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Prof Nicholas Cook

Prof Nicholas Cook

Emeritus Professor of Music

Faculty of Music
11 West Road

Cambridge CB3 9DP


Nicholas Cook was 1684 Professorship from 2009 to 2017. Prior to that he taught at the Universities of Hong Kong, Sydney, and Southampton, where he served as Dean of Arts; he was also a Professorial Research Fellow at Royal Holloway, University of London, where he directed the AHRC Research Centre for the History and Analysis of Recorded Music (CHARM). He holds degrees in both music and history/art history, and his work ranges widely over musicology and music theory, extending at times into popular and world music. His articles have appeared in many of the leading British and American journals in these fields.

His books, mostly published by Oxford University Press, include A Guide to Musical Analysis (1987); Music, Imagination, and Culture (1990); Beethoven: Symphony No. 9 (1993); Analysis Through Composition (1996); Analysing Musical Multimedia (1998); and Music: A Very Short Introduction (1998), which is published or forthcoming in seventeen languages and to which a special issue of Musicae Scientiae was devoted. A collection of his essays appeared in 2007 under the title Music, Performance, Meaning: Selected Essays, while his book The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna (also 2007) won the Wallace Berry Award of the Society for Music Theory. He has also coedited several collections, including Rethinking Music (1999), Empirical Musicology: Aims, Methods, Prospects (2004), and the Cambridge History of Twentieth-Century Music (2004). He has published several book relating to music as performance, ranging from Beyond the Score: Music as Performance (2013) to the coedited collections The Cambridge Companion to Recorded Music (2009) and Music as Performance: New Perspectives Across the Disciplines (2013, with the dramaturgue Richard Pettengill). He also conducted a recordings-based project on the performance history of Webern’s Piano Variationsfunded by an AHRC Fellowship.

Subsequent book projects have developed the performance studies approach in new directions. Music as Creative Practice, now in press with Oxford University Press, represents Cook's contribution to CMPCP (the AHRC Research Centre for Music as Creative Practice), the Cambridge-based successor to CHARM. He is currently completing a book on the relational dimensions of music, for which he was awarded a British Academy Wolfson Research Professorship (2014-17). Other ongoing projects include coediting a Cambridge Companion to Music and Digital Culture and a second edition of Music: A Very Short Introduction. A former Editor of the Journal of the Royal Musical Association, Nicholas Cook was Chair of the Music Panel in the Higher Education Funding Councils’ 2001 Research Assessment Exercise. He holds honorary doctorates from the University of Chicago and the ‘Gheorghie Dima’ Music Academy, Cluj-Napoca, and is a Fellow of both the British Academy and the Academy of Europe.

Departments and Institutes

Darwin College:

Key Publications


Music as Creative Practice (New York: Oxford University Press, forthcoming)

Beyond the Score: Music as Performance (New York: Oxford University Press, 2013)

The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna (New York: Oxford University Press, 2007)

Music, Performance, Meaning: Selected Essays (Aldershot: Ashgate, 2007).

Music: A Very Short Introduction (Oxford: Oxford University Press, 1998, rev. edn. 2000); fully illustrated edition Music: A Brief Insight (New York: Sterling Publishing, 2010). Also published or forthcoming in French, Spanish, Portuguese, Italian, Polish, Slovenian, Hungarian, Albanian, Greek, Turkish, Hebrew, Arabic, Tamil, Vietnamese, Chinese, Korean, and Japanese translations

Analysing Musical Multimedia (Oxford: Clarendon Press, 1998)

Analysis through Composition: Principles of the Classical Style (Oxford: Oxford University Press, 1996)

Beethoven: Symphony No. 9 (Cambridge University Press, 1993); also in Greek translation

Music, Imagination, and Culture (Oxford: Clarendon Press, 1990); also in Japanese, Spanish, and Estonian translations

Musical Analysis and the Listener (New York: Garland, 1989)

A Guide to Musical Analysis (London: Dent, 1987; New York: Braziller, 1987; New York: Norton, 1992; Oxford: Oxford University Press, 1994); also in Italian and Polish translations

Other Publications


Co-authored/edited books

(with Monique Ingalls, David Trippett, and Peter Webb) The Cambridge Companion to Music and Digital Culture (Cambridge: Cambridge University Press, forthcoming)

(with Julie Brown and Stephen Cottrell) Defining the Discographic Self: Desert Island Discs in Context (Oxford University Press for The British Academy, 2017)

(with Bianca Temes) Seeng Sound, Hearing Images (Cluj-Napoca: MediaMusica, 2017)

(with Richard Pettengill) Taking it to the Bridge: Music as Performance (Ann Arbor: University of Michigan Press, 2013)

'Towards a Musicology of Recordings'. Special issue of Musicae Scientiae, vol. 14/2 (2010). 164 pp.

(with Eric Clarke, Daniel Leech-Wilkinson, and John Rink) The Cambridge Companion to Recorded Music (Cambridge: Cambridge University Press, 2009)

'Between Science and Art'. Special issue of Musicae Scientiae, vol. 11/2 (2007). 177 pp.

The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook and Anthony Pople (Cambridge: Cambridge University Press, 2004)

Empirical Musicology: Aims, Methods, Prospects, ed. Eric Clarke and Nicholas Cook (New York: Oxford University Press, 2004). Forthcoming in Chinese translation

Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford: Oxford University Press, 1999)

(with Peter Johnson and Hans Zender) Theory into Practice: Composition, Performance and the Listening Experience (Leuven: Leuven University Press, 1999, also published in Flemish as Theorie in Praktijk: Compositie, Uitvoering en Luisterervaring)

Book Chapters

'Afterword'. In Higher Music Education in the Twenty-first Century, ed. Björn Heile, Eva Moreda Rodriguez, and Jane Stanley (New York: Routledge, forthcoming)

'The Imaginary African: Music, Identity, and Race'. In The Oxford Handbook of Musical Identities, ed. Raymond MacDonald, David Hargreaves, and Dorothy Miell (Oxford: Oxford University Press, 2017), 703-21

'Scripting Social interaction: Improvisation, Performance, and Western "Art" Music'. In Improvisation and Social Aesthetics, ed. Georgina Born, Eric Lewis, and Will Straw (Durham, NC: Duke University Press, 2017), 59-77

Seeing Sound, Hearing the Body: Glenn Gould Plays Webern's Piano Variations'. In The Oxford Handbook of Sound and Image in Western Art, ed. Yael Kaduri (New York: Oxford University Press, 2016), 124-37. German translation forthcoming.

'Time and time again: On hearing Reinecke'. In Music in Time: Phenomenology, Perception, Performance, ed. Suzannah Clark and Alexander Rehding (Cambridge, MA: Harvard University Music Department, 2016), 3-31

'Music and Foresight'. In Foresight, ed. Larry Sherman and David Feller (Cambridge: Cambridge University Press, 2016), 101-22

'Performing Live in Second Life' (with Justin Gagen). In The Oxford Handbook of Music and Virtuality, ed. Sheila Whiteley and Shara Rambarran (New York: Oxford University Press, 2016), 191-209

'Hearing Images, Seeing Sounds: Listening Outside the Modernist Box'. In Musical Listening in the Age of Technological Reproducibility, ed. Gianmario Borio (Farnham: Ashgate, 2015), 185-202. Abridged Chinese translation, Academic Periodical of Shenyang Conservatory of Music (forthcoming)

'Performing Research: Some Institutional Perspectives'. In Artistic Practice as Research in Music: Theory, Criticism, Practice, ed. Mine Doğantan-Dack (Aldershot: Ashgate, 2015), 11-32

'Implications for Musicology'. In Expressiveness in Music Performance: Empirical Approaches across Styles and Cultures, ed. Dorottya Fabian, Renée Timmers, and Emery Schubert (Oxford: Oxford University Press, 2014), 331-4

'Western Music as World Music'. In The Cambridge History of World Music, ed. Philip Bohlman (Cambridge: Cambridge University Press, 2013), 75-99

'Beyond Reference: Eclectic Method's Music for the Eyes'. In Ear Sees, Eye Hears: On the Interconnections among Sound and Picture in Art, ed. Yael Kaduri (Jerusalem: Hebrew University Magnes Press (2013), 194-213 [in Hebrew, partly adapted from 'Beyond music: mashup, multimedia mentality, and intellectual property']

'Über jeden Verdacht erhaben: Musik, Raümlichkeiten, Sozialitäten'.  In Malik Sharif, Christina Lessiak, Susanne Sackl und Tobias Neuhold (eds.), Umfang, Methoden und Ziele der Musikwissenschaften. Ausgewählte Beiträge zum 25. internationalen Symposium des Dachverbands der Studierenden der Musikwissenschaft – Graz 2012 (Münster: LIT Verlag, 2013), 16-41 [in German]

'Beyond Music: Mashup, Multimedia Mentality, and Intellectual Property'. In The Oxford Handbook of New Audiovisual Aesthetics, ed. Claudia Gorbman, John Richardson, and Carol Vernallis (New York: Oxford University Press, 2013), 53-76

'Video Cultures: "Bohemian Rhapsody", "Wayne's World" and beyond'. In Representation in Western Music, ed. Joshua Walden (Cambridge: Cambridge University Press, 2013), 79-99

‘Bridging the Unbridgeable? Empirical Musicology and Interdisciplinary Performance Studies’. In Taking it to the Bridge: Music as Performance, ed. Nicholas Cook and Richard Pettengill (Ann Arbor: Michigan University Press, 2013), 70-85. Spanish translation, Noctis Laberynthus (forthcoming)

'Performance and Interdisciplinary Musicology'. In Kreativität – Struktur und Emotion, ed. Andreas Lehmann, Ariane Jeßulat, and Christoph Wünsch (Würzburg: Königshausen und Neumann, 2013), 23-9

'Music and the Politics of Space'. In Music, Sound, and Space: Transformations of Public and Private Experience, ed. Georgina Born (Cambridge: Cambridge University Press, 2013), 224-38

'Afterword: Giving Voice to Difference'. In Vocal Music and Cultural Identity: Unlimited Voices in East Asia and the West, ed. Christian Utz and Frederick Lau (New York: Routledge, 2013), 285-95

'Against Reproduction'. In Music Semiotics: A Network of Significations - In Honor of Raymond Monelle, ed. Esti Sheinberg (Farnham: Ashgate, 2012), 173-83.

'Anatomy of the Encounter: Intercultural Analysis as Relational Musicology'. In Critical Musicological Reflections: Essays in Honour of Derek B. Scott, ed. Stan Hawkins (Aldershot: Ashgate, 2012), 193-208

'Beyond Creativity?'. In Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance, and Perception, ed. David Hargreaves, Dorothy Miell, and Raymond MacDonald (Oxford: Oxford University Press , 2012), 451-9

'A Bridge Too Far? Musical Performance Between the Disciplines'. In Gemessene Interpretation: Computergestützte Aufführungsanalyse im Kreuzverhör der Disziplinen, ed. Heinz von Loesch and Stefan Weinzierl (Mainz: Schott, 2011), 1-14

'Off the Record: Performance, History, and Musical Logic'. In Music and the Mind: Essays in Honour of John Sloboda, ed. Irène Deliege and Jane Davidson (Oxford: Oxford University Press, 2011), 291-310. German translation 'Struktur und Interpretation: Eugen D'Alberts und Heinrich Schenkers Deutungen von Franz Schuberts Impromptu op. 90,3 im historischen Kontext', in Musiktheorie als interdisziplinäres Fach, Saarbrücken, ed. Christian Utz (Saarbrucken: PFAU-Verlag, 2010), 265-88

'Methods for Analysing Recordings'. In The Cambridge Companion to Recorded Music, ed. Nicholas Cook, Eric Clarke, Daniel Leech-Wilkinson and John Rink (Cambridge: Cambridge University Press, 2009), 221-45

'Changing the Musical Object: Approaches to Performance Analysis'. In Music’s Intellectual History, ed. Zdravko Blažeković (New York: RILM, 2009), 775-90. Portuguese translation, 2007

'The Economics and Business of Music'. In An Introduction to Music Studies, ed. Paul Harper-Scott and Jim Samson (Cambridge: Cambridge University Press, 2009), 267-90

'We are All (Ethno)musicologists Now'. In The New (Ethno)musicologies, ed. Henry Stobart (Lanham, MD: Scarecrow Press, 2008), 48-70

'Modernists Against Modernism: Loos, Schenker, and the Critique of Ornament'. In Tekste Modernismist. II: Muusika ja Arhitektuur, ed. Gerhard Lock, Maris Valk-Falk, and Saale Kareda (Tallinn: Scripta Musicalia, 2008), 27-40 [in Estonian]

'Imagining Things: Mind into Music (and Back Again)'. In Imaginative Minds, ed. Ilona Roth (Oxford: Oxford University Press for the British Academy, 2007), 123-46

'Encountering the Other, Redefining the Self: Hindostannie Airs, Haydn's Folksong Settings, and the "Common Practice" Style'. In Portrayal of the East: Music and the Oriental Imagination in the British Empire, 1780-1940, ed. Martin Clayton and Bennett Zon (Aldershot: Ashgate, 2007), 13-37

'Representing Beethoven: Romance and Sonata Form in Simon Cellan Jones's Eroica'. In Beyond the Soundtrack: Representing Music in Cinema, ed. Daniel Goldmark, Lawrence Kramer, and Richard Leppert (Berkeley: University of California Press, 2007), 27-47

'Uncanny Moments: Juxtaposition and the Collage Principle in Music'. In Approaches to Meaning in Music, ed. Byron Almén and Edward Pearsall (Bloomington: Indiana University Press, 2006), 107-34

'In Real Time: Music as Performance'. In Music Analysis and Interpretation (Athens: Organismos Megarou Mousikis Athenon, 2006), 237-61 [in Greek]

'Playing God: Creativity, Analysis, and Aesthetic Inclusion'. In Musical Creativity: Multidisciplinary Research in Theory and Practice, ed. Irène Deliege and Geraint Wiggins (Hove: Psychology Press, 2006), 2-24

'Introduction: What is Empirical Musicology?' (with Eric Clarke) and 'Computational and Comparative Musicology'. In Empirical Musicology: Aims, Methods, Prospects, ed. Eric Clarke and Nicholas Cook (New York: Oxford University Press, 2004), 3-14, 103-26

'Introduction: Trajectories of Twentieth-Century Music'. In The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook and Anthony Pople (Cambridge: Cambridge University Press, 2004), 1-17

'One Size Fits All? Musicology, Performance, and Globalization' and 'We are all ethnomusicologists now'. In Musicology and Globalization: Proceedings of the International Congress in Shizuoka 2002, ed. Musicological Society of Japan (Tokyo, 2004), 13-22, 52-55

'In Praise of Symbolic Poverty'. In Managing as Designing, ed. Fred Collopy and Richard Boland (Stanford, CA: Stanford University Press, 2004), 85-9

'Performance Writ Large: Desultory Remarks on Furnishing the Abode of the Retired Scholar'. In Sing, Ariel: Essays and Thoughts for Alexander Goehr's 70th Birthday, ed. Alison Latham (Aldershot: Ashgate, 2003), 193-209

'Stravinsky Conducts Stravinsky'. In The Cambridge Companion to Stravinsky, ed. Jonathan Cross (Cambridge: Cambridge University Press, 2003), 176-91

'Music as Performance'. In The Cultural Study of Music: A Critical Introduction, ed. Martin Clayton, Trevor Herbert, and Richard Middleton (London: Routledge, 2003), 204-14; second edition (2012), 184-94

Analisi della performance' (interview with Luca Nostro). In L'esperienza musicale: per una fenomenologia dei suoni, ed. Luca Nostro (Roma: I libri de Montag, 2002), 117-24

'Epistemologies of Music Theory'. In The Cambridge History of Western Music Theory, ed. Thomas Christensen (Cambridge: Cambridge University Press, 2002), 78-105; also in Chinese translation

'Forma e sintassi'. In Enciclopedia Einaudi della musica, ed. Jean-Jacques Nattiez, ii (Torino: Giulio Enaudi Editore, 2002), 116-42. English version ('Form and Syntax: A Tale of Two Terms') in Music, Performance, Meaning: Selected Essays (Aldershot: Ashgate, 2007), 241-59

(with Nicola Dibben) 'Musicological Approaches to Emotion'. In Music and Emotion: Theory and Research, ed. Patrick Juslin and John Sloboda (Oxford: Oxford University Press, 2001), 45-70; revised version 'Emotion in Culture and History: Perspectives from Musicology' in Handbook of Music and Emotion: Theory, Research, Applications, ed. Patrick Juslin and John Sloboda (Oxford: Oxford University Press, 2010), 47-72

'Theorizing Mixed Media'. In Musicology and Sister Disciplines: Past, Present, and Future, ed. David Greer (Oxford: Oxford University Press, 2000), 552-4

'Words about Music, or Analysis versus Performance'. In Nicholas Cook, Peter Johnson, and Hans Zender, Theory into Practice: Composition, Performance and the Listening Experience (Leuven: Leuven University Press, 1999), 9-52. Also in Flemish and Estonian translations

'Analysing Performance and Performing Analysis'. In Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford: Oxford University Press, 1999), 239-61

'The Domestic Gesamtkunstwerk, or Record Sleeves and Reception'. In Composition - Performance - Reception: Studies in the Creative Process in Music, ed. Wyndham Thomas (Aldershot: Ashgate, 1998), 105-117

'Music Theory and the Postmodern Muse: An Afterword'. In Concert Music, Rock, and Jazz since 1945, ed. Elizabeth West Marvin and Richard Hermann (Rochester, NY: University of Rochester Press, 1995), 422-39

'The Conductor and the Theorist: Furtwängler, Schenker, and the First Movement of Beethoven's Ninth Symphony'. In The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge University Press, 1995), 105-125

'Perception: A Perspective from Music Theory'. In Musical Perceptions, ed. Rita Aiello with John Sloboda (New York: Oxford University Press, 1993), 64-96


‘Imagining music’. Art of Music (Journal of the Shanghai Conservatory of Music), forthcoming. [in Chinese]

‘Inventing tradition: Webern's Piano Variations in early recordings’. Music Analysis Music Analysis 36 (2017), 163-215

'Editing in music'. Contemporary Theatre Review 25 (2015), 119-23 (special issue 'The Politics, Processes, and Practices of Editing', ed. Maria Delgado and Joanne Tompkins)

'Beyond Reproduction: Semiotic Perspectives on Musical Performance'. Journal of Musicology (Serbian Academy of Sciences and Arts), 16 (2014), 15-30. German translation in Zeitschrift für Semiotik, special issue 'Zeichen jenseits von Bezeichnung. Musiksemiotische Konzepte' (forthcoming)

'Between art and science: Music as performance'. Journal of the British Academy 2 (2014), 1-25. Also published in Lectures of the British Academy and British Academy Publications Online. Partial translation in Martin Tröble, Das Konzert: Neue Aufführungskonzepte für eine klassische Form, 3rd edn (Bielefeld: transcript Verlag, forthcoming)

'Sound Law and the Scholar'. Popular Music and Society, 35 (2012), 603-615

'Refocusing Theory'. Music Theory Online, 18/1 (April 2012,

'The Ghost in the Machine: Towards a Musicology of Recordings'. Musicae Scientiae, 14/2 (2010), 3-21

'Squaring the Circle: Phrase Arching in Recordings of Chopin's Mazurkas'. Musica Humana, 1 (2009), 5-28. Chinese translation, Academic Periodical of Shenyang Conservatory of Music 1 (2013), 1-98

'While the Music Lasts: Music and Social Interaction'. Cultural Policy, Criticism and Management Research, 4 (April 2009,

'Beyond the Notes'. Nature, 453 (26 June 2008), 1186-7

'Between Science and Art: Approaches to Recorded Music' [introduction] and 'Performance Analysis and Chopin's Mazurkas'. Musicae Scientiae, 11/2 (2007), 153-4, 183-207. 'Performance Analysis and Chopin's Mazurkas' also published in Chopin in Paris: The 1830s (Warsaw: Narodowy Instytut Fryderyka Chopina, 2009), 119-39

Alternative Realities: A Reply to Richard Taruskin'. 19th-Century Music, 30 (2006), 206-9

'Border Crossings: A Commentary on Henkjan Honing's "On the growing Role of Observation, Formalization and Experimental Method in Musicology"'. Empirical Musicology Review, 1 (2006), 7-11

'Prompting Performance: Text, Script, and Analysis in Bryn Harrison's être-temps'. Music Theory Online, 11/1 (March 2005,

(with Eric Clarke, Bryn Harrison, and Philip Thomas) 'Interpretation and Performance in Bryn Harrison's être-temps'. Musicae Scientiae, 9 (2005), 31-74

'Revisiting the Future' [colloquium contribution]. Intégral, 14/15 (2004), 14-20

[contribution to] 'Six-part Counterpoint'. British Postgraduate Musicology (online journal), 6 (2004,

'Making Music Together, or Improvisation and its Others'. The Source: Challenging Jazz Criticism, 1 (2004), 5-25. Portuguese translation, Per Music, 16 (2007), 7-20

'The Other Beethoven: Heroism, the Canon, and the Works of 1813-14'. 19th-Century Music, 27 (2003), 3-24. German translation, Musik und Ästhetik, 34 (2005), 54-82 (special issue on Beethoven. Zum Spätwerk)

'Writing on Music or Axes to Grind: Road Rage and Musical Community'. Music Education Research, 5 (2003), 249-61

'Theorizing Musical Meaning'. Music Theory Spectrum, 23 (2001), 170-95. German translation 'Musikalische Bedeutung und Theorie' in Musikalischer Sinn: Beiträge zu einer Philosophie der Musik, ed. Alexander Becker and Matthias Vogel (Frankfurt: Suhrkamp Verlag, 2007), 80-128

'Between Process and Product: Music and/as Performance'. Music Theory Online, 7/2 (April 2001, Portuguese translation, Per Musi 14 (2007), 5-22

'On Qualifying Relativism'. Musicae Scientiae Discussion Forum 2 (2001), 167-89 (special issue of Musicae Scientiae devoted to Music: A Very Short Introduction)

'Heinrich Schenker, Modernist: Detail, Difference, and Analysis'. Theory and Practice, 24 (1999 [2001]), 91-106

'Whose Music of a Century? Performance, History, and Multiple Voices'. South African Journal of Musicology, 19/20 (2001), 1-13

'Performing Rewriting and Rewriting Performance: The First Movement of Brahms's Piano Trio, Op. 8'. Tijdschrift voor Muziektheorie, 4 (1999), 227-34

'At the Borders of Musical Identity: Schenker, Corelli, and the Graces'. Music Analysis, 18 (1999), 179-233

'Putting the Meaning Back in Music, or Semiotics Revisited'. Music Theory Spectrum, 18 (1996), 106-123

'Music Minus One: Rock, Theory, and Performance'. New Formations, 27 (1995-96), 23-41

'Heinrich Schenker, Polemicist: A Reading of the Ninth Symphony Monograph'. Music Analysis, 14 (1995), 89-105

'Heinrich Schenker, Anti-historicist'. Revista de Musicologia, 16 (1993), 24-36

'Music and Meaning in the Commercials'. Popular Music, 13 (1994), 27-40. Reprinted in Popular Music: Critical Concepts in Media and Cultural Studies, ed. Simon Frith (New York: Routledge, 2004)

'The Editor and the Virtuoso, or Schenker vs. Bülow'. Journal of the Royal Musical Association, 116 (1991), 78-95

(with Malcolm Butler) 'Music Processing on the IBM: A Review of Available Systems'. Current Musicology, 44 (1990), 61-98

The Future of Theory' [colloquium contribution]. Indiana Theory Review, 10 (1989), 70-72

'Music Theory and "Good Comparison": A Viennese Perspective'. Journal of Music Theory, 33 (1989), 117-41

'Beethoven's Unfinished Piano Concerto: A Case of Double Vision?' Journal of the American Musicological Society, 42 (1989), 38-74

'Schenker's Theory of Music as Ethics'. Journal of Musicology, 7 (1989), 415-39

'De l'ambiguité de la notion de "thème" pour l'analyse musicale'. Analyse Musicale, 13 (1988), 30-36

'Liszt's Second Thoughts: Liebestraum No. 2 and its Relatives'. 19th Century Music, 12 (1988), 163-72

'The Perception of Large-Scale Tonal Closure'. Music Perception, 5 (1987), 197-205

'Musical Form and the Listener'. Journal of Aesthetics and Art Criticism, 46 (1987), 23-9; Spanish translation 'La forma musical y el oyente', Quodlibet, 25 (2003), 3-13

'Structure and Performance Timing in Bach's C major Prelude (WTC 1): An Empirical Study'. Music Analysis, 6 (1987), 257-72

'Arrangement as Analysis'. Journal of Music Theory Pedagogy, 1 (1987), 77-89


(with Kelina Kwan) L. v. Beethoven, Klavierkonzert No 6 in D-Dur, Rekonstruktion. Score and Piano reduction. Bonn: Apollon Musikoffizen (forthcoming)

Other media

Performing version of Beethoven's Unfinished Piano Concerto in D (Hess 15), premiered at Hong Kong University, 1987. Score and Piano reduction, Bonn: Apollon Musikoffizen (2016). CD recording on Beethoven Rarities 4 (Maurizio Paciariello, Sassari Symphony Orchestra cond. Roberto Diem Tigani), Inedita PI 2352 (2005). MIDI version, together with descriptive notes, by the Unheard Beethoven project (

This listing excludes reviews and other minor items