Heetderks, D. J. (2020). "It’s an N, Bro": Teaching Enharmonic Reinterpretations of Fully Diminished Seventh Chords by Ear. The Routledge Companion to Music Theory Pedagogy.
Heetderks, D. J. (2019). A Tonal Axis to Grind: Central Dyads and Centric Tension in Sonic Youth's Divergent Textures. The Routledge Companion to Popular Music Analysis: Expanding Approaches. 14. Routledge.
Heetderks, D. J. (2023). Review of David Temperley, The Musical Language of Rock (Oxford, 2018). Music Theory Online.
Heetderks, D. (2021). Review of Drew Nobile, Form as Harmony in Rock Music (Oxford University Press, 2020). Popular Music. https://www.cambridge.org/core/journals/popular-music
Heetderks, D. J. (2019). Review of Christopher Doll, Hearing Harmony: Towards a Tonal Theory for the Rock Era. Popular Music. 38(1), 165–168. Cambridge University Press. https://www.cambridge.org/core/journals/popular-music/article/hearing-harmony-toward-a-tonal-theory-for-the-rock-era-by-christopher-doll-ann-arbor-mi-university-of-michigan-press-2017-320-pp-isbn-0472073524/62D9F2F5A0135B1A52D524DB7393E912
Heetderks, D. J. (2016). Review of Michael Brocken, The Twenty-first Legacy of The Beatles: Liverpool and Popular Music Heritage Tourism (Ashgate: 2015). NABMSA Reviews. 3(1), 1-2. https://nabmsa.org/pdfs/nabmsa-reviews/NABMSAReviews3.1.pdf
Heetderks, D. J. (2014). Review of S. Alexander Reed, Assimilate: A Critical History of Industrial Music. Music Theory Online. 20(2), . http://www.mtosmt.org/issues/mto.14.20.2/mto.14.20.2.heetderks.php
Heetderks, D. (2023). The “Rebuff Chorus” in 1960–2000 Pop Music. Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic.
Heetderks, D. (2021). Norms of Textual Scansion and Rhyme in Beatles AABA Forms. Music Theory Spectrum. https://academic.oup.com/mts
Heetderks, D. J. (2020). What Happens after the Primal Burn? Dissonance in Sonic Youth’s Middle Period. Music Theory Online. mtosmt.org
Heetderks, D. J. (2019). Play with Closing Markers: Cadential Multivalence in 1960s Prechoruses and Related Forms. Music Theory Spectrum. Oxford Academic Journals.
Heetderks, D. J. (2017). Slanted Beats, Enchanted Communities: Pavement’s Early Phrase Rhythm as Indie Narrative. Popular Music. 36(3), 216–232. Cambridge University Press.
Heetderks, D. J. (2015). From Uncanny to Marvelous: Poulenc's Hexatonic Pole. Theory and Practice. 40, 177–204.
Heetderks, D. J. (2015). Hipster Harmony: The Hybrid Syntax of Seventh Chords in Post-millennial Rock. Music Theory Online. 27(1), . http://www.mtosmt.org/issues/mto.15.21.2/mto.15.21.2.heetderks.html
Heetderks, D. J. (2013). Semitonal Succession-Classes in Prokofiev’s Music and Their Influence on Diatonic Voice-leading Backgrounds in the Op. 94 Scherzo. Intégral. 27, 159–212.
Heetderks, D. J. (2013). Hardcore Re-visioned: Reading and Misreading in Sonic Youth 1987–8. Music Analysis (Wiley Online Library). 32(3), 363–403.
Heetderks, D. J. (2011). A Tonal Revolution in Fifths and Semitones: Aaron Copland’s Quiet City. Music Theory Online. 17(2), . http://www.mtosmt.org/issues/mto.11.17.2/mto.11.17.2.heetderks.html
Heetderks, D. J. (2016). 12 Hymns, Recast: Review of Kate Eaton, King of Love. 1. https://livingchurch.org/2016/04/21/12-hymns-recast/
Heetderks, D. J. (2015). Rhythms of Catholicism: Review of Stephen Schloesser, Visions of Amen: The Early Life and Music of Olivier Messiaen. https://livingchurch.org/2015/04/21/rhythms-catholicism/