Monographs
  • Enlightenment or Entitlement: Rethinking Tertiary Music Education. Platform Paper No 38. (Sydney: Currency House, 2014).
  • Ernst Krenek and the Politics of Musical Style (Maryland: Scarecrow Press, 2013).
  • The Conservatorium of Music University of Melbourne: An Historical Essay to Mark its Centenary (Melbourne: Faculty of Music, 1997)
 
Book Chapters
  • ‘Moodie and Krenek: Challenging Ernst’s Ernestness’ in Kay Dreyfus (ed), The Fractured Self: Selected German Letters of the Australia-Born Violinist Alma Moodie, 1918–1943), trans. Diana K. Weekes (Oxford: Peter Lang, 2021, 483–486.
  • Beethoven, Viena y el Trienio Liberal’ (with Michael Christoforidis), in Teresa Cascud & García-Villaraco (eds), Un Beethoven Ibérico: Dos Siglos de Transferencia Cultural (Granada: Comares Música, 2021), 17–30.
  • ‘Universities and Conservatoires: The Professionalization and Idealization of Music Education’, in Michael Allis, Sarah Collins and Paul Watt (eds), The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century (New York: Oxford University Press, 2020), 271–292.
  • ‘The Key to Timelessness: Some Reflections on the Australian Reception of the B minor Mass’, in Denis Collins, Kerry Murphy & Samantha Owens (eds), J.S. Bach in Australia: Studies in Reception and Performance (Melbourne: Lyrebird Press, 2018), 89–100.
  • ‘Giving Voice to “The Painfulness of Human Life”: Grainger’s Folk Song Settings and Musical Irony’, in Kay Dreyfus and Suzanne Robinson (eds), Grainger the Modernist (London: Ashgate, 2015), 93–105.
  • ‘Leaping over Shadows: Ernst Krenek and Post-War Vienna’, in Trudi Tate & Kate Allum Kennedy (eds), The Silent Morning: Memory, Culture and the Armistice November 1918 (Manchester: Manchester University Press, 2013), 182–199.
  • ‘Marshall Hall as Australian Composer’ in Suzanne Robinson & Therese Radic (eds), The Marshall-Hall Era: Music, Art and Controversy in Federation Melbourne (Melbourne: Australian Scholarly Press, 2012), 199–207.
  • ‘Schoenberg, Satire and the Zeitoper’, in Joseph Auner & Jennifer Shaw (eds), The Cambridge Companion to Schoenberg (Cambridge: Cambridge University Press, 2010), 147–156.
  • ‘Edward Said and Theodor Adorno: The Intellectual as Musician’, in Edward Said: Legacy of a Public Intellectual (Melbourne: Melbourne University Press, 2007), 203–220.
  • ‘For alle Menschen?: Classical Music and Remembrance after 9/11’, Music in the Post-9/11 World, ed. J. Martin Daughtry & Jonathan Ritter (New York: Routledge, 2007), pp. 204–216.
  •  ‘European Sounds, Australia Echoes: The Music of Marshall-Hall, Hill, and Hart’, in The Soundscapes of Australia: Music, Place And Spirituality, ed. Fiona Richards (London: Ashgate, 2007), pp. 185–198.
  • ‘Revolution in der Oper: “Die Zwingburg” und “Der Sprung über den Schatten” ’, „Der zauberhafte, aber schwierige Beruf des Opernschreibens“. Das Musiktheater Ernst Kreneks (Vienna: Argus, 2006), pp. 31-39.
  • ‘Stadtluft macht frei: Urban Sounds and Weimar Opera’, Music, Theatre and Politics in Germany 1848–1933, ed. Nikolaus Bacht (London: Ashgate, 2006), pp. 237–254.
  • ‘The Centenary of the “Con”: An Introduction’ Aflame with Music: 100 years of Music at the University of Melbourne (Melbourne: Centre for Studies in Australian Music, 1996), pp. 3–10.
  • ‘The Songs of Fritz Bennicke Hart’, One Hand on the Manuscript: Music in Australian Cultural History 1930-1960 (Canberra: Australian National University Press, 1995), pp. 55–64.
 
Refereed Articles
  • Lake, S., Joannes-Boyau, R., Lucas, A., McCallum, A., O’Connor, J., Pelizzon, A., Tregear, P., Vodeb, O., ‘A Brief History of Australian Universities’, Social Alternatives 41/1 (2022), pp. 8–16.
  • Pelizzon, A., Joannes-Boyau, R., Lake, S., Lucas, A., McCallum, A., Noble, D., O’Connor, J., Orr, J., Schröder-Turk, G., Tregear, P., Vodeb, O., ‘A Crisis of Governance’, Social Alternatives 41/1 (2022), pp. 17–25.
  • Vodeb, O., Joannes-Boyau, R., Lake, S., Lucas, A., McCallum, A., O’Connor, J., Pelizzon, A., Tregear, P., ‘Australian Public Universities and the Destruction of the Academic Community’, Social Alternatives 41/1 (2022), pp. 35–43.
  • Tregear, P., Lake, S., Lucas, A., O’Connor, J., Pelizzon, A., Vodeb, O. ‘“Enough to make you sick!” Pathological characteristics of the Australian academic workplace’, Social Alternatives 41/1 (2022), pp. 44–51.
  • ‘“The Art of Agony”: Aspects of Negativity in Grainger’s Music’, Nineteenth-Century Music Review 15/2 (2018), pp. 1–15.
  • ‘Conservatoires in society: Institutional challenges and possibilities for change’, Arts & Humanities in Higher Education, 15/3–4 (2016), pp. 276–292 (with Geir Johansen, Harald Jørgensen, John Sloboda, Helena Tulve and Richard Wistreich).
  • ‘Post-Colonial Tristesse: Aspects of Wagner Down Under’, Context 39 (2014), pp. 69-77.
  • ‘“Nostalgia is not what it used to be”: Percy Grainger and the Aesthetics of Kitsch’, Grainger Studies, 1 (2011), pp. 97–113.
  • ‘The Ninth after 9/11’, Beethoven Forum, 10/2 (2003), pp. 221–232.
  • ‘Musical Style and Political Allegory in Krenek's Karl V’, Cambridge Opera Journal, 13 (1999), pp.  55–88.
  • ‘Fritz Hart and the ‘Celtic Twilight’ in Australia’, The Literary Review, 45 (2001), pp. 173–179.
  • ‘Sounding Fascism: T. W. Adorno and the Political Susceptibility of Music’, Renaissance and Modern Studies, 42 (1999), pp. 36–48.
  • ‘Der Übergang in Kreneks Musik von “Jonny” zu “Karl V”’, Österreichische Musikzeitschrift, 55/8-9 (2000), pp. 21–24.
 
Critical & Performing Editions
  • Anna Amalia, Erwin und Elmire: Schauspiel mit Gesang nach einem Text von Johann Wolfgang von Goethe
  • [Sound Research of Women Composers: Music of the Classical Period]. (Kassel: Furore Verlag, 2011), 158 pp, ISMN 979 0 50012 383 5).
  • Also Vocal Score: 189 pp, ISMN 979 0 50012 464 1.
  • Two song cycles by Fritz Hart, Musica Australia, vol. 1. (Melbourne: Marshall-Hall Trust, 1996), 40 pp.
  
Conference Proceedings
  • Edwards, A. J., Garbe, U., Salvemini, F., Edwards-McKeown, C. F., Close, J. & Tregear, P. ‘Using neutron tomography to examine guitar strings.’ Acta Crystallographica. A73, C1347 (2017).
  •  ‘Compositional Technique as Political Allegory in Krenek’s Early 12-tone Works’, in Michael Hass (ed), Musik und Widerstand, Wiener Jahrbuch für jüdische Geschichte, Kultur & Museumswesen, 8 (2008), pp. 100–111.
 
Book Reviews
  • Jeremy Dibble & Julian Horton (eds), British Music Criticism and Intellectual Thought 1850–1950 (London: Boydell Press, 2019), Australian Book Review Online (September 2019), https://www.australianbookreview.com.au/features/abr-online-exclusives/225-abr-online-exclusives/5840-peter-tregear-reviews-british-music-criticism-and-intellectual-thought-1850-1950-edited-by-jeremy-dibble-and-julian-horton
  • Michael Halliwell, National Identity in Contemporary Australian Opera: Myths reconsidered' (London: Routledge, 2018), Australian Book Review Online (November 2018),
    https://www.australianbookreview.com.au/abr-online-exclusives/5203-peter-tregear-reviews-national-identity-in-contemporary-australian-opera-myths-reconsidered-by-michael-halliwell
  • Alexander Knapp & Norman Solomon (eds), Ernest Bloch Studies (Cambridge: Cambridge University Press, 2017). Music and Letters, 99 (2018), pp. 136–138.
  • Rhoderick McNeill, The Australian Symphony from Federation to 1960 (Ashgate: Farnham, 2014). Music and Letters 96/3 (2015), 489-491.
  • B.A. Follmi, N Grosch & M Schneider (eds), Music and the Construction of National Identities in the 19th Century (Baden-Baden & Bouxwiller: Editions Valentin Koerner, 2010). Musicology Australia 36 (2014), 166–169.
  • Pamela Karantonis & Dylan Robinson (eds), Opera Indigene: Re/presenting First Nations and Indigenous Cultures (London: Ashgate, 2011). Musicology Australia 36 (2014), 175–178.
  • Joseph P Fisher & Brian Flota (eds), The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror  (London: Ashgate, 2011). Music and Letters 94 (2013), pp. 550–552.
  • Erik Levi and Florian Scheding (eds), Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond (Maryland: Scarecrow, 2010). Music and Letters 94 (2013), pp. 552–554.
  • Penelope Thwaites (ed.), The New Percy Grainger Companion. Woodbridge: The Boydell Press, 2010). Musicology Australia, 33 (2011), 146–48.
  • Michael P. Steinberg, Listening to Reason: Culture, Subjectivity and Nineteenth-Century Music (Princeton: Princeton University Press, 2004). Music and Letters 90 (2009), 294–95.
  • Charles Youmans, Richard Strauss’s Orchestral Music and the German Intellectual tradition: the Philosophical Roots of Musical Modernism (Bloomington: Indiana University Press, 2005). Music and Letters 89 (2008), 441–444.
  • Esbjörn Nyström, Libretto im Progress: Brechts und Weills Aufstieg und Fall der Stadt Mahagonny, Arbetin zur Editionswissenschaft 6, ed. Winfried Woesler (Bern: Peter Lang, 2005). Music and Letters 89 (2008), 440–441.
  • Roger Hillman, Unsettling Scores: German Film, Music, and Ideology (Bloomington: Indiana University Press, 2005). Musicology Australia 28 (2005–6), pp. 139–42.
  • Theodor W. Adorno Essays on Music, trans. Susan H. Gillespie (Berkeley: University of California Press, 2002). Journal of European Studies, 33 (2003), pp. 355–357.
  • Therese Radic, G. W. L. Marshall-Hall: A Biography and Catalogue (Melbourne: Centre for Studies in Australian Music, 2002). Context 23 (2002), pp, 79–81.
  • John Bird, Percy Grainger, 3rd ed. (London: Oxford, 1999). The Times Literary Supplement, 5027 (1999), 32.
  • David Symons, The Music of Margaret Sutherland (Sydney: Currency Press, 1995). Musicology Australia 21 (1998), pp. 84-5.
  • Michael Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism (London, Verso, 1994). Musicology Australia 19 (1996), pp. 88–9.
  • Gyger, Alison. Opera for the Antipodes: Opera in Australia, 1881-1939 (Paddington: Currency Press, 1990),  Centre for Studies in Australian Music Newsletter, 1 (1995), pp. 2–3.