Articles in scholarly refereed journals

  1. ‘Bulgarian Rhythm and its disembodiment in Kurtág’s The sayings of Péter Bornemisza’, Studia musicologica XLIII/3-4 (2002), pp. 269-280.
  2. ‘To say and/or to be? Incongruence in The Sayings of Péter Bornemisza op.7’. Music Analysis 22/3 (October 2003), pp. 315-338.
  3. ‘”Behold! The long-awaited new Hungarian opera has been born!” Discourses of denial and Petrovics’ C’est la guerre’. Central Europe I/2 (November 2003), pp. 133-145.
  4. ‘Longing for a national rebirth: mythological tropes in Hungarian music criticism, 1968-74’, Slavonica (November 2004), pp. 139-156.
  5. ‘A study in “tradition”, geography and identity in concert practice’, Music & Letters (November 2004), pp. 602-613.
  6. ‘Whose utopia? Perspectives on the West-Eastern Divan Orchestra?’, Music and Politics (June 2009)
  7. ‘The Parallax Worlds of the West-Eastern Divan Orchestra’, Journal of the Royal Musical Association (November 2009), pp. 319-347. DOI: 10.1080/02690400903109109.
  8. ‘Music teachers as missionaries: Understanding Europe’s recent dispatches to Ramallah’, Ethnomusicology Forum (November 2011), pp. 301-325. DOI: 10.1080/17411912.2011.641370.
  9. Round Table: Edward Said and Musicology Today’, including contributions by Brigid Cohen; Sindhumanthi Revuluri, Martin Stokes, Kofi Agawu, James R. Currie, in Journal of the Royal Musical Association 141, 2016. DOI:
  10. ‘Listening through the warzone of Europe.” Ethnomusicology, 63(2), 289-295. [Contribution to Rasmussen, A. K., A. Impey, R. Beckles Willson, O. Aksoy, D. Gill, and M. Frishkopf. “Call and Response: SEM President’s Roundtable 2016, “Ethnomusicological Responses to the Contemporary Dynamics of Migrants and Refugees”.” Ethnomusicology 63, no. 2 (2019): 279-314.
  11. Hearing global modernity: the case of the travelling oud’, in International Journal for History, Culture and Modernity, 7, 2019. DOI:
  12. ‘Orientation through Instruments : The Oud, the Palestinian Home, and Kamīlyā Jubrān’ in World of Music, 8/1, 2019. Winner of the Frances Densmore Prize of the American Musical Instrument Society.
  13. Migration, music and the mobile phone: a case study of technology and socio-economic justice in Sicily’, in Ethnomusicology Forum, 2021.


Book Chapters

  1. ‘”Culture is a vast weapon, its artistic force is also strong.” Finding a context for Kurtág’s works: an interim report’, in Beckles Willson & Williams (eds.) Perspectives on Kurtág, pp. 3-38.
  2. ‘Bartók and vocal music: inspiration and ideology’, in Amanda Bayley (ed.) The Cambridge Companion to Bartók (Cambridge, 2001), pp. 78-91
  3. ‘Eastern Europe’, in Mervyn Cooke (ed.) The Cambridge Companion to Twentieth-Century Opera (Cambridge, 2005), pp. 146-64.
  4. ‘Sehnsucht als Mythos?  Zur musikalischen Dramaturgie in den Drei Schwestern’, in Hans-Klaus Jungheinrich (ed.) Péter Eötvös (Frankfurt, 2005), pp. 17-26.
  5. ‘Reciprocity and mysticism: a new model for art in State Socialism’, in Tsukasa Kodera (ed.) Crossing boundaries in art from East Central Europe (Osaka, 2007) pp. 205-242
  6. ‘Veress and the Steam Locomotive in 1948’, in Anselm Gerhardt and Doris Lanz (eds.) Komponist – Lehrer – Forscher. Sándor Veress zum 100. Geburtstag. (Kassel, 2008), pp. 20-35.
  7. ‘Theory and Analysis’, in Jim Samson (ed.) Understanding Music (Cambridge, 2008), pp.25-42.
  8. ‘Ligeti at the Musicians’ Union 1949-56′ in Roberto Illiano and Massimiliano Sala (eds), Music and Dictatorship in Europe and Latin America (Turnhout, 2010), pp. 471-486.
  9. ‘Letters to America’, in Friedemann Sallis (ed.), Centres and Peripheries, Roots and Exiles (Victoria, 2011), pp.129-174.
  10. ‘Listening to Palestine’, in The Storyteller of Jerusalem: the Musical Life and Times of Wasif Jawhariyyeh, translated by Nada Elzeer, edited by Salim Tamari and Issam Nassar, with a Foreword by Rachel Beckles Willson (Olive Branch Press, 2013), pp. IX-XVI. ISBN 978-1-56656-925-5.
  11. ‘Doing more than representing western classical music’, in Representation and Western Music ed Joshua Waldon (Cambridge, 2013) pp. 249-266. ISBN 978-1-107-02157-0.
  12. ‘Palestinian song, European Revelation, and Mission’, in Surviving in Song: Exploring Music  among Palestinians since 1900 eds. Moslih Kanaaneh, David McDonald, Stig-Magnes Thorsén (forthcoming with Indiana University Press, 2013), pp.15-36. ISBN 978-0-253-01098-8.
  13. ‘Simulated culture and the juggernaut of capitalism: Reflections on European music in the Middle East’, in Entgrenzte Welt?: Musik und Kulturtransfer eds. Jin-Ah Kim & Nepomuk Riva, (Berlin, 2014) pp. 290-310. ISBN 987-3-87676-024-7.
  14. ‘Peacebuilding and afterwards: the early years of the Barenboim Said Foundation (2003-2009)’, in The Art of Peacebuilding eds R.Scott Appleby, Hal Culbertson, Jolyon Mitchell & Theodora Hawksley (OUP Strategic Peacebuilding Series, New York). In Press.
  15. ‘Value and Abjection: Listening to Music with Edward W. Said’, in Against Value in the Arts, eds. Emile Bojesen; Sam Ladkin; Bob McKay. Rowman & Littlefield, 2016. pp. 215-230.
  16.  ‘Analysing Sonic Authority: Sensoriality, Affect and the Unsettled Body’, in Music Analysis and the Body: Experiments, Explorations and Embodiments eds. Nicholas Reyland & Rebecca Thumpston, (Leuven Studies in Musicology, Leuven), 2018, pp.125-140. ISBN 978-90-429-3641-6..
  17. ‘The individual outside the community: music education in a fraught space’ , in My Body was Left on the Street : Music Education and Displacement, eds. Kinh T. Vu & André de Quadros. Sense Publishers, 2020.


Conference Proceedings

  1. ‘Auge in Auge mit der Musik’, in Eric Singer & Basil Rogger (eds.) Composers-in-residence. Lucerne Festival, Sommer 2003, Isabel Mundry, Heiner Goebbels (Frankfurt am Main, 2003) pp. 125-134.
  2. ‘Who is Péter Eötvös?’, in Max Nyffeler (ed.) Péter Eötvös (Münich, 2003), pp. 5-18.
  3. ‘Socialist Realism and Beyond: 1961-63 responses to Kurtág’s opp.1-4’, in Petr Macek, Mikulás Bek & Geoffrey Chew (eds.) Colloquium, Socialist Realism and Music: Anti-Modernisms and Avant-gardes, Brno 1.-3.10.2001 (Colloquia on the History and Theory of Music at the International Music Festival in Brno, Vol. 36) (Prague, 2004), pp. 49-61.
  4. ‘Meeting points and national authenticity: Bartók from inside and out’, in Masakata Kanazawa (ed.), Musicology and Globalization: Proceedings of the International Congress in Shizuoka 2002 (Tokyo, 2004), pp. 384-88.


Articles in non-refereed journals

  1. “The Repertoire Guide: György Kurtág” Classical Music 8, February 1997, 43.
  2. “Kurtág’s Instrumental Music 1988-1998”, Tempo, December 1998, pp. 15-21.
  3. ‘The fruitful tension between inspiration and design in György Kurtág’s The Sayings of Péter Bornemisza opus 7’, Mitteilungen der Paul Sacher Stiftung, March 1998, pp. 36-41.
  4. ‘Péter Eötvös in conversation about ‘Three Sisters’, Tempo, April 2002, pp. 11-13.
  5. ‘Bolgár ritmus és eltestetlenedése Kurtág Bornemisza Péter mondásaiban’, Magyar Zene XVI/2 (January 2003), pp. 47-58.
  6. ‘The West-Eastern Divan Orchestra’, British Academy Review 10 (2007), pp.15-17.
  7. ‘A new voice, a new 20th century? An experiment with Sándor Veress’, Tempo: A quarterly review of modern music, 62/243 (Jan 2008), pp. 36-41. Translated by Michael Kunkel as ‘Vertreibung, Verankerung: Uberlegungen zur Kontextualisierung des Schaffens von Sándor Veress anlässlich des Berner Festivals “veress07″‘, dissonanz 99 (Sept 2008), pp. 30-33.
  8. ‘György Kurtág, Samuel Beckett: Fin de partie – scènes et monologues, opéra en un acte.’ Tempo, vol. 73, no. 288, pp. 91-92.



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