| # | Title | Journal | Year | Citations |
|---|
| 1 | The Non-diegetic Fallacy: Film, Music, and Narrative Space | Music and Letters | 2010 | 149 |
| 2 | NEW LIGHT ON THE MOZARTS' LONDON VISIT: A PRIVATE CONCERT WITH MANZUOLI | Music and Letters | 1995 | 88 |
| 3 | MUSIC COPYRIGHT IN BRITAIN TO 1800 | Music and Letters | 1986 | 86 |
| 4 | What Makes an Audience? Investigating the Roles and Experiences of Listeners at a Chamber Music Festival | Music and Letters | 2005 | 81 |
| 5 | THE QUARREL OF THE ANCIENTS AND THE MODERNS | Music and Letters | 1960 | 77 |
| 6 | Defining the Term 'Absolute Music' Historically | Music and Letters | 2009 | 72 |
| 7 | Free thought and the musician | Music and Letters | 1921 | 63 |
| 8 | MUSIC AT THE SCUOLA DI SAN ROCCO | Music and Letters | 1959 | 61 |
| 9 | HAYDN AND THE LONDON MUSIC SELLERS: FORSTER v. LONGMAN & BRODERIP | Music and Letters | 1996 | 58 |
| 10 | John Bland: London retailer of the music of Haydn and Mozart | Music and Letters | 2000 | 58 |
| 11 | ‘For Instruments not Intended’: The Second J. C. Bach Lawsuit | Music and Letters | 2002 | 56 |
| 12 | ‘ALLURING THE AUDITORIE TO EFFEMINACIE’; MUSIC AND THE IDEA OF THE FEMININE IN EARLY MODERN ENGLAND | Music and Letters | 1993 | 55 |
| 13 | MUSIC AND THE QUADRIVIUM IN EARLY TUDOR ENGLAND | Music and Letters | 1995 | 52 |
| 14 | JOHN HILTON'S MANUSCRIPT BRITISH LIBRARY ADD. MS 11608 | Music and Letters | 1979 | 51 |
| 15 | GEORGE JEFFREYS AND THE ‘STILE NUOVO’ IN ENGLISH SACRED MUSIC: A NEW DATE FOR HIS AUTOGRAPH SCORE BRITISH LIBRARY ADD. MS 10338 | Music and Letters | 1989 | 51 |
| 16 | THE TENBURY AND ELLESMERE PARTBOOKS: NEW FINDINGS ON MANUSCRIPT COMPILATION AND EXCHANGE, AND THE RECEPTION OF THE ITALIAN MADRIGAL IN ELIZABETHAN ENGLAND | Music and Letters | 1992 | 49 |
| 17 | DICE MUSIC IN THE EIGHTEENTH CENTURY | Music and Letters | 1978 | 48 |
| 18 | NOTES ON THE ‘DIALOGO DELLA MUSICA’ OF ANTONFRANCESCO DONI | Music and Letters | 1966 | 46 |
| 19 | Beggar at the Door: The Rise and Fall of Portamento in Singing | Music and Letters | 2006 | 46 |
| 20 | Music and 'Weltanschauung': Franz Brendel and the Claims of Universal History | Music and Letters | 2012 | 45 |
| 21 | EIGHTEENTH–CENTURY FRENCH AND ITALIAN SINGING: RAMEAU'S WRITING FOR THE VOICE | Music and Letters | 1980 | 44 |
| 22 | Johann Nikolaus Forkel on the Listening Practices of ‘Kenner’ and ‘Liebhaber’ | Music and Letters | 2003 | 44 |
| 23 | In Havana and Paris: The Musical Activities of Alejo Carpentier | Music and Letters | 2008 | 44 |
| 24 | Remembering Debussy in Interwar France: Authority, Musicology, and Legacy | Music and Letters | 2012 | 44 |
| 25 | ‘ANCIENT’ MUSIC IN EIGHTEENTH-CENTURY ENGLAND | Music and Letters | 1979 | 43 |
| 26 | Striking Ornaments: Complexities of Sense and Song in Aquitanian ‘Versus’ | Music and Letters | 2003 | 43 |
| 27 | BORODIN ON LISZT | Music and Letters | 1961 | 42 |
| 28 | Categorical conventions in music discourse: style and genre | Music and Letters | 2001 | 42 |
| 29 | EDWARD HOLMES (1797-1859) | Music and Letters | 1964 | 41 |
| 30 | A New Class of People: The Conservatoire and Musical Professionalization in Russia, 1861–1917 | Music and Letters | 2004 | 41 |
| 31 | Narrative Theory as an Analytical Tool in the Study of Popular Music Texts | Music and Letters | 2007 | 41 |
| 32 | A FORGOTTEN CHAPTER IN ENGLISH EIGHTEENTH-CENTURY OPERA | Music and Letters | 1961 | 40 |
| 33 | PIETRO REGGIO— A WANDERING MUSICIAN | Music and Letters | 1965 | 40 |
| 34 | A VIEW OF EIGHTEENTH-CENTURY MUSICAL LIFE AND TRAINING: ANTON STADLER'S ‘MUSICK PLAN’ | Music and Letters | 1990 | 40 |
| 35 | Elgar, Lytton, and the Piano Quintet, OP. 84 | Music and Letters | 2004 | 40 |
| 36 | THÉOPHILE GAUTIER, MUSIC CRITIC | Music and Letters | 1968 | 39 |
| 37 | THE VENETIAN ‘FIGLIE DEL CORO’: THEIR ENVIRONMENT AND ACHIEVEMENT | Music and Letters | 1982 | 39 |
| 38 | CHARLES AVISON'S ‘STILES IN MUSICAL EXPRESSION’ | Music and Letters | 1982 | 39 |
| 39 | SOME REFLECTION UPON NOTATION AND PROPORTION IN MONTEVERDI'S MASS AND VESPERS OF 1610 | Music and Letters | 1992 | 39 |
| 40 | MUSIC AT S. MARIA MAGGIORE, BERGAMO 1614–1643 | Music and Letters | 1966 | 38 |
| 41 | THE ORIGINS OF JOHN DAY'S ‘CERTAINE NOTES’ | Music and Letters | 1981 | 37 |
| 42 | THE INVERNESS FRAGMENTS: MUSIC FROM A PRE-REFORMATION SCOTTISH PARISH CHURCH AND SCHOOL | Music and Letters | 1989 | 37 |
| 43 | AUTOMATIC GENIUS: MOZART AND THE MECHANICAL SUBLIME | Music and Letters | 1999 | 37 |
| 44 | New Texts for Old Music: Three Early Thirteenth-Century Latin Motets | Music and Letters | 2012 | 37 |
| 45 | ‘CHURCH MUSICK AT DUNKELL’ | Music and Letters | 1964 | 36 |
| 46 | Loyalty and Longevity in Audience Listening: Investigating Experiences of Attendance at a Chamber Music Festival | Music and Letters | 2008 | 36 |
| 47 | Speculative 'Musica' and the Medieval University of Paris | Music and Letters | 2009 | 36 |
| 48 | Claudio Monteverdi and Sacred Music in the Household of the Gonzaga Dukes of Mantua, 1590-1612 | Music and Letters | 2009 | 35 |
| 49 | MUSIC-SELLING IN LATE SIXTEENTH-CENTURY FLORENCE: THE BOOKSHOP OF PIERO DI GIULIANO MOROSI | Music and Letters | 1989 | 34 |
| 50 | TEMPO AND REPEATS IN THE EARLY NINETEENTH CENTURY | Music and Letters | 1966 | 33 |
