Publications

Book:

Making American Opera after Einstein. [In progress]

Refereed Articles:

“Doctor Atomic or: How John Adams Learned to Stop Worrying and Love Sound Design.” Cambridge Opera Journal 31, no. 1 (2019): 85–117.

​“‘We are not trying to make a political piece’: The Reconciliatory Aesthetic of Steve Reich and Beryl Korot’s The Cave.” In Rethinking Reich, edited by Sumanth Gopinath and Pwyll ap Siôn, 93–109. New York and Oxford: Oxford University Press, 2019.

“Philip Glass.” In ​Oxford Bibliographies in Music, edited by Bruce Gustafson. New York: Oxford University Press, 2018.

“‘My answer to what music theater can be’: Iconoclasm and Entrepreneurship in Steve Reich and Beryl Korot’s The Cave.” American Music 37, no. 1 (Spring 2017): 29–50. *2018 ASCAP Deems Taylor/Virgil Thomson Award winner*

​Press:

“Anthony Davis’s Revolutionary Opera: ‘X’.” The New Yorker, 22 May 2020.​
​
“Finally, a Stage for Female Composers from Iran.” New York Times, 18 May 2020.​

“A ‘Stabat Mater’ for the 21st Century, Colored by a Composer’s Faith.” New York Times, 1 November 2019.​

“‘Desire’ Is an Operatic Glimpse Into a Secret Garden.” New York Times, 11 October 2019.​

“Hundreds of New Concertos Bring the World to the Concert Hall.” New York Times, 1 August 2019.​

“Langston Hughes Sings in ‘The Black Clown’.” New York Times, 19 July 2019.​

“Political Music, Musical Politics: A Discussion Panel with Samuel Adler, Maria Grenfell, Aaron Jay Kernis, and Catherine Likhuta.” NewMusicBox, 30 January 2019.

“Japanese Theater Inspires a New Opera of Celestial Textures.” New York Times, 12 November 2018.

“Beethoven’s 200-Year-Old ‘Fidelio’ Enters Today’s Prisons.” New York Times, 4 May 2018.
 
“How Do You Teach People to Love Difficult Music?” New York Times, 9 March 2018.
 
“Celebrating Women’s Rights, ‘That Most American Of Operas’.” New York Times, 3 November 2017.
 
“How to Produce Opera Outside the Opera House.” NewMusicBox, 16 August 2017.
 
“‘People Power’—The Communal Ethos of Satyagraha.” NewMusicBox, 8 June 2016.

Book Reviews:

William Cheng, Sound Play: Video Games and the Musical Imagination. New York: Oxford University Press, 2014; Winifred Phillips, A Composer’s Guide to Game Music. Cambridge, MA: MIT Press, 2014. MAKE: A Literary Magazine (July 2015): http://makemag.com/double-review-composers-guide-to-game-music-and-sound-play.

Joshua S. Walden, ed. Representation in Western Music. New York: Cambridge University Press, 2013. MAKE: A Literary Magazine (July 2014): http://makemag.com/review-representation-in-western-music.

Yonatan Malin, Songs in Motion: Rhythm and Meter in the German Lied. New York: Oxford University Press, 2010. Notes: Quarterly Journal of the Music Library Association 68 (2011): 354–57.

Jonathan Dunsby, Making Words Sing: Nineteenth- and Twentieth-Century Song. Cambridge: Cambridge University Press, 2004. Nineteenth-Century Music Review 4 (2007): 133–35.

Multimedia Reviews:

Charles Wuorinen, Brokeback Mountain [DVD]. Notes: Quarterly Journal of the Music Library Association 72 (2016): 796–97.

Jake Heggie, Moby-Dick [DVD]. Notes 71 (2014): 140–41.

Benjamin Britten, Billy Budd [DVD]. Notes 70 (2013): 163–64.

Anthony Turnage, Anna Nicole [DVD]. Notes 70 (2013): 163–64.

Richard Strauss, Der Rosenkavalier [DVD]. Notes 68 (2011): 159–60.

Jonathan Dove, The Adventures of Pinocchio [DVD]. Notes 66 (2010): 629–30.

Other:

“New Music Theater, New Music Ensembles.” INNOVATE. MUSIC. LEAD. 5 (August 2019): 7–12.

Liner notes. La saison des fleurs: Songs for Voice and Fortepiano. CD. Louise Toppin, soprano; John O’Brien, fortepiano. Albany Records, 2017.
 
Various program notes. Carolina Performing Arts, Concert Artists of Baltimore, Columbia Orchestra, Columbia Chamber Orchestra. 2007–2015.
 
Finding Aid. Morton Gould Papers [co-author]. Washington, DC: Library of Congress, 2010.

In-progress Articles:​​

“Assembling Meredith Monk and Vocal Ensemble, 1975–91.” Invited essay for a special issue of Contemporary Music Review. [Under revision]
 
“Steve Reich.” In Oxford Bibliographies in Music, edited by Kate van Orden. New York: Oxford University Press [Contracted, due August 2020].