From 2006 to 2011 Rehding served as co-editor of Acta Musicologica (the journal of the International Musicological Society), and became Editor-in-chief of the Oxford Handbook Online series in Music in 2011.
[18] Using the resources of sound lab, Rehding launched a number of innovative courses, including The Art of Listening (as part of Harvard’s short-lived “Frameworks in the Humanities” series).
[19] With the help of the Sound Lab, Rehding pursues the integration of multi-media projects into scholarship in the context of ongoing efforts to further open up the humanities to the digital domain.
[21] Rehding has worked extensively on the influential nineteenth-century German music theorist Hugo Riemann, contributing to the historical figure as well as Neo-Riemannian theory.
The wider ramifications of questions of transmission and reconstruction led Rehding to an engagement with musical media, including notation and recording technology.
It proposes an anti-chronological approach that re-hears this central work of the musical canon through its digital reimagination in Leif Inge’s 9 Beet Stretch (2002).
[36] Rehding has published numerous articles on nineteenth- and twentieth-century music, on such composers as Ludwig van Beethoven, Richard Wagner, Franz Liszt, Igor Stravinsky and Arnold Schoenberg.
[37] In a six vignettes, it approaches the “monumental” works of the German symphonic tradition between Beethoven and Bruckner, lodged between the aesthetics of the sublime and a nationally framed memory culture.
[40][41] Rehding argues that music, with its flexible temporalities, has an important role to play in fostering thinking about the distant future, corresponding to one major strand of contemporary ecological thought.