One or more of my publications have been cited by other authors in the following publications:
Ciszak, T., & Josel, S. F. (2020). Of neon light: Multiphonic aggregates on the electric guitar.Tempo 74(291), 25–49. http://www.doi.org/10.1017/S0040298219000962 [p. 26]
Criton, P., & Delume, C. (2023). Microtunings, complexity, variability: A new sound map for the guitar. In Proceedings of The 21st Century Guitar Conference 2019 & 2021 (pp. 1-17). http://digitalcommons.du.edu/twentyfirst-century-guitar [p.12]
Fallowfield, E. (2020). Cello multiphonics: Technical and other musical parameters.Tempo 74(291), pp. 51-69. http://www.doi.org/10.1017/S0040298219000974 [p. 58]
Josel, S. F., & Tsao, M. (2014). The techniques of guitar playing. Bärenreiter [p. 118]
Haukka, A. (2016). Fernando Sorin (1778–1839) kitarafantasiat yhdelle soittajalle: Semioottisia analyysejä [Master's dissertation, University of Helsinki]. http://hdl.handle.net/10138/174355 [p. 81]
Kubilay, I. A., Vesilkkala, J. T., Pàmies-Vilà, M., Kuusi, T., & Välimäki, V. (2015). High-speed line-scan camera measurements of piano string multiphonics. Proceedings of the 22nd International Congress on Sound and Vibration [p. 2]
Kuhar, N. (2023). Merging pedagogy with a concert environment: A composition portfolio of 12 Concert Etudes, 6 Intermediate Preludes and 3 Guitar Concerti [Doctoral thesis, University of Surrey]. https://doi.org/10.15126/thesis.901160. [p. 138]
Martins, J. D. L., & Simões, R. C. (2020). A Produção de Conhecimento sobre Violão em Dois Eventos Nacionais (2007-2018). Revista Vórtex, 8(3), 1-34. http://www.doi.org/10.33871/23179937.2020.8.3.1.29 [p. 13]
Myers, E. E. (2024). Performing the Sonic Self: A musical narrative inquiry into identity through commissioning, performing and recording new works for solo guitar [Doctoral thesis, Griffith University]. http://doi.org/10.25904/1912/5169 [p.38]
Pantoja, A. (2023). A survey of extended techniques in the Chilean guitar repertoire from 1980 to the present (Publication No. 30635761) [Doctoral thesis, University of Arizona]. Pro Quest [p. 28]
Pazieczny, M. (2016). The duality of the composer-performer [Doctoral thesis, University of Surrey]. https://openresearch.surrey.ac.uk/esploro/outputs/99515650702346 [p. 4]
Scarduelli, F., & Ribeiro, F. (2016). Criação musical colaborativa: O processo de escrita e performance de Melancoli[r]a para violão solo. In Proceedings of XXVI Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música.
https://anppom.org.br/anais/anaiscongresso_anppom_2016/4193/public/4193-14361-1-PB.pdf [p. 4]
Schneider, J. (2015). The Contemporary Guitar (Rev. and enlarged ed.). Rowman & Littlefield [p. 113]
Vesikkala, J. T. (2016). Multiphonics of the Grand Piano: Timbral Composition and Performance with Flageolets [Master's dissertation, Sibelius Academy]. https://urn.fi/URN:NBN:fi-fe2018050923865 [pp. 15, 21]
Vishnick, M. L. (2014). A Survey of extended techniques on the classical six-string guitar with appended studies in new morphological notation, Vol. 2 [Doctoral thesis, City University of London]. https://openaccess.city.ac.uk/id/eprint/4164 [p. 239]
Vishnick, M. L. (2015). Sculpting sound on the classical six-string guitar, Vol. 2. CreateSpace Independent Publishing Platform [p. 239]