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Cited by

• 2016Classical music as enforced Utopia139 cited
• 2012Compositions, Scores, Performances, Meanings94 cited
• 2010The Form of Performance: Analyzing Pattern Distribution in Select Recordings of Chopin's Mazurka Op. 24 No. 249 cited
• 2016Recordings as learning and practising resources for performance: Exploring attitudes and behaviours of music students and professionals39 cited
• 2012Globale Horizonte europäischer Kunstmusik, 1860–193033 cited
• 2017Inventing Tradition: Webern's Piano Variations in Early Recordings33 cited
• 2014The Notion of Expression in Music Criticism29 cited
• 2018“Attractor Tempi” in Brahms’s Symphony No. 2/III18 cited
• 2010Performance Style in Elena Gerhardt's Schubert Song Recordings16 cited
• 2017Analyzing Difference in Recordings of Bach’s Violin Solos with a Lead from Gilles Deleuze12 cited
• 2020Rethinking classical sound recordings11 cited
• 2017The New State of Play in Performance Studies8 cited
• 2017Re-examining Czerny’s and Moscheles’s Metronome Marks for Beethoven’s Piano Sonatas8 cited
• 2011Variety in Performance: A comparative Analysis of Recorded Performances of Bach's Sixth Suite for Solo Cello from 1961 to 1998