RECENT ARTICLES (Selection)

2025
“Towards an Aesthetics of the ‘New Jew’: The Transformations of Music and Sound in Berlin’s Private Prayer Spaces (1815–1823).” Revue de musicologie, tome 111, no. 1: 37–64.

2024
“Ein Fall von dérive historique: Jaromír Weinbergers Schwanda, der Dudelsackpfeifer.” In Dis|Kontinuitäten. Oper und Operngeschichte zwischen Weimarer Republik und früher Bundesrepublik, edited by Tobias Janz and Benedetta Zucconi. Frankfurt: Campus, 117–36.

“In the Crossfire of Cold War Politics: Walter Felsenstein’s Fiedler auf dem Dach in the German Democratic Republic.” The Musical Quarterly 107, issue 3–4: 144–171.

“The Evolution of Prayer and Song in Early Modern Berlin.” Min-Ad: Israel Studies in Musicology 22: 18 p.

“Fragmentierung und Exil: Auf den Spuren von Ruth Schonthal entlang ihrer Klavierwerke.” Die Tonkunst 18, no. 4: 435–444.

2023
“The Dialectics of Nationalism: Jaromír Weinberger’s Schwanda the Bagpiper and Anti-Semitism in Interwar Europe.” Cambridge Opera Journal. Winner of the 55th Deems Taylor/Virgil Thomson Award for an article in the concert music field.

2022
“(Un-)Jewish Musical Spaces in Munich – Past and Present.”  In German-Jewish Studies: Next Generations, edited by Aya Elyada and Kerry Wallach. Oxford, New York: Berghahn Books, 248–268.

“Music, Mobility, and Cold War Politics: The Jewish Community in East Berlin.”  In Musique et politique culturelle sous le nazisme et le stalinisme: 1945 – Europe année zéro, edited by Philippe Olivier and Amaury du Closel. Paris: L’Harmattan, 167–183.

“A Relic of the Past? The Organ and the Jewish Communities in Post-war Germany.” In Jewish Life and Culture in Germany after 1945, edited by Katrin Keßler, Sarah M. Ross, Barbara Staudinger, and Lea Weik. Berlin: De Gruyter, 175–88.

2021
“The Organ in Jewish Culture during the Long Renaissance.” Early Music 49, no. 4: 553–564.

“Ontological Reflections on ‘Contemporary Jewish Music in America’.” Journal of Synagogue Music 46, no. 1: 52–54.

“‘Etwas Unerhörtes bis dahin …’: Orgel und Orgelmusik in jüdischer Kultur.” Singende Kirche 68, no. 4: 252–257.

2020
“Stereotypes and Jewish Musical Topics in East German Film: Ambiguities and Allosemitism in Hotel Polan und seine Gäste.” Leo Baeck Institute Yearbook 65, no. 1: 153–85.

“Songs of Exile: Mario Castelnuovo-Tedesco (1895–1968) and The Divan of Moses-Ibn-Ezra.” In Exile and Creativity, edited by Alessandro Cassin. New York: CPL EDITIONS, 50–81.

2019
“Jüdische Musikforschung in den Akten der Stasi – Möglichkeiten und Grenzen der Recherche.” Forum Musikbibliothek 40, no. 1: 18–23.

2018
“Jewish Vestiges on the Banks of the Danube: Synagogue Music in ‘Pannonia’.” In Music Cultures
in Sounds, Words and Images: Essays in Honor of Zdravko Blažeković, edited by Antonio Baldassarre
and Tatjana Markovic. Vienna: Hollitzer Verlag, 277–311.

“Jüdisches Wirken im Schatten des Kanons: Hermann Zivi – Kantor, Komponist und Theoretiker.” Musik in Baden-Württemberg 24–25: 173–186.

2016
“Ein Instrument und seine Folgen: Die Orgel in der deutsch-jüdischen Kultur.” In Jüdischer
Almanach Musik, edited by Gisela Dachs. Berlin: Jüdischer Verlag im Suhrkamp Verlag, 64–80.

“Belly Dance Goes Goth: Distortions, Layers, Overlaps.” In Schichten, Geschichte, System:
Geologische Metaphern und Denkformen in den Kunstwissenschaften, edited by Hanns-Werner Heister. Berlin: Weidler, 55–75.

2015
“Reform of Synagogue Music in the Nineteenth Century.” In Cambridge Companion to Jewish Music, edited by Joshua Walden. Cambridge: Cambridge University Press, 187–200.

“After the Holocaust: Jewish Music and the Canon in German Intellectual History.” In Partituren
der Erinnerung: Der Holocaust in der Musik, edited by the Wiener Wiesenthal Institut für Holocaust
Studien. Vienna: new academic press, 12–40.

2013
“Five Days in Berlin: The ‘Menuhin Affair’ of 1947 – A Chapter in the History of Postwar
Germany.” Musical Quarterly 96, no. 1: 14–49.