| Jane Ginsborg | Editorial |
| Georgia Volioti | Expressive gesture in Grieg’s recordings of two Op. 43 Lyric Pieces: An exploratory principal components analysis (Vol. 9, 1-30) |
| Heidi Korhonen-Björkman | Bach points and virtuosity: A performer’s dialogic analysis of Betsy Jolas’ Ô Bach! (Vol. 9, 31-59) |
Erin Dempsey
Gilles Comeau | Music performance anxiety and self-efficacy in young musicians: Effects of gender and age (Vol. 9, 60-79) |
| Caiti Hauck | Diction, expressivity and conductor’s choices in choral works sung in German (Vol. 9, 80-100) |
Nina Loimusalo
Erkki Huovinen
Marjaana Puurtinen | Successful approaches to mental practice: A case study of four pianists (Vol. 9, 101-127) |
| Nigel Nettheim | Overcoming piano-roll limitations: Pachmann plays Sabouroff’s Polka (Vol. 9, 128-161) |
| Anthony Gritten | Dismantling the demands of performing (Vol. 9, 162-179) |
| Lois Fitch | Book review: Musical Aesthetics: an Introduction to Concepts, Theories and Functions by Jonathan L. Friedmann (Vol. 9, 180-185) |
