| 2012 |
Charlie Parker and "Honeysuckle Rose": Voice Leading, Formula, and Motive. Music Theory Online 18.3 |
| 2011 |
More Than Just Guidetones: Steve Larson's Analyzing Jazz--A Schenkerian Approach. (review-essay) Journal of Jazz Studies 7.1: 121–44. |
| 2011 |
Schenker and the Tonal Jazz Repertory. Tijdschrift voor Muziektheorie 16.1 (February): 1-20. |
| 2008 |
Balancing Composition and Improvisation in James P. Johnson's "Carolina Shout." Journal of Music Theory 49.2 (Fall 2005) 277-99. |
| 2008 |
Report on the Mannes Institute 2008. Music Theory Online 14.3. Co-authored by Martin and five others. As principal author, Martin wrote the introduction to the report as well as a detailed summary of the activities of the Mannes Institute workshop, Charlie Parker's Bebop Style. |
| 2006 |
Charlie Parker as Composer, Musica Oggi 24: 28-43. |
| 2006 |
We Remember Clifford: Variation Technique at the Middleground, Tijdschrift voor Muziektheorie 11.1 (February): 1-8. |
| 2005 |
Constructing a Post-Modern-Jazz Pedagogy (co-authored with Robert Wason), Jazzforschung/Jazz Research 37 (December): 163-77. |
| 2005 |
Jazz Theory and Analysis: An Introduction and Brief Bibliography, Zeitschrift der Gesellschaft für Musiktheorie. 2. Jahrgang, Ausgabe 2 (on-line publication available at http://www.gmth.de/www/zeitschrift.php). |
| 2004 |
From Fountain to Furious: Ellington's Development as Stride Pianist, Musica Oggi 23: 55-68. |
| 2004 |
Review of Jeff Sultanof's Miles Davis, Birth of the Cool: Scores from the Original Parts, Annual Review of Jazz Studies 12: 213-18. |
| 2003 |
Maria Schneider's "Hang Gliding": Aspects of Structure, Tijdschrift voor Muziektheorie 8.1 (February): 16-24. |
| 2003 |
Review of Paul S. Machlin's Thomas Wright "Fats" Waller: Performances in Transcription 1927-1943, Vol. 10 of Music of the United States, Music and Letters 84.1 (February): 163-65. |
| 2001 |
Prism on an Era: Scott DeVeaux's The Birth of Bebop, Annual Review of Jazz Studies 10: 269-90. |
| 2001 |
Seven Steps to Heaven: A Species Approach to Twentieth-Century
Analysis and Composition, Perspectives of New Music 38.1 (Winter, 2000): 129-68. |
| 2000 |
Jazz Pianists of the 1920s and 1930s, The Oxford Companion to
Jazz. Ed., Bill Kirchner. |
| 2000 |
The Nature of Recomposition: Miles Davis and "Stella By
Starlight," Annual Review of Jazz Studies 9: 77-92. |
| 1998 |
Review of Elizabeth West Marvin's and Richard Hermann's Concert
Music, Rock, and Jazz Since 1945 - Essays and Analytical studies, Music
Theory Spectrum 20.1 (Spring): 141-51. |
| 1997 |
Jazz Theory: An Overview, Annual Review of Jazz Studies 8:
1-17. |
| 1994-95 |
Thomas Owens's Bebop: The Music and Its Players, Annual Review of
Jazz Studies 7: 263-8. |
| 1988 |
Jazz Harmony, A Syntactic Background, Annual Review of Jazz
Studies 4: 9-30. |
| 1987 |
Syntax in Music and Drama, In Theory Only 10.1-2 (August):
65-78. |
| 1984 |
Horizons '84, Program VI, June 4, 1984, Perspectives of New Music 22.1-2: 514-15. |
| 1978 |
Comment on Peter K. Winkler, "Toward a Theory of Popular Harmony,"
In Theory Only 4.5 (October): 36-8. |
| 1978 |
Review of Beyond Schenkerism by Eugene Narmour, Perspectives of
New Music 17.1 (Fall-Winter, 1978): 196-210. |
| 1977 |
A Structural Model for Schoenberg's "Der verlorene Haufe," In
Theory Only 3.3 (June, 1977): 4-22. |
| 1977 |
Modes of Explanation in Analytical Discourse, Perspectives of New
Music 15.2 (Spring-Summer): 174-93. |
| 1976 |
Maury Yeston's The Stratification of Musical Rhythm, In Theory
Only 2.5 (August): 13-26. |
| 1976 |
The Linear Analysis of Chromaticism, In Theory Only 2.1-2
(April-May): 47-50. |
| 1975 |
Aural Sketches: Chick Corea's "Where Have I Known You Before," In
Theory Only 1.2 (May): 4-9. |
