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Cited by

• 2016Recomposing National Identity: Four Transcultural Readings of Liszt's Marche hongroise d'après Schubert42 cited
• 2017Clara Schumann's Interiorities and the Cutting Edge of Popular Pianism31 cited
• 2020Chopin's Album Leaves and the Aesthetics of Musical Album Inscription30 cited
• 2019Boundaries of the New: American Classical Music at the Turn of the Millennium22 cited
• 2017Performing Civility: International Competitions in Classical Music17 cited
• 2021Gould’s Creaking Chair, Schoenberg’s Metric Clarity15 cited
• 2007Beethoven Instrumentalized: Richard Wagner's Self-Marketing and Media Image5 cited
• 2016Anti-hero Worship: The Emergence of the “Byronic hero” Archetype in the Nineteenth Century4 cited
• 2015Feminine charms and honorary masculinization/de-feminization: Gender and the critical reception of the 'virtuose', 1815-18484 cited
• 2010Embodying Music: The Visuality of Three Iconic Conductors in London, 1840-19404 cited
• 2013“She Sings a Stamp of Originality”: Sentimental Mimicry in Jenny Lind’s American Tour3 cited
• 2012Maintaining Disorder: Some Technical and Aesthetic Issues Involved in the Performance of Ligeti'sÉtudesfor Piano3 cited