Native American Song at the Frontiers of Early Modern Music. Cambridge University Press, 2008.The Politics of Memory in Ancien Régime Opera. In progress.
Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press, 2005.
Musicological Identities: Essays in Honor of Susan McClary. Co-edited with Steven Baur and Jacqueline Warwick. Aldershot, UK: Ashgate, 2008.
The American Musical and the Performance of Personal Identity. Princeton University Press, 2006 (paperback 2008). Lambda Literary Foundation Book List, Arts & Culture.
The American Musical and the Formation of National Identity. Princeton University Press, 2005 (paperback, 2006). Winner: George Jean Nathan Award for Dramatic Criticism. Finalist: George Freedley Memorial Award, from the Theatre Library Association.
Symphonic Metamorphoses: Subjectivity and Alienation in Mahler’s Re-Cycled Songs. Middletown, Connecticut: Wesleyan University Press, 2003.
Brahms and the Challenge of the Symphony, Pendragon, 1997. Partially reprinted in Johannes Brahms: Symphony No. 4 In E minor, Op. 98 (Norton Critical Scores, edited by Kenneth Hull, New York: W. W. Norton & Company, 2000.)
Modernist Mysteries: Perséphone, forthcoming, Oxford University Press, winter 2011.
Teaching New Classicality: Ferruccio Busoni's Master Class in Composition. Bern: Peter Lang, 1996.
Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio. Co-edited with Mark Katz and Tony Grajeda. Durham: Duke University Press, in press.
Beyond Exoticism: Western Music and the World. Durham: Duke University Press, 2007.
Strange Sounds: Music, Technology and Culture. New York: Routledge, 2001.
Global Pop: World Music, World Markets. New York: Routledge, 1997.
Elizabeth Randell Upton:
Music and Performance in the Later Middle Ages. Palgrave Macmillan, 2013.
Olivia Bloechl:"War, Peace, and the Ballet in Le Soir." Early Music 38:1 (2010): 91-100.
"Orientalism and Hyperreality in 'Desert Rose'." Journal of Popular Music Studies 7:2 (2005): 133-61.
"Wendat Song and Carnival Noise in the Jesuit Relations." In Native Acts: Indian Performance in Early North America. Eds. Joshua David Bellin and Laura L. Mielke. Lincoln: University of Nebraska Press, forthcoming 2011.
“Synthesizing Race: Towards an Analysis of the Performativity of Vocal Timbre.” TRANS-Transcultural Music Review 13 (7), (2009). http://www.sibetrans.com/trans/trans13/art06.htm.
"ORCH5, or The Classical Ghost in the Hip-Hop Machine." In Eric Weisbard ed., Listen Again: A Momentary History of Pop Music. (Durham: Duke University Press, 2007), pp. 231-55.
"Klinghoffer in Brooklyn Heights: Opera, Anti-Semitism, and the Politics of Representation." Cambridge Opera Journal 17-2 (July 2005): 173-213.
"Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon." American Music 16-2 (Summer 1998): 135-179.
“Marking Time in Pacific Overtures: Reconciling East, West, and History within the Theatrical Now of a Broadway Musical.” In Musicological Identities: Essays in Honor of Susan McClary. Ed. Steven Baur, Raymond Knapp, and Jacqueline Warwick. Aldershot, UK: Ashgate, 2008.
“A Tale of Two Symphonies: Converging Narratives of Divine Reconciliation in Beethoven’s Fifth and Sixth.” Journal of the American Musicological Society 53 (2000): 291-343 (published 2001).
“‘Selbst dann bin ich die Welt’: On the Subjective-Musical Basis of Wagner’s Gesamtkunstwelt.” 19th-Century Music 29 (Fall 2005): 142-160.
“The Aestheticization of Ethnicity: Imagining the Dogon at the Musée du quai Branly,” The Music Quarterly, special issue on “Music and Identity,” eds. Annegret Fauser and Tamara Levitz, vol. 89, no. 4 (Winter 2006): 600-42.
“Syvilla Fort’s Africanist Modernism and John Cage’s Gestic Music: The Story of Bacchanale,” South Atlantic Quarterly 104, no. 1, issue on “Music, Image, Gesture,” ed. Bryan Gilliam (January 2005): 123-50.
“The Chosen One‘s Choice,” in Beyond Structural Listening: Postmodern Modes of Hearing, ed. Andrew Dell’Antonio (Berkeley: University of California Press, 2004), 70-108.
"Advertising and the Conquest of Culture." Social Semiotics 4 (December 2009): 405-25.
"The Changing Shape of the Culture Industry; Or, How Did Electronica Music Get into Television Commercials?" Television and New Media 8 (August 2007): 235-58.
"The Commodification of Music at the Dawn of the Era of "'Mechanical Music.'" Ethnomusicology 51 (spring/summer 2007): 281-305.
Elizabeth Randell Upton:
“The Creation of the Chantilly Codex (Ms. 564),” Studi musicali, new series, Vol. III, No. 2 (2012), 287-352.
“Concepts of Authenticity in Early Music and Popular Music Communities,” Ethnomusicology Review, Vol. 17, November 2012.
“Aligning Words and Music: Scribal Procedures for the Placement of Text and Notes in the Chantilly Codex,” in A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex (Bibliothéque du Château de Chantilly, Ms.564), ed. Yolanda Plumley and Anne Stone. Turnhout (Belgium): Brepols, 2009, 115-132.