Selected Research Outputs
Clementi and the woman at the piano: virtuosity and the market for music in eighteenth-century London, Oxford University Studies in the Enlightenment
(Liverpool, Liverpool University Press, 2022).
“Clementi: The Father (Also) of French Pianism,” Keyboard Perspectives: Yearbook of the Westfield Center for Historical Keyboard Studies 13 (2022): 21-46.
"Poe and Ravel: mécanisme intérieur," Contemporary French Civilisation (2017): 97-111.
“‘To Prevent the Abuse of the Open Pedal’: Meticulous Pedal Markings from Madame Brillon to Moscheles,” Keyboard Perspectives: Yearbook of the Westfield Center for Historical Keyboard Studies 9 (2016): 44-66.
“Ears, Hands, and Throats,” Keyboard Perspectives: Yearbook of the Westfield Center for Historical Keyboard Studies 7 (2014): 123-30.
“Clementi the Heresiarch and a ‘Black Joke’ of English Domestic Keyboard Culture,” Keyboard Perspectives: Yearbook of the Westfield Center for Historical Keyboard Studies 4 (2011): 1-27.
“Coaching, rehearsal, castrati, timbre (voice)” in Cambridge Haydn Encyclopedia ed. Caryl Clark et al. (Cambridge: Cambridge University Press, contracted 31/1/2015).
(as collaborator) “Virtual Acoustics and the Recording of Joseph Haydn’s Keyboard Music,” Tom Beghin, Martha de Francisco, Wieslaw Woszczyk with Erin Helyard, Doyuen Ko, Ryan Miller, Jeremy Tusz, General Meeting of the American Musicological Society, Québec, November 1, 2007.
“Handel Vocal Music,” Early Music, 40/3 (2012): 528-531.
Review of Richard Maunder, The Scoring of Early Classical Concertos 1750-1780, Early Music Performer 36 (2015): 25-27.
Review of Spohr’s Symphonies, Eighteenth-Century Music, 10/2 (2013): 308-310.
Review of Durante’s Christmas Music, Eighteenth-Century Music 10/1 (2013): 28-30.
Review of Clementi’s Sonatinas, Eighteenth-Century Music, 10/1 (2013): 21-23.
Review of Vivaldi’s Juditha Triumphans, edited by Michael Talbot, Eighteenth-Century Music, 7/1 (2010): 138-140.
“Performance/Conference Report: Haydn 2009, Complete String Quartets of Haydn, Montréal,” Eighteenth-Century Music, 6/2 (2009), 301-302.
“Conference Report: Perspectives on Beethoven’s ‘Tempest’ Sonata,” Eighteenth-Century Music, 5/1 (2008), 337-340.
“Voices from the Edge,” The Australian, February 23, 2008.
Invited speaker, “Reinvigorating piano pedagogy of canonical works through contemporary music performance and free play,” The Reflective Conservatoire, Guildhall, London, February 26-28, 2015.
Invited speaker, “‘To Prevent the Abuse of the Open Pedal’: Meticulous Pedal Markings from Madame du Brillon to Moscheles,” Forte/Piano: A Festival Celebrating Pianos in History, Cornell University, August 5-9, 2015.
Invited speaker, “Effeminates on the Stage and in the Street: Nuancing Handel’s move from Opera to Oratorio,” Collaboratory: The Voice and Histories of Emotions: 1500-1800, The University of Sydney, 29 September - 1 October, 2014.
Invited speaker, “‘In Competition with the Original’: Modernizing and Revisionist Compositional Strategies 1790-1820,” Annual General Meeting of the Society for Music Theory, Charlotte, North Carolina, October 31-November 3, 2013.
Invited speaker, “Festina Lente: the Strategic Commodification of Difficult Keyboard Music in England, 1780-1820,” Consuming Music, Commodifying Sound, 1750-1850, Yale University, October 5, 2012.
Invited Speaker “Clementi the Heresiarch and a ‘Black Joke’ of English Domestic Keyboard Culture,” American Musicological Society, New York State/Saint Lawrence Chapter meeting, Wilfrid Laurier University, April 30-May 1, 2011. Winner of the Best Student Paper of the New York State/St Lawrence Chapter of the American Musicological Society.
Invited speaker, “The Politics of Practice: On the Rise of Female Eighteenth-century Keyboard Virtuosity,” Canadian Society for Eighteenth-Century Studies, Montréal, October 16, 2008.
“‘But Corelli’s the man after all’: Professionals and Amateurs in the Cult of Corelli,” Mr Corelli in London, Maurice Steger (recorder) and The London Consort, Harmonia Mundi, HMU 907523, 2009.