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«Books: Playing with Signs: A Semiotic Interpretation of Classic Music (Princeton: Princeton University Press. 1991). Reviews Times Higher Education ...»

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“Afterword.” In Communication in Eighteenth-Century Music, edited by Danuta Mirka and Kofi Agawu. Cambridge: Cambridge University Press, 2008, 310-17.

“Topic Theory: Achievement, Critique, Prospects.” In Passagen/IMS Congress Zürich 2007:

Fünf Hauptvorträge, edited by Laurenz Lütteken and Hans-Joachim Hinrichsen. Zurich:

Bärenreiter, 2008, 38-69.

“Meki Nzewi and the discourse of African musicology: a 70th birthday appreciation.” Journal of the Musical Arts of Africa 5 (2008), 1-18.

“The Dynamics of Orality and the Politics of Music Analysis.” In L’analyse musicale: une pratique et son histoire, edited by Rémy Campos and Nicholas Donin. Genève: Droz & Conservatoire, 2009, 123-130.

Commentary [on Rhythm: Africa and Beyond], Music Theory Online 16 (2010) http://mto.societymusictheory.org/issues/mto.10.16.4/mto.10.16.4.agawu.html “The Challenge of African Art Music,” Circuit, musiques contemporaines 21(2), 55-72.

“Taruskin’s Problem(s),” Music Theory Spectrum 33(2), 186-90.

“In Memoriam William Oscar Anku (1949-2010),” Journal of the Musical Arts of Africa, 93-95.

“Leonard G. Ratner (1916-2011),” Ad Parnassum: A Journal of Eighteenth- and NineteenthCentury Instrumental Music 10(19), 191-94.

“The minimalist impulse in African musical creativity,” in Resiliency and Distinction: Beliefs, Endurance and Creativity in the Musical Arts of Continental and Diasporic Africa. A Festschrift in Honor of Jacqueline Cogdell DjeDje, edited by Kimasi L. Browne and Jean N. Kidula Richmond, Ca.: MRI Press, 2013.

“Analyzing Analysis: The largo appassionato from Beethoven’s Piano Sonata in A major, op. 2 no. 2.” In Analizar, interpretar, hacer música: de las Cantigas de Santa María a la organología.

Escritos in memoriam Gerardo V. Huseby. Edited by Melanie Plesch. Ciudad Autónoma de Buenos Aires: Gourmet Musical Ediciones, 2013, 349-64.

Review-articles:

"Wrong Notes" [Edward W. Said, Musical Elaborations]. Transition 55 (1992), 162-66.

"Hatten’s Semiotics of Music" [Robert Hatten, Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation]. Current Musicology 60/61 (1996), 147-61.

"Perspectives on Schubert’s Songs" [Marjorie Wing Hirsch, Schubert’s Dramatic Lieder, Susan Youens, Schubert: Die schöne Müllerin and Richard Kramer, Distant Cycles: Schubert and the Conceiving of Song]. Music Analysis 16:1 (1997), 109-124.

"John Blacking and the Study of African Music" [John Blacking, Venda Children’s Songs and Music, Culture and Experience] Africa 67:3 (1997), 491-99.

“An African Understanding of African Music” [Joshua Uzoigwe, Ukom and Meki Nzewi, African Music: Theoretical Content]. Research in African Literatures 32:2 (2001), 187-94.

“Adventures in Music Analysis” [Leonard B. Meyer, Spheres of Music and Richard Littlefield, Frames and Framing]. The Semiotic Review of Books 14:3 (2004), 4-7.

Reviews:

Analytica: Studies in the Description and Analysis of Music, edited by Anders Lönn and Erik Kjellberg. Music and Letters 68:2 (1987), 155-58.

Schubert: Critical and Analytical Studies, edited by Walter Frisch. Journal of Music Theory, 31:2 (1987), 324-31.

Nicholas Cook, A Guide to Musical Analysis. Music and Letters 68:4 (1987), 375-77.

Zija Kucukalic, Die Struktur des Kunstwerks; mit besonderer Berücksichtigung der Musik. Music and Letters 69:3 (1988) 404-06.

Walter Frisch, Brahms and the Principle of Developing Variation. Music Analysis 7:1 (1988), 99-105.

David Epstein, Beyond Orpheus: Studies in Musical Structure. Music and Letters 69:3 (1988), 407-09.

Zentralafrika: Musikgeschichte in Bildern by Jos Gansemans, Barbara Schmidt-Wrenger, et. al.

Music and Letters 70:1 (1989), 74-76.

Wolfgang Bender, Afrikanische Musik. Africa 59:2 (1989), 231-32.

Chopin Studies edited by Jim Samson. Music and Letters 70:4 (1989), 556-59.

African Musicology: Current Trends, edited by Jacqueline Djedje and William Carter.

Ethnomusicology 34:3 (1990), 460-63.

Leo Treitler, Music and the Historical Imagination. Music and Letters 72:1 (1991), 84-86.

David Locke, Drum Gahu: A Systematic Method for an African Percussion Piece and Drum Damba: Talking Drum Lessons featuring Abubakari Lunna. Notes 48:1 (1991), 60-62.

Christopher Waterman Jùjú: A Social History and Ethnography of an African Popular Music.

Africa 61, 400-01.

Robert O. Gjerdingen, A Classic Turn of Phrase: Music and the Psychology of Convention. Music Theory Spectrum 13:1 (1991), 112-16.

Jean Jacques Nattiez, Music and Discourse: Toward a Semiology of Music, translated by Carolyn Abbate. Music and Letters 73:2 (1992), 317-319.

Nicholas Cook, Music, Imagination and Culture. Journal of the Royal Musical Association 117:1

(1992), 157-64.

John Gray, African Music: A Bibliographical Guide to the Traditional, Popular, Art, and Liturgical Musics of Sub-Saharan Africa. Yearbook for Traditional Music 24 (1992), 169.

Simha Arom, African Polyphony and Polyrhythm: Musical Structure and Methodology,

translated by Martin Thom, Barbara Tuckett, and Raymond Boyd. Music and Letters 73:3

(1992), 486-88.

African Musicology 2, edited by Jacqueline Djedje. Yearbook for Traditional Music 25 (1993), 156-57.

Raymond Monelle, Linguistics and Semiotics in Music. Music and Letters, 75 :1 (1994), 120-22.

The Cambridge Companion to Chopin, edited by Jim Samson. Notes 51:1 (1994), 135-38.

Elaine Sisman, Haydn and the Classical Variation. Journal of the American Musicological Society 48:1 (1995), 136-44.

Music Theory and the Exploration of the Past, edited by Christopher Hatch and David W.

Bernstein. Music Theory Spectrum 17:2 (1995), 268-74.

Joshua Uzoigwe, Akin Euba: An Introduction to the Life and Music of a Nigerian Composer.

Research in African Literatures, 27:1 (1996), 232 36.

Downing A. Thomas, Music and the Origins of Language: Theories from the French Enlightenment. Notes 53:2 (1996), 486-88.

Lawrence Kramer, Classical Music and Postmodern Knowledge. Music and Letters 78 (1997), 127-129.

Music and Meaning, edited by Jenefer Robinson. Notes 55:4 (1999), 886-87.

Composing the Music of Africa: Composition, Interpretation and Realisation, edited by Malcolm Floyd. Music and Letters 81:4 (2000), 64-65.

Roger Scruton, The Aesthetics of Music. Journal of Music Theory 44:2 (2000), 487-94.

Akin Euba, Chaka [Compact Disk]. Research in African Literatures 32:2 (2001), 196-98.

Veit Erlmann, Music, Modernity, and the Global Imagination: South Africa and the West. The World of Music 43:2/3 (2001), 222-25.

Music and the Racial Imagination, edited by Ronald Radano and Philip Bohlman. Journal of the American Musicological Society 54:3 (2002), 686-91.

Eero Tarasti, Signs of Music: A Guide to Musical Semiotics by Eero Tarasti. Music and Letters 85:1 (2004), 144-46.

Ruth M. Stone, Music in West Africa: Experiencing Music, Experiencing Culture. Music and Letters 86:3 (2005), 523-525 Jonathan Dunsby, Making Words Sing: Nineteenth- and Twentieth-century Song. TwentiethCentury Music, 3:2 (2007), 277-80.

Robert Hatten, Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert.

Music and Letters 88:2 (2007), 353-55.

Analytical Studies in World Music, edited by Michael Tenzer. Journal of the American Musicological Society 61:2 (2008), 411-18.

Byron Almén, A Theory of Musical Narrative. Notes 66:2 (2009), 275-77 [Winner of the Music Library Association’s Eva Judd O’Meara Award for best review published in Notes in 2009] Stephen Rumph, Mozart and Enlightenment Semiotics. Notes 69:2 (2012), 274-77.



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