“Criteria for Analysis: A Reassessment of Riemann’s Mature Theory of Meter.” In Riemann Studies, eds. Alexander Rehding and Ed Gollin.  New York, Oxford University Press, forthcoming.

“The ‘Tempest’ Exposition: A Springboard for Form-Functional Considerations.”  In Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance. Ed. Pieter Bergé, co-eds. Jeroen D’hoe and William E. Caplin, 87–125.  Leuven: Peeters, 2009.

“Schoenberg’s ‘Second Melody,’ Or, ‘Meyer-ed’ in the Bass.” In Communicative Strategies in Late 18th-Century Instrumental Music, eds. Danuta Mirka and Kofi Agawu, 160–88.  Cambridge: Cambridge University Press, 2008.

“The Genesis of the Countersubjects for the Grosse Fuge.” In The String Quartets of Beethoven, ed. William Kinderman, 234–61. Urbana: University of Illinois Press, 2006.

“Theories of Musical Rhythm in the Eighteenth and Nineteenth Centuries.” In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 657–94. Cambridge: Cambridge University Press, 2002.

“Structural Expansion in Beethoven’s Symphonic Forms.” In Beethoven’s Compositional Process, ed. William Kinderman, 27–54. Lincoln: University of Nebraska Press, 1991.

“Zur Klassifizierung harmonischer Fortschreitungen.” In Musiktheorie zwischen Historie und Systematik: 1. Kongreß der Deutschen Gesellschaft für Musiktheorie, Dresden 2001, ed. Ludwig Holtmeier, Michael Polth, and Felix Diergarten, 245-54.  Augsburg, 2004.

“Harmonic Variants of the ‘Expanded Cadential Progression.’” In A Composition as Problem II: Proceedings of the Second International Estonian Music Theory Conference,” ed. Mart Humal, 49–71. Tallinn: Estonian Academy of Music, 2000.

“Analysis Symposium:  The Andante of Mozart’s Symphony No. 40 in G Minor.” In A Composition as Problem II: Proceedings of the Second International Estonian Music Theory Conference,” ed. Mart Humal, 155–62. Tallinn: Estonian Academy of Music, 2000.

“On the Relation of Musical Topoi to Formal Function.” Eighteenth-Century Music 2/1 (2005): 113–24.

"North American Approaches to Musical Form."  Zeitschrift der Gesellschaft für Musiktheorie 2, no. 2 (2005): http://www.gmth.de/www/artikel/2005-04-10_11-04-06_7/.

“The Classical Cadence: Conceptions and Misconceptions.” Journal of the American Musicological Society 57/1 (Spring, 2004): 51–117.  Winner of 2006 Prix Opus for “Article of the Year,” Conseil québécois de la musique.

“The Classical Sonata Exposition:  Cadential Goals and Form-Functional Plans.” Tijdschrift voor Muziektheorie 6/3 (2001): 195–209.

“Hybrid Themes: Toward a Refinement in the Classification of Classical Theme Types.” Beethoven Forum 3 (1994): 151–65.

“History of Theory in the Eighteenth and Nineteenth Centuries: A Survey of Recent Research.” Music Theory Spectrum 11/1 (1989): 29–34.

“The ‘Expanded Cadential Progression’: A Category for the Analysis of Classical Form.” Journal of Musicological Research 7 (1987): 215–57.

“Funktionale Komponenten im achttaktigen Satz.” Musiktheorie 1/3 (1986): 239–60.

“Riemann’s Theory of Dynamic Shading: A Theory of Meter?”  Theorea 1 (1985): 1–24.

“Moritz Hauptmann and the Theory of Suspensions.” Journal of Music Theory 28/2 (1984): 251–69.

“Tonal Function and Metrical Accent: A Historical Perspective.” Music Theory Spectrum 5 (1983): 1–14.

“Harmony and Meter in the Theories of Simon Sechter.” Music Theory Spectrum 2 (1980): 74–89.

“Der Akzent des Anfangs: Zur Theorie des musikalischen Taktes.” Zeitschrift für Musiktheorie 9/1 (1978): 17–28.

The Rhythms of Tonal Music, by Joel Lester. Journal of the American Musicological Society 41/2 (1988): 382–92.

Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg, by Robert Wason. Music Theory Spectrum 8 (1986): 140–43.

The Strict Art of Musical Composition, by Johann Philipp Kirnberger, trans. David Beach and Jurgen Thym. Journal of Music Theory 28/1 (1984): 124–28.

Beyond Schenkerism, by Eugene Narmour. Zeitschrift für Musiktheorie 9/2 (1978): 52–54.

Analyzing Classical Form: A Text.  New York: Oxford University Press, under contract, anticipated date of publication, 2012; ca. 550pp.

Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998; paperback ed., 2001.  Winner, 1999 Wallace Berry Book Award, Society for Music Theory.

William Caplin, James Hepokoski, and James Webster.  Musical Form, Forms & Formenlehre: Three Methodological Reflections.  Ed. Pieter Bergé. Leuven: University of Leuven Press, 2009.

Beethoven’s Tempest Sonata: Perspectives of Analysis and Performance.  Ed. Pieter Bergé, co-eds. Jeroen D’hoe and William E. Caplin.  Leuven: Peeters, 2009.