2025	“Messiaen’s Language of Religious Symbolism,” in Robert Sholl, ed., Messiaen in Context. Cambridge University Press, 127-134.
2025	“The Theology and Aesthetics of Thomas Aquinas in the Compositions of Olivier Messiaen,” in Robert Sholl, ed., Messiaen in Context. Cambridge University Press, 119-126.
2023	“Alexander Zemlinsky’s Lyric Symphonie in the Footsteps of Mahler’s Lied von der Erde,” in Lawrence Le Diagon and Geneviève Mathon, eds., Réflexions signifiantes de Franz Liszt à la musique contemporaine. Hommage à Márta Grabócz. Dijon, E.U.D., coll. “Musiques”, 301-319.
2022	“Music as Content, Form, and Metaphor in Hermann Hesse’s Castalian Utopia”, in Rachel Durkin et. al., eds., The Routledge Companion to Music and Modern Literature, 291-301.
2022	“Aribert Reimann’s Epitaph: A Song Cycle with Poems by Percy B. Shelley,” in Magdalena Chrenkoff,  ed., Beethoven 8: Studien und Interpretationen, 295-306.
2022	“Verlaine’s Manifesto in Debussy’s Music,” in Magdalena Chrenkoff, ed., Beethoven 8: Studien und Interpretationen, 125-137.
2021-22	Tripartite Chinese translation of “A Concert of Paintings: ‘Musical Ekphrasis’ in the Twentieth Century,” published in Music Culture Studies 2021/4, 2022/1, and 2022/3 (originally in Poetics Today 22/3: 551-605).
2021	“The Dies irae Of Respectful Remembrance and the Twelve-Tone Tows of Death in Shostakovich’s Symphony No. 14,” in Anna Granat-Janki, ed., Musical Analysis: Historia, Theoria, Praxis VI (Wroclaw: The Karol Lipinski Academy of Music), 43-58.
2021	“Les ‘Vents’  de Saint-John Perse et Elliott Carter : un concerto racontant un poème”, in Márta Grabócz, ed., Narratologie musicale : Topiques, théories et stratégies analytiques (Paris: Hermann), pp. 467-492.
2020	“Musical Ekphrasis: The Evolution of the Concept and the Breadth of its Application.” Contribution to William Dougherty and Esti Sheinberg, eds.: Routledge Handbook of Music Signification, 345-358
2020	“Epitaph: Aribert Reimanns Musical Circumambulation of an Imagined Tombstone Inscribed with Poems by Percy B. Shelley”, in Anna Nowak, ed., ́The Past and Present in a Musical Work (Bydgoszcz: Akademii Muzycznej), 27-40.
2020	“Olivier Messiaen”, article in Encyclopedia of the Bible and its Reception 18, Berlin/Boston: Walter de Gruyter, 845-850.
2019	“La Lutte de Jacob avec l’Ange: Alexandre Tansman’s Musical Ekphrasis of Paul Gauguin’s Painting,”  in Anna Granat-Janki, ed., Musical Analysis: Historia, Theoria, Praxis (Wroclaw: The Karol Lipinski Academy of Music), 13-30.
2019	“Sorrow and Serenity in Visions of Impermanence: Penderecki’s Eighth Symphony,” in Iwona Sowinska-Fruhtrunk et. al., eds., Teoria Muzyki: studia, interpretacje, dokumentacje 13 (Kraków: Akademii Muzycznej), 25-46.
2018	“‘Il Penseroso’, from Stone to Tone: Intermedial Responses between Illustration and Ekphrasis.” In Márta Grabócz, ed.: Les grands topoï du XIXe siècle et la musique de Franz Liszt. Paris: Hermann, 19-39.
2018	“Marta Ptaszyńnska’s Concerto for Marimba and Orchestra: an ekphrastic triptych,” in Magdalena Chrenkoff, Beethoven 7: Studien und Interpretationen. Cracow, Poland: Academia Muzyczna, 541-554
2015	“Ming I - Verwundung des Hellen. Die Dichtung von Nelly Sachs in Kompositionen von Walter Steffens,” in Raul Calzoni et al., eds., Intermedialität – Multimedialität. Literatur und Musik in Deutschland von 1900 bis heute (Göttingen: Vandenhoeck & Ruprecht), 89-118.
2015	“Intermedializing Music,” in Asunción López-Varela / Ananta Sukla, eds., The Ekphrastic Turn: Interart Dialogues (Champaign, IL: Common Ground), 13-38.
2015	“Oliviera Messiaena recepcja i adaptacja teologii i estetyki Tomasza z Akwinu” [Olivier Messiaen’s Aesthetic and Theological Reception and Adaptation of Thomas Aquinas], in Ilona Iwańska et al., eds.: Teoria Muzyki. Studia interpretacje dokumentacje (Kraków: Akademia Muzyczna w Krakowie), 23-52.
2014	“Music as a Vehicle of Truth in Olivier Messiaen’s Saint François d’Assise,” inT. Malecka/M. Pawlowska, eds., Music as a Message of Truth and Beauty, (Krakow: Academia Muzyczna w Krakowie), 75-86.
2011	“Reflexiones sobre ecfrasis musical,” in Susana González Aktories and Irene Artigas Albarelli, eds., Entre artes, entre actos (Mexico: Bonilla), 51-68.
2010	“Penrose, ‘Seeing is Believing’: Intentionality, Mediation, and Comprehension in the Arts,” in Lars Elleström, ed., Media Borders, Multimodality, and Intermediality (London: Palgrave Macmillan), 137-149.
2009	“Musica instrumentalis, humana, et mundana: Paul Hindemith’s Symphony ‘Die Harmonie der Welt’,” in Maria Eder, ed., 20 Jahre Europäische Akademie der Wissenschaften und Künste (Salzburg: Edition Weimar, 2009), 53-63.
2009	“Musical Ekphrasis on a Puppet Drama of Death: Bohuslav Martinů’s Smrt Tintagilova / La Mort de Tintagiles after Maurice Maeterlinck,” in Ales Březina and Eva Velická, eds.,  Aspekte der Musik, Kunst und Religion zur Zeit der Tschechischen Moderne / Aspects of Music, Arts and Religion during the Period of Czech Modernism (Frankfurt: Peter Lang), 129-160.
2009	“Resounding Images: Picasso in Musical Transmedializations by Walter Steffens,” in Stephanie M. Glaser, ed., Media Inter Media (Amsterdam/New York: Rodopi), 37-57.
2008	“Ming I – Die Verwundung des Hellen: Walter Steffens’s Compositions about Suffering and Fate,” Siglind Bruhn, ed., Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis (Hillsdale, NY: Pendragon), 143-170.
2008	“Die musikalische Deutung schmerzlichen Erinnerns. Walter Steffens’ Oper Eli nach dem Mysterienspiel von Nelly Sachs,” in Lichtersprache aus den Rissen. Nelly Sachs – Werk und Wirkung, Ariane Huml, ed. (Göttingen: Wallstein), 215-235.
2007	“Vers une méthodologie de l’ekphrasis musical,” in Marta Grabocz and Danièle Piston, Sens et signification en musique (Paris: Hermann), 155-176.
2007	“Transfiguration Transmedialized: From Miraculous Vision to Musical Mirage,” in Mikael Aksander et al., eds., Changing Borders: Contemporary Positions in Intermediality (Lund: Intermedia Studies Press), 323-338.
2006	“La danse des morts – a folk tradition religiously contextualized: Arthur Honegger and Paul Claudel’s response to Hans Holbein’s woodcut series,” in Eero Tarasti, ed., Music and the Arts (Helsinki: Acta Semiotica Fennica), 229-240.
2005	“Rituals and Genres in a Twentieth-Century Operatic Oortrayal of a Medieval Saint,” in Mette B. Bruun et al., eds., Genre and Ritaul: The Cultural Heritage of Medieval Rituals (Copenhagen: Museum Tusculanum Press), 173-186.
2004	“Mythopoesis and Musical Genre in Bohuslav Martinu’s Greek Passion,” in N.H. Petersen et al., eds., Signs of Change: Transformations of Christian Traditions and Their Representation in the Arts, 1000-2000 (Amsterdam, Rodopi), 293-311.
2003	“Fear of Death in a Life Between God and Satan: Kari Tikka’s Recent Opera Luther,” in The Arts and the Heritage of Martin Luther [special issue of Transfigurations: Nordic Journal for Christianity and the Arts], J. Fleischer et al. (Copenhagen: Museum Tusculanum Press), 187-208.
2002	“Three Ways of Listening to Birds on a Crank: Musical Interpretations of Paul Klee’s Witty Criticism of Modern Culture,” in Cultural Functions of Intermedial Explorations, U.-B. Lagerroth et al., eds. (Amsterdam: Rodopi), 267-285
2002	“Musikalisk ekfras,” in Intermedialitet: ord, bild och ton i samspel, Hans Lund, ed. (Lund: Studentlitteratur), 193-202.
2002	“Schönbergs Pelleas und Melisande,” in Arnold Schönberg - Interpretationen seiner Werke, Gerold W. Gruber, ed. (Laaber: Laaber Verlag), vol. I, 36-59.
2002	“Des encadrements musicaux qui élargissent la vue. Implications herméneutiques dans deux des Vingt regards sur l’Enfant-Jésus d’Olivier Messiaen,” in Approches herméneutiques de la musique, Jacques Viret, ed. (Strasbourg: Presses Universitaires de Strasbourg), 7-19.
2002	“Wordless Songs of Love, Glory, and Resurrection: Musical Emblems of the Holy in Hindemith’s Saints,” in Voicing the Ineffable, Siglind Bruhn, ed. (Hillsdale, N.Y.: Pendragon), 157-188.
2001	“John Taveners Operndarstellung der Maria Ægyptiaca als ‘Ikone in Musik und Tanz’,” in Analyse zur Vermittlung von Musik und Werbung für Komponisten. Eine Anthologie für Gottfried Scholz zu seinem 65. Geburtstag, Margareta Saary, ed. (Frankurt etc.: Peter Lang), 39-74.
1999	“Piano Poems and Orchestral Recitations: Instrumental Music Interprets a Literary Text,” in W. Bernhart, S.P. Scher, W. Wolf, eds., Word and Music Studies: Defining the Field (Amsterdam: Rodopi), 277-299.
1999	“Ein Komponist individualisiert den Soldaten Jedermann. Vom sozialen Drama Büchners zum psychologischen Drama Bergs,” in Peter Csobadi et. al., eds., Alban Bergs WOZZECK und die zwanziger Jahre (Anif/Salzburg: Verlag Müller-Speiser), 121-140.
1998	“Vom Bild zum Text -- vom Text zum Ton: Musikalische Ekphrastik in einem ‘Klaviergedicht’ Ravels,” in Intermedialität: Theorie und Praxis eines interdisziplinären Forschungsgebiets, Jörg Helbig, ed. (Berlin: Erich Schmidt Verlag), 161-176.
1998	“The Spiritual Layout in Messiaen’s Contemplations of the Manger,” in Messiaen’s Language of Mystical Love, Siglind Bruhn, ed. (New York: Garland), 247-267.
1998	“Symbolism and Self-Quotation in Berg’s Picture Postcard Songs,” in Encrypted Messages in Alban Berg's Music, S. Bruhn, ed. (New York: Garland), 157-190.
1997	“ ‘Herr, gehe nicht ins Gericht’: A comparison of style and musical symbolism in the church cantata settings of this text by Johann Sebastian Bach und Johann Friedrich Fasch,” in Nationalstile und Europäisches Denken in der Musik von Fasch und seinen Zeitgenossen, Konstanza Musketa, ed. (Dessau: Anhaltische Verlagsgesellschaft), 23-39.
1997	“New Perspectives in a Love Triangle: Ondine in Musical Ekphrasis,” in Interart Poetics: Essays on the Interrelations of the Arts and Media, U.-B. Lagerroth, H. Lund, E. Hedling, eds. (Amsterdam: Rodopi), 47-60.
1988	“Helmut Eder: Erstes Violinkonzert,” in Dodekaphonie in Österreich nach 1945, Gottfried Scholz, ed. (Vienna: Verband der wissenschaftlichen Gesellschaften Österreichs), 113-147.