This book traces the sophisticated and intricate patterns of symmetry and Golden Section that underlie the forms of Debussy's major works, including structures based on the associated Fibonacci and Lucas number sequences.
"Roy Howat's book represents the most important advance in unravelling the mysteries of Debussy's music that there has ever been"
– Robert Orledge in Music & Letters
“Russian imprints in Debussy’s piano music”, in Rethinking Debussy, ed. Elliott Antokoletz & Marianne Wheeldon. New York: OUP, 2011: 31–51 (ISBN 978-0-19-975564-6)
'Modernisation: from Chabrier and Fauré and Chabrier to Debussy and Ravel'; in French music since Berlioz, ed. Caroline Potter and Richard Langham Smith, Aldershot, Ashgate, 2006, pp. 197–221.
'Performance as research and vice versa'; in Music research: new directions for a new century, ed. Michael Ewans, Rosalind Halton and John A. Phillips. ISBN 1-904303-35-8. Amersham: Cambridge Scholars Press, 2004, pp. 1–14.
'Reading between the lines of tempo and rhythm in the B-flat Sonata, D. 960'; in Schubert the Progressive, ed. Brian Newbould. Aldershot: Ashgate, 2003, pp. 117–137.
'Keyboard'; in ABRSM Performer's Guide to Romantic Music, ed. Anthony Burton. London: Associated Board of the Royal Schools of Music, 2002, pp. 29–42.
'Ravel and the piano'; in The Cambridge Companion to Ravel, ed. Deborah Mawer. Cambridge UP, 2000, pp. 71–96 & 271–273.
'Architecture as drama in late Schubert'; in Schubert Studies, ed. Brian Newbould. London: Scholar Press (now Ashgate), 1998, pp. 168–192.