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Barker, Naomi J. (2024). Music, Medicine and Religion at the Ospedale di Santo Spirito in Rome 1550–1750. Music in Society and Culture, 12. Woodbridge: Boydell Press.

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

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 (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.

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

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

Golding, Rosemary (2021). Music and Moral Management in the Nineteenth-Century English Lunatic Asylum. Mental Health in Historical Perspective, 1. Cham, Switzerland: Palgrave Macmillan.

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

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

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

Herbert, Trevor (2009). Music in Words: A Guide to Researching and Writing about Music. UK: Oxford University Press.

Herbert, Trevor (2012). Music in words: a guide to researching and writing about music (2nd edition). London: Associated Board of the Royal Schools of Music.

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

Richards, Fiona (2001). The music of John Ireland. UK: 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.

Simones, Lilian (2021). Certificate for Music Educators Guidebook: Teaching Children and Young People. Routledge.

Thompson, Marie (2017). Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism. New York: Bloomsbury.

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.

Winters, Ben (2014). Music, Performance, and the Realities of Film: Shared Concert Experiences in Screen Fiction. Routledge Research in Music. Abingdon: Routledge.

Edited BookTo Top

Attfield, Nicholas and Winters, Ben eds. (2018). 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). Georg Friedrich Händel, ‘Messiah’. Documenta Musicologica, Zweite Reihe, Handschriften, xl. Kassel, Germany: Barenreiter.

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

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

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. (2020). George Frideric Handel: Collected Documents, Volume 4. 1742-1750. 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; Robinson, Alexander and Whittaker, Adam eds. (2024). History as Fantasy in Music, Sound, Image and Media. Music and Visual Culture. New York, USA and Oxon, UK: 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. (2022). Music in Nineteenth-Century Britain. Routledge Historical Resources. UK: Routledge.

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

Hamer, Laura ed. (2021). The Cambridge Companion to Women in Music since 1900. Cambridge Companions. Cambridge: Cambridge University Press.

Hamer, Laura and Minors, Helen Julia eds. (2025). The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. Routledge Music Companions. New York, USA and Oxon, UK: Routledge.

Herbert, Trevor; Clarke, Martin V. and Barlow, Helen eds. (2022). A History of Welsh Music. Cambridge: Cambridge University Press.

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; Myers, Arnold and Wallace, John eds. (2018). The Cambridge Encyclopedia of Brass Instruments. Cambridge: Cambridge University 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.

Hoppe, C.; Goldbeck, M. and Kawabata, M. eds. (2018). Exploring Virtuosities: Heinrich Wilhelm Ernst, Nineteenth-Century Musical Practices and Beyond. Göttingen Studies in Musicology, 10. Olms.

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. (2024). Clementi Correspondence and Other Documents. Muzio Clementi Opera Omnia, CCE 5. Bologna: Ut Orpheus Edizioni.

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

Thompson, Marie and Biddle, Ian eds. (2013). Sound, Music, Affect: Theorizing Sonic Experience. New York: Bloomsbury.

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

Hamer, Laura and Minors, Helen Julia eds. (2025). The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. New York: Routledge.

Book SectionTo Top

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.

Baird, Kenneth and Hamer, Laura (2025). Lilian Baylis: The Visionary Impresario. In: Hamer, Laura and Minors, Helen Julia eds. The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. New York: Routledge, pp. 127–140.

Baird, Kenneth and Hamer, Laura (2025). Lilian Baylis: The Visionary Impresario. In: Hamer, Laura and Minors, Helen Julia eds. The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. Routledge Music Companions. New York, USA and Oxon, UK: Routledge, pp. 127–140.

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 (2022). The Celtic Revival. In: Herbert, Trevor; Clarke, Martin V. and Barlow, Helen eds. A History of Welsh Music. Cambridge: Cambridge University Press, pp. 171–194.

Barlow, Helen and Clarke, Martin V. (2022). Singing Welshness: Sport, Music and the Crowd. In: Herbert, Trevor; Clarke, Martin V. and Barlow, Helen eds. A History of Welsh Music. Cambridge: Cambridge University Press, pp. 332–354.

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.

Blackburn, Manuella (2021). In Her Own Words: Practitioner Contribution 3. In: Laura, Hamer ed. The Cambridge Companion to Women in Music since 1900. Cambridge Companions. Cambridge University Press, pp. 228–234.

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 (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 (2014). The Power of Music - the significance of "Alexander's Feast" in Handel's London career. In: ed. Händel-Jahrbuch 2014, 60. Bärenreiter, pp. 243–252.

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 (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 (2014). Handel, the British Court and the London public. In: Marx, H. J. and Sandberger, Wolfberger eds. Göttinger Händel-Beiträge XV. Göttingen: Vandenhoeck & Ruprecht, pp. 109–118.

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 (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 V. (2021). Music. In: Barbeau, Jeffrey W. ed. The Cambridge Companion to British Romanticism and Religion. Cambridge Companions. Cambridge: Cambridge University Press, pp. 293–310.

Clarke, Martin V. (2024). Music and Spirituality in Communal Song: Methodists and Welsh Sporting Crowds. In: Corbett, George and Moerman, Sarah eds. Music and Spirituality: Theological Approaches, Empirical Methods, and Christian Worship. Cambridge, UK: Open Book Publishers, pp. 371–388.

Clarke, Martin V. (2022). A Brief History of Congregational Song: Shaping Theology through Hymn Compilations. In: Hawn, C. Michael ed. Sing with Understanding (Third Edition). Chicago: GIA, pp. 77–112.

Clarke, Martin V. (2022). Nonconformists and Their Music. In: Herbert, Trevor; Clarke, Martin V. and Barlow, Helen eds. A History of Welsh Music. Cambridge: Cambridge University Press, pp. 218–242.

Clarke, Martin V. (2024). 1780 Collection of Hymns. In: Norris, Clive Murray and Cunningham, Joseph W eds. The Routledge Companion to John Wesley. Routledge Religion Companions. Abingdon: Routledge, pp. 114–125.

Clarke, Martin V. and Hawn, C. Michael (2022). An Introduction to the Study of Congregational Song. In: Hawn, C. Michael ed. Sing with Understanding (Third Edition). Chicago: GIA, pp. 441–474.

Clarke, Martin V. and Howard, Beverly A. (2022). How Does a Hymn Mean? In: Hawn, C. Michael ed. Sing with Understanding - Third Edition. Chicago: GIA, pp. 49–76.

Clarke, Martin V. and Moore, Geoffrey C. (2022). "God in Three Persons, Blessed Trinity": Singing the Trinity. In: Hawn, C. Michael ed. Sing with Understanding (Third Edition). Chicago: GIA, pp. 277–286.

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 (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. (2012). Introduction. In: Clarke, Martin V. ed. Music and Theology in Nineteenth-Century Britain. Music in Nineteenth-Century Britain. Farnham: Ashgate, pp. 1–4.

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; Collins, Sarah and Allis, Michael eds. The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century. Oxford: Oxford University 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; Robinson, Alexander and Whittaker, Adam (2024). Introduction: Beyond authenticity in music, history, and fantasy. In: Cook, James; Kolassa, Alexander; Robinson, Alexander and Whittaker, Adam eds. History as Fantasy in Music, Sound, Image and Media. Music and Visual Culture. New York, USA and Oxon, UK: Routledge.

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.

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.

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 (2023). On the edges of society: the hidden musical cultures of nineteenth-century British lunatic asylums. In: Cortizo, Maria Encina and Nommick, Yvan eds. Between Centres and Peripheries: Music in Europe from the French Revolution to WWI. Turnhout: Brepols, pp. 323–342.

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.

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.

Granieri, Niccolò; Dooley, James and Michailidis, Tychonas (2021). Retaining pianistic virtuosity in #MIs: Exploring pre-existing gestural nuances for live sound modulation through a comparative study. In: Hepworth-Sawyer, Russ; Paterson, Justin and Toulson, Rob eds. Innovation in Music: Future Opportunities. Abingdon, UK: Routledge.

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.

Grindley, Ann (2025). Sites of Empowerment: Fin-de-Siècle Salon Culture and the Music of Cécile Chaminade. In: Hamer, Laura and Minors, Helen Julia eds. The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. New York: Routledge, pp. 65–78.

Hamer, Laura (2021). 'Preface'. In: Hamer, Laura ed. The Cambridge Companion to Women in Music since 1900. Cambridge: Cambridge University Press, xxi-xxix.

Hamer, Laura (2021). 'On the Podium: Women Conductors'. In: Hamer, Laura ed. The Cambridge Companion to Women in Music since 1900. Cambridge: Cambridge University Press, pp. 64–79.

Hamer, Laura (2025). 'Une Belle Manifestation Féministe': The Formation of the Union des Femmes Professeurs et Compositeurs de Musique. In: Hamer, Laura and Minors, Helen Julia eds. The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. New York: Routledge, pp. 79–91.

Hamer, Laura (2025). ‘Une belle manifestation féministe’: The Formation of the Union des Femmes Professeurs et Compositeurs de Musique. In: Hamer, Laura and Minors, Helen Julia eds. The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. Routledge Music Companions. New York and Oxon: Routledge, pp. 79–91.

Hamer, Laura and Minors, Helen Julia (2023). Introducing WMLON: The Women’s Musical Leadership Online Network. In: Cimardi, Linda and Nenić, Iva eds. Women’s Leadership in Music: Modes, Legacies, Alliances. Bielefeld: Transcript Verlag, pp. 141–152.

Hamer, Laura and Minors, Helen Julia (2025). Defining, Surveying and Interrogating Women in Musical Leadership. In: Hamer, Laura and Minors, Helen Julia eds. The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. New York: Routledge, pp. 1–12.

Hamer, Laura; Minors, Helen Julia; Farnham, Alice; Hamilton, Katy; Haughton, Emma; McCabe, Jessy; MacDonald, Sarah; Vencatasamy, Davina and Wilson, Eleanor (2025). Women's Musical Leadership in Music Industries and Education. In: Hamer, Laura and Minors, Helen Julia eds. The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond. New York: Routledge, pp. 335–357.

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.

Hawn, C. Michael; Clarke, Martin V. and Howard, Beverly A. (2022). Christian Hymn: A Proposed Definition. In: Hawn, C. Michael ed. Sing with Understanding - Third Edition. Chicago: GIA, pp. 41–48.

Herbert, Trevor (2023). Military Musical Instruments and the Culture of Perfection in the Long 19th Century. In: Cottrell, Stephen ed. Shaping Sound and Society: The Cultural Study of Musical Instruments. London, UK: Routledge, pp. 230–248.

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, T. (2016). Carl Florian Mandel and the production, consumption and status of "military" brass-wind instruments in the nineteenth century. In: Libin, L. ed. Instrumental Odyssey: A Tribute to Herbert Heyde. Bucina: The Historic Brass Society Series (9). New York: Pendragon Press.

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

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.

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Journal ItemTo Top

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.

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.

Attah, Tom; Cavett, Esther; Dueck, Byron; Miller, Sue and Redhead, Lauren (2024). Teaching music theory in UK higher education today: contexts and commentaries. Music Education Research, 26(1) pp. 71–81.

Barker, Naomi (2024). [Book Review] Annette Richards, The Temple of Fame & Friendship: Portraits, music, and history in the C.P.E. Bach Circle. Chicago, University of Chicago Press, 2022. Journal of the History of Collections, 36(1) pp. 200–201.

Barker, Naomi J (2021). Frescobaldi at the Ospedale di Santo Spirito: a portfolio career in seventeenth-century Rome. Early Music, 49(3) pp. 395–412.

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). The Italian Keyboard Toccata c. 1615-1650: A Repository for Oral Compositional Practices. Royal Musical Association Research Chronicle, 50(1) pp. 1–28.

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

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

Barlow, Helen (2020). ‘Praise the Lord! We are a musical nation’: the Welsh working classes and religious singing. Nineteenth-Century Music Review, 17(3) pp. 445–472.

Barlow, Helen and Herbert, Trevor (2020). Introduction - Listeners in music history: studying the evidence. Nineteenth-Century Music Review, 17(3) pp. 343–357.

Blackburn, Manuella (2011). The Visual Sound-Shapes of Spectromorphology: An illustrative guide to composition. Organised Sound, 16(1) pp. 5–13.

Blackburn, Manuella (2019). Editorial: Borrowing, quotation, sampling and plundering. Organised Sound, 24(02) pp. 115–120.

Blackburn, Manuella (2019). The Terminology of Borrowing. Organised Sound, 24(02) pp. 139–156.

Blackburn, Manuella (2014). Instruments INDIA: A sound archive for educational and compositional use. Organised Sound, 19(2) pp. 146–153.

Blackburn, Manuella (2014). Editorial. Organised Sound, 19(2) pp. 107–109.

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 Humanities: Annual Review, 13 pp. 17–32.

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 (2021). Handel’s singers from the London choirs. Early Music, 49(2) pp. 173–183.

Burrows, Donald (2023). Correcting the ‘grossest faults’: Charles Jennens and the Composition of Handel’s Messiah. Music & Letters, 104(4) pp. 533–566.

Burrows, Donald (2023). King George III and the ‘Smith Collection’ of Handel manuscripts. Early Music, 51(2) pp. 217–233.

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

Burrows, Donald (2009). The Royal Music Library and its Handel collection. The Electronic British Library Journal, 2009, article no. 2.

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

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 (2024). [Book Review] Guy L. Beck. Musicology of Religion: Theories, Methods, and Directions (SUNY Series in Religious Studies.) Albany: State University of New York Press, 2023. Notes, 80(4) pp. 700–703.

Clarke, Martin V. (2021). Charles Wesley, Methodism and new art music in the long eighteenth century. Eighteenth-Century Music, 18(2) pp. 271–293.

Clarke, Martin V. (2023). [Book review] Eftychia Papanikolaou and Markus Rathey, eds, Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall (Lanham: Lexington Books, 2022). Nineteenth-Century Music Review, 20(2) pp. 438–442.

Clarke, Martin V. (2022). Moravian Soundscapes: A Sonic History of the Moravian Missions in Early Pennsylvania. By Sarah Justina Eyerly. Reading Religion Newsletter, 7(3-4)

Clarke, Martin V. (2024). Music and Charles Wesley’s Legacy. The Journal of Religious History, Literature and Culture, 10(2) pp. 57–80.

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.

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.

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.

Clarke, Martin (2005). [CD Review] The English Hymn – 5. Nineteenth-Century Music Review, 2(2) pp. 226–228.

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.

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, 17(3) pp. 381–402.

Clarke, Martin V. (2007). [Book review] A Thorough Insight into Methodist Worship. Expository Times, 119(3) p. 147.

Clarke, Martin V. (2017). The Whole Church Sings: Congregational Singing in Luther’s Wittenberg, Robin A. Leaver (Grand Rapids, MI: Eerdmans, 2017), 206 pp, £17.99, pbk. Holiness, 3(2) pp. 329–330.

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.

da Sousa Correa, Delia and Golding, Rosemary (2024). [Book Review] Allan W. Atlas, ed., A Wilkie Collins Songbook Middleton, WI: A-R Editions, 2023. Nineteenth-Century Music Review (Early access).

Di Donato, Balandino; Dooley, James and Coccioli, Lamberto (2019). HarpCI, Empowering Performers to Control and Transform Harp Sounds in Live Performance. Contemporary Music Review, 38(6) pp. 667–686.

Drott, Eric and Thompson, Marie (2022). "Is your baby getting enough music?" Musical interventions into gestational labor. Women and Music: a Journal of Gender and Culture, 26 pp. 125–147.

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

Dueck, Byron (2018). North American Indigenous song, the sacred and the senses. Body and Religion, 2(2) pp. 206–223.

Dueck, Byron and Essele Essele, Kisito (2022). Authority, Deference, and Disregard in Catholic Liturgical Music in Central Cameroon. Ethnomusicology, 66(1) pp. 21–50.

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.

Gale, Michael (2022). [Book Review] Music, Dance, and Drama in Early Modern English Schools. Journal of Historical Research in Music Education, 44(1) pp. 122–124.

Goh, Annie and Thompson, Marie (2021). Sonic Cyberfeminisms: Introduction. Feminist Review, 127(1) pp. 1–12.

Golding, Rosemary (2022). Music as Therapy for the "exceptionally wealthy" at the Nineteenth-Century Ticehurst Asylum. Royal Musical Association Research Chronicle, 53 pp. 51–72.

Golding, Rosemary (2022). Sounding the Archival Silence: Searching for Music in the Nineteenth-Century English Asylum. Social History of Medicine, 35(4) pp. 1223–1246.

Golding, Rosemary (2023). [Book Review] Choral Treatises and Singing Societies in the Romantic Age. Journal of Historical Research in Music Education, 44(2) pp. 279–280.

Golding, Rosemary (2022). [Book review] The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century. Victorian Studies, 64(2) pp. 340–342.

Golding, Rosemary (2024). Classical Music in British Children’s Television: Narrative, Communication, and Cultural Meaning. Music, Sound, and the Moving Image (In press).

Golding, Rosemary (2024). Concerts and Cures at the Crichton Royal Institution, 1840-1860. Music and Letters (In Press).

Golding, Rosemary (2024). Musical samplers in the museum of musical works: the nature, status and value of nineteenth-century Oxford degree exercises. Journal of the Royal Musical Association (In Press).

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 (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.

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.

Golding, Rosemary (2020). ‘Appeasing the unstrung mental faculties’: listening to music in nineteenth-century lunatic asylums. Nineteenth-Century Music Review, 17(3) pp. 403–425.

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

Green, Helen (2011). Defining the city “trumpeter”: German civic identity and the employment of brass instrumentalists, c.1500. Journal of the Royal Musical Association, 136(1) pp. 1–31.

Hamer, Laura (2022). [Book Review] Review of Jeanice Brooks (ed.), Nadia Boulanger and Her World (Chicago: University of Chicago Press, 2020). Twentieth-Century Music, 19(1) pp. 159–165.

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.

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.

Hamer, Laura (2012). Negating Gender Politics and Challenging the Establishment: Women and the Prix de Rome, 1919-1939’. Women’s History, 70(Autumn) pp. 4–12.

Hamer, Laura (2011). On the conductor’s podium: Jane Evrard and the Orchestre féminin de Paris. The Musical Times, 152(1916) pp. 81–100.

Hamer, Laura (2012). [Book Review] Olivier Messiaen, Journalism, 1935-1939 by Stephen Broad. Ars Lyrica, 21 pp. 223–227.

Hamer, Laura (2014). [Book Review] Sovereign Feminine: Music and Gender in Eighteenth-Century Germany by Matthew Head. Women's History Review, 23(3) pp. 505–507.

Hamer, Laura (2014). [Book Review] The Musical Legacy of Wartime France by Leslie A. Sprout. H-France Review, 14(153)

Hamer, Laura (2014). [Book Review] Music and Ultra-Modernism in France: A Fragile Consensus, 1913-1939 by Barbara L. Kelly. H-France Review, 14(158)

Hamer, Laura (2015). [Book Review] Perspectives on the Performance of French Piano Music by Scott McCarrey and Lesley A. Wright (eds.). Music & Letters, 96(1) pp. 133–135.

Hamer, Laura (2016). [Book Review] La Grande Guerre en musique, Vie et création musicales en France pendant la Première Guerre mondiale by Florence Doé de Maindreville and Stephan Etcharry (eds.). H-France Review, 16(43)

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.

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

Hamer, Laura (2019). Women on the Podium: Issues and Strategies of Women Orchestral Conductors. Estudios bandísticos, 3(1) pp. 21–39.

Hamer, Laura and Dingle, Christopher (2014). 'False Memories and Dissonant Truths: Digital Newspaper Archives as a Catalyst for a New Approach to Music Reception Studies'. Studies in the Digital Humanities

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

Herbert, T. (2016). A Tudor manuscript granting livery to the King’s ‘Shakbots’. Historic Brass Society Journal, 28 pp. 191–198.

Herbert, Trevor (2004). Selling brass instruments: the commercial imaging of brass instruments (1830-1930) and its cultural messages. Music in Art, XXIX(1-2) pp. 213–226.

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

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.

Herbert, Trevor (2008). Reviews - Sigmund Romberg, William A. Everett; Jerome Kern, Stephen Banfield. Studies in Musical Theatre, 2(3) pp. 295–297.

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 (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 (2016). Trumpets, drums and the sources for their symbolic authority in Britain. Music in Art: International Journal for Music Iconography,, 41(1-2) pp. 65–81.

Herbert, Trevor (2016). Adolphe Sax, his saxhorns and their international influence. Revue belge de musicologie/Belgisch tijdschrift voor muziekwetenschap, 70 pp. 65–76.

Herbert, Trevor (2013). Review of 'Music and theology in nineteenth-century Britain' ed. Martin V. Clarke (Ashgate 2012). Nineteenth-Century Music Review, 10(2) pp. 323–356.

Herbert, Trevor (2020). Public Military Music and the Promotion of Patriotism in the British Provinces, c. 1780-c. 1850. Nineteenth-Century Music Review, 17(3) pp. 427–444.

Herbert, Trevor (2019). Solo and ensemble brass instrument recordings. Early Music, 47(2) pp. 277–280.

Herbert, Trevor (2018). Cornetti e tromboni in the high Renaissance and Baroque. Early Music, 46(2) pp. 343–345.

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.

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.

Howard, Patricia (2021). Guadagni in Handel’s London: the formation of a voice. Early Music, 49(2) pp. 195–210.

Kawabata, Maiko (2015). Playing the “Unplayable”: Schoenberg, Heifetz, and the Violin Concerto, Op. 36. Journal of Musicological Research, 34(1) pp. 31–50.

Kawabata, Maiko (2014). How Gilles Apap's new cadenza illuminates Mozart, via Bakhtin. ECHO: A Music-Centered Journal, 12(1)

Kawabata, Maiko (2014). The aura of Stradivari’s violins. Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music, 12(23) pp. 61–74.

Kawabata, Maiko (2007). Virtuosity, the Violin, the Devil ... What Really Made Paganini "Demonic"? Current Musicology, 83 pp. 85–108.

Kawabata, Maiko (2004). The Concerto that Wasn't: Paganini, Urhan and Harold in Italy. Nineteenth-Century Music Review, 1(1) pp. 67–114.

Kawabata, Maiko (2004). Virtuoso Codes of Violin Performance: Power, Military Heroism, and Gender (1789-1830). 19th-Century Music, 28(2) pp. 89–107.

Kawabata, Maiko (2000). The narrating voice in Rimsky-Korsakov's Shekherazade. Women and Music, 4 pp. 18–39.

Kolassa, Alexander (2022). ‘A crazy clutter of the mediaeval, medical mind’: Ken Russell, Peter Maxwell Davies, and Modernist Medievalism in The Devils. Journal of the Royal Musical Association, 147(1) pp. 135–170.

Kolassa, Alexander (2021). [Book Review] The Oxford Handbook of Music and Medievalism. Ed. by Stephen C. Meyer and Kirsten Yri. Music and Letters, 102(1) pp. 143–145.

Kolassa, Alexander (2015). Composing for the Memory Dealer: New Paradigms for the Immersive Soundtrack. Journal of Sonic Studies, 9

Kolassa, Alexander (2020). Hail the Nightmare: Music, Sound, and Materiality in Bloodborne. The Soundtrack, 11(1-2) pp. 23–38.

Kyratsou, Chrysi; McNulty Burrows, Cathrinea; Nguyen, Hoa; Barry, Heather E. and Simones, Lilian (2021). [Editorial] Introducing the IMPACT Journal and its First Issue. International Modern Perspectives in Academia and Community Today(1)

Michailidis, Tychonas; Dooley, James; Granieri, Niccolò and Di Donato, Balandino (2018). Improvising through the senses: a performance approach with the indirect use of technology. Digital Creativity, 29(2-3) pp. 149–164.

Moohan, Elaine (2012). Eine der originellsten Stimmen in der Musik der heutigen Zeit Janet Beat zum 75 Geburtstag 2012. Tableau musical(14)

Moohan, Elaine (2020). Medieval fragments from Glasgow's archives. The Innes Review, 71(2) pp. 139–201.

Mooney, James; Green, Owen and Williams, Sean (2022). Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music. Contemporary Music Review, 41(2-3) pp. 193–215.

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

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

Richards, Fiona (2013). Islands in the works of Randolph Stow (1935-2010). Southerly, 72(3) pp. 103–118.

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

Richards, Fiona (2015). "The streaming of the sun and the flowing of the stars": D.H. Lawrence and Peter Sculthorpe. Journal of D.H.Lawrence Studies, 3(3) pp. 33–50.

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

Richards, Fiona (2015). “the whole landscape dazzling and shrilling”: Soundscapes of war and peace in David Malouf’s Fly Away Peter. Southerly, 75(3) pp. 155–168.

Richards, Fiona (2015). The Goat-God in England: A Musical Context for Lawrence's Fascination with Pan. D.H.Lawrence Review, 40(1) pp. 90–106.

Richards, Fiona (2018). Max & Mick: the partnership of Peter Maxwell Davies and Randolph Stow. The Musical Times, 159(1943) pp. 25–38.

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

Rowland, David (2016). Roger Long’s gut-strung keyboard instruments and Thomas Barton’s harpsichord stringing. Early Music, 44(3) pp. 461–471.

Rowland, David (2020). British Listeners c1780-1830. Nineteenth-Century Music Review, 17(3) pp. 359–379.

Samuels, Robert (2011). Narrative form and Mahler’s musical thinking. Nineteenth-Century Music Review, 8(2) pp. 237–254.

Samuels, Robert (2010). The Double Articulation of Schubert: Reflections on Der Doppelgänger. The Musical Quarterly, 93(2) pp. 192–233.

Samuels, Robert (2008). Entendez-vous la musique? Review of Peter Dayan: Music Writing Literature, from Sand via Debussy to Derrida. Aldershot: Ashgate, 2006. Intégral: The Journal of Applied Musical Thought, Volume

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

Simones, Lilian (2019). Understanding the Meaningfulness of Vocal and Instrumental Music Teachers' Hand Gestures Through the Teacher Behavior and Gesture Framework. Frontiers in Education, 4, article no. 141.

Simones, Lilian; Rodger, Matthew and Schroeder, Franziska (2017). Seeing How It Sounds: Observation, Imitation, and Improved Learning in Piano Playing. Cognition and Instruction, 35(2) pp. 125–140.

Simones, Lilian; Schroeder, Franziska and Rodger, Matthew (2015). Categorizations of physical gesture in piano teaching: A preliminary enquiry. Psychology of Music, 43(1) pp. 103–121.

Simones, Lilian Lima (2019). A framework for studying teachers’ hand gestures in instrumental and vocal music contexts. Musicae Scientiae, 23(2) pp. 231–249.

Simones, Lilian Lima (2015). Beyond expectations in music performance modules in higher education: rethinking instrumental and vocal music pedagogy for the twenty-first century. Music Education Research, 19(3) pp. 252–262.

Simones, Lilian Lima; Rodger, Matthew and Schroeder, Franziska (2015). Communicating musical knowledge through gesture: Piano teachers’ gestural behaviours across different levels of student proficiency. Psychology of Music, 43(5) pp. 723–735.

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

Thompson, Marie (2021). ‘Your Womb, the Perfect Classroom’: Prenatal Sound Systems and Uterine Audiophilia. Feminist Review, 127(1) pp. 73–89.

Thompson, Marie (2024). Mapping tinnitus. The Senses and Society, 19(1) pp. 44–66.

Thompson, Marie (2024). Introduction: The aesthetics of tinnitus. The Senses and Society, 19(1) pp. 1–2.

Thompson, Marie (2020). Sounding the Arcane: Contemporary Music, Gender and Reproduction. Contemporary Music Review, 39(2) pp. 273–292.

Thompson, Marie (2019). Spinoza and musical power. Textual Practice, 33(5) pp. 803–820.

Thompson, Marie (2017). Whiteness and the Ontological Turn in Sound Studies. Parallax, 23(3) pp. 266–282.

Thompson, Marie (2016). Feminised Noise and the ‘Dotted Line’ of Sonic Experimentalism. Contemporary Music Review, 35(1) pp. 85–101.

Thompson, Marie (2012). Productive Parasites: Thinking of Noise as Affect. Cultural Studies Review, 18(3) pp. 13–35.

Thompson, Marie (2017). To soothe or remove? Affect, revanchism and the weaponized use of classical music. Communication and the Public, 2(4) pp. 272–283.

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 (2012). Strangling blondes: nineteenth-century femininity and Korngold's Die tote Stadt. Cambridge Opera Journal, 23(1-2) pp. 51–82.

Winters, Ben (2021). 'Magic Fire': a Wagner Film with a Difference. The Wagner Journal, 15(3) pp. 11–22.

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

Winters, Ben (2008). Corporeality, musical heartbeats, and cinematic emotion. Music, Sound, and the Moving Image, 2(1) pp. 3–26.

Winters, Ben (2009). ‘There have been developments’: Frankenstein’s Monster finds a (Mahlerian) voice. Interdisciplinary Humanities, 26(2) pp. 116–127.

Winters, Ben (2010). The non-diegetic fallacy: film, music, and narrative space. Music & Letters, 91(2) pp. 224–244.

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.

Blackburn, Manuella (2023). The representation of diversity in sample packs. In: NoiseFloor 2023, 12 May 2023, Staffordshire University.

Blackburn, Manuella and Harkins, Paul (2022). Finding the Female Users: A Feminist Historiography of the Fairlight CMI. In: Rethinking the History of Technology-based Music, 9 Jun 2022, University of Huddersfield.

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.

Clarke, Martin (2014). 'Loud organs, his glory forth tell in deep tone': the interaction of music, liturgy, and theology in mid-nineteenth-century Britain. In: The Journal of the Royal College of Organists, 8 pp. 72–81.

Clarke, Martin V. (2018). 'Above all sing spiritually': musical reform and revival in Methodism. In: Fourteenth Institute of Methodist Theological Studies, 2018, Oxford Institute, Oxford.

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.

Dooley, James and Hall, Simon (2021). MYtrOmbone: exploring gesture controlled live electronics in solo trombone performance. In: Proceedings of the International Computer Music Conference 2021 (Cádiz, Rodrigo F. ed.), International Computer Music Association, Inc., San Francisco, CA, pp. 23–26.

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.

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

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.

Morales Tirado, Alba; Carvalho, Jason; Ratta, Marco; Uwasomba, Chukwudi; Mulholland, Paul; Barlow, Helen; Herbert, Trevor and Daga, Enrico (2024). Musical Meetups Knowledge Graph (MMKG): a collection of evidence for historical social network analysis. In: The Semantic Web. ESWC 2024. Lecture Notes in Computer Science, vol 14665 (Meroño Peñuela, Albert; Dimou, Anastasia; Troncy, Raphael; Hartig, Olaf; Acosta, Maribel; Alam, Mehwish; Paulheim, Heiko and Lisena, Pasquale eds.), Springer, Cham.

Mulholland, Paul; Stoneman, Adam; Barker, Naomi; Maguire, Mark; Carvalho, Jason; Daga, Enrico and Warren, Paul (2023). The Sound of Paintings: Using Citizen Curation to Explore the Cross-Modal Personalization of Museum Experiences. In: UMAP '23 Adjunct: Adjunct Proceedings of the 31st ACM Conference on User Modeling, Adaptation and Personalization, ACM, pp. 408–418.

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 (2015). Osaka Expo '70: The promise and reality of a spherical sound stage. In: Insonic, 26-28 Nov 2015, Karlsruhe, Germany.

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). Strict serialism or structured improvisation?: The performance practice inherent in the technical realisation of early electronic music in the WDR Studio, Cologne. In: Centre for Musical Performance as Creative Practice 3, 17-20 Jul 2014, Cambridge, United Kingdom.

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 (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 (2013). From centimetres to seconds: sound design’s shift from technical serialism to musically informed performance practice in the 1950s WDR Studio, Cologne. In: What is Sound Design?, 27-29 Nov 2013, Edinburgh, United Kingdom.

Williams, Sean (2013). Performing shapes. In: Researching music as process: methods and approaches, 22 Nov 2013, Oxford, 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 (2017). Organic to electronic and vice versa: acoustic and electronic noise through Stockhausen’s compositional practice. In: Music and Sonic Arts conference 2017, 7-9 Jul 2017, Karlsruhe, Germany.

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

Armsby, Heather J (2024). The Role of Gender in the British Brass Band. PhD thesis The Open University.

Ashworth, Amanda Pauline (2021). Associations with the Visual Arts in the Music of Debussy. PhD thesis The Open University.

Bagust, Susan Jennifer (2006). The concept of modernism and the history of modern music. PhD thesis The Open University.

Baker, Richard Foxwell (1982). The development and roles of the guitar in jazz to 1950, with particular reference to the electric guitar. The Open University.

Bassler, Samantha Elizabeth (2024). The London Madrigal Society and the Role of Antiquarian Societies on the Reception History of Early English Music, 1726–1832. PhD thesis The Open University.

Birkett, James Gordon (1994). Gaining access to the inner mechanisms of jazz improvisation. PhD thesis The Open University.

Buckley, Linda Jean (2005). Alfred Bruneau and the Third Republic : aesthetics, politics and reception. PhD thesis The Open University.

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

Burton, Natalie (2023). Re-'Cycling' Poetry: Structure in the Twentieth-Century English Song Cycle. PhD thesis The Open University.

Busk, Michael John (2023). Manchester's 1828 Musical Festival: Provenance, Planning and Performance. PhD thesis The Open University.

Butlin, Roy Norman (2009). The perception and reception of English opera from Ivanhoe to Peter Grimes. The Open University.

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

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

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.

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.

Clarke, Sarah (2021). An Instrument in Comparative Oblivion? Women and the Guitar in Victorian London. PhD thesis The Open University.

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

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.

Davis, Michael Russell (1992). Modern jazz piano styles : a comparison of selected performances by two leading pianists of the Post-Bop era - Dave Brubeck and Oscar Peterson - with history, analyses and transcriptions. The Open University.

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

Eydmann, Stuart Anthony (1994). The life and times of the concertina : the adoption and usages of a novel musical instrument with particular reference to Scotland. PhD thesis The Open University.

Fleming, Michael Jonathan (2001). Viol-making in England c. 1580-1660. PhD thesis The Open University.

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

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

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

Grant, David (2010). A new critical edition of William Vincent Wallace's Maritana (1845/1848) : with biographical information and selected reception history of the opera to 1855. PhD thesis The Open University.

Grey, Christopher Michael (2021). A Theological Aesthetic Of Musical Beauty, Drawing On The Notion Of Poetic Knowledge In The Work Of Jacques Maritain (1882-1973). PhD thesis The Open University.

Hall, Monica (1983). The guitar anthologies of Santiago de Murcia. PhD thesis The Open University.

Hammond, David Brian (2018). British Army Music in the Interwar Years: Culture, Performance, and Influence. PhD thesis The Open University.

Harkcom, Tristan (2023). Wagnerian Wounds: Trauma and Wagner’s post-1849 Works. PhD thesis The Open University.

Herbert, Trevor (2008). Brass instruments : repertoires, practices and cultures. The Open University.

Herbert, Trevor (1984). The trombone in Britain before 1800. PhD thesis The Open University.

Hewitt, Thomas William (2020). Cyborg Music: A Future Musicotechnographic Aesthetic. PhD thesis The Open University.

Hill, Andrew John (2012). A critical investigation and re-assessment of the composition history of J.S. Bach's 5th suite for unaccompanied violoncello, BWV 1011. PhD thesis The Open University.

Huckvale, David (1990). Hammerscore : the influence of nineteenth-century Romantic music on scores written for Hammer Film Productions (1957-1980). PhD thesis The Open University.

Hughes, Sion (2015). Gravity anomalies in Iceland's northern volcanic zone. PhD thesis The Open University.

Karass, Alan Michael (2015). Music and Festivity in Tunisia: The International Festival of the Sahara in Douz and the Negotiation of Identity. PhD thesis The Open University.

Kierzkowski, Maciej (2024). Wind bands in Poland c. 1800-1939. PhD thesis The Open University.

King, Richard David (2013). 50 years on : the liturgical music legacy of Vatican II - a local study. PhD thesis The Open University.

Lomas, Michael John (1990). Amateur brass and wind bands in Southern England between the late eighteenth century and circa 1900. PhD thesis The Open University.

McGrattan, Alexander (1999). The trumpet in Scotland from 1488 to 1800. PhD thesis The Open University.

McGuiness, Andrew (2010). Mental and motor representation for music performance. PhD thesis The Open University.

Millar, Jennifer Janice (2010). Regionalist themes in 'Breton' Operas, 1850-1954: Four case studies. PhD thesis The Open University.

Papathoma, Tina (2015). Investigating Different Types of Assessment in Massive Open Online Courses. MRes thesis The Open University.

Pinto, Angelo (2020). The Symphony as a Novel: Mahler’s Tenth. PhD thesis The Open University.

Poole, Adrian Ian (2013). Groove in Cuban Dance Music: An Analysis of Son and Salsa. PhD thesis The Open University.

Potter, John (1993). Vocal authority : style and hegemony in the history of English singing. PhD thesis The Open University.

Rees, Jonathan (2011). Peter Maxwell Davies's 'Revelation and Fall': Influence study and analysis. PhD thesis The Open University.

Rittstieg, Jessika Ulrike (2018). Continuity and Change in Eugène Ysaÿe’s Six Sonatas, Op. 27, for Solo Violin. PhD thesis The Open University.

Robarts, Leslie Michael Martyn (1996). Theodora : "rendering virtue amiable" ; a study of some formal and intellectual aspects of Thomas Morell's libretto and George Frideric Handel's music for the oratorio Theodora, 1749-50. The Open University.

Salter, Frank William (1998). An examination of certain dramaturgical devices in the operas of Verdi up to "La Traviata". PhD thesis The Open University.

Sayce, Lynda (2001). The development of Italianate continuo lutes. PhD thesis The Open University.

Shepherd, Sara L. (2009). 'New Pop' and the Problem of Unravelling Cultural Histories. MRes thesis The Open University.

Strachan, Martyn Paul Lambert (2018). Style in the Music of Arthur Sullivan: An Investigation. PhD thesis The Open University.

Vickers, David (2008). Handel's Performing Versions: A Study of Four Music Theatre Works from the 'Second Academy' Period. PhD thesis The Open University.

Whiteley, Sheila Margaret (1989). An investigation into the relationship between progressive rock and the British counter-culture, 1967-1973. PhD thesis The Open University.

Wilson, Paul William (1992). Octatonic-diatonic interaction in three works by Stravinsky. BPhil thesis The Open University.

Wollston, Silas (2009). The instrumentation of English violin-band music, 1660-1685. PhD thesis The Open University.

Wright, Seymour Bevan (2013). The group learning of an original creative practice : 1960s emergent AMM. 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).

Moohan, Elaine and Elliott, Kenneth, eds. Complete Works (Musica Scotica vol. 8). By Robert Johnson . Glasgow, Musica Scotica (2019).

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

OtherTo Top

Arts & Ideas Podcast (2021). New Thinking: Diverse Classical Music.

Barlow, Helen and Herbert, Trevor eds. (2020) Nineteenth-Century Music Review (17) Special Issue 3: The Experience of Listening to Music in the Nineteenth Century, Cambridge University Press.

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

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.

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

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

Blackburn, Manuella (2022). Instruments INDIA sample pack.

Blackburn, Manuella; Coutinho, Kevin and Suviste, Hayley (2022). The Equality, Diversity and Inclusion Engagement Fellowship Pilot AHRC Funding Scheme Report 2020 - 2022.

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

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

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

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

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

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

Burrows, Donald (2005). An edition with preface of G. F. Handel, Samson. In: Burrows, Donald ed. Not Set

Coffey, Helen (2021). Life as an Emperor's Musician.

Coffey, Helen (2022). Music in Medieval Towns and Cities.

Coffey, Helen (2023). Civic and courtly dancing.

Coffey, Helen (2019). Music and ceremony in Maximilian's Innsbruck.

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

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

Dooley, James (2023). GRAZpatterns.

Dooley, James (2018). rive (moog).

Dooley, James (2017). rive: splitting sound and light.

Dooley, James (2017). arK1a.

Dooley, James (2016). entryiseasierthantheexit_entry.

Dooley, James (2016). entryiseasierthantheexit_exit.

Dooley, James (2016). esthesis.

Dooley, James and Di Donato, Balandino (2016). Equinode II.

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

Herbert, Trevor (2011). Brass instruments.

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

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

Herbert, Trevor (1996). The Victorian Christmas.

Herbert, Trevor (1997). Virtuosi: Ian Bousfield.

Herbert, Trevor (2000). Hammered Brass.

Herbert, Trevor (2001). Baltic Brass.

Herbert, Trevor (2007). The History of Brass Band Music: Classical Arrangements.

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

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

Simones, Lilian (2012). The dynamics of expectations in music performance modules in Higher Education: Changing attitudes among students, part-time tutors and fulltime staff. In: Kelsey, Darren ed. Not Set

Williams, Sean (2015). Stockhausen Concerts Database.

Williams, Sean (2015). Orchid House - world of sounds: Sound from around the world, between 3 am and 6 am.

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

Williams, Sean (2014). Gemini 8.

Williams, Sean (2014). Separation/Integration.

Williams, Sean (2013). Making and Writing about Music: Spotlight on Practice-led Research.

Williams, Sean (2013). Noise and Fidelity.

Williams, Sean (2012). Lachenmann's "Toccatina'' performed by Emma Lloyd: Sound Projection.

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

Williams, Sean and Kolkowski, Aleks (2014). The Exponential Horn: In Search of Perfect Sound: "Spiral for soloist", Karlheinz Stockhausen.

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

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.

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

Williams, Sean and Stockhausen, Karlheinz (2015). "Kontakte - electronic music" sound projection.

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

Williams, Sean and Strang, David (2014). Light Entropy.

Winters, Ben (2012). 'Music and Narrative', Music, Sound, and the Moving Image Special Issue Vol. 6 Issue 1 (Spring 2012).

Research Dataset RecordTo Top

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

Show/ExhibitionTo Top

Dooley, James and Di Donato, Balandino (2015). equinode. [Show/Exhibition]

PerformanceTo Top

Dooley, James (2018). colligation (Moog): exploring the confluence of gesture, light and the Moog System 55 analogue synthesiser. [Performance] (Unpublished)

Dooley, James (2016). formuls: audiovisual performance at SPECTRA Festival, Malaysia. [Performance]

Dooley, James (2016). formuls: performance at sonADA Festival. [Performance]

Dooley, James (2016). formuls: performance at Electric Nights Festival, Athens, Greece. [Performance]

Sabri, Sonia; Dooley, James and Di Donato, Balandino (2017). NuBody. [Performance]

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