“On the Russian Concept of L?d, 1830–1945.” Forthcoming in Music Theory Online.

“On Rimsky-Korsakov’s False (Hexatonic) Progressions outside the Limits of a Tonality.” Forthcoming in Music Theory Spectrum.

“Introduction to the Symposium on Kendrick Lamar’s To Pimp a Butterfly.” Music Theory Online 25.1 (May 2019).

“Pochemu amerikantsy tak liubiat shchenkera (i Rimana eshe bol’shche)” (Why Americans so love Schenker [and Riemann even more]). Sovremennye problemy muzikoznaniia (Contemporary problems of musicology) 18/1 (2018): 2–32.

Review of Alexander Serov, and the Birth of the Russian Modern, by Paul Du Quenoy. Russian Review 76/2 (April 2017): 353–354.

“Amerikanskaia teoriia riadov v perspektive” (American set theory in perspective). Muzykal’naia Akademiia (Music academy) (2015, no. 1): 148–155.

“The Parameter Complex in the Music of Sofia Gubaidulina.” Music Theory Online 20.3 (September 2014).

“‘Sing Vasya Sing!’: Vasya Oblomov’s Rap Trios as Political Satire in Putin’s Russia.” Music and Politics VII/2 (Summer 2013).

Review-article on Analyzing Atonal Music, by Michiel Schuijer. Theory & Practice 37/38 (2012–13): 275–288.

“Conference Report: Inaugural Meeting of the Russian Society for Music Theory.” Music Theory Online 19.4 (December 2013).

“Russian Pitch-Class Set Analysis and the Music of Webern.” Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic 6/1 (2013).

“‘I Can’t Be Quiet’: An Interview with Vasya Oblomov.” Echo: A Music-Centered Journal 11.1 (Spring 2013).

“‘On the System of Stravinsky’s Harmony,’ by Yuri Kholopov: Translation and Commentary.” Music Theory Online 19.2 (June 2013).

“Rethinking Octatonicism: Views from Stravinsky’s Homeland.” Music Theory Online 18.4 (December 2012). (For this article I received the Feliks Gross Award, CUNY’s most prestigious award for assistant professors.)

“Anton Rubinstein, Alexander Serov, and Vladimir Stasov: The Struggle for a National Musical Identity in Nineteenth-Century Russia.” Germano-Slavica XVI (2007): 41-55.

“Scriabin and the Harmony of the 20th Century.” Annotated translation of article by Yuri Kholopov. Journal of the Scriabin Society of America 11/1 (Winter 2006-2007): 12-27.

Review of Making Beats: The Art of Sample-Based Hip-Hop, by Joseph Schloss. Popular Music 25/1 (2006): 138-40.

“Scriabin’s Dominant: The Evolution of a Harmonic Style.” The Journal of Schenkerian Studies 1 (2006): 118-48.

“Scriabin’s Seventh Piano Sonata: Three Analytical Approaches.” Indiana Theory Review 23 (Spring/fall 2002): 23-67.


“Stravinsky and the Soviet Union.” Forthcoming in Stravinsky in Context, edited by Graham Griffiths. Cambridge University Press.

“Russian Rap in the Era of Vladimir Putin.” In Hip-hop at Europe’s Edge, edited by Milosz Miszczynski and Adriana Helbig, 45–62. Bloomington: Indiana University Press, 2017.


“Octatonic or Diminished?: Russian Modal Interpretations of Stravinsky from an American Perspective.” In Igor Stravinsky: Sounds and Gestures of Modernism, edited by Massimiliano Locanto, 137–156. Brepols Publishers, 2014.

“Russia’s New Grove: Priceless Resource or Propagandistic Rubbish?” In Music’s Intellectual History, the inaugural volume of the RILM Perspectives Series (2008): 659–670.

“Stravinsky’s Harmony, in Context.” In Musiktheorie im Kontext, edited by Jan Philipp Sprick, Reinhard Bahr, and Michael von Troschke, 215-26. Berlin: Weidler Buchverlag, 2008.


“Rap and Rappers.” In Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture. Edited by Jacqueline Edmondson. Santa Barbara, CA: Greenwood, 2013. (Invited author.)


Kaleidoscope of Cultures: A Celebration of Multicultural Research and Practice. Edited by Marvelene Moore and Philip Ewell. New York: Rowman & Littlefield, 2010.


“Analytical Approaches to Large-Scale Structure in the Music of Alexander Scriabin.” PhD diss., Yale University, 2001. Adviser: Allen Forte.