Following is a list of Derrick Puffett’s major publications. A more complete list, containing all the early reviews, can be found in Music Analysis 18/1 (1999)

Derrick Puffett on Music, ed. Kathryn Bailey Puffett (Aldershot: Ashgate, 2001).
(This book contains most of the articles in the following list.)

The Song Cycles of Othmar Schoeck (Berne and Stuttgart: Haupt, 1982).


Richard Strauss: Salome (Cambridge: Cambridge University Press, 1989).

Richard Strauss: Elektra (Cambridge: Cambridge University Press, 1989).

Alexander Goehr, Finding the Key (London: Faber, 1997).

[With Alfred Clayton] Carl Dahlhaus, Schoenberg and the New Music (Cambridge: Cambridge University         Press, 1987).

Jean-Jacques Nattiez, Proust as Musician (Cambridge: Cambridge University Press, 1989).

[with Alfred Clayton] ‘Heinrich Schenker, Beethoven’s Third Symphony’, in Schenker, The Masterwork in         Music, ed. William Drabkin, Vol. 3 (Cambridge: Cambridge University Press, 1996).

‘Alban Berg, “Pelleas and Melisande, Symphonic Poem for Orchestra by Arnold Schoenberg, Op. 5: Short         Thematic Analysis”’, included in ‘Music That Echoes within One for a Lifetime: Berg’s Reception of             Schoenberg’s Pelleas und Melisande’ (referenced below).

‘Othmar Schoeck’s Song Cycle Unter Sternen’, script for BBC Radio 3 (1 May 1977).

'Strauss as Conductor’, Music and Musicians 25/12 (August 1977), pp. 3033.

Contributions to Everyman’s Encyclopaedia [28 articles] (London: Dent, 1978).

‘[Robin Holloway:] Songs and Choral Music’, Tempo 129 (June 1979), pp. 1419.

‘In the Garden of Fand: Arnold Bax and the “Celtic Twilight”’, in Art nouveau, Jugendstil und Musik, ed.         Jürg Stenzl (Zurich: Atlantis, 1980), pp. 193210.

‘An Introduction to Der Rosenkavalier’, in Richard Strauss: Der Rosenkavalier, ed. Nicholas John (London:         Calder, 1981), pp. 714.

‘Hugo Wolf’, in Makers of Nineteenth-Century Culture, ed. Justin Wintle (London: Routledge and Kegan         Paul, 1982), pp. 6778.

‘Some Reflections on Literaturoper’, German Life and Letters 35/3 (April 1982), pp. 23840.

‘Eine Anmerkung an Schoecks Liederzyklus Unter Sternen’, Schweizerische Musikzeitung 122/5 (SeptemberOctober 1982), pp. 3334.

‘Schoecks Opern: Ein Beitrag zur Frage der Gattung am Beispiel der Opern Venus, Penthesilea und Vom         Fischer un syner Fru’, in Musiktheater: Schweizer Theaterjahrbuch 45, ed. Dorothea Baumann                    (Bonstetten: Theaterkultur Verlag, 1984).

‘Siegfried in the Context of Wagner’s Operatic Writing’, in Richard Wagner: Siegfried, ed. Nicholas John         (London: Calder, 1984), pp. 4353.

‘On the Teaching of Musical Analysis’, paper for King’s College London Music Analysis Conference 1984,         published in Music Analysis 4/12 (March/July 1985), pp. 18690.

‘The Fugue from Tippett’s Second String Quartet’, Music Analysis 5/23 (July/October 1986), pp. 23364.

‘[Hans Keller:] A Memoir’, Music Analysis 5/23 (July/October 1986), pp. 3889.

‘[The Twentieth Century:] Germany Austria Switzerland’, in History of Opera, ed. Stanley Sadie                 (London: Macmillan, 1989), pp. 2919.

‘Berg and German Opera’, in The Berg Companion, ed. Douglas Jarman (London: Macmillan, 1989), pp. 197220.

‘[Salome] Introduction’, in Richard Strauss: Salome, pp. 110.

‘[Salome] Synopsis’, in Richard Strauss: Salome, pp. 517.

‘Salome as Music Drama’, in Richard Strauss: Salome, pp. 5887.

‘Postlude: Images of Salome’, in Richard Strauss: Salome, pp. 1614.

‘Strauss's Scenario for the “Dance of the Seven Veils”’, in Richard Strauss: Salome, pp. 1657.

‘[Elektra:] Introduction’, in Richard Strauss: Elektra, pp. 19

‘The Music of Elektra: Some Preliminary Thoughts’, in Richard Strauss: Elektra, pp. 3343.

‘[Elektra:] Synopsis’, in Richard Strauss: Elektra, pp. 4454.

‘A Graphic Analysis of Musorgsky’s “Catacombs”’, Music Analysis 9/1 (March 1990), pp. 6777.

‘The “Tawdriness” of Salome’, Scottish Opera programme (April 1990).

‘“Lass Er die Musi, wo sie ist”: Pitch Specificity in Strauss’, in Richard Strauss and His World, ed. Bryan Gilliam (Princeton: Princeton University Press, 1992), pp. 13863.

 ‘... an Analytical Offering (A.G. 1992) ...: On Goehr’s Homage to Bach’, Music
11/23 (July/October 1992), pp. 177200.

Editorial: ‘In Praise of Formalism’, Music Analysis 13/1 (1994), pp. 35.

‘Tippett and the Retreat from Mythology’, Musical Times 136/1823 (January 1995), pp. 614.

‘“Music That Echoes within One” for a Lifetime: Berg’s Reception of Schoenberg’s Pelleas und Melisande’,     Music & Letters 76/2 (May 1995), pp. 20964 (winner of Westrup prize for outstanding Music & Letters     article of 1995).

‘Too Sharp a Mind’ [on the Stravinsky Septet], Musical Times 136/1833 (November 1995), pp. 59098.

‘Gone with the Summer Wind; Or, What Webern Lost’, in Webern Studies, ed. Kathryn Bailey (Cambridge:     Cambridge University Press, 1996), pp. 3273.

‘Transcription and Recomposition: The Strange Case of Zemlinsky’s Maeterlinck Songs’, in Analytical             Strategies and Musical Interpretation, ed. Craig Ayrey and Mark Everist (Cambridge: Cambridge                 University Press, 1996), pp. 72119.

‘Schenker's “Eroica”’, Musical Times 137/1843 (September 1996), pp. 1321.

Debussy’s Ostinato Machine, Papers in Musicology 4 (Nottingham: Nottingham University, 1996).

‘Webern’s Wrong Key Signature’, Tempo 199 (January 1997), pp. 216.

‘Berg, Mahler and the Three Orchestral Pieces, Op. 6’, in The Cambridge Companion to Berg, ed. Anthony     Pople (Cambridge: Cambridge University Press, 1997), pp. 11144.

 ‘Selected Writings of Alexander Goehr: Editorial Note’, in Alexander Goehr, Finding the Key (London:             Faber, 1997), pp. xxiii.

‘A Nietzschean Libretto: Delius and the Text for A Mass of Life’, Music & Letters 79/2 (1998), pp. 24669.

‘Bruckner's Way: The Adagio of the Ninth Symphony’ [finished by Kathryn Bailey], Music Analysis 18/1             (March 1999), pp. 599.