The Sonic Self: Musical Subjectivity and Signification. Bloomington, Indiana University Press.(2000)

Analytical and Aesthetic Concepts in the Work of Leonard B. Meyer, Ph.D. diss., University of Melbourne, 1987. University Microfilms International, 1989.

‘What is style?’ Studies in Music, 19 (1985), 1-13.

‘Metaphors of Space and Motion in the Linear Analysis of Melody’. Miscellanea Musicologica, 17 (1990), 143-166.

‘Analogy in Leonard B. Meyer's Theory of Musical Meaning,’ in Metaphor - A Musical Dimension, ed. Jamie Kassler. Sydney: Currency Press, 1991. pp. 177-192.

‘The Character of King Mark in Wagner's Tristan und Isolde,’ Miscellanea Musicologica, Vol. 17, 1991.
     (Journal not published. For copies, please contact the Foundation)

‘Music Analysis and the Perceiver: A Perspective from Functionalist Philosophy,’ Current Musicology, 1993.

‘Metaphor in Roger Scruton's Aesthetics of Music,’ in Anthony Pople ed., Theory, Analysis and Meaning in Music. Cambridge: Cambridge University Press, 1994. pp. 3-28

‘The Subjectivities of “Erbarme Dich”’ Music Analysis, 16/1 (March, 1997), pp. 5-44.

‘Encountering “Mangrove”: an Essay in Signification’
(an analysis of signification in a symphonic work by Australian composer, Peter Sculthorpe).
Australasian Music Research 1,ed Royston Gustavson 1996, Centre for Studies in Australian Music pp.193-229.
Also published in a special issue of American Journal of Semiotics Vol 13 Nos 1/4 1996 (Siglind Bruhn, ed. ) and in Siglind Bruhn(ed.)Signs in Musical Hermeneutics, Pensacola, FLA, Semiotics Society of America 1998.

‘Playing with transgressive Light: Serrano's Piss Christ’, Literature and Aesthetics, 1998, pp. 45-59.

“Musical Signs and Subjectivity: Piercian Reflections.” Transactions of the Charles S. Peirce Society, 1999, Vol XXXV, No. (3), pp. 437-474.

Eugene Narmour, The Analysis and Cognition of Basic Melodic Structures (Chicago: The University of Chicago Press, 1990), Music Analysis 11, 2/3, pp.354-374.

‘Musical Ineffability’, Diana Raffman, Language, Music and Mind (Cambridge, MA: MIT Press, 1993), Semiotica 111-1/2 (1996), pp.117-141,

‘Keeping up (Musical) Appearances,’ Stephen Davies, Musical Meaning and Expression (Ithaca: Cornell University Press, 1994), Semiotica 116-2/4

‘On Tuning the Self: Musical Models of Human Nature in the 17th Century,’ Jamie Kassler, Inner Music (Dordrecht: Kluwer), Semiotica, forthcoming.

Review of Leonard B. Meyer, Style and Music: Theory, History and Ideology (1990), Musicology Australia, 1990, pp. 46-49.

Review of Carl Dahlhaus, Absolute Music and Peter Kivy, Music Alone, Notes (Journal of the American Music Libraries Association), December 1991, pp. 450-454.

‘Measures of Meanings,’ Review of Robert Hatten, Musical Meaning in Beethoven: Markedness, Correlation and Interpretation (Bloomington: Indiana University Press, 1994), The Semiotic Review of Books 5.3, September 1994, 2-4.

Review of Lawrence Kramer, Classical Music and Postmodern Knowledge, Musicology Australia (1996)

Review of Warren Shibles, Emotion in Aesthetics (Dordrecht: Kluwer Academic Publishers, 1995), Australasian Journal of Philosophy, September, 1997.

Review of Floyd Merrell, Pierce, Signs and Meaning (University of Toronto Press) for Philosophy in Review (Toronto)

‘Music Theory in Australia’, Oxford Companion to Music in Australia, 1998.

‘Manfred Clynes,’ (Neuroscientist and pianist) Oxford Companion to Music in Australia 1998.

‘Semiotics’ (approx. 2000 words) for New Grove Dictionary of Music and Musicians, revised ed. (Macmillan)

Short entries on musical theorists and aestheticians: Leonard Meyer, Peter Kivy, Lydia Goehr, Roger Scruton, Ernst Bloch, Benedetto Croce, Susanne Langer, New Grove Dictionary of Music and Musicians, revised ed. (Macmillan)

“Four Philosophies of Musical Interpretation”, Proceedings of the 16th International Congress of the International Musicological Society. Edited by Gavid Greer, Oxford University Press, 1997, 409-417). A paper delivered as part of the Round Table on Philosophy and Musicology, in response to contributions by Peter Kivy, Lew Rowell, Ruth Katz and Eero Tarasti.

‘Performing the Self,’ Society for the Study of Persons (Prague, August 1997). A paper discussing the bodily aspects of personal identity through an exploration of the physical disciplines of performance.

‘A task of grief,’ philosophical analysis of a little-discussed form of grief, (1997 unpublished).

‘Grief unconceived,’ a narrative account of grief, (1997 unpublished).

1991 City University Music Analysis Conference, London, September 1991. (Paper: Metaphor in Roger Scruton's Aesthetics of Music)

1994 International Society for Semiotics Meeting, Berkeley, CA. 12-18 June 1994 (Paper: ‘Valuing Deception and Uncertainty in Music: Leonard Meyer's Theory.’)

Congress on Musical Signification (ICSM 4), Paris, October 1994. (Paper on Bach's “Erbarme Dich” Aria, now published in Musical Analysis - see above)

1995 Society for Music Theory, New York, October 1995 (Paper as part of the Panel on Music Theory and Philosophy. Topic: musical gesture and signification).

College Music Society, Portland (Oregon), October 1995 (Paper on Peter Sculthorpe's Orchestral composition, Mangrove, an early form of article published in Journal of Australasian Musicological Research, 1996).

Visiting Lectures: Indiana University; Washington University, St. Louis; York University, Toronto, CA. (Topics derived from conference papers listed above).

1996 International Musical Signification Project, Summer School, convened by Prof. Eero Tarasti, Imatra (Finland), June 1996 (Paper on Steve Reich's Different Trains, now forming part of article for Perspectives of New Music)

Musicological Society of Australia Conference, Melbourne, 1996. (As above, shortened form.)

Visiting lecture: ‘Musical Signification: a Response to Stephen Davies’, Department of Philosophy, University of Melbourne (before being accepted as a Research Fellow in the Philosophy Dept.)

1997 Australasian Association for Philosophy, Auckland (New Zealand), June 1997 (Paper on Philosophy of Emotion for ‘Women in Philosophy’ group; paper on semiotic theory of Charles Sanders Peirce for a session on Peirce's philosophy).

International Conference on Persons, Prague (Czech Republic), August 1997 (Paper: ‘Performing the Self ’)

International Musicological Society, London (UK) (A set of responses, to be published in the proceedings as ‘Philosophies of Musical Interpretation’)

1998 Sydney Society for Aesthetics and Literature. Paper on the Serrano photograph, Piss Christ