The Idea of Music. Schoenberg and Others, pp.188, London, Macmillan 1985
Mahler. Symphony no.3, Cambridge Music Handbooks, pp.127. Cambridge. CUP 1991
The Life of Mahler, pp.228. Cambridge, CUP 1997 [also translated into Japanese and Chinese]
Seeing Through Music, Gender and Modernism in Classic Hollywood Film Scores (Oxford University Press 2011)
Reclaiming Late-Romantic Music: Singing Devils and Distant Sounds (University of California Press 2014)
Natalie Bauer-Lechner: Recollections of Gustav Mahler (translated by Dika Newlin), London 1980.
‘Mystical Intimations, the Scenic Sublime and the Opening of the Vault. De-classicizing the Late-romantic Revival in the Scoring of “New Hollywood” Blockbusters c. 1977-1993’ in Miguel Mera, Ron Sadoff & Ben Winters (eds.), The Routledge Companion to Screen Music and Sound (London: Routledge 2017), 26-37.
‘Strauss as the pervert? Gendered subjectivity, Ambiguous Meaning’ in Christopher Moore & Philip Purvis (eds.), Music and Camp (Middletown Connecticut: Weslyan University Press, 2018), 159-80
‘Mahler’s Overwhelming Climaxes: The Symphony as Mass Medium’ in Nineteenth-Century Music Review, Vol.15/3 [online publication 26 June 2018], 391-404 (print publication December 2018);
‘ “Come to the mirror!” Phantoms of the Opera – Staging the City’ in Suzanne Aspden (ed.), Operatic Geographies: The Place of Opera and the Opera House (Chicago & London: University of Chicago Press 2019), 162-77.
‘Modernism’ in Morten Kristiansen and Joseph E. Jones (eds.): Richard Strauss in Context (Cambridge: Cambridge University Press, 2020), 229-37.
‘Film and Recent Popular Culture’ (Ch.34) in Charles Youmans (ed.), Mahler in Context (Cambridge: Cambridge University Press, 2021), 291-99
‘ “Deeds of Music” in Bourgeois Opera (What the Listener Sees…)’ in Carlo Cenciarelli (ed): The Oxford Handbook of Listening Cinematically (OUP March 2021, electronic publication [book due April 2021]).