Books
A Reader’s Guide to Haydn’s Early String Quartets. Westport CT: Greenwood Press, 2000.
(with Susanna Pasticci and Egidio Pozzi), Analisi schenkeriana: Per un’interpretazione organica della struttura musicale. Lucca: Libreria Musicale Italiana, 1995.
Beethoven: Missa Solemnis [Cambridge Music Handbook]. Cambridge: Cambridge University Press, 1991.
(with Barry Cooper, Anne-Louise Coldicott and Nicholas Marston), The Beethoven Compendium. London: Thames and Hudson, 1991.
(with Ian Bent), Analysis [New Grove Handbook in Music]. London: Macmillan, 1987 (also in French and Italian translations).
Editions
Heinrich Schenker: Selected Correspondence, ed. Ian Bent, David Bretherton and William Drabkin. Martlesham, Suffolk: Boydell, 2014.
Ludwig van Beethoven: A Sketchbook of 1822 (Artaria 201), facsimile, transcription, commentary, 2 vols. Bonn: Beethovenhaus, 2014.
Ludwig van Beethoven: A Sketchbook from the Year 1821 (Artaria 197): Sketches for the Agnus Dei and other Movements of the Missa solemnis, the Piano Sonatas Op. 110 and Op. 111, and the Canon WoO 182. 2 vols. Bonn: Beethoven-Haus, 2010.
Heinrich Schenker, ‘The Decline of the Art of Composition: a Technical-Critical Study’ / ‘Über den Niedergang der Kompositionskunst: eine technisch-kritische Untersuchung.’ Music Analysis 24 (2005): 33–232 [transcription, translation, edition].
Heinrich Schenker, Der Tonwille: Pamphlets/ Quarterly Publication in Witness of the Immutable Laws of Music. 2 vols. New York: Oxford University Press, 2004–5.
Heinrich Schenker: The Masterwork in Music [1925–30]. Eng. trans. 3 vols. Cambridge: Cambridge University Press, 1994–7.
Journal Articles
‘Hans Weisse in Correspondence with Schenker and his Circle.’ Journal of Schenkerian Studies 4 (2010): 69–87.
‘Schubert, Schenker, and the Art of Setting German Poetry.’ Eighteenth-Century Music 5 (2008): 209–36.
‘The Songs and the Sketches for the Allegro molto from Beethoven's Opus 110.’ Beethoven-Forum 14 (2007): 44–72.
‘Schenker’s “Decline”: an Introduction.’ Music Analysis 24 (2005): 3–31.
‘Chopin, Schenker and Musical Form.’ Revue internationale d’études musicales 15 (2000): 173–186.
‘The Cello Part in Beethoven’s Late Quartets.’ Beethoven-Forum 7 (1998): 45–66.
‘Schenker, the Consonant Passing Note, and the First-Movement Theme of Beethoven’s Sonata Op. 26.’ Music Analysis 15 (1996): 149–189.
‘The Sketches and Autographs for the Later Movements of Beethoven’s Missa solemnis.’ Beethoven Forum 2 (1993): 97–132.
‘“Bisogna leggere Schenker”: sull’analisi del Preludio in Do Maggiore BWV 924 di Bach.’ Rivista italiana di musicologia 24 (1989): 48–59.
‘Fingering in Haydn’s String Quartets.’ Early Music 16 (1988): 50–57.
‘Felix-Eberhard von Cube and the North-German Tradition of Schenkerism.’ Proceedings of the Royal Musical Association 111 (1986): 180–207.
‘A Lesson in Analysis from Heinrich Schenker: the C Major Prelude from Bach’s Well-tempered Clavier, Book I.’ Music Analysis 4 (1985): 241–58.
‘Beethoven and the Open String.’ Music Analysis 4 (1985): 15–29.
(with Pierluigi Petrobelli and Roger Parker), ‘Verdi’s Il trovatore: a Symposium.’ Music Analysis 1 (1982): 125–67.
‘Some Relationships between the Autographs of Beethoven’s Sonata in C minor, Opus 111.’ Current Musicology 13 (1972): 38–47.
Book Chapters
‘An Autobiographical Letter of Schenker’s.’ In Essays from the Fourth International Schenker Symposium, vol. 2, ed. L. Poundie Burstein, Lynne Rogers and Karen Bottge. Hildesheim: Georg Olms, 2012. 103–19.
‘Heinrich Schenker and Moriz Violin in the 1920s.’ In Festschrift zum 100. Geburtstag von Hellmut Federhofer, ed. Axel Beer, Gernot Gruber and Herbert Schneider. Tutzing: Hans Schneider, 2011. 51–61.
‘Beethoven’s Unborn Children.’ In Biographie und Schaffensprozess bei Beethoven: Grundlagen-Tendenzen-Perspektiven, ed. Jürgen May. Bonn: Beethoven-Haus, 2011. 35–50.
‘La musica da camera da Haydn alla fine del’Ottocento.’ In Storia della musica europea IV, ed. Jean-Jacques Nattiez et al. Turin: Einaudi, 2004. 698–712.
‘On Beethoven’s Cello and Piano Textures.’ In Beethovens Werke für Violoncello und Klavier, ed. Sieghard Brandenburg, Ingeborg Maaß and Wolfgang Osthoff. Bonn: Beethoven-Haus, 2004. 125–44.
‘The Introduction to Beethoven’s “Kreutzer” Sonata: A Historical Perspective.’ In The Beethoven Violin Sonatas: History, Criticism, Performance, ed. Lewis Lockwood and Mark Kroll. Urbana: University of Illinois Press, 2004. 83–109.
‘Analysis and Interpretation: How the Recent Editions of Haydn String Quartets Have Changed Our Lives.’ In Haydn & das Streichquartett, Eisenstädter Haydn-Berichte 2, ed. Georg Feder and Walter Reicher. Tutzing: Hans Schneider, 2003. 169–88.
‘Beethoven, Liszt and the Missa solemnis.’ In Liszt and the Birth of Modern Europe: Music as a Mirror of Religious, Political, Cultural and Aesthetic Transformations, ed. Michael Saffle and Rossana Dalmonte. New York: Pendragon, 2003. 239–54.
‘Heinrich Schenker.’ In The Cambridge History of Western Music Theory, ed. Thomas Christensen. Cambridge: Cambridge University Press, 2002. 812–843.
‘Die langsame Einleitung zur Kreutzersonate. Form und Vorbilder.’ In Beethoven und die Rezeption der Alten Musik: die hohe Schule der Ueberlieferung. Internationales Beethoven-Symposium Bonn, 12/13 Oktober 2000, ed. Hans-Werner Kuethen. Bonn: Beethoven-Haus, 2002. 69–92.
‘Relationships between Corelli and the Classical Chamber Music Tradition.’ In Studi corelliani 5: Atti del Quinto Congresso Internazionale, ed. Stefano La Via. Florence: Olschki, 1996. 119–141.
‘An Interpretation of Musical Dreams: Towards a Theory of the Mozart Piano Concerto Cadenza.’ In Wolfgang Amadè Mozart: Essays on his Life and his Music, ed. Stanley Sadie. Oxford: Clarendon Press, 1996. 161–77.
‘Early Beethoven.’ In Eighteeenth-Century Keyboard Music, Robert Marshall. New York: Schirmer Books, 1994. 394–424.
‘Beethoven’s Understanding of “Sonata Form”: the Evidence of the Sketchbooks.’ In Essays in Beethoven’s Compositional Process, ed. William Kinderman. Lincoln: University of Nebraska Press, 1992. 24–29.
‘The Agnus Dei of the Missa solemnis: Early Stages of its Genesis.’ In Essays in Beethoven’s Compositional Process, ed. William Kinderman. Lincoln: University of Nebraska Press, 1992. 131–159.
‘Towards the Symphonic Concerto of the Middle Period.’ In Ludwig van Beethoven: Atti del Convegno Internazionale di Studi, ed. Giuseppi Pugliese. Treviso: Editore Matteo, 1989. 93–103.
‘Zur Bedeutung der leeren Saiten in Beethovens Kammermusik.’ In Beiträge zu Beethovens Kammermusik: Symposion Bonn 1984, ed. Sieghard Brandenburg and Hellmut Loos. Bonn: Beethovenhaus, 1987. 165–78.
‘The Musical Language of La bohème.’ In Puccini: La Bohème, ed. Roger Parker and Arthur Groos. Cambridge: Cambridge University Press, 1986. 80–101.
‘Beethoven, Ludwig van.’ In Makers of Nineteenth Century Culture, ed. Justin Wintle. London: Routledge & Kegan Paul, 1982. 40–44.
Review Articles
‘Too much of a good thing?’ [recent editions of the symphonies and other works by Beethoven]. The Musical Times, 138 (1997): 18–30.
‘Quality Assurance’ [recent books on Beethoven]. The Musical Times 136 (1995): 427–9.
‘Begging to Differ’ [recent volumes of the collected edition of Beethoven’s works]. The Musical Times, 135 (1994): 758–61.
‘Building a Music Library, 4: Haydn’s Piano Sonatas.’ The Musical Times 128 (1987): 8–15.
‘Building a Music Library, 1: The Beethoven Piano Sonatas.’ The Musical Times 126 (1985): 416–20.
‘Some Recent Beethoven Research.’ The Musical Times 122 (1981): 671–3.
‘The New “Erläuterungsausgabe”.’ Perspectives of New Music 12 (1973–74): 319–30.
Reviews
Albrecht Riethmüller, Carl Dahlhaus and Alexander Ringer (eds.), Ludwig van Beethoven: Interpretationen seiner Werke, 2 vols. Beethoven Forum 7 (1998): 153–162.
Beethoven: Briefe, Gesamtausgabe, ed. S. Brandenburg, 7 vols. The Musical Times, 139 (1998): 39–46.
Kofi Agawu, Playing with Signs: A Semiotic Interpration of Classic Music. Music Analysis 11 (1991): 399–405.
Felix-Eberhard von Cube, The Book of the Musical Artwork, ed. David Neumeyer. Indiana Theory Review 9 (1988): 135–43.
Heinrich Schenker, Counterpoint, ed. John Rothgeb. Music Analysis 8 (1989): 197–203.
Alan Tyson (ed.), Beethoven Studies, vol. 3. 19th-Century Music 7 (1983–84): 163–9.
Felix Salzer (ed.), The Music Forum, vol. 5. Music Analysis 1 (1982): 203–9.