Items where Subject is "M Music and Books on Music > ML Literature of music"

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B

Bent, Ian and Drabkin, William (1987) Analysis, London, UK, Grove (New Grove Handbook in Music).

Bretherton, David (2003) In search of Schubert's doppelgänger. The Musical Times, 144, (1884), 45-50.

Bretherton, David T. (2011) The shadow of midnight in Schubert's 'Gondelfahrer' settings. Music and Letters, 92, (1), 1-42. (doi:10.1093/ml/gcq087).

Brooks, Jeanice (2000) 16th-century French secular music. Early Music, 28, (1), 133-137. (doi:10.1093/earlyj/XXVIII.1.133).

Brooks, Jeanice (1996) Bertrand, Boni, Ronsard and the process of revision. In, Bonniffet, Pierre and Bouquet-Boyer, Marie-Thérese (eds.) Claude le Jeune et son temps en France et dans les Etats de Savoie (1530-1600). Colloque International de Chambéry Bern, CH, Peter Lang, 137-152.

Brooks, Jeanice (2000) Castro, Jean de. In, Finscher, Ludwig (ed.) Die Musik in Geschichte und Gegenwart. Kassel, DE, Barenreiter. (Personteil Register 2).

Brooks, Jeanice (1999) Catherine de Médicis, nouvelle artémise: women's laments and the virtue of grief. Early Music, 27, (3), 419-435. (doi:10.1093/earlyj/XXVII.3.419).

Brooks, Jeanice (2004) Chant. In, Desan, Philippe (ed.) Dictionnaire de Michel de Montaigne. Paris, FR, Honore Champion Editeur.

Brooks, Jeanice (2005) Chivalric romance, courtly love and courtly song: female vocality and feminine desire in the world of Amadis de Gaule’. In, LaMay, Thomasin (ed.) Musical Voices of Early Modern Women: Many-Headed Melodies. Aldershot, GB, Ashgate, 63-96.

Brooks, Jeanice (2000) Clereau, Pierre. In, Finscher, Ludwig (ed.) Die Musik in Geschichte und Gegenwart. Kassel, DE, Barenreiter. (Personenteil Register).

Brooks, Jeanice (2007) A cornucopia of chansons. Early Music, 35, (2), 303-305. (doi:10.1093/em/cam017).

Brooks, Jeanice (2001) Courtly song in late sixteenth-century France, Chicago, USA, University of Chicago Press, 560pp.

Brooks, Jeanice (2000) Courville, Joachim Thibault de. In, Finscher, Ludwig (ed.) Die Musik in Geschichte und Gegenwart. Kassel, DE, Barenreiter. (Personenteil Register).

Brooks, Jeanice (1995) The fonds Boulanger in the Bibliotheque Nationale. Notes, 51, (4), 1227-1237.

Brooks, Jeanice (2006) France, 1560-1600. In, Haar, James (ed.) European Music 1520-1640. Woodbridge, UK, Boydell, 171-181. (Studies in Medieval and Renaissance Music).

Brooks, Jeanice (2001) From minstrel to courtier: the royal musique de chambre and courtly ideals in sixteenth-century France. In, Schwindt, Nicola (ed.) Musikalischer Alltag im 15. und 16. Jahrhundert. Kassel, DE, Bärenreiter, 39-49. (Troja: Trossinger Jahrbuch für Renaissancemusik 1).

Brooks, Jeanice (1988) Influence italienne dans le chanson francaise des années 1570: structure mélodique et pratique contrapuntique chez Anthoine de Bertrand. Analyse Musicale, 13, 45-50.

Brooks, Jeanice (1996) Italy, the ancient world, and the French musical inheritance in the sixteenth century: Arcadelt and Clereau in the service of the Guises. Journal of the Royal Musical Association, 121, (1), 147-190. (doi:10.1093/jrma/121.2.147).

Brooks, Jeanice (1992) Jean de Castro, the Pense partbooks and musical culture in sixteenth-century Lyons. Early Music History, 11, (1), 91-149. (doi:10.1017/S0261127900001200).

Brooks, Jeanice (1995) La Comtesse de Retz et l'air de cour des années 1570. In, Vaccaro, Jean-Michel and Ouvrard, Jean-Pierre (eds.) Le Concert des Voix et des Instruments a la Renaissance. XXXIVe Colloque international d'études humanistes Paris, FR, Centre National de la Recherche Scientifique, 299-315.

Brooks, Jeanice (2003) La lecture des airs de cour de Gabriel Bataille: la "nouvelle musique" en France autour de 1600. In, Balsamo, Jean (ed.) Lire à la Renaissance. Reims, France, Université de Reims, 135-146. (La Lecture Littéraire 7).

Brooks, Jeanice (2008) La musique mesurée et le salon: modes d'éxécution, pratiques d'écoute. In, Deramaix, Marc, Galand-Hallyn, Perrine, Vagenheim, Ginette and Vignes, Jean (eds.) Les Académies dans l'Europe Humaniste: Idéaux et Pratiques. Actes du Colloque International. Les Académies dans l'Europe Humaniste: Idéaux et Pratiques Geneva, Switzerland, Droz, 537-548.

Brooks, Jeanice (1997) Les Guises et l'air de cour: images musicales du prince guerrier. In, Bellenger, Yvonne (ed.) Le mécénat et l'influence des Guises. Paris, FR, Champion, 187-210.

Brooks, Jeanice (2007) Les écrits de Nadia Boulanger: bibliographie. In, Laederich, Alexandra (ed.) Nadia Boulanger et Lili Boulanger: Témoignages et Études. Lyon, FR, Symétrie, 451-454.

Brooks, Jeanice (2006) L’art et la manière: ornementation et notation dans l’air de cour à la fin de la Renaissance. In, Durosoir, Georgie (ed.) Poésie, Musique et Société: L'air de cour en France au XVIIe siècle. Liège, BE, Mardaga; Centre de Musique Baroque de Versailles, 169-179.

Brooks, Jeanice (1997) Mildred Bliss tells Nadia Boulanger to think of herself for once. In, Locke, Ralph P. and Barr, Cyrilla (eds.) Cultivating Music in America: Women Patrons and Activists since 1860. Berkeley, US, University of California Press, 209-213.

Brooks, Jeanice (1998) Music and devotion in renaissance Toulouse: the motets of Guillaume Boni. In, Lesure, François and Vanhulst, Henri (eds.) La musique de tous les passetemps le plus beau: hommage à Jean-Michel Vaccaro. Paris, France, Klincksieck, 17-31.

Brooks, Jeanice (2007) Music as erotic magic in a Renaissance romance. Renaissance Quarterly, 60, (4), 1207-1256.

Brooks, Jeanice (1996) Music by Jean Castro in the Parisian Library of Justinien Pense. Revue Belge de Musicologie, 50, 25-34.

Brooks, Jeanice (2010) Musical monuments for the country house: music, collection and display at Tatton Park. [in special issue: Nigel Fortune] Music & Letters, 91, (4), 513-535. (doi:10.1093/ml/gcq088).

Brooks, Jeanice (2013) The musical work of Nadia Boulanger: performing past and future between the wars, Cambridge University Press, 289pp.

Brooks, Jeanice (2004) Musique. In, Desan, Philippe (ed.) Dictionnaire de Michel de Montaigne. Paris, FR, Honore Champion Editeur.

Brooks, Jeanice (1993) Nadia Boulanger and the salon of the Princesse de Polignac. Journal of the American Musicological Society, 46, (3), 415-468. (doi:10.1525/jams.1993.46.3.03a00040).

Brooks, Jeanice (2002) 'New music' in renaissance France. In, Schwindt, Nicola (ed.) Gesang zur Laute. Kassel, DE, Bärenreiter, 161-175. (Troja: Trossinger Jahrbuch für Renaissancemusik 2).

Brooks, Jeanice (1996) Noble et grande servante de la musique: telling the story of Nadia Boulanger's conducting career. Journal of Musicology, 14, (1), 92-116. (doi:10.1525/jm.1996.14.1.03a00050).

Brooks, Jeanice (2006) Noble et grande servante de musique: telling the story of Nadia Boulanger's conducting career. In, Kaden, Christian and Mackensen, Karsten (eds.) Soziale horizonte von musik: ein kommentiertes lesebuch zur musiksociologie. Kassel, DE, Barenreiter, 70-91. (Barenreiter-Studienbucher Musick 15).

Brooks, Jeanice (2007) Preface: In honour of Francois Lesure. In, Kelly, Barbara L. and Murphy, Kerry (eds.) Berlioz and Debussy: sources, contexts and legacies. Aldershot, GB, Ashgate, xv-xix.

Brooks, Jeanice (1999) Professionalismus und öffentliche karriere bei frauen: metaphern über Nadja Boulanger als dirigentin. In, Kaden, Christian and Kalisch, Volker (eds.) Professionalismus in der Musik. Essen, DE, Blaue Eule, 252-260. (Musik-Kultur, 5).

Brooks, Jeanice (2001) Renaissance repertories. Early Music, 29, (4), 661-664. (doi:10.1093/earlyj/XXIX.4.661).

Brooks, Jeanice (1998) Review of Adrian le Roy, Psaumes de 1567, ed. Jean-Michel Noailly, and Claude le Jeune, Cent cinquante pseaumes de David, ed. Anne Heider. Notes, 51, 984-987.

Brooks, Jeanice (1992) Review of: Hildegard von Bingen, Symphoniae harmoniae, ed. Peter van Poucke; Heinrich Isaac, Coralis constantinus, primus tomus, ed. Edward Lerner; and Adrian Willaert et al., Musicque de joye, ed. Samuel Pogue. Early Music, 20, (2), 349-350. (doi:10.1093/earlyj/XX.2.349).

Brooks, Jeanice (2004) Review. Christelle Cazaux's La Musique a la Cour de Francois I. Music & Letters, 85, (4), 625-629. (doi:10.1093/ml/85.4.625).

Brooks, Jeanice (1992) Review. Music in renaissance Lyons, Frank Dobbins. The Times Literary Supplement, (4649), 18.

Brooks, Jeanice (2004) Ritterroman und höfisches lied. Die weibliche stimme im französischen salon des späten 16 jahrhunderts. In, Schwindt, Nicola (ed.) Frauen und Musik im Europa des 16. Jahrhunderts: Infrastrukturen, Aktivitäten, Motivationen. Kassel, DE, Bärenreiter, 91-114. (Troja: Trossinger Jahrbuch für Renaissancemusik, 4).

Brooks, Jeanice (1994) Ronsard, the lyric sonnet, and the late sixteenth-century chanson. Early Music History, 13, 65-84. (doi:10.1017/S0261127900001303).

Brooks, Jeanice (1988) Ses amours et les miennes tout ensemble: la structure cyclique du premier livre des amours d'Anthoine de Bertrand. Revue de Musicologie, 74, (2), 201-220.

Brooks, Jeanice (1998) A singer's book in the British Library. Early Music, 26, (1), 29-48. (doi:10.1093/earlyj/XXVI.1.29).

Brooks, Jeanice (2011) Tessier's travels in England and Scotland. Early Music, 39, 185-194. (doi:10.1093/em/caq108).

Brooks, Jeanice and Everist, Mark (2003) Giacomo Meyerbeer’s Les Huguenots: staging the history of the French Renaissance. In, Portebois, Yannick and Terpstra, Nicholas (eds.) The Renaissance in the Nineteenth Century: Le XIX e siècle renaissant. Toronto, Canada, Centre for Reformation and Renaissance Studies, 121-142. (Essays and Studies, 2 2).

C

Cowell, Henry (1996) New Musical Resources (with contributions by David Nicholls), Cambridge, UK, Cambridge University Press, 195pp.

D

De Lucca, Valeria (2009) Pallade al valor, venere al volto: music, theatricality, and performance in Marie Mancini Colonna's Patronage. In, Shifrin, Susan (ed.) The Wandering Life I Led: Essays on Hortense Mancini, Duchess Mazarin and Early Modern Women's Border Crossings. Newcastle upon Tyne, UK, Cambridge Scholars Publishing, 113-156.

Donnelly, Kevin (2001) The Hidden Heritage of Film Music: History and Scholarship. In, Donnelly, Kevin (ed.) Film Music: Critical Approaches. Edinburgh, UK; New York, USA, Edinburgh University Press; Continuum, 1-15.

Donnelly, Kevin (2001) Performance and the Composite Film Score. In, Donnelly, Kevin (ed.) Film Music: Critical Approaches. Edinburgh, UK; New York, USA, Edinburgh University Press; Continuum, 152-166.

Donnelly, Kevin (2005) The spectre of sound: music in film and television , London, UK; Los Angeles, USA, British Film Institute; University of California Press, 192pp.

Drabkin, William (1992) The agnus dei of the missa solemnis: early stages of its genesis. In, Kinderman, William (ed.) Beethoven's Compositional Process. Lincoln, USA, University of Nebraska Press, 131-159. (North American Beethoven Studies 1).

Drabkin, William (2003) Analysis and interpretation: how the recent editions of Haydn string quartets have changed our lives. In, Feder, Georg and Reicher, Walter (eds.) Haydn & das Streichquartett: Internationales Musikwissenschaftliches Symposium, 1m Rahmen des "Haydn Streichquartett Weekend" Eisenstadt, 1-5 Mai 2002. Tutzing, DE, Hans Schneider, 169-188. (Eisenstadter Haydn-Berichte 2).

Drabkin, William (2012) An autobiographical letter of Schenker’s. In, Poundie Burstein, L., Rogers, Lynne and Bottge, Karen (eds.) Essays from the Fourth International Schenker Symposium. Vol. .2. Hildesheim, DE, Georg Olms, 103-119.

Drabkin, William (1985) Beethoven and the open string. Music Analysis, 4, 15-28.

Drabkin, William (2003) Beethoven, Liszt and the "Missa solemnis". In, Saffle, Michael and Dalmonte, Rossana (eds.) Analecta Lisztiana III: Liszt and the Birth of Modern Europe: Music as a Mirror of Religious, Political, Cultural and Aesthetic Transformations. International Liszt Conference New York, US, Pendragon, 237-252. (Franz Liszt Studies 9).

Drabkin, William (2001) Beethoven, Ludwig van. In, Wintle, Justin (ed.) Makers of Nineteenth Century Culture. London, UK, Routledge, 40-44.

Drabkin, William (1991) Beethoven: Missa Solemnis, Cambridge, UK, Cambridge University Press, 132pp. (Cambridge Music Handbooks).

Drabkin, William (1994) Begging to differ. The Musical Times, 135, 758-761.

Drabkin, William (1989) Bisogna leggere Schenker: sull'analisi del preludio in do maggiore BWV 924 di Bach. Rivista di Italiana Musicologia, 24, 48-59.

Drabkin, William (1985) Building a music library, 1: the Beethoven piano sonatas. The Musical Times, 126, 416-420.

Drabkin, William (1987) Building a music library, 4: Haydn's piano sonatas. The Musical Times, 128, 8-15.

Drabkin, William (1998) The cello part in Beethoven's late quartets. Beethoven Forum, 7, 45-66.

Drabkin, William (2000) Chopin, Schenker and musical form. Revue Internationale d'Etudes Musicales, 15, 173-186.

Drabkin, William (2002) Die langsame einleitung zur kreutzersonate. Form und vorbilder. In, Kuethen, Hans-Werner (ed.) Beethoven und die Rezeption der Alten Musik. Die hohe Schule der Überlieferung, Symposion Bonn 2000, Congressional Report. Symposion Bonn 2000 Bonn, DE, Beethoven-Haus, 69-92. (Series IV Schriften zur Beethoven-Forschung, 16).

Drabkin, William (2003) Early Beethoven. In, Marshall, Robert (ed.) Eighteenth-Century Keyboard Music. 2nd Edition. New York, USA, Routledge, 359-489. (Routledge Studies in Musical Genres).

Drabkin, William (1984) Felix-Eberhard von Cube and the north-German tradition of Schenkerism. Journal of the Royal Musical Association, 111, (1), 180-207. (doi:10.1093/jrma/111.1.180).

Drabkin, William (1988) Fingering in Haydn's string quartets. Early Music, 16, (1), 50-57. (doi:10.1093/earlyj/XVI.1.50).

Drabkin, William (2012) Heinrich Schenker. Schenker Documents Online

Drabkin, William (2011) Heinrich Schenker und die Symphonien Anton Bruckners. In, Hust, Christoph (ed.) Johannes Brahms und Anton Bruckner im Spiegel der Musiktheorie. Gottingen, Germany, Hainholz , 45-55.

Drabkin, William (2010) Heinrich Schenker und die Symphonien Anton Bruckners. In, Hust, Christoph (ed.) Johannes Brahms und Anton Bruckner im Spiegel der Musiktheorie. Gottingen, GE, Hainholz, 45-55.

Drabkin, William (1996) An interpretation of musical dreams: towards a theory of the Mozart piano concerto cadenza. In, Sadie, Stanley (ed.) Wolgang Amadeus Mozart: Essays on His Life and His Music. Oxford, UK, Clarendon Press, 161-177.

Drabkin, William (2004) La musica da camera da Haydn alla fine del'ottocento. In, Nattiez, Jean-Jacques (ed.) Storia della musica europea. Turin, Italy, Einaudi, 698-712.

Drabkin, William (1985) A lesson in analysis from Heinrich Schenker: the C major prelude from Bach's Well-tempered Clavier. Music Analysis, 4, 241-258.

Drabkin, William (1986) The musical language of La boheme. In, Parker, Roger and Groos, Arthur (eds.) Giacomo Puccini: La Bohème. Cambridge, GB, Cambridge University Press, 80-101. (Cambridge Opera Handbooks). (doi:10.2277/0521319137).

Drabkin, William (1974) The new erlauterungsausgabe. Perspectives of New Music, 12, (1/2), 319-330.

Drabkin, William (2004) On Beethoven's cello and piano textures. In, Brandenburg, Sieghard, Maaß, Ingeborg and Osthoff, Wolfgang (eds.) Beethovens Werke für Klavier und Violoncello. Beethovens Werke für Klavier und Violoncello: Bericht über die Internationale Fachkonferenz Bonn, DE, Beethoven-Haus, 125-144. (Series IV Schriften zur Beethoven-Forschung, 15).

Drabkin, William (1995) Quality assurance. The Musical Times, 136, 427-429.

Drabkin, William (1999) A reader's guide to Haydn's early string quartets, Westport, USA, Greenwood Press

Drabkin, William (1996) Relationships between Corelli and the classical chamber music tradition. In, la Via, Stefano (ed.) Studi corelliani V: Atti del Quinto Congresso Internazionale. Studi Corelliani V: Congresso Internazionale Florence, Italy, Olschki, 119-141. (Quaderni della Rivista italiana di musicologia 33).

Drabkin, William (1984) Review. Alan Tyson (ed.), Beethoven studies, vol. 3. 19th-Century Music, 7, 163-169.

Drabkin, William (1998) Review. Albrecht Riethmuller, Carl Dahlhaus, and Alexander Ringer (eds), Ludwig van Beethoven: interpretationen seiner werke, 2 vols. Beethoven Forum, 7, 153-162.

Drabkin, William (1988) Review. David Neumeyer (trans.), Felix-Eberhard von Cube, The book of musical artwork. Indiana Theory Review, 9, 135-143.

Drabkin, William (1982) Review. Felix Salzer (ed.), The music forum, vol. 5. Music Analysis, 1, 203-209.

Drabkin, William (1989) Review. John Rothgeb (ed.) Heinrich Schenker, Counterpoint. Music Analysis, 8, 197-203.

Drabkin, William (1991) Review. Kofi Agawu, Playing with signs: a semiotic interpretation of classical music. Music Analysis, 11, 399-405.

Drabkin, William (1998) Review. Sieghard Brandenburg (ed.), Beethoven: briefe, gesamtausgabe, 7 vols. The Musical Times, 139, 39-46.

Drabkin, William (1996) Schenker, the consonant passing note, and the first-movement theme of Beethoven's sonata op.26. Music Analysis, 15, (2/3), 149-189.

Drabkin, William (1993) The sketches and autographs for the later movements of Beethoven's missa solemnis. Beethoven Forum, 2, 97-132.

Drabkin, William (1981) Some recent Beethoven research. The Musical Times, 122, 671-673.

Drabkin, William (1972) Some relationships between the autographs of Beethoven's sonata in C minor, opus 111. Current Musicology, 13, 38-47.

Drabkin, William (1997) Too much of a good thing. The Musical Times, 138, 18-30.

Drabkin, William (1989) Towards the symphonic concerto of the middle period. In, Pugliese, Giuseppi (ed.) Ludwig van Beethoven: Atti del Convegno Internazionale di Studi. Treviso, Italy, Editore Matteo, 93-103.

Drabkin, William (1987) Zur bedeutung der leeren saiten in Beethovens kammermusik. In, Brandenburg, Sieghard and Loos, Hellmut (eds.) Beitrage zu Beethovens Kammermusik. Beiträge zu Beethovens Kammermusik Symposion Bonn, DE, Beethoven-Haus, 165-178. (Reihe IV Schriften zur Beethoven-Forschung, 10).

Drabkin, William and Bent, Ian (2013) The empire strikes back: some unpublished replies to Schenker’s critics. Music Analysis, 32 (Submitted).

Drabkin, William and Bent, Ian (2013) Schenker Documents Online. London, GB, King's College London (In Press)

Drabkin, William, Cooper, Barry, Coldicott, Anne-Louise and Marston, Nicholas (1991) The Beethoven compendium, London, UK, Thames and Hudson

Drabkin, William, Pasticci, Susanna and Pozzi, Egidio (1995) Analisi schenkeriana: per un'interpretazione organica della struttura musicale, Lucca, Italy, Libreria Musicale Italiana (Quaderni di musica/realtà 32).

Drabkin, William, Petrobelli, Pierluigi and Parker, Roger (1982) Towards an explanation of the dramamtic structure of Il Trovatore. Music Analysis, 1, (2), 125-167.

E

Everist, Mark (1992) Anglo-French interaction in music c1170-c1300. Revue Belge de Musicologie, 46, 5-22.

Everist, Mark (2002) Communication. Journal of the American Musicological Society, 55, (1), 195-196.

Everist, Mark (2004) 'Der Lieblingswunsch meines Lebens’: contexts and continuity in Meyerbeer’s opéras comiques’. In, Jacobshagen, Arnold and Pospíšil, Milan (eds.) Meyerbeer und die Opéra Comique. Laaber, Germany, Laaber, 123-151. (Thurnauer Schriften zum Musiktheater 20).

Everist, Mark (1994) French motets in the thirteenth century: music, poetry and genre, Cambridge, UK, Cambridge University Press, 216pp.

Everist, Mark (1989) French thirteenth-century polyphony: aspects of sources and distribution, New York, USA, Garland, 398pp. (Outstanding Dissertations in Music from British Universities).

Everist, Mark (1990) From Paris to St Andrews: the origins of W1. Journal of the American Musicological Society, 43, (1), 1-42.

Everist, Mark (2003) Fromental Halévy: de l’opéra comique au grand opéra. In, Claudon, Frnacis, de Van, Gilles and Leich-Galland, Karl (eds.) Actes du colloque Fromental Halévy, Paris, Novembre 2000. Actes du colloque Fromental Halévy Weinsberg, DE, Musik-Edition Lucie Galland, 93-116. (Études sur l’Opéra Français du xix e Siècle 5).

Everist, Mark (1993) Giacomo Meyerbeer, the Théâtre Royal de l'Odéon, and music drama in Restoration Paris. 19th-Century Music, 17, (2), 124-148.

Everist, Mark (2001) Gluck, Berlioz, and Castil-Blaze. In, Parker, Roger and Smart, Mary Ann (eds.) Reading critics reading: opera and ballet criticism in France from the Revolution to 1848. Oxford, UK, Oxford University Press, 86-108.

Everist, Mark (2005) The horse, the clerk and the lyric: the musicography of the thirteenth and fourteenth centuries. Journal of the Royal Musical Association, 130, (1), 136-153. (doi:10.1093/jrma/fki007b).

Everist, Mark (2004) Le fonti della musica polifonica ca. 1170-1330 [The sources of polyphonic music ca. 1170-1330]. In, Fiore, Carlo and Aversano, Luca (eds.) Il Libro di Musica: per una Storia Materiale delle Fonti Musicali in Europa. Palermo, Italy, L'Epos, 43-64. (De charta 7).

Everist, Mark (1992) Lindoro in Lyon: Rossini's Le Barbier de Séville. Acta Musicologica, 64, (1), 50-85.

Everist, Mark (1996) Meyerbeer’s Il crociato in Egitto: mélodrame, opera, orientalism. Cambridge Opera Journal, 8, (3), 215-250. (doi:10.1017/S0954586700004730).

Everist, Mark (1993) The miller's mule: writing the history of medieval music. Music and Letters, 74, (1), 44-53. (doi:10.1093/ml/74.1.44).

Everist, Mark (2007) Motets, French tenors and the polyphonic chanson c. 1300. The Journal of Musicology, 24, (3), 365-406. (doi:10.1525/jm.2007.24.3.365).

Everist, Mark (2006) Mozart and l'impresario. In, Schmusch, Rainer and Michelle, Biget-Mainfroy (eds.) 'L'esprit francais' und die musik europas: entstehung, einfluß und grenzen einer ästhetischen doktrin. Hildesheim, Germany, Olms, 398-411.

Everist, Mark (2013) Mozart's Ghosts: haunting the halls of musical culture, New York, US, Oxford University Press, 320pp.

Everist, Mark (1981) Music and theory in late thirteenth-century Paris: The Manuscript Paris, Bibliothèque Nationale, Fonds Lat. 11266. Royal Musical Association Research Chronicle, 17, 52-64.

Everist, Mark (1994) The name of the rose: Meyerbeer's opéra comique, Robert le Diable. Revue de Musicologie, 80, (2), 211-249.

Everist, Mark (1994) A new source for the polyphonic conductus: MS 117* in Sidney Sussex College, Cambridge. Plainsong and Medieval Music, 3, (2), 149-168.

Everist, Mark (2009) A new source for the polyphony of the ars subtillor. In, Plumley, Yolanda and Stone, Anne (eds.) A late medieval songbook and its context: new perspectives on the chantilly codex (bibliothèque du château de Chantilly, ms. 564). Tours, France, Centre d'études Superieures de la Renaissance, 287-303.

Everist, Mark (1996) The polyphonic rondeau c1300: repertory and context. Early Music History, 15, 59-96. (doi:10.1017/S0261127900001522).

Everist, Mark (2002) Presentazione/presentation. In, Masani Ricci, Massimo (ed.) Codice Pluteo 29.1 della Biblioteca Laurenziana di Firenze: storia e catalogo comparato. Turin, Italy, Edizione ETS, 9-15. (Studi musicali Toscani 8).

Everist, Mark (2000) Reception and recomposition in the polyphonic conductus cum cauda: the Metz fragment. Journal of the Royal Musical Association, 125, (2), 135-163. (doi:10.1093/jrma/125.2.135).

Everist, Mark (1999) Reception theories, canonic discourses, and musical value. In, Everist, Mark and Cook, Nicholas (eds.) Rethinking Music. Oxford, UK, Oxford University Press, 378-402.

Everist, Mark (1989) The refrain cento: myth or motet? Journal of the Royal Musical Association, 114, (2), 164-188. (doi:10.1093/jrma/114.2.164).

Everist, Mark (2009) Review In search of the waters of oblivion. The Oxford History of Western Music, by Richard Taruskin . 6 vols. New York: Oxford University Press, 2005. Volume 1, The Earliest Notations to the Sixteenth Century, xxxiii, 854 pp. Volume 2, The Seventeenth and Eighteenth Centuries, vii, 758 pp. Volume 3, The Nineteenth Century, vii, 830 pp. Volume 4, The Early Twentieth Century, vii, 826 pp. Volume 5, The Late Twentieth Century, vi, 557 pp. Volume 6, Resources: Chronology, Bibliography, Master Index, xix, 329 pp. Journal of the American Musicological Society, 62, (3), Autumn Issue, 699-720. (doi:10.1525/jams.2009.62.3.699).

Everist, Mark (2000) Review. Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance. Ed. by Dolores Pesce. pp. xi + 380. (Oxford University Press, New York & Oxford, 1997, £60. ISBN 0-19-509709-2.). Music & Letters, 81, (2), 283-284. (doi:10.1093/ml/81.2.283).

Everist, Mark (2004) Review. Jacques Offenbach and the Paris of his Time. By Siegfried Kracauer. Trans. by Gwenda David and Eric Mosbacher. pp. 418 (Zone Books, New York, 2002, £23.50. ISBN 1-890951-30-7.). Music & Letters, 85, (1), 85-88. (doi:10.1093/ml/85.1.109).

Everist, Mark (2003) Review. Le Théâtre de l’Opéra-Comique sous la Restauration: enquête autour d’un genre moyen. Olivier Bara. pp.630. (Musikwissenschaftliche Publikationen, 14. (Olms, Hildesheim, Zurich and New York, 2001, DM158. ISBN 3-487-11273-6.). Music & Letters, 84, (1), 108-110. (doi:10.1093/ml/84.1.108).

Everist, Mark (2004) Review. Rudolf Flotzinger, Leoninus Musicus und der Magnus Liber Organi (Kassel, Bärenreiter, 2003). Musicologica Austriaca, 23, 186-189.

Everist, Mark (2003) Review. The Diaries of Giacomo Meyerbeer, iii: 1850-1856. Ed & trans. by Robert Ignatius Letellier. pp. 481. (Fairleigh Dickinson University Press, Madison, NJ and London, 2001, £55. ISBN 0-8386-3844-9). Music & Letters, 84, (3), 496-499. (doi:10.1093/ml/84.3.496).

Everist, Mark (1991) Review: 'Alleluia nativitas: music for a medieval Christmas', Orlando Consort (Metronome, 1001T). Early Music, 19, (4), 665. (doi:10.1093/earlyj/XIX.4.665).

Everist, Mark (1991) Review: 'Beyond the moon: festschrift Luther Dittmer', ed. Bryan Gillingham and Paul Merkley, Musicological Studies 53 (Ottawa: Institute of Mediaeval Music, 1990). MLA Notes, 48, (2), 475-477.

Everist, Mark (1982) Review: 'Music of the gothic era' The Early Music Consort of London, directed by David Munrow. Early Music, 10, (2), 281. (doi:10.1093/earlyj/10.2.281-a).

Everist, Mark (1990) Review: 'Perotin', Hilliard Ensemble (ECM New Series 837 751-2). Early Music, 18, (3), 486. (doi:10.1093/earlyj/XVIII.3.486).

Everist, Mark (1988) Review: Christopher Page, 'Voices and instruments of the middle ages: instrumental practice and songs in France 1100-1300' (London: Dent, 1987). Music & Letters, 69, (2), 246-248. (doi:10.1093/ml/69.2.246).

Everist, Mark (1991) Review: Craig Wright, 'Music and ceremony at Notre Dame of Paris 500-1550' (Cambridge: Cambridge University Press, 1989). Music & Letters, 72, (1), 75-77. (doi:10.1093/ml/72.1.75).

Everist, Mark (1984) Review: Derrick Henry, 'The listeners guide to medieval and renaissance music' (New York: Facts on File, 1983). Early Music, 12, (1), 97-99. (doi:10.1093/earlyj/12.1.97).

Everist, Mark (1995) Review: Franz Körndle, 'Das zweistimmige Notre-Dame-organum "Crucifixum in carne" und sein weiterleben in erfurt', Münchner Veröffentlichungen zur musikgeschichte 49 (Tutzing: Hans Schneider, 1993). Plainsong and Medieval Music, 4, (1), 89-91. (doi:10.1017/S0961137100000899).

Everist, Mark (1985) Review: Giulio Cattin, 'Music of the middle ages I', trans. Steven Botterill (Cambridge: Cambridge University Press, 1984). King's Theological Review, 8, 61-62.

Everist, Mark (1988) Review: Hans Heinrich Eggebrecht et al., 'Die mittelalterliche lehre von der mehrstimmigkeit', Geschichte der Musiktheorie 5 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1984). Music & Letters, 69, (1), 57-60. (doi:10.1093/ml/69.1.57).

Everist, Mark (1987) Review: Hans Tischler (ed.), 'The earliest motets (to c. 1270): complete comparative edition', 3 vols (New Haven and London: Yale University Press, 1982). Royal Musical Association Research Chronicle, 20, 91-97.

Everist, Mark (1983) Review: Hans Tischler and Samuel Rosenberg (eds), 'Chanter m'estuet: songs of the trouvères' (London: Faber and Faber, 1981). Early Music, 11, (1), 117-119. (doi:10.1093/earlyj/11.1.117-b).

Everist, Mark (1989) Review: Heinz Ristory, 'Post-franconische theorie und früh-trecento: die petrus de cruce-neuerungen und ihre bedeutung für die italienische mensuralnotenschrift zu Beginn des 14. Jahrhunderts, Europäische Hochschulschriften, Reihe 36: 26' (Frankfurt: Lang, 1988). Music & Letters, 70, (4), 522-524. (doi:10.1093/ml/70.4.522).

Everist, Mark (1995) Review: Herbet Schneider and Nicole Wild, '"La muette de portici": kritische ausgabe des librettos und dokumentation der ersten inszenierung", erlander romantistische dokumente und arbeiten 11 (Tübingen: Stauffenberg Verlag, 1993). MLA Notes, 52, (2), 472-474.

Everist, Mark (1996) Review: James H. Johnson, 'Listening in Paris: a cultural history', Studies in the history of society in culture 21 (Berkeley, Los Angeles and London: University of California Press, 1995). Journal of the Royal Musical Association, 121, (2), 258-267. (doi:10.1093/jrma/121.2.258).

Everist, Mark (2002) Review: James Radomski, 'Manuel García (1775-1832): Chronicle of the life of a 'bel canto' tenor at the dawn of romanticism' (Oxford: Oxford University Press, 2000). Music & Letters, 83, (1), 119-122. (doi:10.1093/ml/83.1.119).

Everist, Mark (1989) Review: Kurt von Fischer and F. Alberto Gallo, 'Italian sacred and ceremonial music', Polyphonic music of the fourteenth century 13 (Monaco: Oiseau-Lyre, 1987). Music & Letters, 70, (2), 305-306. (doi:10.1093/ml/70.2.305).

Everist, Mark (1994) Review: Margot Fassler, 'Gothic song: Victorine sequences and Augustinian reform in twelfth-century Paris (Cambridge: Cambridge University Press, 1993). Times Literary Supplement, 19.

Everist, Mark (2002) Review: Peter Bloom, ed., 'The Cambridge companion to Berlioz' (Cambridge: Cambridge University Press, 2000). Music & Letters, 83, (1), 123-128. (doi:10.1093/ml/83.1.123).

Everist, Mark (2002) Review: Robert Ignatius Letellier, ed., 'The diaries of Giacomo Meyerbeer, ii: 1840-1849 (London: Fairleigh Dickinson University Press, 2001). Music & Letters, 83, (2), 294-300. (doi:10.1093/ml/83.2.294).

Everist, Mark (2001) Review: Robert Letellier, ed., 'The diaries of Giacomo Meyerbeer, i: 1791-1839 (London: Fairleigh Dickinson University Press, 1999). Music & Letters, 82, (2), 314-316. (doi:10.1093/ml/82.2.314).

Everist, Mark (1988) The rondeau-motet: Paris and Artois in the thirteenth century. Music and Letters, 69, (1), 1-22. (doi:10.1093/ml/69.1.1).

Everist, Mark (2007) ‘Souspirant en terre estrainge’: the Polyphonic Rondeau from Adam de la Halle to Guillaume de Machaut. Early Music History, 26, 1-42. (doi:10.1017/S0261127907000265).

Everist, Mark (2002) Speaking with the supernatural: E.T.A. Hoffman, George Bernard Shaw and die Oper allen Opern. Mozart-Jahrbuch 2002 des Zentralinstitutes für Mozartforschung der Internationalen Stiftung Mozarteum Salzburg, 115-134.

Everist, Mark (2004) Struttura sociale e contesti artistici nell’opera francese (1806-64). In, Nattiez, Jean-Jacques (ed.) L’enciclopedia della musica Einaudi [4 vols]. Turin, Einaudi, 956-975.

Everist, Mark (2008) A transapline comedy: l'elisir d'amore and cultural transfer. In, Colas, Damien and di Profio, Alessandro (eds.) D'une scène à l'autre: l'opéra italien en Europe. Liège, Belgium, Mardaga, 279-298.

Everist, Mark (2001) Translating Weber's Euryanthe: German Romanticism at the dawn of French Grand Opera. Revue de Musicologie, 87, (1), 67-105.

Everist, Mark (2003) Translating Weber’s Euryanthe: German Romanticism at the dawn of French grand opéra [abridged version]. In, Marschall, Gottfried (ed.) Proceedings: La traduction des livrets: aspects théoriques, historiques et pragmatiques. La traduction des livrets: aspects théoriques, historiques et pragmatiques Paris, France, Presses de l’Université de Paris IV, 269-293. (Collection Musiques/Écritures).

Everist, Mark (2007) Tutti i francesi erano diventati matti’. In, de Luca, Maria Rosa, Failla, Salvatore and Montemagno, Giuseppe (eds.) Vincenzo Bellini e la Francia, atti del convegno internazionale. Lucca, Itlay, Libreria Musicale Italiana, 327-354.

Everist, Mark, Hibberd, Sarah and Zidaric, Walter (2007) Vincenzo Bellini/Puritani: dossier de presse. In, de Luca, Maria Rosa, Failla, Salvatore Enrique and Montemagno, Giuseppe (eds.) Vincenzo Bellini et la France: histoire, création, et réception de l'oeuvre. Vincenzo Bellini e la Francia: storia, creazione e ricezione dell'opera Lucca, Itlay, Libreria Musicale Italiana, 405-481.

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Hill, Sarah (2007) 'Blerwytirhwng?' The place of Welsh pop music, Aldershot, UK, Ashgate, 255pp. (Ashgate Popular and Folk Music).

Hoare, Philip (2013) David Bowie then...David Bowie now. [Philip Hoare with Christopher Frayling and Mark Kermode]. In, Marsh, Geoffrey and Broackes, Victoria (eds.) David Bowie Is. London, GB, V&A Publishing, 283-300.

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Irvine, Thomas (2004) Book review. Daniel Leech-Wilkinson, 'The modern invention of medieval music: scholarship, ideology and performance'. Current Musicology, 77, 147-157.

Irvine, Thomas (2006) Book review. Mozart Jahrbuch 2001. Eighteenth Century Music, 3, (1), 143-146. (doi:10.1017/S1478570606220542).

Irvine, Thomas (2006) Conference review. The young Mozart: philology, analysis, reception. Eighteenth Century Music, 3, (2), 370-372.

Irvine, Thomas (2008) Der belesene kapellmeister. Leopold Mozart und seine bibliothek. Acta Mozartiana, 55, (1-2), 6-15.

Irvine, Thomas (2003) 'Diaologues and conversations', review of Simon P. Keefe, 'Mozart's piano concertos: dramatic dialogue in the age of enlightenment' and Mara Parker, 'The String Quartet 1750-1797: four types of musical conversation'. Early Music, 31, (1), 131-133. (doi:10.1093/earlyj/XXXI.1.131).

Irvine, Thomas (2006) Execution and expression: Leopold Mozart on the aesthetics of performance. In, Krautwurst, Franz, Danckwardt, Marianne and Hoyer, Johannes (eds.) Neues Musikwissenschaftliches Jahrbuch. Augsburg, DE, Wißner, 63-81.

Irvine, Thomas (2001) Millennial mega-meeting. Early Music, 29, (1), 150-151. (doi:10.1093/earlyj/XXIX.1.150).

Irvine, Thomas (2008) Mozart, Mannheim, and performance. Mozart-Jahrbuch, 2006, 163-176.

Irvine, Thomas (2013) Reading, listening, and performing in Wilhelm Heinse’s Hildegard von Hohenthal (1796). Journal of Musicology, 30, (4), 502-529.

Izzo, Francesco (2010) Comic sights: stage directions in Luigi Ricci's autograph scores. In, Marvin, Roberta Montemorra and Poriss, Hilary (eds.) Fashions and Legacies of Nineteenth-Century Italian Opera. Cambridge, GB, Cambridge University Press, 176-195.

Izzo, Francesco (1994) Lo sviluppo del pianoforte negli Stati Uniti dell'Ottocento: economia, società e cultura. Lo Spettacolo, 44, 335-346.

Izzo, Francesco (2011) Of texts and documents: the Italian version's of Ferdinand Hérold's Zampa. Pre-print (Submitted).

Izzo, Francesco (1995) Rachmaninoff in Italy: criticism, influence, performance. Studies in Music from the University of Western Ontario, 15, 75-86.

Izzo, Francesco (2011) Risorgimento uncensored: the Italian unification and the politics of opera. Pre-print (Submitted).

Izzo, Francesco (2007) Suoni festivi: struttura e drammaturgia di un topos donizettiano. In, Aragona, Livio and Fornoni, Federico (eds.) Voglio amore, e amor violento: studi di drammaturgia. Atti del convegni delle celebrazioni 1797/1997-1848/1998 Bergamo, Italy, Fondazione Donizetti, 195-208. (Atti dei convegni delle celebrazioni, 3 1797/1997-1848/).

Izzo, Francesco (2012) A tale of survival: choral music in Italy. In, Grazia, Donna M. Di (ed.) Nineteenth-Century Choral Music. Abingdon, GB, Routledge. (Routledge Studies in Musical Genres). (In Press).

Izzo, Francesco (1993) Un americano a Parigi [L.M. Gottschalk]. Piano Time, 119, 68-71.

Izzo, Francesco (2009) Verdi, Solera, Piave, and the Libretto for Attila. Cambridge Opera Journal, 21, (3), 357-365. (doi:10.1017/S0954586710000169).

Izzo, Francesco (2007) Verdi, the Virgin, and the censor: the politics of the cult of Mary in I Lombardi alla prima crociata and Giovanna d'Arco. Journal of the American Musicological Society, 60, (3), 557-597. (doi:10.1525/jams.2007.60.3.557).

Izzo, Francesco (2009) William Henry Fry’s Leonora: the Italian connection. Nineteenth-Century Music Review, 6, (1), 7-25. (doi:10.1017/S1479409800002871).

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Kenny, Elizabeth (2008) The uses of lute song: texts, contexts and pretexts for "historically informed" performance. Early Music, 36, (2), 285-300. (doi:10.1093/em/can045).

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Lefferts, Peter M., Bent, Margaret, Bowers, Roger, Everist, Mark and Wahey, Andrew (1982) New sources of English thirteenth- and fourteenth-century polyphony. Early Music History, 2, 306-321. (doi:10.1017/S0261127900002138).

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May, William (2014) Unrest and Silence: the faithless music of the contemporary British novel. In, Hertz, Erich and Roessner, Jeffrey (eds.) Write in Tune: Contemporary Music in Fiction. London, GB, Bloomsbury, 227-239.

Mirka, Danuta (2007) Analyzing Haydn's Quartets. Book review of Floyd Grave and Margaret Grave, The String Quartets of Joseph Haydn. Early Music, 35, (1), 122-125. (doi:10.1093/em/cal137).

Mirka, Danuta (1995) Atitikimo ciurlionio simfonineje poemoje jura [Die Idee der Correspondances in der symphonischen Dichtung Das Meer von M. K. Ciurlionis]. Kulturos Barai, 8-9, 63-66.

Mirka, Danuta (2000) Co kazdy kompozytor wiedziec powinien: fizjologia i ekologia sluchacza w zarysie. Ruch Muzyczny, 44, (14-15), 10-18.

Mirka, Danuta (1996) Colors of a mystic fire: light and sound in Scriabin's Prometheus. American Journal of Semiotics, 13, (1-4), 227-248.

Mirka, Danuta (2001) Czy istnieje muzyczna Ekphrasis? [S. Bruhn Musical Ekphrasis. Composers responding to poetry and painting; Musical Ekphrasis in Rilkes Marien-Leben]. Ruch Muzyczny, 15, (35), 21-22.

Mirka, Danuta (2005) Das spiel mit der kadenz. Die Musikforschung, 57, (1), 18-35.

Mirka, Danuta (2004) Górecki's Musica geometrica. Musical Quarterly, 87, (2), 305-332. (doi:10.1093/musqtl/gdh013).

Mirka, Danuta (1998) Góreckiego musica geometrica. Dysonanse, 1, 20-30.

Mirka, Danuta (2002) Komunikacja muzyczna w stylu póznym: reguly i strategie'. In, ProStyl pózny w muzyce, literaturze i kulturze, Katowice, Poland, 06 - 08 Dec 2000. Katowice, Poland, Slask, 131-137.

Mirka, Danuta (1999) Musical style: a system and and a game. In, 7th International Congress of the International Association for Semiotic Studies / Association Internationale de Sémiotique (IASS/AIS), Dresden, Germany, 06 - 11 Oct 1999. Dresden, Germany, Dresden University Press.

Mirka, Danuta (2003) Penderecki's sonorism against serialism. In, Robinson, Ray and Chlopicka, Regina (eds.) Studies in Penderecki 2: Penderecki and the avant garde. Princeton, USA, Prestige Publications, 199-209.

Mirka, Danuta (1998) Przeciac wezel gordyjski: system kolorystyczny Krzysztofa Pendereckiego. Dysonanse, 3, 2-11.

Mirka, Danuta (2002) Review article. Naomi Cumming's sonic self. Semiotica, (142), 433-446. (doi:10.1515/semi.2002.083).

Mirka, Danuta (2004) Review. Justin London. Hearing in Time: Psychological Aspects of Musical Meter. Oxford University Press, 2004: x+195 pp. ($39.95 cloth). Journal of Music Theory, 48, (2), 325-336. (doi:10.1215/00222909-48-2-325).

Mirka, Danuta (1998) Semiotines Krzysztofo Pendereckio sonoristinio stiliaus problemos. Baltos Lankos, 9, 151-163.

Mirka, Danuta (1997) The sonoristic structuralism of Krzysztof Penderecki, Katowice, Poland, Music Academy in Katowice, 363pp.

Mirka, Danuta (1996) Sonorystyczny strukturalizm Krzysztofa Pendereckiego. In, Droba, Krzysztof, Malecka, Teresa and Szwajgier, Krzysztof (eds.) Muzyka Polska 1945-1995: Materiały Sesji Naukowej 6-10 Grudnia 1995 w 20-Lecie Zakładu Analizy i Interpretacji Muzyki. Muzyka polska 1945-1995 Kraków, PL, Akademia Muzyczna w Krakowie, 235-247.

Mirka, Danuta (1993) Teozofia, muzyka i swiatlo: o funkcji swiatla w poemacie symfonicznym Prometeusz Aleksandra Skriabina. Zeszyt Naukowy, 4, 71-90.

Mirka, Danuta (2000) Texture in Penderecki's sonoristic style. Music Theory Online, 6, (1)

Mirka, Danuta (1998) Theosophical hieroglyph: on the symphonic poem Prometheus by Alexander Scriabin. In, Stefani, Gino, Tarasti, Eero and Marconi, Luca (eds.) Musical Signification: Between Rhetorics and Pragmatics. Sixth International Congress of Musical Signification Bologna, Italy, Cooperativa Libreria Universitaria.

Mirka, Danuta (2001) To cut the Gordian Knot: the timbre system of Kryzsztof Penderecki. Journal of Music Theory, 45, (2), 433-456. (doi:10.1215/00222909).

Mirka, Danuta (2004) Tonal function and metrical accent revisited. In, 13th International Congress of the German Musicological Society, Weimar, Germany, 16 - 21 Sep 2004.

Mirka, Danuta (2009) Vorwärts hören – rückwärts hören: Zur Wahrnehmung metrischer Irregularitäten in Streichquartetten Joseph Haydns. In, Musiktheorie an ihren Grenzen: Neue und Alte Musik. 3. Internationaler Kongress für Musiktheorie. Bern, CH, Peter Lang, 409-418.

Mirka, Danuta (1999) Young Penderecki and fuzzy sets. In, Zannos, Iannis (ed.) Music and signs: semiotic and cognitive studies in music. Berlin, Germany, ARCO Art and Science, 503-514. (Systematica Musicologica 2).

Molitor, Claudia (2003) Portfolio of compositions and commentary. University of Southampton, School of Humanities, Doctoral Thesis , 286pp.

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Nicholls, David (2001) The American quartet. In, Jarman, Douglas (ed.) The Twentieth-Century String Quartet. Todmorden, UK, Arc, 109-121.

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Nicholls, David (2002) Cage and America. In, Nicholls, David (ed.) The Cambridge Companion to John Cage. Cambridge, GB, Cambridge University Press, 3-19.

Nicholls, David (2002) Crossing the border: interactions between art music and other musics. In, Interpretation, Analysis, Criticism: Studies in Music, 1750-2000. Maidenhead, UK, Open University Press, 106-145.

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Nicholls, David (1992) Donald Martino: a survey of his recent music. Music and Letters, 73, (1), 75-79. (doi:10.1093/ml/73.1.75).

Nicholls, David (2002) EC=JC2: John Cage as exemplary creator. Frankfurt Journal of Musicology, 5, (S), 76-85.

Nicholls, David (1993) Getting rid of the glue: the music of the New York school. Journal of American Studies, 27, (3), 335-353. (doi:10.1017/S0021875800032060).

Nicholls, David (2001) Getting rid of the glue: the music of the New York school. In, Johnson, Steven (ed.) The New York Schools of Music and the Visual Arts. New York, UK, Routledge, 17-56.

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Nicholls, David (1995) Henry Cowell's United Quartet. American Music, 13, (2), 195-217.

Nicholls, David (1994) Henry Cowell: a call for restitution. Newsletter: Institute for Studies in American Music, XXIV, (1), 1-2.

Nicholls, David (1998) Henry Cowell: living in the whole world of music. In, Nicholls, David (ed.) Whole World of Music: A Henry Cowell Symposium. New York, USA, Routledge, 1-12. (Contemporary Music Studies).

Nicholls, David (1999) [Hugh Wood's teaching at Cambridge in the late seventies]. In, Goehrfest: January-March 1999 Commemorative Programme. Cambridge, GB, Cambridge University Press, 21-24.

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Nicholls, David (1999) Reaching beyond the West: Asian resonances in American radicalism. American Music, 17, (2), 125-128.

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Norris, David Owen (2001) Ibert Divertissement. BBC Radio 3 Building a Library

Norris, David Owen (2000) Schumann first piano Sonata. BBC Radio 3 Building a Library

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Rice, Stephen (2006) Aspects of dissonance treatment in five-part motets by Clemens and Gombert. In, Jas, E. (ed.) Beyond Contemporary Fame. Reassessing the Art of Clemens non Papa and Thomas Crecquillon. Turnhout, Belgium, Brepols, 277-286.

Rice, Stephen (2007) Multiple layers of borrowing in Sancta Maria motets by Morales and his contemporaries. In, Rees, Owen and Nelson, Bernadette (eds.) Cristóbal de Morales: Sources, Influences, and Reception. Woodbridge, UK, Boydell & Brewer, 141-159. (Studies in Medieval and Renaissance Music).

Rice, Stephen (2005) Reconstructing Tallis's Latin magnificat and Nunc dimittis. Early Music, 33, (4), 647-658. (doi:10.1093/em/cah155).

Rice, Stephen (2007) Resonances of Josquin in later Inviolata settings. In, Schiltz, K. and Blackburn, B.J. (eds.) Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History. Proceedings of the International Conference, Leuven, 4-6 October 2005. Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History. International Conference Leuven, Belgium, Peeters, 197-220.

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Stras, Laurie (2010) Considering the performance of Alessandro Grandi's Motetti a cinque voci (1614). In, Bonsante, Annamaria and Pasquandrea, Roberto Matteo (eds.) Celesti Sirene: Musica e monachesimo dal Medioevo all’Ottocento. Foggia, IT, Claudio Grenzi Editore, 73-94.

Stras, Laurie (2009) Imitation, Meditation and Penance: Don Lodovico Agostini’s Le lagrime del peccatore (1586). In, Bloxam, M. Jennifer, Filocamo, Gioia and Holford-Strevens, Leofranc (eds.) Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn. Turnhout, BE, Brepols. (Épitome musical).

Stras, Laurie (2002) Le nonne della ninfa: feminine voices and modal rhetoric in the generations before Monteverdi. In, Borgerding, Todd (ed.) Gender, Sexuality and Early Music. London, UK, Routledge, 123-165. (Criticism and Analysis of Early Music).

Stras, Laurie (1994) Marc'Antonio Ingegneri: new bigroaphical information. In, Delfino, Antonio and Barrezzani, Maria Teresa Rosa (eds.) Marc'Antonio Ingegneri e la musica a Cremona nel secondo Cinquecento. Lucca, Italy, Libreria Musicale iitaliana, 5-14. (Studi e testi musicali 8).

Stras, Laurie (1995) Monteverdi as discepolo: harmony, rhetoric and psalm-tone hierarchies in the works of Ingegneri and Monteverdi. Journal of Musicological Research, 15, (2), 149-175. (doi:10.1080/01411899508574716).

Stras, Laurie (2002) Muted voices of girl power. Times Higher Educational Supplement

Stras, Laurie (2000) "Onde havrà ‘l mond’esempio et vera historia”: musical echoes of Henri III’s progress through Italy. Act Musicologica, 72, (2), 7-41.

Stras, Laurie (2006) The organ of the soul: voice, damage and affect. In, Straus, Joseph and Lerner, Neil (eds.) Sounding Off: Theorizing Disability in Music. New York, USA, Routledge, 173-184.

Stras, Laurie (1999) Recording Tarquinia: imitation, parody and reportage in Marc’Antonio Ingegneri's ‘Hor che 'l ciel e la terra e 'l vento tace’. Early Music, 27, (3), 358-378. (doi:10.1093/earlyj/XXVII.3.358).

Stras, Laurie (2002) Review, Alfonso Fontanelli: complete madrigals (A-R Editions, 1999) ed. Anthony Newcomb; Madrigali segreti per le dame di Ferrara (SPES, 2000), ed. Elio Durante and Anna Martellotti. Music and Letters, 83, (4), 665-667. (doi:10.1093/ml/83.4.665).

Stras, Laurie (2004) Review. Iain Fenlon, Music and Civic Culture in Late Renaissance Italy. Oxford and New York: Oxford University Press, 2002. ix + 265 pp. index. illus. bibl. n.p. ISBN: 0-19-816444-0. Renaissance Quarterly, 57, (2), 704-705.

Stras, Laurie (2004) Review: Holy Concord within Sacred Walls: Nuns and Music in Siena, 1575–1700. By Colleen Reardon. pp. x + 289. (Oxford University Press, New York, 2001, £50. ISBN 0-19-513295-5.). Music and Letters, 85, (2), 269-270. (doi:10.1093/ml/85.2.269).

Stras, Laurie (2012) The Ricreationi per monache of Suor Annalena Aldobrandini. Renaissance Studies, 26, (1), 34-59. (doi:10.1111/j.1477-4658.2011.00789.x).

Stras, Laurie (2007) Sapienti pauca: the Canones et echo…sex vocibus eiusdem dialogi (1572) of Don Lodovico Agostini. In, Schiltz, K. and Blackburn, B.J. (eds.) Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History. Proceedings of the International Conference Leuven, Belgium, Peeters Publishers, 357-380. (Analysis in Context: Leuven Studies in Musicology).

Stras, Laurie (2010) She's so fine, or why girl singers (still) matter. In, Stras, Laurie (ed.) She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music. Aldershot, GB, Ashgate , 1-29. (Ashgate Popular and Folk Music). (In Press).

Stras, Laurie (2009) Sing a song of difference: Connie Boswell and a discourse of disability in jazz. Popular Music, 28, (3), 297-322. (doi:10.1017/S0261143009990080).

Stras, Laurie (2010) Voice of the beehive: vocal technique at the turn of the 1960s. In, Stras, Laurie (ed.) She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music. Aldershot, GB, Ashgate Publishing, 33-55. (Ashgate Popular and Folk Music). (In Press).

Stras, Laurie (2007) White face, black voice: race, gender, and region in the music of the Boswell sisters. Journal of the Society for American Music, 1, (2), 207-255. (doi:10.1017/S1752196307070083).

Stras, Laurie (2008) 'Who told you that lie?': picturing Connie Boswell. In, Shifrin, Susan (ed.) Re-Framing Representations of Women: Figuring, Fashioning, Portraiting and Telling in the 'Picturing Women' Project. Aldershot, GB, Ashgate, 251-267.

Stras, Laurie and Wood, Abigail (2003) Bridging Musicology and Ethnomusicology: a review of Music and Gender. [Music and Gender. Pirkko Moisala and Beverley Diamond, eds. University of Illinois Press. 376 pgs. Hardback ISBN 0-252-02544-X; Softbound ISBN 0-252-06865-3]. G.E.M.S. (Gender, Education, Music, and Society), 2

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Thormahlen, Wiebke (2010) Playing with art: musical arrangements as educational tools in van Swieten's Vienna. Journal of Musicology, 27, (3), 342-376. (doi:10.1525/jm.2010.27.3.342).

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Wood, Bruce and Pinnock, Andrew (1993) The Fairy Queen: a fresh look at the issues. Early Music, 21, (1), 44-62. (doi:10.1093/em/XXI.1.44).

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