Recent Departmental Publications

Listed below are citations for publications and recordings of UNC Chapel Hill Music Department faculty, graduate students, and alumni which are held in the Music Library. Citations are displayed for the most recent four years only. Reviews of works by UNC authors are listed under the author’s name rather than reviewer’s name. While we do not claim that this is a complete list, we have tried to be as comprehensive as possible within these parameters. Periodical articles and reviews are listed under the year the issue actually appeared. Any additions or corrections may be sent to Diane Steinhaus, Music Librarian for Public Service.

2021 || 2020 || 2019 || 2018


Borecky, Andrew. “Dungeons, Dragons, and Music: The Immersive Qualities of Sound in Dungeons and Dragons.” Journal of Sound and Music in Games, vol. 2, no. 1 (2021): 46–64.


Bohlman, Andrea F. Review of Cassette: A Documentary Mixtape. Directed, produced, and filmed by Zack Taylor; edited, produced, and additional camera by Georg Petzold. El Segundo, CA: Gravitas Ventures, 2017. [65-DVD22753]. Ethnomusicology, vol.64, no.3 (Fall 2020): 543–45. [Full Text].

Bonds, Mark Evan. The Beethoven Syndrome: Hearing Music as Autobiography. New York: Oxford University Press, 2020. [ML3800 .B75 2020].

_____. “‘Wozzeck’s Worst Hours’: Alban Berg’s Presentation Copy of Wozzeck to Eduard Steuermann.” Notes: Quarterly Journal of the Music Library Association vol. 76, no. 4 (2020): 527–34.

Figueroa, Michael A. “Decolonizing ‘Intro to World Music?'” Journal of Music History Pedagogy, vol.10, no.1 (2020): 39–57. [Full Text].

Gibbons, William (Ph.D. 2010) and Reale, Steven. Music in the Role-Playing Game: Heroes & Harmonies. New York: Routledge, 2019. [Full Text]. Reviewed by Peter Shirts. Music Reference Services Quarterly, vol.23, no. 3–4 (2020): 191–93. [Full Text].

_____. Unlimited Replays. Oxford: Oxford University Press, 2018. [ML3540.7.G53 2018 & Full Text]. Reviewed by Elizabeth Hambleton, Journal of the Society for American Music, vol.14, no.3 (2020): 366–69. [Full Text].

Patner, Andrew, edited by John R. Schmidt and Douglas W. Shadle (Ph.D.2010). A Portrait in Four Movements: The Chicago Symphony Under Barenboim, Boulez, Haitink, and Muti. Chicago, IL: University of Chicago Press, 2019. Reviewed by Christopher Mehrens (Ph.D.1998).  Music Reference Services Quarterly, vol.23 (2020). [Full Text].

Porcaro, Mark D. (Ph.D. 2006) Review of Carter. By David Schiff. New York: Oxford University Press, 2018. [ML410.C3293 S32 2018]. Notes, vol.76, no.3 (March 2020): 470–473.

Reali, Christopher M. (Ph.D. 2014) Review of Crooked River City: The Musical Life of Nashville’s William Pursell. By Terry Wait Klefsted. Jackson: University Press of Mississippi, 2018. [ML410.P966 K54 2018].  Notes vol.77, no.1 (September 2020). [Full Text].

Vanderhamm, David (Ph.D.2017). “‘I’m Just an Armless Guitarist’: Tony Melendez, Disability, and the Social Construction of Virtuosity”.  Journal for the Society for American Music, vol.14, no.3 (2020): 280–307. [Full Text].


Álamo, Juan & Marimjazzia. Ruta Panoramica. Summit Records DCD741, 2019, CD. [CD-31,961].

Bartig, Kevin. (Ph.D. 2008). Sergei Prokofiev’s Alexander Nevsky. New York, NY: Oxford University Press, 2017. [ML410 .P865 B37 2017]. Reviewed by Terry L. Dean in Notes vol 75, no. 4 (2019): 657–59. [Full Text].

Bidgood, Lee. (BA 2001). Review of Prague Soundscapes. By Zuzana Jurková. Prague: Karolinum Press, 2014. [ML 3499.09 J87 2013].  Ethnomusicology, vol. 63, no.2  (Summer 2019): 344–46.

Bohlman, Andrea F. “Classical Music in Poland.” In The Handbook of COURAGE: Cultural Opposition and Its Heritage in Eastern Europe, 293–98. Ed. Balázs Apor, Péter Apor, and Sándor Horváth. Bratislava: Comenius University, 2019. [Full Text].

_____. “Poland: Contemporary Performance Practice.” In The SAGE International Encyclopedia of Music and Culture, 1708–9. Ed. Janet Sturman. Thousand Oaks, CA: SAGE, 2019. [Full Text].

Bonds, Mark Evan. “Life, Liberty, and the Pursuit of Happiness: Revolutionary Ideals in Narratives of the ‘Farewell’ Symphony.” In Joseph Haydn & die “Neue Welt”: Musik- und Kulturgeschichtliche Perspektiven, 283–301. Ed. Walter Reicher and Wolfgang Fuhrmann. (Eisenstädter Haydn Berichte, 11). Vienna: Hollitzer, 2019.

_____. “Turning Liebhaber into Kenner: Johann Nikolaus Forkel’s Lectures on the Art of Listening, ca. 1780–1785.” In The Oxford Handbook of Music Listening in the 19th and 20th Centuries, 145–62. Ed. Christian Thorau and Hansjakob Ziemer. New York: Oxford University Press, 2018. [ML 3916. O968 2019].

Busman, Joshua. (Ph.D. 2005). “From Hipster to Hillbilly: Death, Bluegrass, and Gospel According to David Crowder.” Journal of the Society for American Music, vol. 13, no.3 (2019): 338–58. [Full Text].

Ebright, Ryan. (Ph.D. 2014). “Doctor Atomic or: How John Adams Learned to Stop Worrying and Love Sound Design.” Cambridge Opera Journal 31, no. 1 (2019): 85–117. [Full text].

_____.“We are not trying to make a political piece’: The Reconciliatory Aesthetic of Steve Reich and Beryl Korot’s The Cave.” In Rethinking Reich, edited by Sumanth Gopinath and Pwyll ap Siôn, 93–109. New York and Oxford: Oxford University Press, 2019. [Full Text].

Flory, Andrew. (Ph.D. 2006). I Hear a Symphony: Motown and Crossover R&B. Ann Arbor: University of Michigan Press, 2017. [ML.3792.M67 F56 2017]. Reviewed by by Charles L. Hughes, Journal of the Society for American Music, vol. 13, no. 2 (2019): 232–33 [Full Text].

Francis, Kimberly A. (Ph.D. 2010). ed. Nadia Boulanger and the Stravinskys: A Selected CorrespondenNce. Rochester, University of Rochester Press, 2018. [ML 423 .B52 A4 2018]. Reviewed by Kendra Preston Leonard in Fontes Artis Musicae 66/1 (January – March 2019): 67–69. [Full Text].

Garcia, David F. Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins. Durham: Duke University Press, 2017. [ML3479.G37 2017 & Full Text]. Reviewed by Francisco D. Lara, Notes, vol.76, no.2 (2019): 296–98.

Katz, Mark. Build: The Power of Hip Hop Diplomacy in a Divided World. New York, NY: Oxford University Press, 2019. [ML3918.R37 K37 2019].

Kramer, Elizabeth (Ph.D. 2005) Review of Cultivating String Quartets in Beethoven’s Vienna. By Nancy November. Woodbridge, UK; Rochester, NY, USA: The Boydell Press, 2017. [ML1160.N68 2017]. Notes, vol.76, no.2 (December 2019): 271–74.

Laird, Paul (Ph.D. 1986) and Hsun Lin. Historical Dictionary of Leonard Bernstein. Lanham, MD: Rowman & Littlefield, 2019. [ML410.B566 L36 2019].

Li, Zhizhi (Stella). “Peking Opera (Beijing Opera, jingju),” Oxford Bibliographies Online, 27 March 2019. [Full Text].

MacNeil, Anne. “‘I’ve Said Too Much’: Canon Antonio Ceruto’s Descriptions of Music and Theater in Mantua, 1597.” In Itinera chartarum: 150 anni dell’Archivio di Stato di Mantova, 386–93. Ed. Roberta Piccinelli, Deanna Semek, and Luisa Onesta Tamassia. Cinisello Balsamo, Milano: Silvana Editoriale, 2019. [CD1655.M36 I85 2019 c. 2].

Ndaliko, Chérie Rivers. Necessary Noise: Music, Film, and Charitable Imperialism in the East of Congo. New York: Oxford University Press, 2016. [ML 350.5 .N32 2016]. Reviewed by Michelle Kisliuk in Ethnomusicology, vol. 63, no.2 (Summer 2019): 331–39 [Full Text].

Robin, William. (Ph.D. 2016) “Horizons ’83, Meet the Composer, and New Romanticism’s New Marketplace.” The Musical Quarterly, vol. 102, no. 2-3 (Summer-Fall 2019): 158–99. [Full Text].

Scott, Amanda J.  (MA 2007) “The National Union Catalog, Pre-1956 Imprints as a Primary Source for Historical Research in Music.” Notes, vol.76, no.2 (December 2019): 223–37.

Segretario, Michele. (MA 2017) “A Fickle Soundscape: The Fisherman’s Feast in Boston’s North End.” Italian American Review, vol 9, no. 1 (2019): 113–30.

Sewright, Kathleen. (Ph.D. 2008) “A Medieval Manuscript and Multispectral Imaging. The San Lorenzo Palimpsest: Florence, Archivio del Capitolo di San Lorenzo, Ms. 2211, edited by John Nadas, Ars Nova, nuova serie, vol.IV.” Notes, vol.75, no.3 (March 2019). [Full Text].

Tomlinson, Sarah. “Folk Songs at the North Carolina Symphony: Engaging Students with Primary Sources on Music and Gender.” Music Educator’s Journal vol. 106, no. 2 (December 2019): 18–21. [Full Text].

Turner, Kristen M. (Ph.D. 2015) “Blue Monday and New York Theatrical Aesthetics.” In The Cambridge Companion to Gershwin, 59-79. Ed. Anna Harwell Celenza. Cambridge: Cambridge University Press, 2019. [ML410 .G288 C26 2019].

Walker, Jennifer. (Ph.D. 2019) Review of The Many Faces of Camille Saint-Saëns, edited by Michael Stegemann. Ad Parnassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music vol. 17, no. 33 (April 2019): 92–93. [Full Text].

Zeiss, Laurel E. (Ph.D. 1999) Review of Mozart in Vienna: The Final Decade. By Simon P. Keefe. Cambridge, United Kingdom ; New York, NY : Cambridge University Press, 2017. [ML410.M9 K24 2017]. Notes vol.76, no.2. (December 2019): 255–58. [Full Text].


Bonds, Mark Evan. “The Court of Public Opinion: Haydn, Mozart, Beethoven.” In Beethoven und andere Hofmusiker seiner Generation: Bericht über den internationalen musikwissenschaftlichen Kongress, Bonn, 3. bis 6, 7–24. Ed. by Birgit Lodes, Elisabeth Reisinger, and John D. Wilson. Bonn: Beethoven-Haus, 2018. [ML410.B42 B448 2018].

Review of Censorship, Translation and English Language Fiction in People’s Poland. By Robert Looby. Slavic and East European Journal 62, no. 3 (2018): 625–27. [Full Text].

Bohlman, Andrea F. Review of Lemonade. By Beyoncé. Jahrbuch Musik und Gender (2018): 166–67.

_____. Review of Cultural Histories of Noise, Sound and Listening in Europe, 1300–1918. Ed. Ian Biddle and Kirsten Gibson. EuropeNow (Fall 2018). [Full Text].

_____. “Das Radio als Wunder—Das Radio im Alltag.” In Radiophonic Culture, 279–85. Ed. Ute Holl. Heidelberg: Kehrer Verlag, 2018.

_____. “Lutoslawski’s Political Refrains.” In Lutoslawski’s Worlds. Ed. by Lisa Jakelski and Nicholas Reyland. Woodbridge, UK: Boydell and Brewer, 2018, pp. 273–300.

_____. “Orienting the Martial: Mobility and the Nineteenth-Century Legion Song.” In Hearing the Crimean War: Wartime Sound and the Unmaking of Sense, 105–28. Ed. Gavin Williams. New York: Oxford University Press, 2018. [Full Text].

Brackett, John (Ph.D. 2003), Ciro Scotto, and Kenneth M. Smith, eds. The Routledge Companion to Popular Music Analysis: Expanding Approaches. Boca Raton, FL: Routledge, 2018. [Full Text].

Carter, Tim. “Listening to Music in Early Modern Italy: Some Problems for the Urban Musicologist.” In Hearing the City in Early Modern Europe, 25–49. Ed. Tess Knighton & Ascensión Mazuela-Anguita. Turnhout and Tours: Brepols, 2018. [ML 240 .H43 2018].

_____. “Opera Arias On and Off the Stage: The Strange Case of Handel’s ‘Lascia ch’io pianga.'” In Music on Stage, 3:5–17. Ed. Fiona Jane Schopf. Newcastle-upon-Tyne (U.K): Cambridge Scholars Publishing, 2018.

Ebright, Ryan. (Ph.D 2014). “Philip Glass.” In Oxford Bibliographies in Music. Ed. Bruce Gustafson. New York: Oxford University Press, 2018. [Full Text].

Flory, Andrew. (Ph.D. 2006). I Hear a Symphony: Motown and Crossover R&B. Ann Arbor: University of Michigan Press, 2017. [ML.3792.M67 F56 2017]. Reviewed by by Christopher M. Reali, Notes, vol.75, no. 2 (2018): 272–75. [Full Text].

Francis, Kimberly A. (Ph.D. 2010), ed. Nadia Boulanger and the Stravinskys: A Selected Correspondence. Rochester, University of Rochester Press, 2018. [ML 423 .B52 A4 2018]. Reviewed by Arnold Whittall, “Making it modernist,” The Musical Times vol. 159 no. 1944 (Autumn 2018): 117–20. [Full Text].

_____. “A Woman’s Critical Voice: Nadia Boulanger and Le Monde musical, 1919–1923.” In Music Criticism in France, 1918-1939. Ed. Barbara L. Kelly and Christopher Moore. Woodbridge: The Boydell Press, 2018. [ML 270.5 .M875 2018].

Garcia, F. David. Review of Salsa Rising: New York Latin Music of the Sixties Generation. By Juan Flores. New York: Oxford University Press, 2016. [Online]. Journal of the Society for American Music vol. 12, no. 4 (November 2018): 508–11. [Full Text].

Guberman, Daniel (Ph.D. 2012) “Massive Scar Era, Heavy Metal, and Two Tyrannies.” In Tyranny and Music, 183–98. Edited by Joseph E. Morgan and Gregory N. Reish. Lanham, Maryland: Lexington Books, 2018. [ML 3916 .T97 2018].

Laird, Paul (Ph.D. 1986). Review of La música en el siglo XVII. Edited by Álvaro Torrente. (Historia de la música en España e Hispanoamérica, vol. 3.) Madrid: Fondo de Cultura Económica, 2016. Notes, vol. 74, no. 4 (2018): 644–47. [Full Text].

_____. Review of Music Theater and Popular Nationalism in Spain: 1880–1930. By Clinton D. Young. Baton Rouge, Louisiana State University Press, 2016. [ML1747 .Y68 2016]. Notes: Quarterly Journal of the Music Library Association, vol. 74, no. 3 (2018): 412–14. [Full Text].

Merhens, Christopher E. (Ph.D. 1998). Review of “Oh ma Carmen”: Bizet’s Fateful Gypsy in Portrayal From 1875 to the Present. By Victoria Etnier Villamil. Jefferson, NC: McFarland & Company, 2017. [ML410 .B62 V57 2017]. Music Reference Services Quarterly, vol. 21, no. 2 (2018): 105–07. [Full Text].

Stimeling, Travis (Ph.D. 2007). Review of A Song to Save the Salish Sea: Musical Performance as Environmental Pedagogy. By Mark Pedelty. Bloomington: Indiana University Press, 2016. [ML3799.3 .P44 2016]. Notes, vol. 74, no. 3 (2018): 418–20. [Full Text].

_____. Songwriting in Contemporary West Virginia: Profiles and Reflections. Morgantown: University of West Virginia Press, 2018. [ML385 .S735 2018].

Tomlinson, Sarah. “Singing the Archive in the Schoolroom: A Collaboration between the Library of Congress and the Global Scholars Academy.” Library of Congress Folklife Today Blog, September 7, 2018. [Full Text].

_____. Review of The Oxford Handbook of Children’s Musical Cultures. Ed. Patricia Shehan Campbell and Trevor Wiggins. Music & Letters, vol. 99, no. 1 (2018): 143–45. [Full Text].