‘Je le temoin en mon chant’: The Art of Diminution in the Petronian Triplum, in Catherine Bradley & Karen Desmond edd, The Montpellier Fascicle: The Final Fascicle (forthcoming)
Improvisation as Composition: the recorded improvisations of Vierne and Tournemire, in Eric Clarke & Mark Doffman edd, Distributed Creativity: collaboration and improvisation in contemporary music (forthcoming, 2017)
L’ancrage médiéval de la tradition chorale Britannique, La Lettre de l’Académie des Beaux Arts 78 (2015)
‘a “modern”…but a Britisher too’: Howells and the Phantasy, in The Music of Herbert Howells (2013, see above)
Bona cadentia dictaminum: Reconstructing Machaut’s Lyric Word Setting, Music and Letters 94 (2013)
‘Struggling but failing to mask’: the Music of Mark R. Taylor, Tempo 67 (2013)
‘“Phantasy” Mania’, in Essays on the History of English Music (2010, see above)
Redemption and Retrospection in Jacques de Liège’s Concept of Cadentia, Early Music History 29 (2010)
Lost Sounds and Found Experiences in Music 1300-1600 (Review Article), Cultural and Social History 7.2 (2010)
‘En la maison Dedalus’: Musical Aesthetics in the Historicist Labyrinth, in Alessandro Arbo, ed., Perspectives de l’esthétique musicale entre théorie et histoire (L’Harmattan, 2007)
‘Making the Mummies Sing’, in Thomas Glück and Ludwig Morenz, edd., Exotisch, Weisheitlich und Uralt: Europäisch Konstruktionen Altägyptens (LIT, 2007)
Machaut and the ‘Critical’ Phase of Late-Medieval Polyphony (Review Article), Music and Letters 87 (2006)
Accent and Metre in Later Old-French Verse: the Case of the Polyphonic Rondel, Medium Aevum 75 (2006)
‘Trespasser Mesure’: Meter in Machaut’s Polyphonic Songs, Journal of Musicology 21 (2004)
Meter and Word Setting: Revising Machaut’s Monophonic Virelais, Current Musicology 74 (2002)
Machaut’s ‘Parody’ Technique, Context 21 (2001)