Paul Merrick The Devil and Liszt's Sonata in B minor. Why the Sonata is not a Faust Work in: Liszt Society Journal, Bd. 40, 2015, S. 3–15
Gesine Schröder The Historical Theory of Rhythm as Instruction for Conducting or How Liszt Performed his Symphonic Poems in: Orchestral Conducting in the Nineteenth Century, herausgegeben von Roberto Illiano, Michela Niccolai, Turnhout 2014, S. 311–322
Paul Merrick "Christ’s mighty shrine above His martyr’s tomb". Byron and Liszt's Journey to Rome in: Studia Musicologica, Bd. 55, 2014, S. 17–26
Gesine Schröder Notizen zu einer historischen Dirigierlehre oder Wie Liszt seine symphonischen Dichtungen leitete in: Zeitschrift Ästhetische Bildung, Bd. 3, 2011, S. 16–31
Paul Merrick Two Keys for Six Pieces. Tonality and Liszt's "Consolations" in: JALS, Bd. 54–56, 2005, S. 125–133
Paul Merrick Liszt's sans ton Key Signature in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 45, 2004, S. 281-302
Paul Merrick "nach Ges dur". Liszt's Marking in His Copy of Handel's Opera "Almira" in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 42, 2001, S. 349–372
Paul Merrick The Role of Tonality in the Swiss Book of Années de Pèrerinage in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 39, 1998, S. 367–383