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Philosophie der neuen Musik
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  • 1991The Dahlhaus Project and Its Extra-Musicological Sources92 cited
  • 1998Einführung in die informationstheoretische Ästhetik68 cited
  • 1995Kurt Weill, Modernism, and Popular Culture: Offentlichkeit als Stil65 cited
  • 2007Why is Music So Ideological, and Why Do Totalitarian States Take It So Seriously? A Personal View from History and the Social Sciences48 cited
  • 2010The Emancipation of Dissonance: Schoenberg's Two Practices of Composition41 cited
  • 2014Radikale Rechtskritik37 cited
  • 2012The Accessibility of Music: Participation, Reception, and Contact17 cited
  • 2020The Beethoven Syndrome16 cited
  • 2016Composers on Stage: Ambiguous Authorship in Contemporary Music Performance13 cited
  • 2003Art in Progress : A Philosophical Response to the End of the Avant-Garde13 cited
  • 2004Musical constructions of nationalism: a comparative study of Bartók and Stravinsky10 cited
  • 1991Germanrites:A history ofLe Sacre du Printempson the German stage8 cited
  • 2007O "Popular" em Egberto Gismonti7 cited
  • 2020Sampling in der Musikproduktion6 cited
  • 2012The Role of Critical Formalism in Music Education

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6 cited
  • 2018A Beat is a Hybrid: Mediation, ANT and Music as Material Practice6 cited