An Index to The Tuneful Yankee and Melody Magazine, Humanities Commons, 2021.

Music for the Kingdom of Shadows: Cinema Accompaniment in the Age of Spiritualism, Humanities Commons, 2019. (PDF)

Music for Silent Film: A Guide to North American Resources, A-R Editions and the Music Library Association Index and Bibliography Series, 2016.

Louise Talma: A Life in Composition, Ashgate Publishing, 2014. (page proofs)

Shakespeare, Madness and Music: Scoring Insanity in Cinematic Adaptations, Scarecrow Press, 2009.

The Conservatoire Américain: a History, Scarecrow Press, 2007.


Two Easy Piano Pieces, by Julia Perry, Julia Perry Working Group, Humanities Commons, 2021

“Serenity,” for solo oboe or solo clarinet, by Julia Perry, Julia Perry Working Group, Humanities Commons, 2021.

The Art Songs of Louise Talma, CMS Sourcebooks/Routledge, 2017. (page proofs)


Founder and Executive Director, The Silent Film Sound and Music Archive, 2013-present

Founder and Manager, Julia Perry Working Group, 2020-present


Contributing co-editor, with Paula Bishop, Hidden Narratives: Women and Music in Popular Entertainment, University Press of Mississippi, 2022.

Contributing co-editor, with Mariana Whitmer, Re-Locating the Sounds of the Western, Routledge, 2018.

Contributing editor, Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press, 2010. (page proofs)



“Shakespeare, the Early Modern, and Period Song in the American Silent Cinema,” History as Fantasy in Music, Sound, Image and Media, ed. James Cook, Alexander Kolassa, Alexander Robinson, and Adam Whittaker, Routledge.


“Hearing Orlac,” A Teaching Companion to Silent Film, eds. Liz Clarke and Martin Johnson, Rutgers University Press.

“Women’s Compiled Scores in Early Film Music,” Hidden Narratives: Women and Music in Popular Entertainment, ed. Paula J. Bishop and Kendra Preston Leonard, University Press of Mississippi.

“Jewishness between Performance and Appropriation: Music for The Merchant of Venice on Film,” The Ethical Implications of Shakespeare and Performance in Appropriation, ed. Louise Geddes, Kathryn Vomero Santos, and Geoffrey Way, Edinburgh University Press.


“Teaching Julia Perry’s Homunculus C. F.,” Expanding the Canon: Black Composers in the Music Theory Classroom, ed. Melisa Hoag, Routledge. (page proofs)


“The Gothic and Music: Scoring ‘Silent’ Spectres,The Gothic and the Arts, ed. David Punter, University of Edinburgh Press.

Laura Rossi’s War Musics,” Double Lives: Film Composers in the Concert Hall, ed. James Wierzbicki, Routledge.

Women at the Pedals: Female Cinema Musicians During the Great War,” Over Here, Over There: Transatlantic Conversations on the Music of World War I, ed. William Brooks, Christina Bashford, and Gayle Magee, University of Illinois Press. (Uncorrected proof copy) Winner of the 2021 International Alliance for Women in Music Pauline Alderman Award for Best Article or Book Chapter.


“The Wild West meets the Wives of Windsor: Shakespeare and Music in the Mythological American West,” Re-Locating the Sounds of the Western, ed. Mariana Whitmer and Kendra Preston Leonard, Routledge. (Proof copy)

Cue Sheets, Musical Suggestions, and Performance Practices for Hollywood Films, 1908-1927,” Music in Silent Cinema, ed. Ruth Barton and Simon Trezise, Routledge. (Proof copy)


Music for Richard III: Cinematic Scoring for the Early Modern Monstrous,” The Oxford Handbook of Music and Disability Studies, ed. Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, Oxford University Press. 


The Use of Early Modern Music in Film Scoring for Elizabeth I” in Gender and Song in Early Modern England, ed. Leslie C. Dunn and Katherine R. Larson, Ashgate. (Proof copy)

Sounds of India in Supple’s Twelfth Night,” in Bollywood Shakespeares, ed. Craig Dionne and Parmita Kapadia, Palgrave Macmillan.


The Lady Vanishes: Vocality and Agency in Cinematic Ophelias,” in The Afterlife of Ophelia, ed. Deanne Williams and Kaara L. Peterson, Routledge.


“‘The Status is Not Quo’: Gender and Performance in Dr. Horrible’s Sing-Along Blog,”Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press.

“‘The Future is the Past’: Music and History in Firefly,” Space and Time: Essays on Visions of History in Science Fiction and Fantasy, ed. David C. Wright and Allen W. Austin, McFarland Press.



“Imagining Women’s Archives of Silent Film Music,” Feminist Media Histories 10.2/3 (spring/summer 2024).


“Recognizing the Truth of ‘Craft,’” The Journal for Research and Practice in College Teaching 6, no. 2.


Musical Mimesis in Orphans of the Storm,” Music Theory Online 24, no. 2.

Performing Spiritualism in the Silent Cinema,” Performance, Religion, and Spirituality 2.1.

“Women in Western Art Music,” A-R Online Music History Textbook.

Alice Jay,” and “Hazel Burnett,” Women Film Pioneers Project, Columbia University.


Using Resources for Silent Film Music,” Fontes Artis Musicae 63, 259-76.

History Faux/Real: the 2006 Ur-Hamlet,” kadar koli 10.

The Past is a Foreign Country: World Musics Signifying History in/and Elizabethan Drama,” Borrowers and Lenders 11, no. 1.

Listening to the Gaoler’s Daughter,” Cerae 3.


From ‘Angel of Music’ to ‘that Monster’: Music for the Human Uncanny in Phantom of the Opera (1925/1929),” Studies in Gothic Fiction 3, no. 1, 13-23.


“Cheer up, Hamlet! Using Shakespearean Burlesque to Teach the Bard,” This Rough Magic.

“Significations of Religious Desire in Louise Talma’s The Alcestiad,” Religion and the Arts, vol. 17, no. 3.

Rosalind’s Musical Identities in Branagh’s and Doyle’s As You Like It,” Upstart Crow.


Origin Stories: Louise Talma’s Early Life,” Journal of Historical Biography, 12.

Towards a Works List for Louise Talma,” Fontes Artis Musicae, vol. 59, no. 2.

Hearing the Scene: Approaches to Live Music in Modern Shakespearean Productions,” Early Modern Studies Journal, vol. 5.

Style and Form in Louise Talma’s Early Songs,” Journal of Musicological Research, vol. 31, no. 4.

A Great Desire: Autobiography in Louise Talma’s Early Vocal Works,” Current Musicology, Issue 94.


Topsy-Turvy Victoriana: Locating Life and Death in Corpse Bride,” Aether.


Louise Talma’s Christmas Carol,” Notes.


Silencing Ophelia: Male Aurality as a Controlling Element in Olivier’s Hamlet,” Scope, Issue 14.


Secret Rooms and Borrowed Pianos: Two Women’s Roles in Preserving the Conservatoire Américain during the Occupation,” Women in French Studies: Selected Essays from the 2006 WIF conference.


“‘Excellence in Execution’ and ‘Fitness for Teaching’: Assessments of Women at the Conservatoire Américain,” Women and Music: A Journal of Gender and Culture, vol. 11.



“Reparations in Music Scholarship,” American Music 41 (Winter 2022): 525-529. 


Lamentations: Vivian Fine’s Four Songs (1933),” Illuminate Women’s Music.


“New Music for a New Art Form: Photoplay Music;” “Taking a Cue: Accompanying Early Film;” “New Music for Old Film;” and “Setting the Scene with Sound: (Re)Scoring the Silent Film,” NewMusicBox.


Lone Star Melody Makers,” Ransom Edition.


Heavy Metal Elves;” “Survival through Song ” “Art Mimics Art: Anthony Burgess’s Napoleon Symphony;” “American Folk Rock Cattle Raid: The Decemberists’ The TainThe Avid Listener, W. W. Norton and Co.

Discovering Louise Talma’s First Orchestral Works;” “Louise Talma’s A Time to Remember;” “Louise Talma’s Toccata;” Women’s Philharmonic Advocacy.


The Innovations of Ruth Crawford Seeger;” Women Can’t Do That: Delia Derbyshire and Electronic Music;” “Song of Myself: Autobiography in Pop Music;” “Hearing Gender in George Lucas’s Galaxy;” The Avid Listener, W. W. Norton and Co.

“Louise Talma’s Last Song and the Erasure of a Life,” The Journal of the International Alliance for Women in Music.


“‘Two Hard Etudes and a Schumann Number’: American Women, Repertoire and Mentoring in France, 1921-1951,” The Journal of the International Alliance for Women in Music.



Kimberly A. Francis, Nadia Boulanger and the Stravinskys: A Selected Correspondence, Fontes Artis Musicae 66, no. 1.

Music in Shakespeare database; Borrowers and Lenders 12, no. 2 (Spring 2019).

The Shakespeare Theatre Company’s Oresteia, Early Modern Culture 14, Article 38.

Composer Diversity Database; Music Theory Examples by Women, Journal of the Society for American Music (February 2019).


Recomposing the Past: Early Music on Stage and Screen, NABMSA Reviews 5, no. 2 (Fall 2018).

The A-R Online Textbook and Anthology, AMS Pedagogy Study Group.

Esther M. Morgan-Ellis, Everybody Sing! Community Singing in the American Picture Palace, Journal of the Society for American Music.


Rebekah Ahrendt, Mark Ferraguto, Damien Mahiet, eds., Music and Diplomacy from the Early Modern Era to the Present, H-Net Reviews.


Scott Messing, Marching to the Canon: The Life of Schubert’s Marche Militaire, H-Net Reviews.

Denise von Glahn, Music and the Skillful Listener: American Women Compose the Natural World, Notes.


Felix Mayer, Carol J. Oja, Wolfgang Rathert, and Anne C. Shreffler, eds. Crosscurrents: American and European Music in Interaction, 1900-2000, NABMSA Reviews.

Magellan’s Playlist: On Tour in China (CD). The Athens Guitar Duo. Claudio, 2013. I Care If You Listen.

Jacob Druckman: Lamia (also includes That Quickening Pulse, Delizie Contente Che L’Alme Beate, Nor Spell Nor Charm, Suite from Médée) (CD). Boston Modern Orchestra Project led by Gil Rose and featuring Lucy Shelton, soprano. BMPO Sound, 2013. I Care If You Listen.


Christopher R. Wilson, Shakespeare’s Musical Imagery, Upstart.


Paul Attinello, Janet Halfyard, and Vanessa Knights, eds., Music, Sound, and Silence in Buffy the Vampire Slayer, Bulletin of the Society for American Music.


Guides to Writing about Music,”Journal of Music History Pedagogy, Vol. 2, No. 1.

Gabriel Fauré, Piano Trio; String Quartet; La Bonne Chanson, Notes.

Mark Adamo, Little Women (video), Notes.


Bruno Monsaingeon, Mademoiselle (video), Notes.


Royal S. Brown, Film Musings, Scope.


Gian Carlo Menotti, Help! Help! The Globolinks (video), Notes.

Philip Hayward, ed., Off the Planet: Music, Sound and Science Fiction Cinema, The Journal of Film Music.


Caroline Potter, Nadia and Lili Boulanger, Notes.

Phil Powrie and Robynn Stilwell, eds., Changing Tunes: The Use of Pre-existing Music in Film, Notes.


Sergei Rachmaninoff, The Miserly Knight (video), Notes.


Gilbert AmyMemoire pour violoncelle et piano d’après Shin’anim sha’ananim (1979-1989); Georges Aperghis, Sonate pour violoncelle seul (1994); Nicolas Bacri, Suite no. 1 “Preludio e Metamorfosi,”, pour violoncelle seul, opus 31 no. 1 (1987-94); Jacques Castérède, Sonate pour violoncelle et piano (1996); Alexander Comitas, Yiddish Suite pour violoncelle et piano, opus 17 (1995); Thierry Escaich, Nocturne pour violoncelle et piano (1997); Renaud Gagneux, Trois bagatelles pour violoncelle seul, opus 49 (1997); Ingrid Guymer, Seven Sketches pour violoncelle seul (1989) and Chainmail pour violoncelle solo (1995); Georges Migot, Sonate et Rhapsodie pour violoncelle seul; Serge Nigg, Duo élégiaque pour violoncelle et piano; Ton-That Tiêt, Xuân Vũ pour violoncelle et piano; Jean-Jacques Werner, Clair-obscur pour violoncelle et harpe (1996), Notes.


Richard Hickox, Holst’s The Scholar Gypsy (CD), Music Research Forum, vol. 16.

Diana Burrell, Heron: For Cello and Piano (1988); Barbara Heller, Lalai: Schlaflied zum Wachwerden? für Violoncello und Klavier (1989); Tania León, Four Pieces for Violoncello (1981); Augusta Read Thomas, Spring Song for Solo Cello (1995), Notes.


Mark N. Grant, Maestros of the Pen, Music Research Forum, vol. 15.



“Talma, Louise.” In Oxford Bibliographies in Music. Ed. Bruce Gustafson. New York: Oxford University Press.


Talma, Louise.” In American National Biography. New York: Oxford University Press.


“Adamo, Mark;” “Diamond, Beverly;” “Hamm, Charles (Edward);” “Koskoff, Ellen;” “McCulloh, Judith;” “Pollock, Howard;” “Tick, Judith.” In New Grove Dictionary of American Music, 2nd ed. Edited by Charles Hiroshi Garrett. New York: Oxford University Press.

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