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Nineteenth-Century Opera and the Scientific Imagination, ed. David Trippett and Benjamin Walton (CUP, 2019), 396pp
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The Cambridge Companion to Music in Digital Culture, ed. Nicholas Cook, Monique Ingalls, David Trippett (CUP, 2019)
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Wagner’s Melodies: Aesthetics and Materialism in German Musical Identity (Cambridge University Press 2013), 448pp
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Editor and translator of Carl Stumpf, The Origins of Music (Oxford University Press, 2012), 290pp
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“Ideas and Matter,” 19th-Century Music (2019), 63-66
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“Sound as Hermeneutic, or: Helmholtz and the Quest for Objective Perception,” 19th-Century Music (2019), 99-120
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“An Uncrossable Rubicon: Liszt’s Sardanapalo revisited,” Journal of the Royal Music Association (2018): 361-432
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“The Voyager metaphor: 40 years on,” Sound Studies: An Interdisciplinary Journal (2018): 1-8
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“Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation,” Musical Quarterly (2018): 199-261
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“Towards a Materialist History of Music: Histories of Sensation,” essay for the Franklin Humanities Institute, Duke University (2017)
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“Exercising Musical Minds: Music and Phrenology in London, circa 1830,” 19th-Century Music 39 (2015), 99-124
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“Facing Digital Realities: where Media do not Mix” Cambridge Opera Journal 26 (2014), 41-64
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“Sensations of Listening in Helmholtz’s Laboratory” [review article], Studies in History and Philosophy of Science 48 (2014): 124-32
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“'Bayreuth in Miniature': Wagner and the Melodramatic Voice,” Musical Quarterly 95/1 (2012): 71-138
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“Lohengrin at the Weimar Hoftheater: the Politics of a Premiere,” Journal of the American Liszt Society (2011): 135-58
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“Wagner Studies and the ‘Parallactic Drift’” [review article], Cambridge Opera Journal 22 (2011): 235-55
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“The Composer’s Rainbow: Rudolf Kolisch and the limits of Rationalization,” Musiktheorie 3 (2009): 228-37
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“Après une lecture de Liszt: Virtuosity and Werktreue in the ‘Dante’ Sonata,” 19th-Century Music 32 (2008): 52-93
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“Composing Time: Zeno’s Arrow, Hindemith’s Erinnerung, and Satie’s Instantanéisme,” Journal of Musicology 24 (2007): 522-580
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“Wagner’s Sublime Effects: Bells, Cannon and the Perception of Heavy Sound,” Music and the Sonorous Sublime in European Culture, 1680-1880, ed. Sarah Hibberd and Miranda Stanyon (Cambridge University Press, 2020), 245-72
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“Digital Voices: Posthumanism and the Generation of Empathy,’” The Cambridge Companion to Music in Digital Culture, ed. Cook, Ingalls, Trippett, and Webb (CUP, 2019), 227-48
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“Beyond the Schröder-Devrient Myth: Wagnerian Melody as Praxis,” Worttonmelodie: Die Herausforderung, Wagner zu singen, ed. Isolde Schmidt-Reiter (Vienna, 2020),
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“From distant sounds to aeolian ears: Ernst Kapp’s auditory prosthesis” Nineteenth-Century Opera and the Scientific Imagination, ed. David Trippett and Benjamin Walton (CUP, 2019), 134-54
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“Wagner’s Ring in Operatic and Literary History,” The Cambridge Companion to Wagner’s ‘Der Ring des Nibelungen,’ ed. Mark Berry and Nicholas Vazsonyi (Cambridge University Press, 2020), in production
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“Melody,” Oxford Handbook of Critical Concepts in Music Theory, ed. Alexander Rehding and Steve Rings (OUP, 2019), 401-40
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“Individuation as Worship: Wagner and Shakespeare,” in Great Shakespeareans: Berlioz, Verdi, Wagner, Britten, ed. Daniel Albright (London and New York: Continuum, 2012), 135-157
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“Defending Wagner’s Italy,” The Legacy of Richard Wagner, ed. Luca Sala (Turnhaut: Brepols, 2012), 363-98
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“Carl Stumpf: A Reluctant Revolutionary,” in The Origins of Music, ed. and trans. David Trippett (Oxford University Press, 2012), 17-30
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“Letters to a Young Composer About Wagner,” introduction and translation of excerpts from Johann Christian Lobe's "Briefe über Wagner an einen jungen Komponisten," in Wagner and his World, ed. Thomas Grey (Princeton University Press, 2009), 269-310
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“The Overture to Tannhäuser,” introduction, annotation, and edition of portions from Liszt's essay “Lohengrin et Tannhäuser de Richard Wagner” in Wagner and his World, ed. Thomas Grey (Princeton University Press, 2009), 251-68
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Entries for The Cambridge Wagner Encyclopedia, ed. Nicholas Vazsonyi (Cambridge University Press, 2013) on: Hans von Bülow, Marie d’Agoult, Edward Dannreuther, Marie Fürstin zu Hohenlohe, Improvisation, Franz Liszt, Melos, Piano Transcriptions, Carolyn von Sayn-Wittgenstein, Marie von Schleinitz, Agnes Street-Klindsworth, Karl Tausig, and Wendelin Weißheimer
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Entries for The Grove Dictionary of American Music, 2nd edition, ed. Charles Hiroshi Garrett, et al., on: Theodor W. Adorno, Jacques Barzun, Hugues Panassié, and Andrew Porter
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Edition and introduction, “Liszt on Lohengrin (or: Wagner in absentia)” of Liszt’s 1851 essay about Lohengrin, The Wagner Journal 4/1-3 (2010): vol. 1, 4-21; vol. 2. 28-40; vol. 3, 43-57
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'The Voyager Metaphor: 40 years on', Sound Studies 4 (2018): 4-8
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Jean-Jacques Nattiez, Analyses et interprétations de la musique: La mélodie du berger dans le Tristan et Isolde de Richard Wagner (Paris: Vrin, 2013) for Musicae Scientiae 19 (2015), 223-27
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Kevin Karnes, A Kingdom not of this World: Wagner, the Arts, and Utopian Visions in Fin-de-Siècle Vienna (Oxford University Press, 2013) for Nineteenth-Century Music Review 12 (2015), 366-75
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Gary Kahn, The Power of the Ring (London: Covent Garden, 2012), and Keith Warner’s production of the Ring at ROH, “Science, Sets and Symbols in Der Ring des Nibelungen” The Wagner Journal 7 (2013), 66-71
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Edward T. Cone, The Unpublished Essays of Edward T. Cone, ed. Robert P. Morgan (Princeton University Press, 2009) for Fontes Artis Musicae 57 (2010): 437-40
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Kenneth Hamilton, After the Golden Age (Oxford University Press, 2008) for Nineteenth-Century Music Review 7 (2010): 138-43
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Franz Liszt and his World, ed. Gooley and Gibbs (Princeton University Press, 2006) for Notes 63 (2007): 839-42