“Come Go With Me to Freedom Land: Black Women Musicians and the Unexplored Sonic History of the March on Washington.” Hidden Harmonies: Women and Music in Popular Entertainment. ed. by Paula J. Bishop and Kendra Preston Leonard. (University of Mississippi Press).
“When and Where I Enter: Black Women Composers and the Advancement of a Black Postmodern Concert Aesthetic in Cold War Era America.” Colloquy Journal of the American Musicological Society vol 73, no. 3 (Fall 2020)
“Most of My Sheroes Don’t Appear on a Stamp: Contextualizing the Contributions of Women Musicians to the Progression of Jazz” The Cambridge Companion to Women in Music since 1900, ed. Laura Hamer (Cambridge University Press).
“Singing and Swinging in the Heartland: Black Women Musicians Making Music in the Midwest during the Jazz Age,” Staking Claims: The Fluid Boundaries of Suffrage and Jim Crow in the Heartland, University of Kentucky Press
“Black Women Working Together: The Politics of Validation in Jazz” Special issue of Black Music Research Journal vol. 34, no. 1 (Spring 2014).
“Work the Works: The Role of African American Women in the Development of Contemporary Gospel,” Readings in African American Church Music and Worship vol. 2, ed. by James Abbington, Chicago: GIA Publications, 2014. Also in Black Music Research Journal 26, no. 1 (Spring 2006): 89-109.
“Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Post Soul America” American Studies (Fall 2013)
“Freedom is a Constant Struggle: Alice Coltrane and the Redefining of the Jazz Avant Garde.” John Coltrane and Black America’s Quest for Freedom: Spirituality and the Music. Edited by Leonard Brown. New York and Oxford: Oxford University Press, pp. 73-98.
“I Wish I Knew What It Meant to be Free: Nina Simone and the Redefining of the Freedom Song of the 1960s” Journal of the Society for American Music 2, no. 3 (August 2008): 295-317.
“Super Sisters, Mean Mothers, and Big Mamas: The Lost History of Black Women & Jazz.” Textural Rhythms: Constructing the Jazz Tradition Contemporary African American Quilts. Edited by Carolyn Mazloomi. West Chester: Paper Moon Publishing, pp. 25-33.
“Having her Say: The Black Woman’s Use of the Classic Blues as Lament,” Women and the Worlds of Music: Past and Present Edited by Jane Bernstein. Boston: Northeastern University Press, pp. 213-231.
“’Sons of Africa, Come Forth’: Compositional Approaches of William Grant Still in the Opera Troubled Island,” American Music Research Center Journal 13 (2003): 37-59.
“This is My Story, This is my Song: The Historiography of Vatican II, Blacks Catholic Identity, Jazz, and the Religious Compositions of Mary Lou Williams,” U.S. Catholic Historian 19, no. 2 (Spring 2001): 83-94.
“Arias, Communist and Conspiracies: The Troubled History of Still’s Troubled Island,” Musical Quarterly 83, no. 4 (Winter 1999): 487-508.