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Formal Function in Perspective: Essays on Musical Form from Haydn to Adorno. Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan Martin, eds. Rochester: University of Rochester Press, 2015.

“Mozart’s Hermes-Lieder: Crossed Perspectives on Voice-Leading, Form, and Text-Music Relationships,” Pedneault-Deslauriers and Don McLean. Journal of Schenkerian Studies 9 (2016): 31–56.

The French Path: Jean Rousseau’s Méthode claire pour apprendre à chanter la musique and Early Major-Minor Theory. Music Theory Online 23/1 (2017).

“Bass-Line Melodies and Form in Four Piano and Chamber Works by Clara Wieck-Schumann.” Music Theory Spectrum 38/2 (2016): 133-54.

“Webern’s Angels: Rilkean Intransitivity and Transcendence in Two Lieder, Op. 8.” Journal of Musicology 32/2 (2015): 78-114.

“‘Denk an meinen Hund’: Applied Subdominants and Motivic Treatment in Schoenberg’s ’Warnung,’ Op. 3/3.” Intégral 28/29 (2014/2015): 53-80.

“Dominant Tunnels, Form, and Program in Schoenberg’s Verklärte Nacht, Op. 4.” In Formal Functions in Perspectives: Essays in Musical Form from Haydn to Adorno, eds. Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin (Rochester: University of Rochester Press), 2015.

The Mozartean Half Cadence, with Nathan John Martin. In What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire, ed. Pieter Bergé and Markus Neuwirth, Leuven University Press.

Pierrot L. Journal of the American Musicological Society 64/3 (2011): 601-45.

“La Frauenseele dans tous ses états : les Altenberg Lieder, opus 4, nos II et III de Berg comme réponse à la Frauenfrage viennoise,” Canadian University Music Review 24/2 (2004) : 44-61.