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

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

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

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

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.

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

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

Herbert, Trevor (2006). The Trombone. Yale Musical Instrument Series. Yale University Press.

Herbert, Trevor and Myers, Arnold (1990). Catalogue of the European Wind and Percussion Instruments in the Cyfarthfa Castle Museum Collection. Merthyr Tydfil: Cyfarthfa Castle Museum and Art Gallery.

Moohan, Elaine and Elliott, Kenneth (2019). Robert Johnson Complete Works (Musica Scotica vol. 8). Musica Scotica Editions of Early Scottish Music, 8. Glasgow: Musica Scotica (In Press).

Parsonage, Catherine (2005). The Evolution of Jazz in Britain, 1880-1935. Ashgate Popular and Folk Music Series. Aldershot: Ashgate.

Samuels, Robert (1995). Mahler's Sixth Symphony: a Study in Musical Semiotics. Cambridge Studies in Music Theory and Analysis, 6. Cambridge: Cambridge University Press.

Tackley, Catherine (2012). Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert. Studies in Recorded Jazz. New York: Oxford University Press.

Winters, Ben (2007). Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide. Scarecrow Film Score Guides, 6. Lanham, MD: Scarecrow Press.

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

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. (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; 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.

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.

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.

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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 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 (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 (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.

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.

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.

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 (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.

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. (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.

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. (2020). 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 (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.

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.

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.

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 (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.

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.

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.

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.

Green, Helen (2009). Meetings of City and Court: Music and Ceremony in the Imperial Cities of Maximilian I. In: Hartmann, Sieglinde and Müller, Ulrich eds. Kaiser Maximilian I. (1459 bis 1519) und die Hofkultur seiner Zeit. Jahrbuch Der Oswald Von Wolkenstein Gesellschaft, 17. Reichert, pp. 261–274.

Hamer, Laura (2019). Critiquing the Canon: The Role of Criticism in Canon Formation. In: Dingle, Christopher ed. The Cambridge History of Music Criticism. The Cambridge History of Music. Cambridge University Press, pp. 231–248.

Hamer, Laura (2019). The Gender Paradox: Criticism of Women and Women as Critics. In: Dingle, Christopher ed. The Cambridge History of Music Criticism. The Cambridge History of Music. Cambridge University Press, pp. 272–290.

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.

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.

Hamer, Laura (2012). Entre Satie et Stravinsky: les modèles néoclassiques de Germaine Tailleferre. In: Terrien, Pascal ed. Musique française : esthétique et identité en mutation 1892-1992. Paris: Delatour France, pp. 89–96.

Hamer, Laura and Murray, Christopher Brent (2013). Olivier Messiaen and the prix de Rome as a Rite of Passage. In: Dingle, Christopher and Fallon, Robert eds. Messiaen Perspectives 1: Sources and Influence. Farnham: Ashgate, pp. 13–43.

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 (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 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.

Kolassa, Alexander (2018). Presentness and the past in contemporary British opera. In: Cook, James; Kolassa, Alexander and Whittaker, Adam eds. Recomposing the Past: Representations of Early Music on Stage and Screen. Ashgate Screen Music Series. Abingdon and New York: Routledge, pp. 155–173.

Kolassa, Alexander (2018). Introduction to Part III. In: Fugelso, Karl ed. Authenticity, Medievalism, Music. Studies in Medievalism (27). Cambridge: Boydell & Brewer, pp. 181–182.

Kolassa, Alexander (2018). The Past is a Different Planet: Sounding Medievalism in Aleksei German’s Hard to Be a God. In: Fugelso, Karl ed. Studies in Medievalism XXVII: Authenticity, Medievalism, Music. Studies in Medievalism, XXVII. Cambridge: D.S.Brewer, pp. 227–250.

Kolassa, Alexander In: Kostka, Violetta; Castro, Paulo Ferreira de and Everett, William eds. Intertextuality in Music: Dialogical Composition. Abingdon: Routledge, (In press).

Laney, Robin; Samuels, Robert and Capulet, Emilie (2015). Cross entropy as a measure of musical contrast. In: Collins, Tom; Meredith, David and Volk, Anja eds. Mathematics and Computation in Music. Lecture Notes in Computer Science (9110). Cham, Switzerland: Springer International Publishing, pp. 193–198.

Mera, Miguel; Sadoff, Ronald and Winters, Ben (2017). Introduction: Framing Screen Music and Sound. In: Mera, Miguel; Sadoff, Ronald and Winters, Ben eds. The Routledge Companion to Screen Music and Sound. New York: Routledge, pp. 1–14.

Moohan, Elaine (2005). The Sacred Music Institution in Glasgow, 1796-1805. In: Munro, Gordon; Campbell, Stuart; Hair, Greta-Mary; Mackay, Margaret A.; Moohan, Elaine and Hair, Graham eds. Notis Musycall: Essays on Music and Scottish Culture in Honour of Kenneth Elliott. Historical Studies of Scottish Music. Glasgow: Musica Scotica Trust, pp. 231–250.

Parsonage, Catherine (2007). Fascination and fear: Responses to early jazz in Britain. In: Wynn, Neil A. ed. Cross the Water Blues: African American Music in Europe. University Press of Mississippi, pp. 89–105.

Parsonage, Catherine and Dyson, Kathy (2007). The history of women in jazz in Britain. In: Adkins Chiti, Patricia ed. Women in Jazz/Donne in Jazz. Rome: Editore Columbo, pp. 129–140.

Richards, Fiona (2017). Sensibility and listening in England before and after the Great War. In: Barlow, Helen and Rowland, David eds. Listening to Music: People, Practices and Experiences. The Open University.

Richards, Fiona (2007). Granville Bantock and the Orient in the Midlands. In: Clayton, Martin and Zon, Bennett eds. Music and Orientalism in the British Empire, 1780s to 1940s: Portrayal of the East. Music in Nineteenth-Century Britain. Aldershot, UK: Ashgate Publishing, pp. 129–146.

Richards, Fiona (2004). British islands: an obsession of British composers. In: Dawe, Kevin ed. Island musics. Oxford, UK: Berg, pp. 199–212.

Richards, Fiona (2011). John Ireland's personal world. In: Foreman, Lewis ed. The John Ireland Companion. Woodbridge: Boydell & Brewer, pp. 42–53.

Richards, Fiona (2011). Helen Perkin: pianist, composer and muse of John Ireland. In: Foreman, Lewis ed. The John Ireland Companion. Woodbridge: Boydell & Brewer, pp. 132–146.

Richards, Fiona (2002). An Anthology of friendship: the letters from John Ireland to Father Kenneth Thompson. In: Fuller, Sophie and Whitesell, Lloyd eds. Queer episodes in music and modern identity. Urbana, USA: University of Illinois Press, pp. 245–267.

Richards, Fiona (2018). Australasia. In: Herbert, Trevor; Myers, Arnold and Wallace, John eds. The Cambridge Encyclopedia of Brass Instruments. Cambridge University Press, pp. 41–44.

Richards, Fiona (2006). Introduction: Spirit of place, spiritual journeys. In: Richards, Fiona ed. The Soundscapes of Australia: music, place and spirituality. Ashgate.

Richards, Fiona (2006). Journeys across Australia: Ealing film scores of the 1940s and '50s. In: Richards, Fiona ed. The Soundscapes of Australia: music, place and spirituality. Ashgate.

Rowland, David (2017). London's Art Music and provincial listeners in England c.1700-1850. In: Barlow, Helen and Rowland, David eds. Listening to Music: People, Practices and Experiences. Milton Keynes: The Open University.

Rowland, David (2017). Introduction. In: Barlow, Helen and Rowland, David eds. Listening to Music: People, Practices and Experiences. Milton Keynes: The Open University.

Rowland, David (2019). The listening experiences of John Yeoman (1748 – 1824). In: Barlow, Helen and Rowland, David eds. The experience of listening to music: methodologies, identities, histories. Milton Keynes: The Open University.

Rowland, David (2004). Clementi's early business career: new documents. In: Bösel, Richard and Sala, Massimiliano eds. Muzio Clementi. Cosmopolita della Musica. Atti del convegno internazionale in occasione del 250° anniversario della nascita (1752-2002). Roma, 4-6 dicembre 2002. Bologna, Italy: Ut Orpheus Edizioni, pp. 49–59.

Rowland, David (2013). Haydn's music and Clementi's publishing circle. In: Chesser, Richard and Wyn Jones, David eds. The Land of Opportunity: Joseph Haydn and Britain. London: British Library Publishing, pp. 92–111.

Rowland, David (2009). Piano businesses in England and France. In: Getreau, Florence ed. Le pianoforte en France 1780-1820. Musique Images Instruments (11). Paris: CNRS Editions, pp. 127–135.

Rowland, David (2018). Composers and publishers in Clementi's London. In: Golding, Rosemary ed. The Music Profession in Britain, 1780-1920: New Perspectives on Status and Identity. Music in Nineteenth-Century Britain. London and New York: Routledge, pp. 32–52.

Rowland, David (2010). Clementi & Co. in international markets. In: Illiano, Roberto and Sala, Luca eds. Instrumental Music and the Industrial Revolution. Ad Parnassum Studies (5). Bologna: Ut Orpheus Edizioni, pp. 525–542.

Rowland, David (2002). Clementi and the British concerto tradition. In: Illiano, Roberto; Sala, Luca and Sala, Massimiliano eds. Muzio Clementi: studies and prospects. Muzio Clementi Omnia Opera (61). Bologna, Italy: Ut Orpheus Edizioni, pp. 179–190.

Rowland, David (2016). European music publishing during the Napoleonic wars. In: Jardin, Étienne ed. Music and War in Europe from the French Revolution to WWI. Music, criticism and politics (2). Turnhaut: Brepols, pp. 223–232.

Rowland, David (2011). Clementi's music business. In: Kassler, Michael ed. The Music Trade in Georgian England. Farnham, Surrey and Burlington, VT: Ashgate, pp. 125–157.

Rowland, David (2011). Clementi as publisher. In: Kassler, Michael ed. The Music Trade in Georgian England. Farnham, Surrey and Burlington, VT: Ashgate, pp. 159–191.

Rowland, David (2005). Performance practices in the nineteenth-century concerto. In: Keefe, Simon ed. The Cambridge companion to the concerto. Cambridge Companions Series. Cambridge, UK: Cambridge University Press, pp. 227–246.

Rowland, David (2018). Clementi's Introduction in European musical life, 1801-1830. In: Sala, Luca Lévi and Stewart-MacDonald, Rohan H. eds. Muzio Clementi and British Musical Culture: Sources, Performance Practice and Style. Abingdon: Routledge, pp. 69–83.

Rowland, David (2006). Viotti and Clementi: Friendship, publishing, the Philharmonic Society and the Royal Academy of Music. In: Sala, Massimiliano ed. Giovanni Battista Viotti: A composer between the two revolutions. Bologna, Italy: Ut Orpheus Edizioni, pp. 377–394.

Rowland, David (2019). Music Publishing in Britain ca. 1840-1900. In: Sala, Massimiliano ed. Music and the Second Industrial Revolution. Music, Science & Technology (2). Turnhout: Brepols.

Rowland, David (2015). Pianists and the European music trade c. 1790-1820. In: Sala, Massimiliano ed. Piano culture in 19th-century Paris. Turnhout: Brepols, pp. 17–26.

Rowland, David (2020). Composers, publishers and the market in late Georgian Britain. In: Sala, Massimiliano ed. Music publishing and composers (1750-1850). Speculum Musicae (37). Turnhout: Brepols, pp. 85–112.

Rowland, David (2012). Dussek in London's commercial world. In: Stewart-MacDonald, Rohan and Illiano, Roberto eds. Jan Ladislav Dussek: A Bohemian Composer «en voyage» through Europe. Quaderni Clementiani (4). Bologna: Ut Orpheus Edizioni, pp. 87–111.

Rowland, David (2005). The Performance of Chopin's works for piano and orchestra. In: Szklener, Artur ed. Chopin in performance: History, theory, practice. Warsaw, Poland: Narodowy Instytut Fryderyka Chopina, pp. 169–183.

Rowland, David (2010). Chopin and early nineteenth century piano schools. In: Szklener, Artur ed. The Sources of Chopin's Style, Inspirations and Contexts. Warsaw: Narodowy Instytut Fryderyka Chopina, pp. 83–96.

Rowland, David (2010). Chopin and early nineteenth century piano schools. In: Szklener, Artur ed. The Sources Of Chopin’s Creative Style: Inspirations And Contexts. Warsaw: Narodowy Instytut Fryderyka Chopina, pp. 83–96.

Samuels, Robert (2011). The act of performance as Mahlerian topic. In: Bernhart, Walter and Halliwell, Michael eds. Word and Music Studies: essays on performativity and on surveying the field. Words and Music Studies (12). Amsterdam: Rodopi, pp. 35–52.

Samuels, Robert (2014). Schubert’s instrumental voice: vocality in melodic construction in the late works. In: Bernhart, Walter and Kramer, Lawrence eds. On Voice. Word and Music Studies, 13. Amsterdam: Rodopi, pp. 161–178.

Samuels, Robert (2010). Mahler within Mahler: allusion as quotation, self-reference, and metareference. In: Bernhart, Walter and Wolf, Werner eds. Self-Reference in Literature and Other Media. Word and Music Studies (11). Amsterdam: Rodopi, pp. 33–50.

Samuels, Robert (2006). Narratives of masculinity and femininity: two Schumann song cycles. In: Da Sousa Correa, Delia ed. Phrase and subject: Studies in Literature and Music. Oxford, UK: Legenda, pp. 135–145.

Samuels, Robert (2007). Music as Narrative's Limit and Supplement. In: Mazanas, Ana and Benito, Jesus eds. The Dynamics of the Threshold. Studies in Liminality and Literature 5. Madrid: The Gateway Press, pp. 149–163.

Samuels, Robert (1994). Music as text: Mahler, Schumann and issues in analysis. In: Pople, Anthony ed. Theory, Analysis and Meaning in Music. Cambridge: Cambridge University Press, pp. 152–163.

Tackley, Catherine (2010). Jazz recordings as social texts. In: Bayley, Amanda ed. Recorded Music: Performance, Culture and Technology. Cambridge: Cambridge University Press, pp. 167–186.

Tackley, Catherine (2012). Benny Carter in Britain, 1936-37. In: Cerchiari, Luca; Cugny, Laurent and Kerschbaumer, Franz eds. Eurojazzland: Jazz and European Sources, Dynamics and Contexts. Lebanon, NH: Northeastern University Press.

Tackley, Catherine (2013). Jazz, dance and black British identities. In: Dodds, Sherril and Cook, Susan eds. Bodies of Sound: Studies Across Popular Music and Dance. Ashgate Popular and Folk Music Series. Farnham: Ashgate, pp. 193–208.

Tackley, Catherine (2017). “Art or Debauchery?”: the reception of Ellington in the UK. In: Howland, John ed. Duke Ellington Studies. Cambridge University Press, pp. 76–107.

Tackley, Catherine (2014). Race, identity and the meaning of Jazz in 1940s Britain. In: Stratton, Jon and Zuberi, Nabeel eds. Black Popular Music in Britain Since 1945. Ashgate Popular and Folk Music Series. Farnham: Ashgate, pp. 11–26.

Tackley, Catherine (2014). Tiger Bay and the roots/routes of black British 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. 43–62.

Toynbee, Jason and Dueck, Byron (2011). Migrating Music. In: Toynbee, Jason and Dueck, Byron eds. Migrating Music. Routledge, pp. 1–18.

Weber, William and Burrows, Donald (2005). Henry Purcell and The Universal Journal: the building of musical canon in the 1720s. In: Jackson, Jeffrey H and Pelkey, Stanley C eds. Music and History: Bridging the Disciplines. Jackson: University Press of Mississippi, pp. 181–199.

Williams, Sean (2012). Tubby's Dub Style: The Live Art of Record Production. In: Frith, Simon and Zagorski-Thomas, Simon eds. The Art of Record Production: An Introductory Reader for a New Academic Field. Ashgate Popular and Folk Music Series. Ashgate Publishing, pp. 235–246.

Williams, Sean (2013). Stockhausen meets King Tubby's: the stepped filter and its influence as a musical instrument on two different styles of music. In: Weium, Frode and Boon, Tim eds. Material Culture and Electronic Sound. Artefacts: Studies in the History of Science and Technology, 8. Smithsonian Institution Scholarly Press, pp. 163–188.

Williams, Sean and Green, Owen (2018). Negotiating sonic space for group electronics. In: Doğantan-Dack, Mine and Dack, John eds. Music and Sonic Art: Theories and Practices. Cambridge Scholars Publishing, pp. 200–217.

Winters, Ben (2016). The Composer and the Studio: Korngold and Warner Bros. In: Cooke, Mervyn and Ford, Fiona eds. The Cambridge Companion to Film Music. Cambridge Companions to Music. Cambridge: Cambridge University Press, pp. 51–66.

Winters, Ben (2016). The sound of satire; or, trading places with Mozart. In: Evans, Mark and Hayward, Philip eds. Sounding Funny: Sound and Comedy Cinema. Genre, Music and Sound. Equinox Press, pp. 29–50.

Winters, Ben (2019). New Opportunities in Film: Korngold and Warner Bros. In: Goldmark, Daniel and Karnes, Kevin C eds. Korngold and His World. Princeton: Princeton University Press, pp. 111–130.

Winters, Ben (2012). Superman as mythic narrative: music, romanticism, and the ‘oneiric climate’. In: Halfyard, Janet K. ed. The Music of Fantasy Cinema. Genre, Music and Sound. Sheffield: Equinox Press, pp. 111–131.

Winters, Ben (2011). Silencing the truth: music and identity in The Unforgiven. In: Kalinak, Kathryn ed. Music in the Western: Notes from the Frontier. Routledge Music and Screen Media Series. Abingdon, UK: Routledge, pp. 77–93.

Winters, Ben (2014). Swearing an oath: Korngold, film and the sound of resistance? In: Levi, Erik ed. The Impact of Nazism on Twentieth-Century Music. Exil.Arte-Schriften. Vienna: Böhlau Verlag, pp. 61–76.

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.

Winters, Ben (2020). Analogue Authenticity and the Sound of Wes Anderson. In: Vernallis, Carol; Rogers, Holly and Perrott, Lisa eds. Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics. New Approaches to Sound, Music and Media. Bloomsbury Press, pp. 50–55.

Winters, Ben (2012). ‘It’s all really happening’: sonic shaping in the films of Wes Anderson. In: Wierzbicki, James ed. Music, Sound, and Filmmakers: Sonic Style in Cinema. Routledge Music and Screen Media Series. Abingdon: Routledge, pp. 45–60.

Winters, Ben (2017). Korngold's Violanta: Venice, carnival, and the masking of identities. In: Winters, Ben and Attfield, Nicholas eds. Music, Modern Culture, and the Critical Ear. Abingdon: Routledge, pp. 51–74.

Journal ItemTo Top

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

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

Bullock, Jamie; Coccioli, Lamberto; Dooley, James and Michailidis, Tychonas (2013). Live Electronics in Practice: Approaches to Training Professional Performers. Organised Sound, 18(2) pp. 170–177.

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

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

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

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.

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

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

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.

Green, Helen (2012). Wind instrumentalists in the churches of Maximilian I’s Augsburg. Historic Brass Society Journal, 24 pp. 25–35.

Gustar, Andrew (2015). Quantitative Perspectives. Early Music, 43(2) pp. 365–366.

Gustar, Andrew James (2012). The closest thing to crazy: the shocking scarcity of septuple time in Western music. Journal of the Royal Musical Association, 137.(2) pp. 351–400.

Hamer, Laura (2020). [Book Review] Paul Dukas, Composer and Critic. Music & Letters, 101(1) pp. 172–174.

Herbert, Trevor (2010). Sousa, the band and the 'American century'. Journal of the Royal Musical Association, 135(1) pp. 183–190.

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

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

Herbert, Trevor and Myers, Arnold (1988). Instruments of the Cyfarthfa Band. Galpin Society Journal, 41 pp. 2–10.

Herbert, Trevor and Sarkissian, Margaret (1997). Victorian bands and their dissemination in the colonies. Popular Music, 16(2) pp. 165–179.

Moohan, Elaine (2020). Medieval fragments from Glasgow's archives. The Innes Review (In press).

Parsonage, Catherine (2003). Approaching jazz-influenced wind music. Journal of the World Association for Symphonic Bands and Wind Ensembles, 10 pp. 79–94.

Richards, Fiona (2002). Changing identities: the pianist and composer Helen Perkin. Australasian Music Research, 7 pp. 15–30.

Richards, Fiona (2012). ''Rubbed by the warming violins'': music and Patrick White. Cercles: Revue Pluridiscipline du Monde Anglophone, 26 pp. 22–38.

Richards, Fiona (2013). Sound and music in the works of Randolph Stow. Antipodes, 27(2) pp. 177–183.

Richards, Fiona (2015). ‘so insistently literary’: the Englishness of Randolph Stow. Journal of the Association for the Study of Australian Literature, 14(5), article no. 8.

Richards, Fiona (2015). Strange Territories: John Ireland and Arthur Machen. Faunus: The Journal of the Friends of Arthur Machen, 32 pp. 29–41.

Rowland, David (2019). British Listeners c1780-1830. Nineteenth-Century Music Review (In Press).

Rowland, David (2014). Nineteenth-century pianists and Baroque music. Musurgia. Analyse et pratique musicales, 21(1-2) pp. 79–90.

Samuels, Robert (1989). Derrida and Snarrenberg. In Theory Only, 11(1-2) pp. 45–58.

Sondheim, Stephen and Herbert, Trevor (1989). Sondheim's technique. Contemporary Music Review, 5(1) pp. 199–214.

Ward Jones, Peter and Burrows, Donald (2003). An Inventory of Mid-Eighteenth-Century Oxford Musical Hands. Royal Musical Association Research Chronicle(35) pp. 61–139.

Williams, Sean (2016). Interpretation and Performance Practice in Realizing Stockhausen's Studie II. Journal of the Royal Musical Association, 141(2) pp. 445–481.

Winters, Ben (2007). Catching Dreams: Editing Film Scores for Publication. Journal of the Royal Musical Association, 132(1) pp. 115–140.

Winters, Ben (2012). Musical Wallpaper? Towards an Appreciation of Non-narrating Music in Film. Music, Sound, and the Moving Image, 6(1) pp. 39–54.

Winters, Ben (2012). Music and Narrative: An Introduction. Music, Sound, and the Moving Image, 6(1) pp. 3–7.

Winters, Ben and Mera, Miguel (2009). Screen Music Sources in the UK and Ireland. Brio, 46(2) pp. 37–65.

Conference or Workshop ItemTo Top

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.

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.

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.

Hall, Mark M. and Hamer, Laura A. (2009). Der Einfluss der Eisenbahn auf das Konzertwesen des 19. Jahrhunderts. In: Angewandte Geoinformatik 2009 - Beiträge zum 21. AGIT-Symposium Salzburg, 8-10 Jul 2009, Salzburg Universität, Austria.

Mooney, James; Green, Owen and Williams, Sean (2017). Performing Hugh Davies’s Live Electronic Music. In: Performing Indeterminacy, 30 Jun - 2 Jul 2017, University of Leeds.

Payne, Emily; Schuling, Floris; Stroud, Rachel and Williams, Sean (2016). Performing Notations: Relational Approaches to Musical Materials. In: Royal Musical Association Conference 2016, 3-5 Sep 2016, The Guildhall, London.

Prechtl, Anthony; Laney, Robin; Willis, Alistair and Samuels, Robert (2014). Algorithmic music as intelligent game music. In: AISB50: The 50th Annual Convention of the AISB, 1-4 Apr 2014, London, UK.

Prechtl, Anthony; Laney, Robin; Willis, Alistair and Samuels, Robert (2014). Methodological approaches to the evaluation of game music systems. In: AM '14 Proceedings of the 9th Audio Mostly: A Conference on Interaction With Sound, ACM, article no. 26.

Rowland, David (2017). The development of piano technique in England c. 1790-1810. In: Zur Entwicklung des Klavierspiels von Carl Philipp Emanuel Bach bis Clara Schumann (Philipsen, Christian; Lustig, Monika and Omonsky, Ute eds.), Michaelsteiner Konferenzberichte, Wissner Verlag, Kloster Michaelstein, Augsburg, Michaelstein, pp. 237–249.

Rowland, David (2017). Piano sonority and melody c.1800-1835. In: The lyric and the vocal element in instrumental music of the nineteenth century (Stepien-Kutera, Kamila ed.), Narodowy Instytut Fryderyka Chopina, Warsaw, pp. 39–61.

Whitelock, Denise; Holland, Simon and Howard, Patricia (1995). Understanding harmony and technology in music education. In: Proceedings of the ICTE 1995: the 12th International Conference on Technology and Education (Sechrest, T.; Thomas, M. and Estes, N. eds.), University of Texas, Texas, pp. 382–384.

Williams, Sean (2013). Performing shapes. In: Researching music as process: methods and approaches, 22 Nov 2013, Oxford, United Kingdom.

Williams, Sean (2014). Pinging Filters: From serialism through the 808 to DIY. In: Studying Music: An International Conference in Honour of Simon Frith, 10-12 Apr 2014, Edinburgh, United Kingdom.

Williams, Sean (2015). Technical influence and physical constraint in the realisation of Gesang der Jünglinge. In: Tracking the Creative Process in Music, 8-10 Oct 2015, Paris, France.

Williams, Sean (2014). Distributed creativity in Karlheinz Stockhausen's Aus den Sieben Tagen. In: (Dis-)Owning the Sound: A Workshop on the Historical Development of Music Property & Authorship, 16 Jun 2014, Edinburgh, United Kingdom.

Williams, Sean (2016). The Hohner Electronium: a 1950s portable monophonic valve synthesizer. In: Alternative Histories of Electronic Music, 14-15 Apr 2016, Scinece Museum, London.

Williams, Sean (2016). Stockhausen Concerts Database report. In: Performance Studies Network conference 2016, 14-17 Jul 2016, Bath Spa University.

Williams, Sean (2016). The mythical Modul 69A Klangwandler and the viability of composer designed instruments. In: Music and Sonic Art conference 2016, 1-3 Jul 2016, Karlsruhe, Germany.

Williams, Sean (2017). Reinterpreting Koenig’s Funktion pieces: historic reconstruction and recontextualisation. In: Tracking the Creative Process in Music, 14-16 Sep 2017, University of Huddersfield.

Williams, Sean (2018). Architecture for musical performance: backstage at the West German spherical pavilion at Expo 70, Osaka. In: Performance Studies Network 2018, 5-8 Jul 2018, Norwegian Academy of Music, Oslo.

Williams, Sean (2019). The EMS Synthi 100: Rare, expensive and not actually very good. In: Sustainable Sounds: Interrogating the Materials of Music Making Technologies, 11 May 2019, University of Edinburgh.

Williams, Sean (2019). New composition strategies and the EMS Synthi 100. In: Music and Sonic Art conference 2019, 31 Jun - 2 Jul 2019, Karlsruhe, Germany.

Williams, Sean and Green, Owen (2016). Negotiating sonic space for group electronics. In: Fifth International Symposium on Music/Sonic Art: Practices and Theories, 26-29 Jul 2014, Karlsruhe, Germany.

Williams, Sean and Green, Owen (2014). Negotiating Sonic Space for Group Electronics. In: Fifth International Symposium on Music/Sonic Art: Practices and Theories, 14 Jun 2014, Karlsruhe, Germany.

ThesisTo Top

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

Scholarly EditionTo Top

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

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

Williams, Sean, ed. Elektronische Studie II. By Karlheinz Stockhausen (1954). Universal Editions (2013).

OtherTo Top

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

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

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

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.

Dooley, James (2017). arK1a. Self-published.

Green, Owen; Williams, Sean and Murray-Rust, Dave (2015). Concert with Aleks Kolkowski and Grey Area. Edinburgh College of Art.

Herbert, Trevor (2011). Brass instruments. Oxford Bibliographies Online: Music.

Herbert, Trevor (2001). Baltic Brass. Deux-Elles.

Herbert, Trevor and Wallace, John (1988). Divertimento in D: (Trumpet and Piano) by Josef Fiala. Faber Music, London.

Johnson, Liz; Dooley, James; Hurst, Dane and McNeill, Jack (2019). Scintilla for dancer, clarinet and live electronics. Sound and Music.

Williams, Sean (2014). Gemini 8. Artifact Music Limited.

Williams, Sean (2015). Stockhausen Concerts Database. Edinburgh College of Art.

Williams, Sean (2014). "Set Sail for the Sun", from "Aus den Sieben Tagen" by Karlheinz Stockhausen. Institute for Advanced Studies in the Humanities.

Williams, Sean (2013). Noise and Fidelity. Syndicate.

Williams, Sean; Currie, Colin; Hodges, Nicolas and Stockhausen, Karlheinz (2013). Kontakte with piano and percussion. Glasgow Life.

Williams, Sean; Mooney, James and Green, Owen (2015). Celebrating the work of Hugh Davies 3. University of Leeds.

Williams, Sean; Moonie, James; Green, Owen; Green, Owen; Lloyd, Emma; Sturm, Armin and Murray-Rust, Dave (2015). Grey Area Performs: Hugh Davies, Stockhausen, Christian Wolff, Owen Green. University of Leeds.

Williams, Sean and Stockhausen, Karlheinz (2015). "Hymnen - electronic music" sound projection. Edinburgh College of Art.

Williams, Sean; Stockhausen, Karlheinz; Smith, Simon and Ligeti, György (2013). Ligeti and Stockhausen: A concert of piano and electronics works from the 195. Edinburgh College of Art.

Williams, Sean and Strang, David (2014). Light Entropy. Contemporary Music Festival, Plymouth.

Research Dataset RecordTo Top

PerformanceTo Top

Sabri, Sonia; Dooley, James and Di Donato, Balandino NuBody. [Performance]

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