Walser has also served as an
expert witness for over 250
music copyright infringement cases, generally reserved to the
Ninth Circuit. His big success[clarification needed (context)] came from a broad statement of support from Circuit Judge
William C. Canby, Jr., who fully supported Dr. Walser's methodology,[1] despite the less-than-appropriate credibility that Dr. Walser received via District Judge Christina A. Snyder {see Swirsky v. Carey, 226 F. Supp. 2d 1224 (C.D. Cal. 2002).
Running With the Devil: Power, Gender, and Madness in Heavy Metal Music (Wesleyan University Press, 1993,
ISBN0-8195-6260-2). Second edition, revised and expanded, 2014.
(ed.) Keeping Time. Readings in Jazz History (
OUP, 1999) 2. Second edition, revised and expanded, 2014.
(ed.) The Christopher Small Reader (Wesleyan University Press, 2016).
Valuing Jazz, in The Cambridge Companion to Jazz, ed. David Horn and Mervyn Cooke (Cambridge: Cambridge University Press, 2002), pp. 301–320.
Analyzing Popular Music: Ten Apothegms and Four Instances, in Allan Moore, ed., The Analysis of Popular Music (Cambridge: Cambridge University Press, 2003), pp. 16–38.
Deep Jazz: Notes on Interiority, Race, and Criticism, in Inventing the Psychological: Toward a Cultural History of Emotional Life in America, ed. Joel Pfister and Nancy Schnog (Yale University Press, 1997), pp. 271–96.
Out of Notes: Signification, Interpretation, and the Problem of Miles Davis, Musical Quarterly 77:2 (Summer 1993), pp. 343–65.
Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy, Ethnomusicology 39:2 (Spring-Summer 1995), 193-217.
Prince as Queer Poststructuralist, Popular Music and Society 18:2 (Summer 1994), 87-98.