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Number of items at this level: 402.

Attfield, Nicholas and Winters, Ben eds. (2017). Music, Modern Culture, and the Critical Ear. Abingdon: Routledge.

Barlow, Helen and Rowland, David eds. (2017). Listening to music: people, practices and experiences. The Open University.

Burrows, Donald ed. (2009). Handel's Will: Facsimiles and Commentary. London: Gerald Coke Handel Foundation.

Burrows, Donald ed. (2009). Georg Friedrich Händel, ‘Messiah’. Documenta Musicologica, Zweite Reihe, Handschriften, xl. Kassel, Germany: Barenreiter.

Burrows, Donald; Coffey, Helen; Greenacombe, John and Hicks, Anthony eds. (2015). George Frideric Handel: Collected Documents: Volume 2: 1725-1734. Cambridge: Cambridge University Press.

Burrows, Donald; Coffey, Helen; Greenacombe, John and Hicks, Anthony eds. (2018). George Frideric Handel: Collected Documents. Volume 3. 1734–1742. Cambridge University Press.

Burrows, Donald; Coffey, Helen; Greenacombe, John and Hicks, Anthony eds. (2019). George Frideric Handel: Collected Documents, Volume 4. 1742-1750. Cambridge University Press (In Press).

Burrows, Donald; Coffey, Helen; Greenacombe, John and Hicks, Anthony eds. (2013). George Frideric Handel: collected documents: volume 1 1609-1725. Cambridge University Press.

Clarke, Martin ed. (2012). Music and Theology in Nineteenth-Century Britain. Music in Ninteenth-Century Britain. Farnham: Ashgate.

Clayton, Martin; Dueck, Byron and Leante, Laura eds. (2013). Experience and Meaning in Music Performance. Oxford University Press.

Clayton, Martin; Herbert, Trevor and Middleton, Richard eds. (2003). The Cultural study of music: A critical introduction. Abingdon, UK,: Routledge.

Clayton, Martin; Herbert, Trevor and Middleton, Richard eds. (2011). The Cultural Study of Music: a Critical Introduction (2nd ed.). Abingdon: Routledge.

Cook, James; Kolassa, Alexander and Whittaker, Adam eds. (2018). Recomposing the Past: Representations of Early Music on Stage and Screen. Ashgate Screen Music Series. Abingdon and New York: Routledge.

Decroupet, Pascal and Samuels, Robert [trans.] eds. (2005). Pierre Boulez. Le marteau sans maître: facsimile of the draft score and the first fair copy of the full score. Publications from the Paul Sacher Foundation. Mainz; London: Schott.

Golding, Rosemary ed. (2018). The Music Profession in Britain, 1780-1920: New Perspectives on Status and Identity. Music in Nineteenth-Century Britain. Routledge.

Herbert, Trevor ed. (2000). The British Brass Band: a Musical and Social History. Oxford: Oxford University Press.

Herbert, Trevor ed. (1991). Bands: the Brass Band Movement in the 19th and 20th Centuries. Popular Music in Britain. Buckingham: Open University Press.

Herbert, Trevor and Jones, Gareth Elwyn eds. (1988). Tudor Wales. Welsh History and its Sources. Cardiff: University of Wales Press.

Herbert, Trevor and Jones, Gareth Elwyn eds. (1988). Wales 1880-1914. Welsh History adnd its Sources. Cardiff: University of Wales Press.

Herbert, Trevor and Jones, Gareth Elwyn eds. (1988). People and Protest: Wales 1815-1880. Welsh History and its Sources. Cardiff: University of Wales Press.

Herbert, Trevor and Jones, Gareth Elwyn eds. (1988). Wales Between the Wars. Welsh History and its Sources. Cardiff: University of Wales Press.

Herbert, Trevor and Jones, Gareth Elwyn eds. (1988). The Remaking of Wales in the Eighteenth Century. Welsh History and its Sources. Cardiff: University of Wales Press.

Herbert, Trevor and Jones, Gareth Elwyn eds. (1988). Edward I and Wales. Welsh History and its Sources. Cardiff: University of Wales Press.

Herbert, Trevor and Jones, Gareth Elwyn eds. (1995). Post-War Wales. Welsh History and its Sources. Cardiff: University of Wales Press.

Herbert, Trevor and Stead, Peter eds. (2001). Hymns and Arias: Great Welsh Voices. Cardiff: University of Wales Press.

Herbert, Trevor and Wallace, John eds. (1997). The Cambridge Companion to Brass Instruments. Cambridge Companions to Music. Cambridge: Cambridge University Press.

Mera, Miguel; Sadoff, Ronald and Winters, Ben eds. (2017). The Routledge Companion to Screen Music and Sound. New York: Routledge.

Munro, Gordon; Campbell, Stuart; Hair, Greta-Mary; MacKay, Margaret A.; Moohan, Elaine and Hair, Graham eds. (2005). Notis Musycall: Essays on Music and Scottish Culture in Honour of Kenneth Elliott. Historical studies of Scottish music. Glasgow, UK: Musica Scotica Trust.

Nattiez, Jean-Jacques and Samuels, Robert [trans.] eds. (1993). The Boulez-Cage Carrespondence. Cambridge: Cambridge University Press.

Richards, Fiona ed. (2017). The soundscapes of Australia: music, place and spirituality. Aldershot, UK: Routledge.

Rowland, David ed. (2010). The Correspondence of Muzio Clementi. Muzio Clementi Opera Omnia. Critical Edition, 14. Bologna: Ut Orpheus Edizioni.

Toynbee, Jason and Dueck, Byron eds. (2011). Migrating Music. CRESC. Abingdon: Routledge.

Toynbee, Jason; Tackley, Catherine and Doffman, Mark eds. (2014). Black British Jazz: Routes, Ownership and Performance. Ashgate Popular and Folk Music Series. Farnham: Ashgate.

Adamou, Alessandro; Brown, Simon; Barlow, Helen; Allocca, Carlo and d’Aquin, Mathieu (2019). Crowdsourcing Linked Data on listening experiences through reuse and enhancement of library data. International Journal on Digital Libraries, 20(1) pp. 61–79. file

Adamou, Alessandro; d'Aquin, Mathieu; Barlow, Helen and Brown, Simon (2014). LED: curated and crowdsourced linked data on music listening experiences. In: Proceedings of the ISWC 2014 Posters & Demonstrations Track, CEUR Workshop Proceedings, CEUR-WS.org, pp. 93–96. file

Allington, Daniel; Dueck, Byron and Jordanous, Anna (2015). Networks of value in electronic music: SoundCloud, London, and the importance of place. Cultural Trends, 24(3) pp. 211–222. file

Attfield, Nicholas and Winters, Ben (2017). Introduction. In: Attfield, Nicholas and Winters, Ben eds. Music, Modern Culture, and the Critical Ear. Abingdon: Routledge, pp. 1–12.

Barker, Naomi (2007). Un-discarded images: illustrations of antique musical instruments in 17th- and 18th-century books, their sources and transmission. Early Music, 35(2) pp. 191–212.

Barker, Naomi (1996). Parody and Provocation: Parade and the Dada Psyche. Repertoire International d'Iconographie Musicale / Research Center for Musical Iconography Newsletter, 21(1) pp. 29–31.

Barker, Naomi (1992). In Search of Mannerism: A New Approach to an Old Problem. South African Journal of Musicology, 12 pp. 11–19.

Barker, Naomi J. (2013). Charivari and popular ritual in 17th-century Italy: a source and context for improvised performance? Early Music, 41(3) pp. 447–459.

Barker, Naomi J. (2015). Music, antiquity and self-fashioning in the Accademia dei Lincei. The Seventeenth Century, 30(4) pp. 375–390.

Barker, Naomi J. (2019). Mottos and Metaphors: Towards an Interpretation of the Emblems in Frescobaldi’s Primo libro d’arie musicali. Journal of Seventeenth-Century Music, 25(1)

Barker, Naomi J. (2019). The Italian Keyboard Toccata c. 1615-1650: A Repository for Oral Compositional Practices. Royal Musical Association Research Chronicle, 50(1) pp. 1–28. restricted access item, not available for direct download

Barker, Naomi J. (2013). The ear of the lynx: The musical legacy of the Accademia dei Lincei. In: Smith, David J. and Taylor, Rachelle eds. Networks of music and culture in the late sixteenth and early seventeenth centuries. Surrey: Ashgate Publishing Limited, pp. 59–70.

Barker, Naomi J. (2018). Learning the trade: What did Froberger do in Rome? In: Vejvar, Andreas and Grassl, Markus eds. "Avec discrétion": Rethinking Froberger. Wiener Veröffentlichungen zur Musikgeschichte (14). Vienna: Böhlau Verlag, pp. 205–221.

Barker, Naomi Joy (2000). ‘Diverse Passions’: Mode, Interval and Affect in Poussin’s Paintings. Music in Art, 25(1-2) pp. 5–24.

Barker, Naomi Joy (2003). Viewing the stile espressivo: Doni, Poussin and the ancient genera. In: Dobszay, László ed. The past in the present, Volume 1. Budapest: Liszt Ferenc Academy of Music.

Barlow, Helen (2012). The military band images of George Scharf. Music in Art, XXXVII(1-2) pp. 9–24.

Barlow, Helen (2016). From the Band of Musick to the Concert Party, ca. 1780–1918: Musical Entertainment in the British Army. Music in Art, 41 file

Barlow, Helen (2020). ‘Praise the Lord! We are a musical nation’: the Welsh working classes and religious singing. Nineteenth-Century Music Review (Early access). file

Barlow, Helen (2017). “Human voices are alone themselves sufficient”: Protestant and Catholic currents in the listening experiences of an Anglo-Prussian marriage. In: Barlow, Helen and Rowland, David eds. Listening to Music: People, Practices and Experiences. The Open University.

Barlow, Helen (2019). Progress and tradition: listening to the singing of the Welsh c.1870 to c.1920. In: Barlow, Helen and Rowland, David eds. The experience of listening to music: methodologies, identities, histories. The Open University. file

Barlow, Helen (2018). The British Army and the music profession: the impact of regimental bands on the status and identity of professional musicians. In: Golding, Rosemary ed. The Music Profession in Britain, 1780-1920: New Perspectives on Status and Identity. Music in Nineteenth-Century Britain. London: Routledge, pp. 72–89.

Barlow, Helen and Herbert, Trevor (2020). Introduction - Listeners in music history: studying the evidence. Nineteenth-Century Music Review (Early Access). file

Best, Terence (2001). An edition with preface of G.F. Handel, Deidamia, HWV 42. Bärenreiter, Kassel, Germany.

Best, Terence (2002). An edition with preface of G.F. Handel, Orgelkonzerte I, Sechs Konzerte für Orgel und Orchester Opus 4, HWV 289-294, Konzert für Harfe und Orchester, HWV 294. Bärenreiter, Kassel, Germany.

Best, Terence (2003). An edition with preface of G.F. Handel, Serse, HWV 40. Bärenreiter, Kassel, Germany.

Best, Terence (2005). An edition with preface of G.F. Handel, Riccardo primo, HWV 23. Bärenreiter, Kassel, Germany.

Boulez, Pierre and Samuels, Robert [trans.] (2004). The musician writes: for the eyes of the deaf? In: Ashby, Arved ed. The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology. Eastman Studies in Music. Rochester, NY: University of Rochester Press, pp. 197–222.

Brown, Simon; Adamou, Alessandro; Barlow, Helen and d'Aquin, Mathieu (2014). Building listening experience Linked Data through crowd-sourcing and reuse of library data. In: Proceedings of the 1st International Workshop on Digital Libraries for Musicology - DLfM '14, DLfM '14, ACM, pp. 1–8. restricted access item, not available for direct download

Brown, Simon; Barlow, Helen; Adamou, Alessandro and d'Aquin, Mathieu (2015). The Listening Experience Database Project: Collating the Responses of the "Ordinary Listener" to Prompt New Insights into Musical Experience. The International Journal of the Humanties: Annual Review, 13 pp. 17–32.

Burrows, D. (2007). Perhaps Handel was right after all: some thoughts on editing 'Ariodante'. The Musical Times, 148(1898) pp. 35–48.

Burrows, Donald (2005). Handel and the English Chapel Royal. Oxford Studies in British Church Music. Oxford, UK: Oxford University Press.

Burrows, Donald (2002). An edition with preface of G. F. Handel, Imeneo, HWV 41. Bärenreiter, Kassel, Germany.

Burrows, Donald (2005). The word-books for Handel's performances of 'Samson'. Musical Times, 146(1890) pp. 7–15.

Burrows, Donald (1991). Handel's Messiah (Korean edition). Cambridge music handbooks. Seoul: Imprima Korean Agency.

Burrows, Donald (2005). The Word-Books for Handel's Performances of "Samson". The Musical Times, 146(1890) pp. 7–15.

Burrows, Donald (2005). Mr Harris’s Score’: A new look at the ‘Mathews’ manuscript of Handel’s ‘Messiah’. Music & Letters, 86(4) pp. 560–572.

Burrows, Donald (2010). Bringing Europe to Britain: Handel’s first decade in London. Händel-Jahrbuch, 56 pp. 65–77.

Burrows, Donald (2008). Handel and the English Chapel Royal (revised paperback edition). Oxford Studies in British Church Music. Oxford: Oxford University Press.

Burrows, Donald (2009). Händel: Arienalbum, Frauenrollen für hohe Stimme aus Händels opern. Bärenreiter, Kassel.

Burrows, Donald (2009). G. F. Handel, Ode for St Cecilia's Day - the New Novello Choral edition. Novello & Company.

Burrows, Donald (2011). G. F. Handel: Te Deum in A Major. Novello and Company, London.

Burrows, Donald (2011). G. F. Handel: Let God arise (Chapel Royal version). Novello and Company, London.

Burrows, Donald (2008). ‘The composition of three arias in Handel’s Ariodante’. Händel-Jahrbuch, 54 pp. 131–149.

Burrows, Donald (2009). A Sacred Oratorio for the Theatre: an Experiment that nearly failed. Händel-Jahrbuch, 55 pp. 135–144.

Burrows, Donald (2009). Didn’t Handel go to Oxford in 1749? Musical Times, 150(1909) pp. 31–38.

Burrows, Donald (2011). HWV301 and all that: the history of Handel’s 'oboe concertos'. Musical Times, 152(1914) pp. 3–6.

Burrows, Donald (2012). Handel. New York: Oxford University Press.

Burrows, Donald (2015). G. F. Handel: L'Allegro, il Penseroso ed il Moderato. Novello and Company, London.

Burrows, Donald (2009). The Royal Music Library and its Handel collection. The Electronic British Library Journal, 2009, article no. 2. restricted access item, not available for direct download

Burrows, Donald (2005). An edition with preface of G. F. Handel, Samson. Novello & Co. Ltd., London, UK.

Burrows, Donald (2010). What we know – and what we don’t know – about Handel’s career in Rome. In: Ehrmann-Herfort, Sabine and Schnettger, Matthias eds. Georg Friedrich Händel in Rom. Analecta Musicologica (44). Barenreiter, pp. 97–108.

Burrows, Donald (2011). “Sometimes it is impossible to guess why Handel was so scrupulous”: Handel’s versions of the aria ‘Thou art gone up on high’ in "Messiah". In: Hirschmann, Wolfgang ed. Aria. Eine Festschrift für Wolklfgang Ruf. Studien und Materialien zur Musikwissenschaft (65). Hildesheim: Georg Olms, pp. 280–307.

Burrows, Donald (2009). Die Kastratenrollen in Händels Londoner Opern. In: Jacobshagen, Arnold and Mucke, Panja eds. Handels Opern. Das Handbuch. Das Händel-Handbuch (2). Laaber, pp. 143–163.

Burrows, Donald (2011). Good for the garden: the composition of Handel’s Ariodante. In: Joncus, Berta and Barlow, Jeremy eds. The Stage's Glory: John Rich 1692-1761. Newark / Lanham, MD.: University of Delaware Press / Rowman and Littlefield, pp. 149–156.

Burrows, Donald (2004). Orchestras in the new Cathedral. In: Keene, Derek; Burns, Arthur and Saint, Andrew eds. St Paul’s: The Cathedral Church of London, 604-2004. London: Yale University Press.

Burrows, Donald (2009). Who does what, when? On the instrumentation of the basso continuo and the use of the organ in Handel’s English oratorios. In: King, Richard G. ed. Handel Studies: a Gedenkschrift for Howard Serwer. Hillsdale, NY: Pendragon, pp. 107–126.

Burrows, Donald (2008). John Walsh and his Handel editions. In: Myers, Robin; Harris, Michael and Mandelbrote, Giles eds. Music and the Book Trade from the Sixteenth to the Twentieth Century. London: The British Library, pp. 69–104.

Burrows, Donald (2010). Lists of Musicians for Performances of Handel’s Messiah at the Foundling Hospital, 1754-1777. Royal Musical Association Research Chronicle, 43 pp. 85–109.

Burrows, Donald (2004). Musicians and music copyists in mid-eighteenth-century Oxford. In: Wollenberg, Susan and McVeigh, Simon eds. Concert Life in Eighteenth-Century Britain. Aldershot: Ashgate, pp. 115–140.

Burrows, Donald and Dunhill, Rosemary (2002). Music and theatre in Handel's world : the family papers of James Harris 1732-1780. Oxford, UK: Oxford University Press.

Burrows, Donald James (1981). Handel and the English Chapel Royal during the reigns of Queen Anne and King George I. PhD thesis. Open University. filefile

Byram-Wigfield, Benjamin (2016). The Sacred Music of Antonio Lotti: Idiom and Influence of a Venetian Master. PhD thesis. The Open University. file

Carroll, Mora (2003). J.L. Dussek and his role in the development of the piano repertory. PhD thesis. The Open University. file

Channon, Merlin George Charles (1995). Judas Maccabaeus, Handel's victory oratorio of 1747, and its development in London performances until 1744. PhD thesis. The Open University. filefile

Rowland, David, ed. Chopin Rondos. By Frederic Chopin . London, Edition Peters (2013).

Chornik, Katia Marcela (2011). The Role of Music in Selected Novels and Associated Writings of Alejo Carpentier: Primeval Expression, Structural Analogies and Performance. PhD thesis. The Open University. file

Clarke, Martin (2009). John Wesley’s “Directions for Singing”: Methodist Hymnody as an Expression of Methodist Beliefs in Thought and Practice. Methodist History, 47(4) pp. 196–209.

Clarke, Martin (2016). "And can it be": analysing the words, music and contexts of an iconic Methodist hymn. Yale Journal of Music and Religion, 2(1), article no. 2. file

Clarke, Martin (2010). The Illingworth Moor Singers' Book: a snapshot of Methodist music in the early ninteenth century. Nineteenth-Century Music Review, 7(1) pp. 81–103. file

Clarke, Martin (2008). Spirituality and Practicality: John Wesley’s visit to America and Moravian Influences on Methodist Music and Worship. Lumen: Selected Proceedings from the Canadian Society for Eighteenth-Century Studies, 27 pp. 13–26. file

Clarke, Martin (2017). Listening to a singing people: accounts of Methodist hymn-singing. In: Barlow, Helen and Rowland, David eds. Listening to music: people, practices and experiences. The Open University.

Clarke, Martin (2012). 'Meet and Right it is to Sing': nineteenth-century hymnals and the reasons for singing. In: Clarke, Martin ed. Music and Theology in Nineteenth-Century Britain. Music in Ninteenth-Century Britain. Farnham: Ashgate, pp. 21–36.

Clarke, Martin (2010). John Frederick Lampe's Hymns on the Great Festivals and Other Occasions. In: Temperley, Nicholas and Banfield, Stephen eds. Music and the Wesleys. Urbana: University of Illinois Press, pp. 52–62.

Clarke, Martin V. (2017). British Methodist Hymnody: Theology, Heritage, and Experience. Routledge Methodist Studies. Abingdon: Routledge.

Clarke, Martin V. (2016). [Digital Resource Review] Digital Hymnology: Canterbury Dictionary of Hymnology, Hymn Tune Index, Hymnary.org. Nineteenth-Century Music Review, 13(2) pp. 421–430. file

Clarke, Martin V. (2019). [Book Review] Wesley Hymns. Wesley and Methodist Studies, 11(2) pp. 222–224.

Clarke, Martin V. (2020). Hearing and Believing: Listening Experiences as Religious Experiences in Nineteenth-Century British Methodism. Nineteenth-Century Music Review (Early access). file

Clarke, Martin V. (2019). ‘O Lord, open thou our lips’: listeners’ experiences of BBC Radio 3’s Choral Evensong on The New Radio 3 Forum. In: Barlow, Helen and Rowland, David eds. The Experience of Listening to Music: Methodologies, Identities, Histories. Milton Keynes: The Open University. file

Clarke, Martin V. (2018). Church musicians in nineteenth-century Durham. In: Golding, Rosemary ed. The Music Profession in Britain, 1780-1920: New Perspectives on Status and Identity. Music in Nineteenth-Century Britain. Abingdon: Routledge, pp. 90–109.

Clarke, Martin V. (2019). “Come, all you people”: Lutheran Influences on the Spread of Global Hymnody. In: Schildt, Maria; Lundberg, Mattias and Lundblad, Jonas eds. Celebrating Lutheran Music: Scholarly Perspectives at the Quincentenary. Studia musicologica Upsaliensia. Uppsala: Acta Universitatis Upsaliensis, pp. 337–350.

Clarke, Martin V. Churches and Devotional Practice. In: Watt, Paul; Allis, Michael and Collins, Sarah eds. The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century. Oxford: Oxford University Press, (In press).

Coffey, Helen (2015). Music for an Elector and King: the Hanover Hofkapelle during the reigns of George I and II. In: Händel und die Musikgeschichte des Hauses Hannover, 10-11 Jun 2014, Halle, Saale, Georg-Friedrich-Händel-Gesellschaft e. V., pp. 135–152.

Coffey, Helen (2019). Music and ceremony in Maximilian's Innsbruck. Musikleben des Spätmittelalters in der Region Österreich.

Coffey, Helen (2017). City life and music for secular entertainment during the reign of Maximilian I. In: Biddle, Ian and Gibson, Kirsten eds. Cultural Histories of Noise, Sound and Listening in Europe, 1300–1918. Routledge, pp. 171–185.

Coffey, Helen (2017). Opera for the House of Brunswick-Lüneburg: Italian Singers at the Hanover Court. In: Kaufold, Claudia; Strohmann, Nicole K. and Timms, Colin eds. Agostino Steffani: European Composer, Hanoverian Diplomat and Bishop in the Age of Leibniz. Goettingen: Vandenhoeck & Ruprecht, pp. 107–122.

Collings, Matthew; Rawlinson, Jules and Williams, Sean (2015). Requiem for Edward Snowden. Edinburgh College of Art.

Collings, Matthew; Rawlinson, Jules and Williams, Sean (2015). Requiem for Edward Snowden. Sound Scotland.

Cook, James; Kolassa, Alexander and Whittaker, Adam (2018). Music in fantasy pasts: neomedievalism and Game of Thrones. In: Kolassa, Alexander; Cook, James and Whittaker, Adam eds. Recomposing the Past: Representations of Early Music on Stage and Screen. Ashgate Screen Music Series. Abingdon: Routledge, pp. 229–250. file

Cook, James; Kolassa, Alexander and Whittaker, Adam (2018). [Introduction] Understanding the present through the past and the past through the present. In: Kolassa, Alexander; Cook, James and Whittaker, Adam eds. Recomposing the Past: Representations of Early Music on Stage and Screen. Ashgate Screen Music Series. Abingdon: Routledge, pp. 1–14. file

Cradduck, Lucinda (2019). Spirituality in the Music of Edmund Rubbra. PhD thesis. The Open University.

Burrows, Donald, ed. Canticles and anthems with orchestra. By William Croft . London, Stainer and Bell (2011).

Cusworth, Andrew Dominic John (2016). Towards a Digital Land of Song: A Digital Approach to the Archival Record of Welsh Traditional Music, its Performance and its Reception. PhD thesis. The Open University. file

da Sousa Correa, Delia; Chornik, Katia and Samuels, Robert (2009). Literature and music: Interdisciplinary research and teaching at the Open University. Working With English: Medieval and Modern Language, Literature and Drama, 5 pp. 50–61. file

Doffman, Mark Russell (2009). Feeling the groove: shared time and its meanings for three jazz trios. PhD thesis. The Open University. file

Dudgeon, Ralph T.; Eastop, Phillip; Herbert, Trevor and Wallace, John (1997). Playing, learning and teaching brass. In: Herbert, Trevor and Wallace, John eds. The Cambridge Companion to Brass Instruments. Cambridge Companions to Music. Cambridge: Cambridge University Press, pp. 193–206.

Dueck, Byron (2007). Public and intimate sociability in first nations and Métis fiddling. Ethnomusicology, 51(1) pp. 30–63.

Dueck, Byron (2006). 'Suddenly a sense of being a community': Aboriginal square dancing and the experience of collectivity. Musiké, 1(1) pp. 41–58.

Dueck, Byron (2013). Musical Intimacies and Indigenous Imaginaries: Aboriginal Music and Dance in Public Performance in Manitoba. New York: Oxford University Press.

Dueck, Byron (2018). North American Indigenous song, the sacred and the senses. Body and Religion, 2(2) pp. 206–223. restricted access item, not available for direct download

Dueck, Byron (2013). Jazz endings, aesthetic discourse, and musical publics. Black Music Research Journal, 33(1) pp. 91–115.

Dueck, Byron (2013). Civil twilight: country music, alcohol, and the spaces of Manitoban aboriginal sociability. In: Born, Georgina ed. Music, Sound and Space: Transformations of Public and Private Experience. Cambridge, UK: Cambridge University Press, pp. 239–256.

Dueck, Byron (2013). Rhythm and role recruitment in Manitoban aboriginal music. In: Clayton, Martin; Dueck, Byron and Leante, Laura eds. Experience and Meaning in Music Performance. Oxford: Oxford University Press.

Dueck, Byron (2018). North American Indigenous Song, the Sacred and the Senses. In: Harvey, Graham and Hughes, Jessica eds. Sensual Religion: Religion and the Five Senses. Equinox Publishing Ltd., pp. 170–188.

Dueck, Byron (2012). 'No heartaches in Heaven': a response to aboriginal suicide. In: Hoefnagels, Anna and Diamond, Beverley eds. Aboriginal Music in Contemporary Canada: Echoes and Exchanges. McGill-Queen's Native and Northern Series (66). Montreal: McGill-Queen's University Press.

Dueck, Byron (2019). Powwow and Indigenous Modernities: Traditional Music, Public Education, and Child Welfare. In: Levine, Victoria Lindsay and Robinson, Dylan eds. Music and Modernity Among First Peoples of North America. Wesleyan University Press, pp. 158–173.

Dueck, Byron (2017). Imagining identifications: how musicians align their practices with publics. In: MacDonald, Raymond; Hargreaves, David J. and Miell, Dorothy eds. Handbook of Musical Identities. Oxford: Oxford University Press, pp. 383–402.

Dueck, Byron (2016). Song, Participation, and Intimacy at Truth and Reconciliation Gatherings. In: Robinson, Dylan and Martin, Keavy eds. Arts of Engagement: Taking Aesthetic Action In and Beyond the Truth and Reconciliation Commission of Canada. Waterloo, ON, Canada: Wilfrid Laurier University Press, pp. 267–281.

Dueck, Byron (2014). Standard, advantage, and race in British discourse about jazz. In: Toynbee, Jason; Tackley, Catherine and Doffman, Mark eds. Black British Jazz: Routes, Ownership, and Performance. Ashgate Popular and Folk Music Series. Farnham: Ashgate, pp. 199–220.

Force, David Robert Stuart (2019). 'A Holding, Uniting-Constant Friend': The Organ in Seventeenth-Century English Domestic Music. PhD thesis. The Open University. file

Gates, Bernard (1999). The codification of pitch organisation in the early atonal works of Alban Berg. PhD thesis. The Open University. file

Golding, Rosemary (2009). Musical Chairs: the Construction of ‘Music’ in Nineteenth-Century British Universities. Nineteenth-Century Music Review, 6(2) pp. 19–39.

Golding, Rosemary (2014). Organ Recitals, education, repertoire, and a new musical public in nineteenth-century Edinburgh. Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music, 12(24) pp. 89–113.

Golding, Rosemary (2013). Music and Academia in Victorian Britain. Music in Nineteenth-Century Britain. Farnham: Ashgate.

Golding, Rosemary (2016). Seeking a Philosophy of Music in Higher Education: The Case of Mid-nineteenth Century Edinburgh. Philosophy of Music Education Review, 24(2) pp. 191–212. file

Golding, Rosemary (2017). The Society of Arts and the Challenge of Professional Music Education in 1860s Britain. Journal of Historical Research in Music Education, 38(2) pp. 128–150. file

Golding, Rosemary (2019). ‘Appeasing the unstrung mental faculties’: listening to music in nineteenth-century lunatic asylums. Nineteenth-Century Music Review (In Press). restricted access item, not available for direct download

Golding, Rosemary (2019). Music and Mass Education: Cultivation or Control? In: Collins, Sarah ed. Music and Victorian Liberalism: Composing the Liberal Subject. Cambridge University Press, pp. 60–80. file

Golding, Rosemary (2018). Introduction. In: Golding, Rosemary ed. The Music Profession in Britain, 1780-1920: New Perspectives on Status and Identity. Routledge, pp. 1–11.

Golding, Rosemary (2018). Music teaching in the late-nineteenth century: a professional occupation? In: Golding, Rosemary ed. The Music Profession in Britain, 1780-1920: New Perspectives on Status and Identity. Music in Nineteenth-Century Britain. Routledge, pp. 128–148. file

Golding, Rosemary (2012). (Re)-configuring the idea of the Conservatoire in late-nineteenth-century London. In: Sirch, Licia; Sità, Maria Grazia and Vaccarini, Marina eds. L´insegnamento dei conservatori, la composizione e la vita musicale nell´Europa dell´Ottocento. Strumenti della Ricerca Musicale (19). Lucca: Libreria Musicale Italiana.

Golding, Rosemary (2018). Finding Musicology in nineteenth-century Britain: contexts and conflicts. In: Wald-Fuhrmann, Melanie and Keym, Stefan eds. Wege zur Musikwissenschaft / Paths to Musicology. Bärenreiter Verlag. restricted access item, not available for direct download

Gouly, Daniel (2020). SoundCloud, Sampling and Sonic Experimentation: Knowledge Transmission in Hip-Hop’s Underground. PhD thesis. The Open University. file

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Hamer, Laura (2016). [Review-Article] 'Paths to the Podium' Review-Article of The Musical Work of Nadia Boulanger: Performing Past and Future Between the Wars by Jeanice Brooks. Journal of the Royal Musical Association, 141(2) pp. 495–504.

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Hamer, Laura (2010). Germaine Tailleferre and Hlne Perdriat's Le Marchand d'oiseaux (1923): French feminist ballet? Studies in Musical Theatre, 4(1) pp. 113–120.

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Hamer, Laura (2018). Female Composers, Conductors, Performers: Musiciennes of Interwar France, 1919-1939. Abingdon: Routledge.

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Hamer, Laura (2018). 'Every impulse and spring of art seems to have died in me, except for music': Gerard Manley Hopkins as composer. The Musical Times, 159(1945) pp. 27–41. file

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Hamer, Laura (2012). Armande de Polignac: An Aristocratic Compositrice in Fin-de-siècle Paris. In: Fryer, Paul ed. Women in the Arts in the Belle Époque: Essays on Influential Artists, Writers and Performers. Jefferson, North Carolina and London: McFarland, pp. 165–185.

Hamer, Laura (2018). Beyond neoclassicism: symphonic form, catharsis, and political commentary in Barraine’s Deuxième symphonie (1938). In: Mawer, Deborah ed. Historical Interplay in French Music and Culture 1860 - 1960. Abingdon and New York: Routledge, pp. 121–138. file

Hamer, Laura (2019). A Cultural Formation: Paul Dukas and Elsa Barraine. In: Minors, Helen Julia and Watson, Laura eds. Paul Dukas: Legacies of a French Musician. Abingdon and New York: Routledge, pp. 131–149.

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Herbert, Trevor (2011). “…men of great perfection in their science…”: the trumpeter as musician and diplomat in England in the later fifteenth and sixteenth centuries. Historic Brass Society Journal, 23 pp. 1–23.

Herbert, Trevor (2012). Music in Words: A Guide to Researching and Writing about music. London: ABRSM Publishing.

Herbert, Trevor (2008). The Robert Minter collection: a handlist of seventeenth and eighteenth century trumpet repertory. The Open University. https://doi.org/10.21954/ou.rd.7258499.v1

Herbert, Trevor (1988). The virtuosi of Merthyr. Llafur: the Journal of the Society for the Study of Welsh Labour History, 5(1) pp. 60–69.

Herbert, Trevor (1990). The repertory of a Victorian provincial brass band. Popular Music, 9(1) pp. 117–132.

Herbert, Trevor (1990). The sackbut in England in the 17th and 18th centuries. Early Music, 18(4) pp. 609–616.

Herbert, Trevor (1992). Victorian brass bands: the establishment of a ‘working class musical tradition’. Historic Brass Society Journal, 4 pp. 1–11.

Herbert, Trevor (1993). The sackbut and pre-Reformation English church music. Historic Brass Society Journal, 5 pp. 146–158.

Herbert, Trevor (1996). Late Victorian Welsh bands: taste, viruosity and Cymmrodorion attitudes. Welsh Music History, 1 pp. 92–102.

Herbert, Trevor (1991). A lament for Sam Hughes: the last Ophicleidist. Planet: the Welsh Internationalist, 87 pp. 66–75.

Herbert, Trevor (1989). The trombone in 19th-century Italian opera. Welsh National Opera.

Herbert, Trevor (1996). The Origin of the Species: The Cyfarthfa Repertory on Period Instruments. Nimbus.

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Herbert, Trevor (2010). Trombone glissando: a case study in continuity and change in brass instrument performance idioms. Historic Brass Society Journal, 22, pp. 1–18. file

Herbert, Trevor (2000). Popular nationalism: Griffith Rhys Jones (‘Caradog’) and the Welsh choral tradition. In: Bashford, Christina and Langley, Leanne eds. Music and British Culture, 1785-1914: Essays in Honour of Cyril Ehrlich. Oxford: Oxford University Press, pp. 255–274.

Herbert, Trevor (2013). Brass and military bands in Britain - performance domains, the factors that construct them and their influence. In: Brucher, Kate and Reily, Suzel eds. Brass Bands of the World: Bands: Militarism, Colonial Legacies, and Local Music Making. SOAS Musicology Series. Farnham: Ashgate, pp. 33–54.

Herbert, Trevor (1997). Reconstruction of nineteenth-century band repertory: towards a protocol. In: Carter, Stewart ed. Persepctives in Brass Scholarship: Proceedings of the International Historic Brass Society Symposium, Amherst, 1995. Bucina: The Historic Brass Society Series (2). Stuyvesant, NY: Pendragon Press, pp. 185–213.

Herbert, Trevor (1999). Volunteers, salvationists and committees: consensus versus regulation in amateur Victorian brass bands. In: Chastagner, Claude ed. La musique populaire des Iles Britanniques, 1835-1915. Cahiers Victoriens et Édouardiens (50). Montpellier: Centre d'Études et de Recherches Victoriennes et Édouardiennes de l'Université Paul-Valéry, pp. 105–121.

Herbert, Trevor (2011). Social history and music history. In: Clayton, Martin; Herbert, Trevor and Middleton, Richard eds. The Cultural Study of Music: A Critical Introduction (2nd ed). Abingdon: Routledge, pp. 49–58.

Herbert, Trevor (1999). Military music articles in the Farmer Collection. In: Cowl, Carl and Craik, Sheila M. eds. Henry George Farmer: A Bibliography. Glasgow: Glasgow University Library, xvii-xxi.

Herbert, Trevor (2000). Nineteenth-century bands: making a movement. In: Herbert, Trevor ed. The British Brass Band: a Musical and Social History. Oxford: Oxford University Press, pp. 10–67.

Herbert, Trevor (2000). God's perfect minstrels: the bands of the Salvation Army. In: Herbert, Trevor ed. The British Brass Band: a Musical and Social History. Oxford: Oxford University Press, pp. 187–216.

Herbert, Trevor (2000). Introduction. In: Herbert, Trevor ed. The British Brass Band: a Musical and Social History. Oxford: Oxford University Press, pp. 1–9.

Herbert, Trevor (1997). ‘Sackbut’: the early trombone. In: Herbert, Trevor and Wallace, John eds. The Cambridge Companion to Brass Instruments. Cambridge Companions to Music. Cambridge: Cambridge University Press, pp. 68–83.

Herbert, Trevor (1997). Brass bands and other vernacular brass traditions. In: Herbert, Trevor and Wallace, John eds. The Cambridge Companion to Brass Instruments. Cambridge Companions to Music. Cambridge: Cambridge University Press, pp. 177–192.

Herbert, Trevor (1992). A softening influence: R. T. Crawshay and the Cyfarthfa Band. In: Holley, T. F. ed. Merthyr Historian, Volume 5. Merthyr Tydfil: Merthyr Tydfil Historical Society, pp. 35–42.

Herbert, Trevor (1998). Victorian brass bands: class, taste and space. In: Leyshon, Andrew; Matless, David and Revill, George eds. The Place of Music. New York: The Guilford Press, pp. 104–128.

Herbert, Trevor (2000). Trombones and the English court, c. 1480-c.1680. In: Lustig, Monika and Weiner, Howard T. eds. Posaunen und Trompeten: Geschichte, Akustik, Spieltechnik: 19. Musikinstrumentenbau-Symposium in Michaelstein, 20. bis 22. November 1998. Michaelsteiner Konferenzberichte (60). Blankenburg: Stiftung Kloster Michaelstein, pp. 31–38.

Herbert, Trevor (2005). Matthew Locke and the cornett and sackbut ensemble in England after the Restoration: the 'labelled evidence'. In: Polk, Keith ed. Brass Music at the Cross Roads of Europe: The Low Countries and Contexts of Brass Musicians from the Renaissance into the Nineteenth Century. Utrecht, Netherlands: STIMU, pp. 57–67.

Herbert, Trevor (2005). Susato's colleagues: the trombonists of the Tudor court. In: Polk, Keith ed. Tielman Susato and the music of his time: print culture, compositional technique and instrumental music in the Renaissance. Bucina: The Historic Brass Society Series (5). Hillsdale, New York: Pendragon Press, pp. 117–132.

Herbert, Trevor (2009). Trombone idiom in the twentieth century: classical, jazz, and hybrid influences. In: Weiner, Howard T. ed. Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions. Studies in Jazz. Lanham, MD, USA: Scarecrow Press.

Herbert, Trevor (2009). Introduction: Brass playing in the early twentieth century: idioms and cultures of performance. In: Weiner, Howard T. ed. Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions. Studies in Jazz (58). Lanham, MD: Scarecrow Press, xi-xvii.

Herbert, Trevor (1999). The practice and context of a private Victorian brass band. In: Zon, Bennett ed. Nineteenth-Century British Music Studies, Volume 1. Aldershot: Ashgate, pp. 105–118.

Herbert, Trevor and Barlow, Helen (2013). Music and the British Military in the Long Nineteenth Century. New York: Oxford University Press.

Herbert, Trevor and Barlow, Helen (2012). The British military as a musical institution, c.1780-c.1860. In: Rodmell, Paul ed. Music and Institutions in Nineteenth-Century Britain. Music in Nineteenth-Century Britain. Farnham: Ashgate, pp. 247–266.

Herbert, Trevor and Myers, Arnold (2010). Music for the multitude: accounts of bands entering Enderby Jackson's Crystal Palace contests in the 1860s. Early Music, 38(4) pp. 571–584.

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Herbert, Trevor and Wallace, John (2000). Aspects of performance practices: the brass band and its influence on other brass-playing styles. In: Herbert, Trevor ed. The British Brass Band: a Musical and Social History. Oxford: Oxford University Press, pp. 278–305.

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Winters, Ben (2017). Idolizing the Synchronized Score: Studying Indiana Jones Hypertexts. In: Mera, Miguel; Sadoff, Ronald and Winters, Ben eds. The Routledge Companion to Screen Music and Sound. New York: Routledge, pp. 531–542.

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This list was generated on Wed Jul 15 18:45:18 2020 BST.