Tilgjengelig online
Bruns, Gerald L.: "Hermeneutics" i Encyclopedia of Aesthetics, 1998. Oxford: Oxford University Press. 5 spalter.
Dahlhaus, Carl: "Kapittel 2: The Significance of Art: Historical or Aesthetic?" i Dahlhaus, Carl: Foundations of Music History, 1993. Cambridge: Cambridge University Press. s. 19–33.
Danielsen, Anne: Musical Rhythm in the Age of Digital Reproduction, 2010. Farnham, Surrey: Ashgate. Kapittel 2.
DeVeaux, Scott: "Constructing the Jazz Tradition" i Black American Literature Forum Vol. 25, No. 3, Literature of Jazz Issue (Autumn, 1991), pp. 525-560
Fischer-Lichte, Erika: Kap 4, "The performative generation of materiality" i The Transformative Power of Performance, 2008. London: Routledge. ISBN: 0-415-45855-2. Kapittel 4.
Goehr, Lydia: The Imaginary Museum of Musical Works. An Essay in the Philosophy of Music, 2007. Oxford: Oxford University Press. s. 243-286.
Guldbrandsen, Erling E.: "Modernist Composer and Mahler Conductor. Changing Conceptions of Performativity in Boulez" i Stan Hawkins (red.): Studia Musicologica Norvegica 32, 2006. Universitetsforlaget. s. 140–168.
Kerman, Joseph: "How We Got Into Analysis, and How to Get Out" i Critical Inquiry, Winter 1980. s. 311–331.
Walser, Robert : "Out of Notes: Signification, Interpretation, and the Problem of Miles Davis" i Krin Gabbard (red.): Jazz Among the Discourses, 1995. Durham/London: Duke University Press. s. 165–188.
Kompendium
Adorno, Theodor W.: "Vakre steder (39 sider) og Fragment om musikk og spr?k (8 sider)" i Adorno, Theodor W.: Musikkfilosofi, 2003. Oslo: Pax.
Barthes, Roland: "Rasch" i Barthes, Roland: I tegnets tid. Utvalgte artikler og essays, 1994. Oslo: Pax. s. 106–116 (bokas lengde: 174 s.)
Cook, Nicholas: "Analysing Performance and Performing Analysis" i Nicholas Cook and Mark Everist (red.): Rethinking Music, 1999. Oxford: Oxford University Press. s. 239–261.
Dahlhaus, Carl: "Kapittel 2: The Significance of Art: Historical or Aesthetic?" i Dahlhaus, Carl: Foundations of Music History, 1993. Cambridge: Cambridge University Press. s. 19–33 (bokas lengde: 177 s.)
McClary, Susan: "Narrative Agendas in ?Absolute? Music: Identity and Difference in Brahms’s Third Symphony" i Ruth A. Solie (red.): Musicology and Difference, 1992. Berkeley: University of California Press (bokas lengde: 355 s.)
Middleton, Richard : Kapittel 4: “Change Gonna Come?” i: Studying Popular Music, 1990. Philadelphia: Open University Press., s. 103–126. (Bokas lengde: 328 s.)
Moore, Allan F. : Kapittel 4: “A Profusion of Styles” i: Rock: The Primary Text – Developing a Musicology of Rock, 2001. Hants: Ashgate., s. 119–180 (bokas lengde: 253 s.)
Toynbee, Jason: Chapter 3: "Technology: The Instrumental Instrument" i Making Popular Music: Musicians, Creativity and Institutions, 2000. Bloomsbury USA. s. 68-101.
Treitler, Leo: "Hermeneutics, Exegetics, or What?" i Thomas Holme Hansen (red.): 13th Nordic Musicological Congress - Papers and Abstracts, Aarhus 2000. Department of Musicology, University of Aarhus, s. 48-64 (bokas lengde: 179 s.)
Treitler, Leo: "The Present as History" i Treitler, Leo: Music and the Historical Imagination, 1989. Harvard University Press. s. 95–156.
Legges ut p? Fronter
Cook, Nicholas:“Music as Performance.” In The Cultural Study of Music: A Critical Introduction. Edited by Trevor Herbert, Richard Middleton and Martin Clayton, 204–14. London: Routledge, 2003.
Wiksh?land, St?le: "I tradisjonens trollspeil. Stilhistoriske selvbilder" i Wiksh?land: Fortolkningens ?rhundre, Scandinavian Academic Press/Spartacus, Oslo 2009, s. 77-113.