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Quasi Una Fantasia
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  • 2010The Emancipation of Dissonance: Schoenberg's Two Practices of Composition41 cited
  • 2003Constellation and Critique: Adorno's Constellation, Benjamin's Dialectical Image34 cited
  • 2011Le fan comme travailleur : les activités méconnues d’un coproducteur dévoué30 cited
  • 2011Structuralists contra Serialists? Claude Lévi-Strauss and Pierre Boulez on Avant-Garde Music22 cited
  • 1978The Historical Structure: Adorno's "French" Model for the Criticism of Nineteenth-Century Music19 cited
  • 2006Adorno's Mahler and the Timbral Outsider19 cited
  • 2007Ligeti, Kurtág, and Hungarian Music during the Cold War15 cited
  • 1996Making “music at the margins"? A social and cultural analysis ofXinyaoin Singapore12 cited
  • 1996Schoenberg's Handel Concerto and the Ruins of Tradition11 cited
  • 2008Opera for Sale: Folksong, Sentimentality and the Market10 cited
  • 2015Convergences and Discord in the Correspondence between Ligeti and Adorno6 cited
  • 1997Towards a psychopathology of opera5 cited
  • 2013Le médium mythologique du Rock’n roll et la musique contemporaine3 cited
  • 2016Introduction Contemporary Music: Theory, Aesthetics, Critical Theory3 cited

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  • 2019Lachenmann's Silent Voices (and the Speechless Echoes of Nono and Stockhausen)2 cited