Journal Articles

“Der Thatcherismus und Andrew Lloyd Webbers Musicals” Vierteljahrshefte für Zeitgeschichte 70, 4 (2022): 817–841.

“‘Performance Can Reveal Paths Forward’: Interview with Amanda Eubanks Winkler” Theatralia 24, 1 (2021): 255–261.

“The Intermedial Dramaturgy of Dramatick Opera: Understanding Genre through Performance, Restoration: Studies in English Literary Culture, 1660–1700 42, 2 (2018): 13–38.

“A Tale of Twelfth Night: Music, Performance, and the Pursuit of Authenticity,” Shakespeare Bulletin 36, 2 (2018): 251–270.

“Performing the Gaps: Dido and Aeneas on Video,” Journal of Seventeenth-Century Music 23, 1 (2017). 

“Politics and the Reception of Andrew Lloyd Webber’s The Phantom of the Opera,” Cambridge Opera Journal 26, 3 (2014): 271–287.

“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.

Book Chapters

“‘Let’s Have a Dance’: Staging Shakespeare in Restoration London,” in The Oxford Handbook of Shakespeare and Music, ed. Christopher Wilson and Mervyn Cooke (Oxford: Oxford University Press, 2022), 387–408.

“Opera in England,” The Cambridge Companion to Seventeenth-Century Opera, ed. Jacqueline Waeber (Cambridge: Cambridge University Press, 2022).

“Schoolboy Performance in the Post-Reformation North-East,” in Music in North-East England, 1500–1800, Stephanie Carter, Kirsten Gibson, and Roz Southey (Woodbridge, UK: Boydell and Brewer, 2020), 173–189.

“English Music in Benefit Concerts: Henry Purcell and the Next Generation,” in Music and the Benefit Performance in Eighteenth-Century Britain, ed. Alison DeSimone and Matthew Gardner (Cambridge: Cambridge University Press, 2019), 145–161.

“Opera at School: Mapping the Cultural Geography of Pedagogical Performance,” in Operatic Geographies: The Place of Opera and the Opera House, ed. Suzanne Aspden (Chicago: University of Chicago Press, 2019), 26–38.

“‘Armida’s Picture We from Tasso Drew’?: Versions of the Rinaldo & Armida Story in Late Seventeenth- and Early Eighteenth-Century Operatic Entertainments,” in Music, Myth, and Story in Medieval and Early Modern Culture, ed. Katherine Butler and Samantha Bassler (Woodbridge, UK: Boydell and Brewer, 2019), 241–258.

“Courtly Connections: Queen Anne, Music, and the Public Stage,” in Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Linda Austern, Candace Bailey, and Amanda Eubanks Winkler (Bloomington: Indiana University Press, 2017), 185–204.

“A Thousand Voices: Performing Ariel,” in A Feminist Companion to Shakespeare, 2nd ed., ed. Dympna Callaghan (Malden, MA: Blackwell Publishers Ltd., 2016), 520–539.

“Come Away, Fellow Sailors”: Musical Characterization of the Nautical Profession in Seventeenth-Century English Theatre Music,” in The Sea in the British Musical Imagination, ed. Eric Saylor and Christopher Scheer (Woodbridge, UK: Boydell and Brewer, 2015), 83–103.

“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.

“‘Hither this Way’: Musical Dryden for Nonmusician Students (and Nonmusician Teachers) (co-authored with Kathryn Lowerre) in Approaches to Teaching the Works of John Dryden, ed. Jayne Lewis and Lisa Zunshine (New York: Modern Language Association of America, 2013), 124–131.

“Society and Disorder,” in The Ashgate Research Companion to Henry Purcell, ed. Rebecca Herissone (Farnham: Ashgate Publishing Ltd., 2012), 269–302.

“From Whore to Stuart Ally: Musical Venuses on the Early Modern English Stage,” in Musical Voices of Early Modern Women: Many-Headed Melodies, ed. Thomasin LaMay (Aldershot: Ashgate Publishing Ltd., 2005), 171–186.