Leong, Daphne. 2019. Performing Knowledge: Twentieth-Century Music in Analysis and Performance, Oxford Studies in Music Theory (New York: Oxford University Press).

Leong, Daphne. “‘What makes it go’: Motion in Wuorinen’s Grand Union,Perspectives of New Music 56/2 (2018) Charles Wuorinen: A Celebration at 80: 149–67.

Leong, Daphne. “SMT’s Interest Groups: A Synopsis,” Music Theory Online 24/3 (2018).

Leong, Daphne. "Connecting Analysis and Performance through Music Theory Pedagogy," in The Norton Guide to Teaching Music Theory, ed. Rachel Lumsden and Jeffrey Swinkin (NY: Norton, 2018). 198–218.

Leong, Daphne. “Analysis and Performance, or, wissen, können, kennen,” Music Theory Online 22/2 (2016).

Leong, Daphne. (review) “On Experience and Meaning in Music Performance, eds. Clayton, Dueck, and Leante,” Journal of Music Theory 59/2 (2015): 321-332.

Leong, Daphne. “Time’s ‘Suchness’ in Robert Morris’s Clear Sounds,” Perspectives of New Music 52/2 (2014): 195-225.

Leong, Daphne. “Between Sound and Structure: Folk Rhythm at the Center of Bartók’s Fifth String Quartet,” in The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective, ed. Dániel Biró and Harald Krebs (Oxford: Oxford University Press, 2014), 108–133.

Leong, Daphne. "Generalizing Syncopation: Contour, Duration, and Weight," Theory and Practice 36 (2011): 111-150.

Leong, Daphne. “Webs and Snares: Multiple References in Babbitt’s Homily and Beaten Paths,” (Essay in Honor of Milton Babbitt) Music Theory Online 17/2 (July 2011).

Leong, Daphne and David Korevaar. “Repetition as Musical Motion in Ravel’s Piano Writing,” in Unmasking Ravel: New Perspectives on the Music, ed. Peter Kaminsky (Rochester: University of Rochester Press, 2011). 111-142.

Leong, Daphne, with Daniel Silver and Jennifer John. "Rhythm in the First Movement of Bartók’s Contrasts: Performance and Analysis," Gamut 1/1 (2008).

Leong, Daphne. “Humperdinck and Wagner: Metric States, Symmetries, and Systems,” Journal of Music Theory 51/2 (2007): 211-243.

Leong, Daphne and David Korevaar. “The Performer's Voice: Performance and Analysis in Ravel’s Concerto pour la main gauche,” Music Theory Online 11/3 (September 2005).

Leong, Daphne and Elizabeth McNutt. "Virtuosity in Babbitt's Lonely Flute," Music Theory Online 11/1 (March 2005); also “Response to Janet Schmalfeldt’s Response,” MTO  11/1 (2005).

Leong, Daphne. “Bartók’s Studies of Folk Rhythm: A Window into His Own Practice,” Acta Musicologica 76 (2004): 253-277.

Leong, Daphne. “Fantasia’s Rite of Spring as Multimedia: A Critique of Nicholas Cook’s Analysis,” Intégral 17 (2003): 237-250.

Leong, Daphne. “Kaleidoscopic Symmetries: Time And Pitch Relations in Conlon Nancarrow’s Tango?,”  Intégral 16 (2002): 187-224.

Leong, Daphne. "Metric Conflict in the First Movement of Bartók's Sonata for Two Pianos and Percussion," Theory and Practice 24 (1999): 57-90. (Awarded New York State Music Theory Society Young Scholar Award, 1999.)

Online paper and performance video

Leong, Daphne and Robert Morris. “Framing New Music: the effect of preparatory conditions on audience response to Morris’s Clear Sounds (2013),” Performance Studies Network International Conference, University of Cambridge, England, July 2014.