Jonathan De Souza, "Sounding Actions." In Music at Hand: Instruments, Bodies, Cognition. Oxford: Oxford University Press, 2017, 28–50.
Benjamin Givens, “Rethinking Interaction in Jazz Improvisation.” Music Theory Online 22/3 (2016).
Three Analyses of Wayne Shorter's "El Toro" by Patricia Julien, Keith Waters and Henry Martin.
"El Toro" from The Freedom Rider, Art Blakey & the Jazz Messengers, Blue Note BLP4156, 1961
Arnie Cox, In Music and Embodied Cognition. Bloomington: Indiana University Press, 2016, 11-35.
Eugene Montague, "Entrainment and Embodiment in Musical Performance." In Youn Kim and Sander L. Gilman, edit. The Oxford Handbook of Music and the Body. Oxford: Oxford University Press, 2019. Online.
Jonathan De Souza, “Melodic Transformation in George Garzone’s Triadic Chromatic Approach; or, Jazz, Math, and Basket Weaving.” Music Theory Spectrum 44/2 (2022): 213–230
Roger T. Dean and Freya Bailes, “Cognitive Processes in Musical Improvisation.” In The Oxford Handbook of Critical Improvisation Studies, Vol. I, edited by George E. Lewis and Benjamin Piekut, 2014. Also online.
Martin Rohrmeier, "The Syntax of Jazz Harmony: Diatonic Tonality, Phrase Structure, and Form.” Music Theory & Analysis 7/1 (2020), 1-62.
Keith Waters, "Modes, Scales, Functional Harmony, and Nonfunctional Harmony in the Compositions of Herbie Hancock," Journal of Music Theory 49/2 (2005), 337–57.
Steve Strunk, “Notes on Harmony in Wayne Shorter’s Compositions, 1964–67,” Journal of Music Theory 49:2 (2008): 301–32.
Keith Waters, "'Giant Steps' and the ic4 Legacy" Intégral 24 (2010): 135–62.
Keith Waters, Henry Martin, Steve Larson, Steven Strunk, "Circular Thinking—A Roundtable on 'Blue in Green' and 'Nefertiti'" Journal of Jazz Studies 11/1 (2016): 105-120.
Steve Strunk, “Tonal and Transformational Approaches to Chick Corea’s Compositions of the 1960s” Music Theory Spectrum 38/1 (2016): 16-36.
Keith Waters, "Chick Corea and Post-Bop Harmony" Music Theory Spectrum 38/1 (2016): 37-57.
Garrett Michaelsen, "Chord-Scale Networks in the Music and Improvisations of Wayne Shorter" Gamut 8/1 (2018): 123–88.
Paul Steinbeck, "Improvisation and Collaboration in Anthony Braxton’s 'Composition 76'" Journal of Music Theory 62:2 (2018): 249–78.
Ben Geyer, "Maria Schneider's Forms: Norms and Deviations in a Contemporary Jazz Corpus" Journal of Music Theory 63:1 (2019): 35–70.
Andrew Goldman, "Returning to the Continuum: On the Value of Typological Distinctions in the Analysis of Improvisation," Music Theory Online 22.28.3