If you can’t access an article, please contact me and I will email you a copy.
“Global Chopin: The 1949 Centenary and Polish Internationalism during the Early Cold War,” The Journal of the American Musicological Society 75/3 (2022): 487-545.
“Messianism Refigured: Tadeusz Zygfryd Kassern’s Musical Monument to the Warsaw Ghetto Uprising,” Holocaust and Genocide Studies 36/2, 242–265.
“Writing at the Speed of Sound: Music Stenography and Recording Beyond the Phonograph,” 19th-Century Music 41/2 (2017): 121–150.
“Sonic Transformations: Urban Musical Culture in the Warsaw Ghetto, 1940–1942” in The Oxford Handbook of Jewish Music Studies, edited by Tina Frühauf (Oxford U. P.), forthcoming.
Abstract: This chapter considers how ghettoization transformed the musical culture of Warsaw Jews. Focusing on the period between the creation of the ghetto and the mass deportations to Treblinka in summer 1942, it situates ghetto music-making within the urban space of the city, as well as within longer lineages of Warsaw’s musical culture. Its analysis is based on rarely considered sources from the clandestine archive of the Warsaw Ghetto, or Oyneg Shabes archive. These sources highlight the emergence of public and semi-public performance spaces, such as courtyards and cafés, within the ghetto, as well as a discourse that deployed music to comment on ghetto society more broadly. While traces of prewar Warsaw’s musical life remained in the ghetto, the listening and interpretative practices of commentators also evolved in response to the noise, misery, and poverty that defined the ghetto’s public spaces.
“Friend and Force: Nadia Boulanger’s Presence in Polish Musical Culture” (coauthored with Andrea Bohlman), Nadia Boulanger and Her World (Chicago U. P., 2020). Pdf.
“Music, Racism, and Genocide,” The Cambridge Companion to Music and Fascism (Cambridge U. P.), under contract.
“Entangled Lives: Roman Palester and his Family in Occupied Warsaw,” Słuch absolutny Romana Palestra, ed. Alicja Gronau (Warsaw: Chopin University Press), forthcoming.
“Ersatz Improvisation: Chopin’s Opus 28 and the Published Prelude Collection,” in Piano Culture in 19th-Century Paris, ed. Massimiliano Sala (Turnhout: Brepols, 2015), 291–311. Pdf
Reviews and Short Publications
Review of Muzyka polska za granicą [Polish Music Abroad] (Warsaw: ISPAN), Volumes 1-3. Muzyka 2022/1, 165-169.
Review of Jews and Music-Making in the Polish Lands, eds. François Guesnet, Benjamin Matis, and Antony Polonsky (Polin: Studies in Polish Jewry, 2020). Music & Letters 101/4 (November 2020): 792–795.
Review of Nadia Boulanger and the Stravinskys: A Selected Correspondence, ed. Kimberly A. Francis (U. Rochester, 2018). RMA Research Chronicle 50/1, 181–83.
Review of The Mystery of Chopin’s Preludes, by Anatole Leikin (Ashgate, 2015). Ad Parnassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music 14/27, 149–52.
Review of Romantic Anatomies of Performance, by J. Q. Davies (U. California, 2014). Current Musicology 98, 151–55.
“Kassern’s Opera The Anointed and Holocaust Memory in the Early Cold War,” the Library of Congress-American Musicological Society Lecture (2021).
“Art Song of Tadeusz Kassern, Zygmunt Mycielski, and Grażyna Bacewicz,” performed by Lucy Fitz Gibbon and Ryan MacEvoy McCullough. Part of a lecture recital given at the 2021 conference “Music, Sound, and Trauma: Interdisciplinary Perspectives.”
“Music and Resilience in Early Postwar Poland,” at the Center for Russian, East European, and Eurasian Studies; Copernicus Center for Polish Studies, University of Michigan (2020).
“Music of Nazi Germany: Strategies of Recruitment and Propaganda,” at Contemporary White Supremacy in America: What are its Links to the Nazi Past?, The Center for Jewish Civilization at Georgetown University (2019).
“Music Shorthand, or How to Capture Sound Circa 1833,” Musicology Now (2016)
“Life and Death for Music: A Polish Generation’s Journey across War and Reconstruction, 1926–53,” Cornell University (2019). Abstract.