Eleanor Selfridge-Field: Talks and Publications

Current Stanford profile

This webpage supplements listings at http://www.stanford.edu/~esfield

Recent interview by Michelle Ponto on the Frontiers blog

Historical Musicology and Cultural History

• The Virtuoso of Venice: Antonio Vivaldi in a changing Europe, book in progress.

• "From Vivaldi to Gluck: On the Road with Anna Girò", forthcoming in the proceedings of the Gluck bicentennial conference held at Western Illinois University, October 2014.

• “Vivaldi’s Maternal Line” [with Margherita Gianola] Studi vivaldiani 15 (2015), 13-53.

• “Bernardo Canal, Visual Dramatist,” forthcoming.

• “Schulenburg, Corfù, and the Dating of Vivaldi’s Juditha triumphans”, Studi vivaldiani, special issue, ed. Alessandro Borin, in press (2016).

• “Venetian Instrumental Music in the Sixteenth Century” in A Companion to Music in Sixteenth-Century Venice, ed. Katelijne Schiltz. Leiden: Brill, in press.

• [Review] Federico Maria Sardelli, Catalogo delle concordanze musicali vivaldiani (Olschki, 2012), in Il saggitore musicale, XXI/2 (2014).

• “Marcello’s Orientalism” in Psalmen: Kirchenmusik zwischen Tradition, Dramatik, und Experiment, ed. Helen Geyer und Birgit Johanna Wertenson with Michael Pauser. Cologne, Weimar, Vienna: Böhlau Verlag, 2014, pp. 205-222.

• “In memoriam Giovanni Morelli,” tr. Miriam Fanna, Studi vivaldiani 12 (2011).

• “Venice” for the Händel Lexikon (v. 6 of 6), Laaber Verlag (DE) 2011.

• “Vivaldi” for the New Catholic Encyclopedia Supplement, ed. Robert L. Fastiggi. 2 vols. Detroit (US): Gale Research, 2011, v. II, 808-810.

• "Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies," Antonio Vivaldi: Passato e futuro, ed. Francesco Fanna and Michael Talbot (Venice: Fondazione Giorgio Cini onlus, 2009), online at this link. ISBN: 978-88-96445-00-6.

Digital Humanities and Musicology

• "Il Maeftro di Mufica, or Quality Control in the Virtual Library," Fontes Artis Musicae, 62/3 (2015), 63-77. Excerpt at this link [1].

• Keynote: "Does musical notation have a cultural centre?," First International Conference on Technologies for Music Notation and Representation (TENOR), Paris, 28-30 May, 2015.

• Keynote: "The Evolving Uses of Encoded Music," Third International Conference on Music Encoding, Florence, 18-21 May, 2015.

• “Search engines for digitally encoded scores", Early Music 42/4, (2014), 591-598. doi:10.1093/em/cau099.

• "Hybrid Critical Editions of Opera: Motives, Milestones, and Quandries," Notes: The Journal of the Music Library Association, 72/1 (2015-16), 9-21.

• "From Scholar to User: Hybrid Editions in the Context of Library Resources (rountable)", convenor, Music Encoding Conference (Charlottesville, 2014), Proceedings (forthcoming).

• “In memoriam Leland Smith", Computer Music Journal 38/2 (2014), 5-7.

• "Between an Analogue Past and a Digital Future: The Evolving Digital Present," Wissenschaft im Digitalen Zeitalter: Symposium der Virtuellen Fachbibliothek Musikwissenschaft, Göttingen (DE), 2012. Based on GfMf keynote address, Göttingen, 12 September 2012. Preliminary version given at SIMSSA meeting, McGill University, Montréal, Québec (CA), 28 July 2012.

• [With Craig Sapp] “Browsing Beethoven’s Harmonic Usage,” Die Tonkunst: Magazin für Klassische Musik und Musikwissenschaft 5/3 (Juli 2011), 301-304.

Cognitive, Intellectual, and Cultural Aspects of Music

• "Eye-Ear-Brain: The mysteries of musical similarity," Distinguished Lecture in the Science and Technology of Music, CIRMTT, McGill University, September 19, 2019.

• "Substantial musical similarity in sound and notation: perspectives from digital musicology," Colorado Technology Law Journal, 16/2 (2018), pp. 249-284. (Based on the invited talk "Refining the concept of substantial musical similarity," Silicon Flatirons Conference, Colorado University Center for Technology Law," Boulder, CO, April 2017.)

• "Playing by ear beyond 100", International Society for Music Perception and Cognition, San Francisco, CA, July 4-9, 2016. Proceedings downloadable at this link [2]. Commentary by Aviva Rutkin in The New Scientist, 9 July 2016, online at this link [3].

• "Copyright in a changing digital landscape", roundtable organized for the joint conference of the International Association of Music Libraries and the International Musicological Society, New York: The Juilliard School, June 21-16, 2015. Article forthcoming.

• “Associative aspects of perceived musical similarity and intersections with seconda-prattica affetti” in A fresco: Mélanges offerts au professeur Etienne Darbellay, ed Brenno Boccadoro & George Starobinski (Bern: Peter Lang, 2014), 433-454.

• “Cognition, early polyphony, and interdisciplinary musicology”, introduction to the special issue of the Journal of Interdisciplinary Musicology, ed. Barbara Tilmann and Frans Wiering, forthcoming. Based on keynote at the European Science Foundation Exploratory Workshop on Cognition of Early Polyphony (U. Graz, April 2012).

• "Social Dimensions of Melodic Identity, Cognition, and Association," Musicae Scientiae (Discussion Forum 4A, 2007, 77-97).

Music and Artificial Intelligence

Local administrator for the seven-weekend series Computers and Creativity, organized and moderated by Douglas R. Hofstadter in cooperation with the Center for Computer Assisted Research in the Humanities and Stanford University. Winter 1997. Video capture by Stanford Television Network. Made available online by Indiana University Digital Library, 2017.

• Sessions 1, 2: Chess and Go Video 1; Video 2

• Session 3: Jokes and Humor Video 3

• Sessions 4, 5: Language and Literature Video 4; Video 5

• Session 6: Musical Composition 1 Video 6
• Session 7: Musical Composition 2 Video 7
• Session 8: Musical Composition 3 Video 8
• Session 9: Musical Composition 4 Video 9
• Session 10: Musical Composition 5 Video 10
• Session 11: Musical Composition 6 Video 11
• Session 12: Musical Composition 7 Video 12
• Sessions 13-15: The Big Picture Video 13; Video 14; Video 15

Associated musical events excluded from these videos:

• Rachmaninoff Suite for Two Pianos (Experiments in Musical Intelligence)