Romantic Nationalism in India: Cultivation of Culture and the Global Circulation of Ideas, forthcoming.
Arnold Bake: A Life with South Asian Music, London: Routledge, 2018.
Music and Empire in Britain and India: Identity, Internationalism, and Cross-Cultural Communication, New York: Palgrave MacMillan, 2013.
Moral Languages from Colonial Punjab: The Singh Sabha, Arya Samaj and Ahmadiyahs, New Delhi: Manohar, 2008.
Book Chapters & Articles
"Hindu Nationalism and North Indian Music in the Global Age" in Irfan Ahmad and Jie Kang, eds., Nation Forms in the Global Age: Ethnographic Perspectives, New York: Palgrave MacMillan, 2021:
“Rhythms of the Raj: Music in Colonial South Asia” in Harald Fischer-Tiné and Maria Framke, eds., Routledge Handbook of the History of Colonialism in South Asia, London: Routledge, 2021:
"Global Connections: Attuning to European Music Abroad" in Klaus Nathaus and Martin Rempe, eds., Musicking in Twentieth-Century Europe, Berlin: De Gruyter, 2020 (Handbook Series Contemporary European History): 393-416.
"Marginalizing the Muslim Ustad: Hindu Nationalism and Music in Modern North India" in Dina Siegel and Frank Bovenkerk, eds., Crime and Music, Berlin: Springer, 2020: 33-51.
"Songs to the Jinas and of the Gurus: Historical Comparisons between Jain and Sikh Devotional Music", Sikh Formations: Religion, Culture, Theory, 15, 1-2, 2019: 230-45 (Special Issue: Music and Poetics of Devotion in the Jain and Sikh Traditions).
“Non-Western National Music and Empire in Global History: Interactions, Uniformities, and Comparisons”, Journal of Global History, 10, 3, 2015: 431-56.
“Sikh Sacred Music and Rabindra Sangit: A Comparison of Music in Imperial Culture”, Sikh Formations: Religion, Culture, Theory, 11, 1-2, 2015: 133-48 (Special Issue: Encountering Sikh Texts, Practices and Performances: Essays in Honour of Professor Christopher Shackle).
“Pre-Twentieth Century Sikh Sacred Music: the Mughals, Courtly Patronage and Canonisation”, South Asia: Journal of South Asian Studies, 38, 2, 2015: 141-55.
“History versus Tradition Again? A Response to Bhai Baldeep Singh”, Sikh Formations: Religion, Culture, Theory, 8, 2, 2012: 247-51.
“Sikh Sacred Music, Empire and World Music: Aesthetics and Historical Change”, Sikh Formations: Religion, Culture, Theory, 7, 2, 2011: 383-97 (Special Issue: Sikh Musicology).
“Percy Grainger and Empire: Kipling, Racialism and All the World’s ‘Folk Music’”, British Music: The Journal of the British Music Society, 32, 2010: 13-24.
“Music, Theosophical Spirituality, and Empire: the British Modernist Composers Cyril Scott and John Foulds”, Journal of Global History, 3, 2, 2008: 163-82.
“Sikh Music and Empire: the Moral Representation of Self in Music”, Sikh Formations: Religion, Culture, Theory, 4, 1, 2008: 1-15.
Reviews & Notes
Review of Harry Liebersohn, Music and the New Global Culture: From the Great Exhibitions to the Jazz Age, H-Soz-Kult, forthcoming 2021:
Review of Desmond Scott, Lewis Foreman and Leslie De'Ath, eds., The Cyril Scott Companion: Unity in Diversity, North American British Studies Association Reviews, 6, 1, 2019: 14-15.
Review of Nalini Ghuman, Resonances of the Raj: India in the English Musical Imagination, 1897-1947, ASIANetwork Exchange: A Journal for Asian Studies in the Liberal Arts, 24, 1, 2017: 159-61.
Review of Virinder S. Kalra, Sacred and Secular Musics: A Postcolonial Approach, South Asia: Journal of South Asian Studies, 39, 3, 2016: 700-2.
CD release note, “Songs of Quest and Inspiration: Cyril Scott – Ralph Vaughan Williams", British Music Society News, 132, 2011: 475.
Liner notes, Songs of Cyril Scott and Ralph Vaughan Williams, Robbert Muuse, baritone/Micha van Weers, piano, Challenge CD, 2011.
Review of Verne Dusenbery, Sikhs at Large and Verne Dusenbery and Darshan S. Tatla, eds., Sikh Diaspora Philanthropy in Punjab, Contributions to Indian Sociology, 45, 2, 2011: 283-7.
Review of Willem van Schendel, A History of Bangladesh, IIAS Newsletter, 53, 2010: 36.
Review of Partha Mitter, The Triumph of Modernism: India’s Artists and the Avant Garde 1922-1947, Contemporary South Asia, 18, 1, 2010: 113-4.
Review of Amanda J. Weidman, Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India, Contemporary South Asia, 16, 2, 2008: 256-7.
“Individuality, Literature and Censorship: Gao Xingjiang and China”, IIAS Newsletter, 47, 2008: 28-9.
Review of Pál Nyíri, Scenic Spots: Chinese Tourism, the State, and Cultural Authority, Canadian Journal of History, 42, 3, 2007: 579-81.
“Music and Manipulation”, review of Steven Brown and Ulrik Volgsten, eds., Music and Manipulation, IIAS Newsletter, 44, 2007: 35 [reprinted in SPAFA Journal, 18, 2, 2008: 17-23].
Review of B. R. Nanda, ed., The Collected Works of Lala Lajpat Rai (vols. 1-6), Contemporary South Asia, 15, 3, 2006: 354-6.
Review of John Whelpton, A History of Nepal, Canadian Journal of History, 41, 2, 2006: 417-9.