1975  “Cultural evolution: a case study of Indian music.” Sangeet Natak 35: 49-65. pdf
1977  Hindustani music in the twentieth century: a study of the dynamic nature of classical vocal music in North India, [s.l.: s.n.], 271 p. – PhD thesis Utrecht University.
1980  Hindustani music in the 20th century, The Hague-Boston: Nijhoff, 1980. – Revision of PhD thesis 1977. pdf
1982  & J. Bor, De roep van de kokila: historische en hedendaagse aspecten van de Indiase muziek, ’s-Gravenhage: Nijhoff, 154 p.
1986  “Teaching Indian music: coping with a changed environment.” Sangeet Natak 79: 53-57. pdf
1999  & Suvarnalata Rao and Jane Harvey (authors), Joep Bor (ed.), The Raga guide: a survey of 74 Hindustani ragas; Henri Tournier, music transcriptions; Lalita du Perron, song text transl …, [Wyastone Leys, Monmouth]: Nimbus Records; [Rotterdam]: Rotterdam Conservatory of Music, 184 p. + 4 CD’s.
2001  “Theory and practice of intonation in Hindustani music.” In: C. Barlow (ed.), The ratio book: feedback papers 43, Köln, pp. 50-70. pdf
2005  “The location of music: towards a hybrid musicology.” Tijdschrift voor muziektheorie 10: 57-71. pdf
– “Postcolonial musicology.” In: R. Astrauskas (ed.), Traditional music and research in the Baltic area: new approaches in ethnomusicology, Lithuania, pp. 107-121. pdf
2006  & Suvarnalata Rao, What you hear isn’t what you see: the representation and cognition of fast movements in Hindustani music, Lucknow: FRSM.
– “The seductive voice.” SPAFA Journal: a publication of the SEAMEO Regional Centre for Archaeology and Fine Arts (SPAFA) 16,2: 39-43. – Also publ. in IIAS Newsletter 40: 6. pdf
2007  & S. Rao, “Focus on improvisation: introduction.” Journal of the Indian Musicological Society 37: 1-5.
– “Improvisation and the margins of musical creation.” Journal of the Indian Musicological Society 37: 12-22.
– “Ulhas Kashalkar: Nilaya, live, Ahmedabad 2006 (Sense World, India- zang ).” Beyond 2.
– “Ustad Shujaat Khan : Memories, live, London 2006 (Navras, India – sitar ).” Beyond 2.
– “Pandit Kumar Bose, Pandit Swapan Chaudhuri, Pandit Anindo Chatterjee.” Beyond 2. – Three double cd’s recorded during the Darbar festival, London 2006.
– “A Neo-Darwinian approach to Indian music.” FRSM Report, 43-56.
– “Anoushka Shankar & Karsh Kale: Breathing under Water.” Beyond, 3.
– “Kaushiki: 3 cd’s in box, Sense world music.” Beyond, 3.
2008  & S. Rao, “Introduction: [section on composition].” Journal of the Indian Musicological Society 39: 1-4.
– “Dilip Chandra Vedi’s conception of composition.” Journal of the Indian Musicological Society 39: 115-121.
– “Improvisation versus reproduction, India and the world.” New Sound 32,2: 68-78. pdf
– “Improvisation, change, works and ragas.” Dutch Journal of Music Theory 13,1: 25-35. pdf
2009  & S. Rao, Microtonality in Indian music: myth or reality?, Gwalior: FRSM.
2010  & S. Rao, “The construction, reconstruction, and deconstruction of shruti.” In: J. Bor, F. Delvoye, J. Harvey & E. te Nijenhuis (eds), Hindustani music: thirteenth to twentieth centuries, New Delhi: Manohar, pp. 673-696.
2012  “Cultural evolution: a case study of Indian music.” Journal of the Indian Musicological Society 2012: 58-71.
2013  “Introduction.” Journal of the Indian Musicological Society 2013: iii-vi.
– “Enchanting voices.” In: F. Kouwenhoven (ed.), Music, dance and the art of seduction, Delft: Eburon Academic Publ., pp. 49-70.
– & R. Erickson, “Resonating cultural musicology: sources, streams and issues.” In: W. van der Meer (ed.), Cultural Musicology iZine, Amsterdam University, Bake Society, 24 p. pdf
2014  “Audience response and expressive pitch inflections in a live recording of legendary singer Kesar Bai Kerkar.” In: D. Fabian, R. Timmers & E. Schubert (eds), Expressiveness in music performance: empirical approaches across styles and cultures, Oxford: Oxford University Press, pp. 170-184.
2015  Gandhara in Darbari Kanada, the mother of all Shrutis, pdf  and internet version