ARTICLES

“Original or Doubtful? Liszt’s Use of Key in Don Sanche.” Studia musicologica Academiae Scientiarum Hungaricae 34, nos. 3-4 (1992): 427-34.

“The Hungarian Coronation Mass and Liszt’s Music in E flat Major.” In: Proceedings of the International Conference of Liszt Societies, Budapest 1993 = entire issue of the Journal of the Franz Liszt Kring (1995): 19–20.

“Liszt’s Use of the Key of D Major: Some Observations.” Liszt Society Journal 23 (1998): 27–32.

“The Role of Tonality in the Swiss book of Années de pelèrinage.” Studia musicologica 39, nos 2-4 (1998): 367-83.

“G flat or F sharp? The Cycle of Keys in Liszt’s Music.” In: Liszt 2000. Selected Lectures given at the International Liszt Conference in Budapest, May 18-20, 1999, ed. Klára Hamburger (Budapest: Magyar Liszt Társaság, 2000), 188-200.

"‘nach Ges dur’: Liszt’s Inscription in the Score of Handel’s Opera ‘Almira’.” Studia musicologica 42, nos. 3-4 (2001): 349-72.

“‘Le chasseur maudit.’ Key and Content in Liszt’s Music in C minor.” Studia Musicologica 44, nos. 3-4 (2003): 321-36.

“Liszt’s sans ton Key Signature.” Studia Musicologica 45, nos. 3-4 (2004): 281-302.

“Two Keys for Six Pieces: Tonality and Liszt’s Consolations.” Journal of the American Liszt Society 54-56 (2003-2005): 125-33.

“Liszt’s Music in C Major.” Musical Times 149, no. 1903 (Summer 2008): 70-80.

“Teufelsonate”: Mephistopheles in Liszt’s Piano Sonata in B minor’, Musical Times 152, no.1914 (Spring 2011): 7-19

“Christ’s mighty shrine above His martyr’s tomb”:Byron and Liszt’s Journey to Rome. Studia Musicologica 55 no.1 (2014): 17-26

“Liszt, Hungary, and the key of F sharp major.” Hungarian Review (volume XIV, no.1, March 2023): 101-110

BOOKS

Revolution and Religion in the Music of Liszt. Cambridge University Press, 1987, re-issued 2008

Liszt’s Programmatic Use of Key. Budapest: Argumentum Publishing House, 2021. www.argumentum.net