査読学術論文
Sudo, Marina. “More than Meets the Eye: Derivation and Stratification in Boulez’s Don (1962).” Music Analysis 39, no. 3 (2020): 359–86.
寄稿論文など
Sudo, Marina. “Integration elektroakustischer Klänge in Kaija Saariahos Werken der 1980er Jahre.” In Musik-Konzepte 213/214 “Kaija Saariaho,” edited by Ulrich Tadday. München: Text + Kritik (forthcoming).
Sudo, Marina. “Listening within the Absence: The Musical Potential of Noise in Peter Ablinger’s Composition.” In Aesthetics of Absence: Music in the New Millennium, edited by Christine Dysers, Peter Edwards and Judith Lochhead, Edinburgh University Press, 2026.
Sudo, Marina. “Messiaen Reception in Post-war Japan (1950s–1980s).” In Inspiration, Annäherung oder Rivalität? Das musikalische Dreieck Deutschland–Japan–Frankreich in der zweiten Hälfte des 20. Jahrhunderts, Georg Olms Verlag (forthcoming).
Sudo, Marina. “Stretching Musicality to the Extreme: Vertical Composition in Merzbow’s Noise Music.” In Noise as a Constructive Element in Music: Theoretical and Music-Analytical Perspectives (“Musical Cultures of the Twentieth Century” series), 194–208, edited by Mark Delaere, London: Routledge, 2022. (Open access content available here.)
Sudo, Marina. “Stratification of sound masses in Xenakis’s Gmeeoorh (1974).” In Exploring Xenakis: Performance, Practice, Philosophy, edited by Alfia Nakipbekova, 37–51, Wilmington: Vernon Press, 2019.
博士論文
Sudo, Marina. “The Nature of Noise. Aural Analytical Inquiry of Noise in Contemporary Musical Practice: Xenakis, Lachenmann, Ablinger and Merzbow.” University of Leuven, 2021.
その他の出版物（英語、独語および仏語）
Sudo, Marina. “De ‘Tombeau’ à ‘Don’: filiations par symétries voilées dans Pli selon pli de Pierre Boulez.” Mitteilungen der Paul Sacher Stiftung 29 (2016), 47–52.
日本語寄稿文
準備中
現在執筆中の論文（一部）
“Reframing Innovation and Musical Modernism in the Post-Digital Age: Stefan Prins and Franck Bedrossian.”
Chapter in preparation for proposed edited volume on Music’s Contemporary Modernisms.