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Eade, Kirstin. The Influence of Maori Music Traditions in the Flute Compositions of Gillian Whitehead. Diss. Rice University. 2003.
Hair, Graham. "Dramatic Narrative and Musical Narrativity in Gillian Whitehead’s Hotspur." (2004).159-171.
Kerr, Elizabeth. "Women composers in New Zealand in the 19th and 20th centuries—An ancient culture and a “young country”?"Contemporary Music Review 11.1. (1994). 325-332.
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Loose canons, papers from the 2001 National Festival of Women's Music, Canberra, 2001. Edited by Linda Kouvaras, Ruth Lee Martin and Graham Hair. Festival of Women's Music Canberra, A.C.T. (2001).(National Conference Proceedings.2004).
MacArthur, Sally. Ripping the beard off analysis, writing Moya Henderson and Gillian Whitehead into the discourse. An analysis of works of the two composers. Paper delivered to the Music and Gender Conference, London University, 6 July 1991. Sounds Australian. (Sound. Article. 1991).
Power, Anne. Voiced identity: a study of central characters in seven operas from Australia 1988-1998, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/theses/1761
Sanders, Noel. Moon, Tides & Shoreline. Gillian Whitehead biography.
Whitehead, Gillian. Okuru for violin and piano. (1979)
Whitehead, Gillian. Bride of fortune. Gillian Whitehead (music), Anna-Maria Dell'Oso (libretto). (1988).
Asian Composers in the 20th Century.
Flute Focus Issue 3 July 2005.
Music in New Zealand Autumn 1993, Number 20.
Music in New Zealand Autumn 1995, Number 28.
Music in New Zealand Summer 1993-94, Number 23.
Music in New Zealand Summer 1994-95, Number 27.
Music in New Zealand Summer 2000-2001, Number 38.
Music in New Zealand Winter 2000, Number 37.