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“A Tale of Twelfth Night: Music, Performance, and the Pursuit of Authenticity,” Shakespeare Bulletin 36, 2 (2018): 251–270.
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“Sexless Spirits?: Gender Ideology and Dryden’s Musical Magic,” The Musical Quarterly 93, 2 (2010): 297–328.
“Enthusiasm and Its Discontents: Religion, Prophecy, and Madness in Sophonisba and The Island Princess,” Journal of Musicology 23, 2 (2006): 307–330.
“‘O Ravishing Delight’: The Politics of Pleasure in The Judgment of Paris,” Cambridge Opera Journal, 15, 1 (2003): 15–31.
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“A Thousand Voices: Performing Ariel,” in A Feminist Companion to Shakespeare, 2nd ed., ed. Dympna Callaghan (Malden, MA: Blackwell Publishers Ltd., 2016), 520–539.
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“Music and Politics in George Granville’s The British Enchanters,” in Queen Anne and the Arts, ed. Cedric Reverand (Lewisburg: Bucknell University Press, 2015), 187–204.
“Dangerous Performance: Cupid in Early Modern Pedagogical Masques,” in Gender and Song in Early Modern England, ed. Katherine Larson and Leslie Dunn (Farnham: Ashgate Publishing, Ltd., 2014), 77–91.
“Madness ‘Free from Vice’: Musical Eroticism in the Pastoral World of The Fickle Shepherdess,” in The Lively Arts of the London Stage, 1675–1725, ed. Kathryn Lowerre (Farnham: Ashgate Publishing Ltd., 2014), 149–169.
“‘Our Friend Venus Performed to a Miracle’: Anne Bracegirdle, John Eccles, and Creativity,” in Concepts of Creativity in Seventeenth-Century England, ed. Rebecca Herissone and Alan Howard (Woodbridge, UK: Boydell and Brewer, 2013), 255–280.
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