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

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Number of items at this level: 317.

Everist, Mark (ed.) (1985) Five Anglo-Norman motets, Newton Abbott, UK, Antico Edition, 11pp.

Everist, Mark (ed.) (1988) French thirteenth-century polyphony in the British Library: a facsimile edition of the manuscripts Additional 30091 and Egerton 2615 (ff.79-94v), London, UK, Plainsong and Mediaeval Music Society, 71pp.

Izzo, Francesco and Streicher, Johannes (eds.) (1993) Ottocentro e oltre: scritti in onore di Raoul Meloncelli, Rome, Italy, Pantheon, 608pp.

Brooks, Jeanice (ed.) (1994) Jean de Castro. Chansons, odes, et sonetz de Pierre Ronsard (1576), vol. 97, Middleton, US, A-R Editions (Recent Researches in the Music of the Renaissance, 97).

Nicholls, David (ed.) (1997) The whole world of music: a Henry Cowell symposium, New York, USA, Routledge, 260pp. (Contemporary Music Studies).

Nicholls, David (ed.) (1998) The Cambridge history of American music, Cambridge, UK, Cambridge University Press, 653pp. (The Cambridge History of Music).

Cook, Nicholas and Everist, Mark (eds.) (1999) Rethinking music, Oxford, GB, Oxford University Press, 588pp.

Donnelly, Kevin (ed.) (2001) Film music: critical approaches, Edinburgh, UK; New York, USA, Edinburgh University Press; Continuum, 224pp.

Lodato, Suzanne M., Aspden, Suzanne and Bernhart, Walter (eds.) (2002) Word and music studies. Essays in honor of Steven Paul Scher and on cultural Identity and the musical stage, Amsterdam, The Netherlands, Rodopi, 336pp. (Word and Music Studies, 4).

Nicholls, David (ed.) (2002) The Cambridge companion to John Cage, Cambridge, UK, Cambridge University Press, 304pp. (Cambridge companions to music).

Bent, Ian and Drabkin, William (eds.) (2004) Der Tonwille Pamphlets in Witness of the Immutable Laws of Music, offered to a New Generation of Youth by Heinrich Schenker. Volume 1: Issues 1-5 (1921-1923). Heinrich Schenker, New York, US, Oxford University Press, 252pp.

Drabkin, William (ed.) (2005) Der Tonwille: pamphlets in witness of the immutable laws of music: vol 2. The late Heinrich Schenker, New York, US, Oxford University Press, 192pp.

Mirka, Danuta and Agawu, Kofi (eds.) (2008) Communication in eighteenth-century music, Cambridge, UK, Cambridge University Press, 360pp.

Rice, Stephen (ed.) (2012) Pierre Moulu: complete Mass settings (critical edition with commentary), Middleton, US, A-R Editions

Blackburn, Bonnie and Stras, Laurie (eds.) (2015) Eroticism in Early Modern Music, Farnham, GB, Ashgate, 328pp.

Alsaif, Sanaa (2014) William Sterndale Bennett’s preludes & lessons Op. 33: a practical study and a critical edition University of Southampton, Faculty of Humanities, Doctoral Thesis , 228pp.

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), pp. 45-50.

Bretherton, David (2014) Book review. Susan Wollenberg, Schubert's Fingerprints: Studies in the Instrumental Works (Farnham: Ashgate, 2011). xviii + 317 pp. £65.00. ISBN: 978-1-4094-2122-1 (hb). Music Analysis, 33, (2), pp. 257-261. (doi:10.1111/musa.12030).

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

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), pp. 201-220.

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

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

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), pp. 349-350. (doi:10.1093/earlyj/XX.2.349).

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

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

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

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 pp. 299-315.

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

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

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), pp. 147-190. (doi:10.1093/jrma/121.2.147).

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 pp. 137-152.

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

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 pp. 209-213.

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

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 pp. 17-31.

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

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 Early Music, 51, pp. 984-987.

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

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 pp. 252-260. (Musik-Kultur, 5).

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

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

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

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

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

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

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

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

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

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

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

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

Brooks, Jeanice (2004) Chant In, Desan, Philippe (eds.) 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 (eds.) Musical Voices of Early Modern Women: Many-Headed Melodies. Aldershot, GB, Ashgate pp. 63-96.

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 pp. 70-91. (Barenreiter-Studienbucher Musick, 15).

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 (eds.) Poésie, Musique et Société: L'air de cour en France au XVIIe siècle. Liège, BE, Mardaga; Centre de Musique Baroque de Versailles pp. 169-179.

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

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

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

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

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 pp. 537-548.

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

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

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

Brooks, Jeanice (2016) Gossiping to music in sixteenth-century France Renaissance Studies, 30, pp. 17-38. (doi:10.1111/rest.12200).

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 pp. 121-142. (Essays and Studies, 2, 2).

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

De Lucca, Valeria (2009) Pallade al valor, venere al volto: music, theatricality, and performance in Marie Mancini Colonna's Patronage In, Shifrin, Susan (eds.) 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 pp. 113-156.

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

Donnelly, Kevin (2001) Performance and the Composite Film Score In, Donnelly, Kevin (eds.) Film Music: Critical Approaches. Edinburgh, UK; New York, USA, Edinburgh University Press; Continuum pp. 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 (1972) Some relationships between the autographs of Beethoven's sonata in C minor, opus 111 Current Musicology, 13, pp. 38-47.

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

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

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

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

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

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

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

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

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 pp. 80-101. (Cambridge Opera Handbooks). (doi:10.2277/0521319137).

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 pp. 165-178. (Reihe IV Schriften zur Beethoven-Forschung, 10).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 pp. 237-252. (Franz Liszt Studies, 9).

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 pp. 169-188. (Eisenstadter Haydn-Berichte, 2).

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

Drabkin, William, (2004) On Beethoven's cello and piano textures Brandenburg, Sieghard, Maaß, Ingeborg and Osthoff, Wolfgang (eds.) In Beethovens Werke für Klavier und Violoncello. vol. 15, Beethoven-Haus., pp. 125-144.

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

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

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

Drabkin, William (2012) Heinrich Schenker Schenker Documents Online

Drabkin, William (2013) An autobiographical letter of Schenker’s In, Poundie Burstein, L., Rogers, Lynne and Bottge, Karen (eds.) Essays from the Fourth International Schenker Symposium: Volume 2. Hildesheim, DE, Georg Olms pp. 103-119.

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

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

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), pp. 125-167.

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, pp. 52-64.

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

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), pp. 117-119. (doi:10.1093/earlyj/11.1.117-b).

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

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, pp. 61-62.

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, pp. 91-97.

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

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

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 and Letters, 69, (2), pp. 246-248. (doi:10.1093/ml/69.2.246).

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

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 and Letters, 70, (2), pp. 305-306. (doi:10.1093/ml/70.2.305).

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 and Letters, 70, (4), pp. 522-524. (doi:10.1093/ml/70.4.522).

Everist, Mark (1990) Review: 'Perotin', Hilliard Ensemble (ECM New Series 837 751-2) Journal of the Royal Musical Association, 18, (3), p. 486. (doi:10.1093/earlyj/XVIII.3.486).

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

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

Everist, Mark (1991) Review: 'Alleluia nativitas: music for a medieval Christmas', Orlando Consort (Metronome, 1001T) Early Music, 19, (4), p. 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), pp. 475-477.

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

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

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

Everist, Mark (1993) Giacomo Meyerbeer, the Théâtre Royal de l'Odéon, and music drama in Restoration Paris 19th-Century Music, 17, (2), pp. 124-148. (doi:10.2307/746330).

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

Everist, Mark (1994) French motets in the thirteenth century: music, poetry and genre, Cambridge, GB, Cambridge University Press, 216pp. (Cambridge Studies in Medieval and Renaissance Music).

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

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, p. 19.

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), pp. 89-91. (doi:10.1017/S0961137100000899).

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), pp. 472-474.

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

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), pp. 258-267. (doi:10.1093/jrma/121.2.258).

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

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

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

Everist, Mark (2000) Review. Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance. Mozart-Jahrbuch, 81, (2), pp. 283-284. (doi:10.1093/ml/81.2.283).

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

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

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 pp. 86-108.

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

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, pp. 115-134.

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

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) Mozart-Jahrbuch, 83, (1), pp. 119-122. (doi:10.1093/ml/83.1.119).

Everist, Mark (2002) Review: Peter Bloom, ed., 'The Cambridge companion to Berlioz' (Cambridge: Cambridge University Press, 2000) Mozart-Jahrbuch, 83, (1), pp. 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) Mozart-Jahrbuch, 83, (2), pp. 294-300. (doi:10.1093/ml/83.2.294).

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 pp. 93-116. (Études sur l’Opéra Français du xix e Siècle, 5).

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

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) Mozart-Jahrbuch, 84, (3), pp. 496-499. (doi:10.1093/ml/84.3.496).

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.) Mozart-Jahrbuch, 84, (1), pp. 108-110. (doi:10.1093/ml/84.1.108).

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 pp. 43-64. (De charta, 7).

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 pp. 123-151. (Thurnauer Schriften zum Musiktheater, 20).

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

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.) Mozart-Jahrbuch, 85, (1), pp. 85-88. (doi:10.1093/ml/85.1.109).

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

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), pp. 136-153. (doi:10.1093/jrma/fki007b).

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 pp. 398-411.

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

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

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

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 pp. 279-298.

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, pp. 699-720. (doi:10.1525/jams.2009.62.3.699).

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, FR, Centre d'études Superieures de la Renaissance pp. 287-303.

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

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 pp. 405-481.

Grover, Danielle (2012) Representations of music in late eighteenth-century fiction University of Southampton, Faculty of Humanities, Doctoral Thesis , 301pp.

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

Hoare, Philip, Marsh, Geoffrey, Frayling, Christopher and Kermode, Mark (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 pp. 283-300.

Hunter, Mary, Sutcliffe, W. Dean, Sisman, Elaine, Zbikowski, Lawrence M., McKee, Eric, Haringer, Andrew, Mayes, Catherine, Day-O'Connell, Sarah, Head, Matthew, McClelland, Clive, Chapin, Keith, Ivanovitch, Roman, Byros, Vasili, Caplin, William E., Galand, Joel, Agawu, Kofi, Rumph, Stephen, Hatten, Robert S., Irving, John, Beghin, Tom, Guymer, Sheila, Lowe, Melanie, Hellmuth Margulis, Elizabeth and Horton, Julian, Mirka, Danuta (ed.) (2014) The Oxford handbook of topic theory, New York, US, Oxford University Press, 683pp. (Oxford Handbooks).

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

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), pp. 131-133. (doi:10.1093/earlyj/XXXI.1.131).

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

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

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

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 pp. 63-81.

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

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

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

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

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

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

Izzo, Francesco, (2007) Suoni festivi: struttura e drammaturgia di un topos donizettiano Aragona, Livio and Fornoni, Federico (eds.) In Voglio amore, e amor violento: studi di drammaturgia. vol. 3, Fondazione Donizetti., pp. 195-208.

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), pp. 557-597. (doi:10.1525/jams.2007.60.3.557).

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

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

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 pp. 176-195.

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

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

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

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, pp. 306-321. (doi:10.1017/S0261127900002138).

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 pp. 227-239.

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

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, pp. 63-66.

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

Mirka, Danuta, (1996) Sonorystyczny strukturalizm Krzysztofa Pendereckiego Droba, Krzysztof, Malecka, Teresa and Szwajgier, Krzysztof (eds.) In Muzyka Polska 1945-1995: Materia?y Sesji Naukowej 6-10 Grudnia 1995 w 20-Lecie Zak?adu Analizy i Interpretacji Muzyki. Akademia Muzyczna w Krakowie., pp. 235-247.

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

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

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

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

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

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

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

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

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

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), pp. 21-22.

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

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

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 pp. 199-209.

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

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), pp. 325-336. (doi:10.1215/00222909-48-2-325).

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

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), pp. 122-125. (doi:10.1093/em/cal137).

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 pp. 409-418.

Mirka, Danuta (2014) Introduction In, Mirka, Danuta (eds.) The Oxford Handbook of Topic Theory. Oxford, GB, Oxford University Press

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

Nicholls, David (1983) Ruth Crawford Seeger: an introduction The Musical Times, 124, (1685), pp. 421-425.

Nicholls, David (1990) American Experimental Music, 1890-1940, Cambridge, UK, Cambridge University Press, 252pp.

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

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

Nicholls, David (1994) Unanswerable questions/questionable answers Mozart-Jahrbuch, 75, (2), pp. 246-52. (doi:10.1093/ml/75.2.246).

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

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

Nicholls, David (1996) Transethnicism and the American experimental tradition The Musical Quarterly, 80, (4), pp. 569-594. (doi:10.1093/mq/80.4.569).

Nicholls, David (1996) Henry Cowell's New musical resources In, Cowell, Henry (eds.) New Musical Resources. Cambridge, GB, Cambridge University Press pp. 153-174.

Nicholls, David (1998) Avant-garde and experimental music In, Nicholls, David (eds.) The Cambridge History of American Music. Cambridge, GB, Cambridge University Press pp. 517-534. (The Cambridge History of Music).

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

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

Nicholls, David (1999) Defining American music ISAM Newsletter [Newsletter: Institute for Studies in American Music], XXVIII, (2), pp. 12-14.

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

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

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

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 pp. 106-145.

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

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

Nicholls, David (2007) John Cage, Champaign, USA, University of Illinois Press, 160pp.

Nicholls, David (2008) H.W.H., Cowell, and new music Newsletter: Institute for Studies in American Music, XXXVII, (2), pp. 11-14.

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

Norris, David Owen (2000) De Falla Nights in the Gardens of Spain BBC Radio 3 Building a Library

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

Norris, David Owen (2009) Brahms: Six pieces for piano, Op 118 BBC Radio 3 Building a Library

Norris, David Owen (2010) Debussy's Suite Bergamasque BBC Radio 3 Building a Library

Paget, Laurie (1992) The madrigals of Marc'Antonio Ingegneri Musiek & Wetenschap, 2, (2), pp. 1-28.

Paget, Laurie (1994) Review of music. Domenico Maria Ferrabosco (1513-1574): Opera omnia, ed. Richard Charteris. 'Corpus mensurabilis musicae', cii. ([American Institute of Musicology], Hanssler-Verlag, Neuhausen, 1992.) Music and Letters, 75, (2), pp. 316-317. (doi:10.1093/ml/75.2.316).

Paget, Laurie (1995) Reviews of music. Ingegneri, Marc'Antonio, Opera omnia, I/v: Sacrae cantiones senis vocibus decantandae, ed. Daniele Sabaino. (Libreria Musicale Italiana, Lucca, 1994, L.50,000. ISBN 88-7096-123-0.) Ingegneri, Marc'Antonio, Opera omnia, II/iii: il terzo libra dei madrigali a cinque voci, ed. Marco Mangani. (Libreria Musicale Italiana, Lucca, 1994, L.50,000. ISBN 88-7096-056-0.) Music and Letters, 76, (4), pp. 648-651. (doi:10.1093/ml/76.4.648).

Paget, Laurie (1995) Canzonettas and madrgials Early Music, 23, (4), pp. 709-711. (doi:10.1093/earlyj/XXIII.4.709).

Pinnock, Andrew (1989) A wider role for the flat trumpet The Galpin Society Journal, 42, pp. 105-111.

Pinnock, Andrew (1990) Play into opera: Purcell's The Indian Queen Early Music, XVIII, (1), pp. 3-21. (doi:10.1093/earlyj/XVIII.1.3).

Pinnock, Andrew (1995) King Arthur expos'd: a lesson in anatomy In, Price, Curtis (eds.) Purcell Studies. Cambridge, GB, Cambridge University Press

Pinnock, Andrew (1995) Fairest Isle™: land of the scholar-kings Early Music, XXIII, (4), pp. 651-666. (doi:10.1093/earlyj/XXIII.4.651).

Pinnock, Andrew (1998) Book IV in plain brown wrappers In, Burden, Michael (eds.) A Woman Scorn'd: Responses to the Dido Myth. London, UK, Faber and Faber

Pinnock, Andrew (2012) Deus ex machina: a royal witness to the court origin of Purcell's Dido and Aeneas Early Music, 40, (2), pp. 265-278. (doi:10.1093/em/cas047).

Pinnock, Andrew and Wood, Bruce (1991) A counterblast on English trumpets Early Music, 19, (3), pp. 437-443. (doi:10.1093/earlyj/XIX.3.437).

Pinnock, Andrew and Wood, Bruce (1992) "Unscarr'd by turning times"?: the dating of Purcell's Dido and Aeneas Early Music, 20, (3), pp. 373-390. (doi:10.1093/earlyj/XX.3.373).

Pinnock, Andrew and Wood, Bruce (2008) A mangled chime: the accidental death of the opera libretto in Civil War England Early Music, 36, (2), pp. 265-284. (doi:10.1093/em/can046).

Placanica, Francesca (2013) Saverio Mercadante and France (1823-1836) University of Southampton, Faculty of Humanities, Doctoral Thesis , 331pp.

Polfreman, Richard (1999) A task analysis of music composition and its application to the development of Modalyser Organised Sound, 4, (1), pp. 31-43.

Polfreman, Richard and Sapsford-Francis, J. (1995) A human factors approach to user interface design for computer music systems In Proceedings of the 1995 International Computer Music Conference. International Computer Music Association., pp. 381-384.

Polfreman, Richard and Spevak, C. (2001) Distance measures for sound similarity based on auditory representations and dynamic time warping In Proceedings of the VII International Symposium on Systematic and Comparative Musicology III International Conference on Cognitive Musicology. University of Jyväskylä., pp. 165-170.

Polfreman, Richard and Spevak, C. (2001) Sound spotting - an approach to content-based sound retrieval In Music without walls? Music without instruments? Proceedings of the International Conference. De Montfort University..

Reiter, Andrea, Lüdke, Martin and Schmidt, Delf(eds.) (1989) Thomas Bernhards ‘musikalisches Kompositionsprinzip’ Rowohlt Literaturmagazin, 23, pp. 149-168.

Reiter, Andrea (2015) A literary perspective on Schenker's Jewishness Music Analysis, 34, (2), pp. 280-303. (doi:10.1111/musa.12045).

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

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

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

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 pp. 141-159. (Studies in Medieval and Renaissance Music).

Rice, Stephen (2009) Aspects of counterpoint theory in the Tractado de Canto Mensurable (1535) of Matheo de Aranda In, Filocamo, G. and Bloxam, M.J. (eds.) Uno Gentile et Subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn. Turnhout, BE, Brepols (Epitome musical).

Rice, Stephen (2009) Reverse accentuation In, Schmidt-Beste, T. (eds.) The Motet around 1500: On the Relationship of Imitation and Text Treatment. Turnhout, BE, Brepols pp. 117-134.

Rice, Stephen (2009) Reverse accentuation In The Motet around 1500: On the Relationship of Imitation and Text Treatment. Brepols. 18 pp, pp. 117-134.

Ruwet, Nicolas and Everist, Mark (1987) Methods of analysis in musicology Music Analysis, 6, (1/2), pp. 3-36.

Scheding, Florian (2004) Si può chiedere troppo alla musica? Patria Indipendente, 53, (1), pp. 33-34.

Scheding, Florian (2007) Mátyás Seiber In, Petersen, Peter and Maurer Zenck, Claudia (eds.) Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit. Hamburg, DE, Universität Hamburg p. 2005.

Scheding, Florian (2010) Book review. Albrecht Dümling: Hanns Eisler Eisler Mitteilungen, 50, (2), pp. 37-38.

Schenker, Heinrich, Drabkin, William (ed.) (1994) Heinrich Schenker: the masterwork in music. Vol 1: 1925, Cambridge, UK, Cambridge University Press (Cambridge Studies in Music Theory and Analysis, 5).

Schenker, Heinrich, Drabkin, William (ed.) (1994) The masterwork in music: a yearbook.Vol 2, Cambridge, UK, Cambridge University Press (Cambridge Studies in Music Theory and Analysis, 8).

Schenker, Heinrich, Drabkin, William (ed.) (1997) Schenker: the masterwork in music: a yearbook. Volume 3, 1930, Cambridge, UK, Cambridge University Press (Cambridge Studies in Music Theory and Analysis, 10).

Schenker, Heinrich, Drabkin, William(ed.) (2005) The decline of the art of composition: a technical-critical study Music Analysis, 24, (1-2), pp. 33-129. (doi:10.1111/j.1468-2249.2005.00217.x).

Schenker, Heinrich, Drabkin, William(ed.) (2005) Über den Niedergang der Kompositionskunst: eine Technisch-Kritische Untersuchung Music Analysis, 24, (1-2), pp. 131-232. (doi:10.1111/j.1468-2249.2005.00218.x).

Spevak, Christian and Polfreman, Richard, (2000) Analyzing auditory representations for sound classification with self-organizing neural networks Rochesso, Signoretto (ed.) At COST G-6 Conference on Digital Audio Effects (DAFX-00). 07 - 09 Dec 2000. 6 pp, pp. 119-124.

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 pp. 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), pp. 149-175. (doi:10.1080/01411899508574716).

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), pp. 358-378. (doi:10.1093/earlyj/XXVII.3.358).

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

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 Mozart-Jahrbuch, 83, (4), pp. 665-667. (doi:10.1093/ml/83.4.665).

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

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

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), pp. 269-270. (doi:10.1093/ml/85.2.269).

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), pp. 704-705.

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 pp. 173-184.

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), pp. 207-255. (doi:10.1017/S1752196307070083).

Stras, Laurie, (2007) Sapienti pauca: the Canones et echo…sex vocibus eiusdem dialogi (1572) of Don Lodovico Agostini Schiltz, K. and Blackburn, B.J. (eds.) In Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History. Peeters Publishers. 498 pp, pp. 357-380.

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

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

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 pp. 73-94.

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

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

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

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

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

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

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