  • Adjunct Associate Professor Paul Watt

    PUBLICATIONS

    Books, Sole Author

    1. The Regulation and Reform of Music Criticism in Nineteenth-Century England [Royal Musical Association Monographs 31]. Oxford: Routledge, 2018.
    2. Ernest Newman: A Critical Biography. Woodbridge: The Boydell Press, 2017. 

    Books, Edited

    1. The Oxford Handbook of Musical Biography and Life-Writing, eds. Christopher Wiley and Paul Watt. New York: Oxford University Press, forthcoming.
    2. The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, eds. Paul Watt, Sarah Collins and Michael Allis. New York: Oxford University Press, 2020.
    3. The Symphonic Poem in Britain, 1850–1950, eds. Michael Allis and Paul Watt. Woodbridge: The Boydell Press, 2020.
    4. Cheap Print and Popular Song in the Nineteenth Century: A Cultural History of the Songster, eds. Paul Watt, Derek B. Scott and Patrick Spedding. New York: Cambridge University Press, 2017.
    5. Joseph Holbrooke: Composer, Critic, and Musical Patriot, eds. Paul Watt and Anne-Marie Forbes. New York: Rowman and Littlefield, 2015.
    6. Bawdy Songbooks of the Romantic Period (4 vols), eds. Patrick Spedding and Paul Watt. London: Pickering and Chatto, 2011.

    Refereed Journal Articles

    1. ‘Representation of Jesus in Australia in the 1950s’, Journal for the Academic Study of Religion (forthcoming)
    2. ‘Marie Lloyd (1870–1922) and biographical constructions of the nineteenth-century female superstar’, 19th-Century Music 44/2 (2020): 119–30.
    3. ‘Musical biography in the musicological arena’, Journal of Musicological Research 38/3–4 (2019): 187–92 (with Christopher Wiley).
    4. ‘Jacques Barzun’s Berlioz and the Romantic Century (1950): A Musicological Brontosaurus?’, Journal of Musicological Research 38/3–4 (2019): 298–312.
    5. ‘The function of hymns in the liturgical life of Malcolm Quin’s Positivist church, 1878–1905’, Yale Journal of Music and Religion 5/1 (2019): 51–70.
    6. ‘Buskers and busking in Australia in the nineteenth century’, Musicology Australia 41/1 (2019): 22–35.
    7. ‘Critical networks’, Nineteenth-Century Music Review 14/1 (2017): 3–8. Co-authored with Sarah Collins.
    8. ‘Musical and literary networks in the Weekly Critical Review, Paris, 1903–1904’, Nineteenth-Century Music Review 14/1 (2017): 33–50.
    9. ‘Street music: ethnography, performance, theory’, Journal of Musicological Research 35/2 (2016): 69–71.
    10. ‘Street music: Histories and Historiographies’, Nineteenth-Century Music Review 15/1 (2018): 3–8.
    11. ‘Street music in London in the nineteenth century: “Evidence” from Charles Dickens, Charles Babbage and Lucy Broadwood’, Nineteenth-Century Music Review 15/1 (2018): 9–22.
    12. ‘Music criticism in nineteenth-century England: How did it become a profession?’, Musicologica Brunensia 52/1 (2017): 117–26.
    13. ‘Artistic crosscurrents: Critical vocabularies of literature, painting, architecture and music’, Australasian Journal of Victorian Studies 19/1 (2014): 1–4.
    14. ‘Music, lyrics and cultural tropes in Australian popular songs of the First Word War: Two case studies’, Musicology Australia 36/1 (2014): 183–212.
    15. ‘Alexandra Palace: Music, leisure and the cultivation of “higher civilization” in the late nineteenth century’, Music & Letters 95/2 (2014): 183–212. Co-authored with Alison Rabinovici.
    16. ‘Ernest Newman’s draft of a Berlioz biography (1899) and its appropriation of Emile Hennequin’s style theory’, Nineteenth-Century Music Review 10/1 (2013): 151–68.
    17. ‘“A gigantic and popular place of entertainment”: Granville Bantock and music-making at the New Brighton Tower in the late 1890s’, Research Chronicle of the Royal Musical Association 42 (2009): 109–64.
    18. ‘The catalogue of Ernest Newman’s library: revelations about his intellectual life in the 1890s’, Script & Print 31/2 (2007): 81–103.
    19.  ‘Ernest Newman’s The Man Liszt of 1934: reading its freethought agenda’, Context: A Journal of Music Research 31 (2006): 193–205.

    Book Chapters

    1. ‘Psychobiography’, in The Oxford Handbook of Musical Biography and Life-Writing, eds. Christopher Wiley and Paul Watt. New York: Oxford University Press, forthcoming.
    2. ‘Music’, in The Cambridge History of Atheism, eds. Stephen Bullivant and Michael Ruse. New York: Cambridge University Press (July, 2021).
    3. ‘Street Performers and Street Culture’, in The Routledge Handbook of Street Culture, ed. Jeffrey Ross. New York: Routledge, 2020, 38–47.
    4. ‘The Symphonic Poem and British Music Criticism’, in The Symphonic Poem in Britain, 1850–1950, eds. Michael Allis and Paul Watt. Woodbridge: The Boydell Press, 2020, 55–79.
    5. ‘Newspapers, Little Magazines, and Anthologies’, in The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, eds. Paul Watt, Sarah Collins and Michael Allis. New York: Oxford University Press, 2020, 191–208.
    6. ‘Introduction: Music and intellectual culture in the nineteenth century’ (with Sarah Collins and Michael Allis), in The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, eds. Paul Watt, Sarah Collins and Michael Allis. New York: Oxford University Press, 2020, 1–11.
    7. ‘The rise of the professional music critic in nineteenth-century England’, in The Music Profession in Britain, 1780–1920: New Perspectives on Status and Identity, eds. Rosemary Golding. New York: Routledge, 2018, 110–127.
    8. ‘Ernest Newman and the promise of method in criticism, history and biography at the fin de siècle’, in British Musical Criticism 1850–1950, eds. Jeremy Dibble and Julian Horton. Martlesham, Suffolk: Boydell & Brewer, 2018, 84–101.
    9. ‘The nineteenth-century songster: Recovering a lost musical artifact’ (with Derek B. Scott and Patrick Spedding), in Cheap Print and Popular Song in the Nineteenth Century: A Cultural History of the Songster, eds. Paul Watt, Derek B. Scott and Patrick Spedding. New York: Cambridge University Press, 2017, 1-7.
    10. ‘Prefaces to songsters: The law, aesthetics, performers and performance’, in Cheap Print and Popular Song in the Nineteenth Century: A Cultural History of the Songster, eds. Paul Watt, Derek B. Scott and Patrick Spedding. New York: Cambridge University Press, 2017, 32–46.
    11. ‘Situating Holbrooke in British musical history’ (with Anne-Marie Forbes), in Joseph Holbrooke: Composer, Critic, and Musical Patriot, eds. Paul Watt and Anne-Marie Forbes. New York: Rowman and Littlefield, 2015, 1–8.
    12. ‘A “Nationalist in art”: Holbrooke’s Contemporary British Composers (1925)’, in Joseph Holbrooke: Composer, Critic, and Musical Patriot, eds. Paul Watt and Anne-Marie Forbes. New York: Rowman and Littlefield, 2015, 153–74.
    13. ‘Critics’, in The Oxford Handbook of Opera, ed. Helen Greenwald. New York: Oxford University Press, 2014, 881–98.
    14. ‘Towards a history and performance context of a forgotten repertory’ (with Patrick Spedding), in Bawdy Songbooks of the Romantic Period (4 vols.), eds. Patrick Spedding and Paul Watt. London: Pickering and Chatto, 2011, vol. 1, xv–xxv.

    Editor of Special-Issue Journals

    1. ‘Musical Biography: Narratives of Myth, Ideology and Nation’, Journal of Musicological Research 38/3–4 (2019) (with Christopher Wiley).
    2. ‘Street Music: Histories and Historiographies’, Nineteenth-Century Music Review 15/1 (2018).
    3. ‘Street Music: Ethnography, Performance, Theory’, Journal of Musicological Research 35/2 (2016).
    4. ‘Critical Networks’, Nineteenth-Century Music Review 14/1 (2016) (with Sarah Collins).
    5. ‘Critical Crosscurrents in the Arts’, Australasian Journal of Victorian Studies (2015).

    Other Publications

    1. ‘Street Music’, in Oxford Bibliographies in Music, edited by Kate van Orden. New York: Oxford University Press, 2021 (with Daniel Bacchieri)
    2. Shaw, Bernard, in: Die Musik in Geschichte und Gegenwart [MGG] Online, hrsg. von Laurenz Lütteken, Kassel, Stuttgart, New York 2016ff., veröffentlicht October 2017, https://www.mgg-online.com/mgg/stable/11293