1. John Z. Mckay & Alexander Rehding (2011). The Structure of Plato's Dialogues and Greek Music Theory: A Response to JB Kennedy. Apeiron 44 (4):359-375.
  2. Alexander Rehding (2009). Music and Monumentality: Commemoration and Wonderment in Nineteenth Century Germany. OUP Usa.
    This critical study locates musical monumentality, a central property of the nineteenth-century German repertoire, at the intersections of aesthetics and memory. In examples including Beethoven, Liszt, Wagner and Bruckner, Rehding explores how monumentality contributes to an experiential music history and how it conveys the sublime to the listening public.
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  3. Suzannah Clark & Alexander Rehding (eds.) (2005). Music Theory and Natural Order From the Renaissance to the Early Twentieth Century. Cambridge University Press.
    Music theorists of almost all ages employ a concept of "Nature" to justify observations or statements about music. The understanding of what "Nature" is, however, is subject to cultural and historical differences. In tracing these explanatory strategies and their changes in music theories between c. 1600 and 1900, these essays explore (for the first time in a book-length study) how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on music theory and (...)
     
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