Difference between revisions of "Eleanor Selfridge-Field: Articles"
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| − | Articles through | + | Articles through 2023 <small>(or later if open access is lacking)</small> |
==European Culture, Music, and History== | ==European Culture, Music, and History== | ||
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"Venetian Instrumental Music in the Sixteenth Century" in the <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439. | "Venetian Instrumental Music in the Sixteenth Century" in the <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439. | ||
| + | |||
| + | "A Topography and Taxonomy of Digital Musicology", <i>Arti Musices</i> 48/2, 215-225. | ||
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221. | "Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221. | ||
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“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages</i>: Congress of the International Musicological Society, Zurich, 10-15 July 2007. | “From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages</i>: Congress of the International Musicological Society, Zurich, 10-15 July 2007. | ||
| − | “Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella]. | + | [Vio, Gastone] “Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella]. |
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94. | “The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94. | ||
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“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. | “Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. | ||
| − | “Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93. | + | “Venice: Musical Expression in an Era of Political Decline” in <i>Music and Man</i> (gen. ed. Stanley Sadie), 4: <i>The Late Baroque Era from the 1680s to 1740</i>, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93. |
“Genre and Instrumentation in Italian Music, 1600-1670,” <i>Early Music</i>, XIX/1 (1991), pp. 61-7. | “Genre and Instrumentation in Italian Music, 1600-1670,” <i>Early Music</i>, XIX/1 (1991), pp. 61-7. | ||
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“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu. | “Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu. | ||
| − | “The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score</i> (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/ | + | “The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score</i> (<i>Computing in Musicology</i>, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/ |
| − | “Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity</i>, (Computing in Musicology, 11, 1998), 3-64. | + | “Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity: Concepts, Procedures, and Applications</i>, (<i>Computing in Musicology</i>, 11, 1998), 3-64. |
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310. | “Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310. | ||
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“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass. | “Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass. | ||
| − | “Venetian Opera, French Criticism, and English Travels: The Case of <i>Le Mercure de France</> and Joseph Addison,” <i>Revue de musicologie</i>, 83/2 (1997), pp. 185-201 | + | “Venetian Opera, French Criticism, and English Travels: The Case of <i>Le Mercure de France<i/> and Joseph Addison,” <i>Revue de musicologie</i>, 83/2 (1997), pp. 185-201. |
“Venice: Musical Expression in an Era of Political Decline” in <i>Music and Man</i> (gen. ed. Stanley Sadie), 4: <i>The Late Baroque Era from the 1680s to 1740</i>, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93. | “Venice: Musical Expression in an Era of Political Decline” in <i>Music and Man</i> (gen. ed. Stanley Sadie), 4: <i>The Late Baroque Era from the 1680s to 1740</i>, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93. | ||
| Line 126: | Line 128: | ||
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. | “Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. | ||
| − | “The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score: Representation, Retrieval, Restoration</i> (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/ | + | “The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score: Representation, Retrieval, Restoration</i> (<i>Computing in Musicology</i>, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/ |
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), <i>First International Congress on Web Delivery of Music</i> (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70. | “Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), <i>First International Congress on Web Delivery of Music</i> (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70. | ||
| Line 132: | Line 134: | ||
“Domain Relationships in Man-Machine Interactions in Music” in <i>Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies</i> (Dresden, 3-6 October 1999). | “Domain Relationships in Man-Machine Interactions in Music” in <i>Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies</i> (Dresden, 3-6 October 1999). | ||
| − | “Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity: Concepts, Procedures, and | + | “Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity: Concepts, Procedures, and Applications</i> (<i>Computing in Musicology</i>, 11, 1998), 3-64. |
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310. | “Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310. | ||
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Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (Wadern, DE), 25-30 January 2009. See [http://drops.dagstuhl.de/opus/volltexte/2009/1971/ The Dagstuhl Core]. Coverage in the <i>Frankfurter Allgemeine Zeitung</i> (1 March 2009). | Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (Wadern, DE), 25-30 January 2009. See [http://drops.dagstuhl.de/opus/volltexte/2009/1971/ The Dagstuhl Core]. Coverage in the <i>Frankfurter Allgemeine Zeitung</i> (1 March 2009). | ||
| − | + | "Musical Variants in Digital Practice", Digitale Edition zwischen Experiment und Standardisierung: Musik-Text-Codierung , ed. Peter Stadler, Joachim Veit, Tübingen: Max Niemeyer Verlag (2009), 111-129. | |
“Symbolic Musical Data: ISMIR Tutorial (with Craig Stuart Sapp). <i>Proceedings of the Ninth International Symposium on Music Information Retrieval</i>, Philadelphia, 2008. Tutorial. | “Symbolic Musical Data: ISMIR Tutorial (with Craig Stuart Sapp). <i>Proceedings of the Ninth International Symposium on Music Information Retrieval</i>, Philadelphia, 2008. Tutorial. | ||
Latest revision as of 00:15, 2 November 2024
Articles through 2023 (or later if open access is lacking)
Contents
European Culture, Music, and History
Articles
"The Vivaldis of Brescia," Recercare, XXXV (2023), 69-101.
"The Keyboard Transcriptions of J. S. Bach and J. G. Walther," Bach and Mozart: Connections, Patterns, and Pathways, ed. Paul Corneilson (Bach Perspectives, 14), Champaign, IL: University of Illinois Press (2022), pp. 1-22.
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," Musicologica Brunensia (2018), 157-170. DOI:10.5817/MB2018-S-11 Corpus ID: 194638187
"Venetian Instrumental Music in the Sixteenth Century" in the Companion to Music in Sixteenth-Century Venice, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.
"A Topography and Taxonomy of Digital Musicology", Arti Musices 48/2, 215-225.
"Schulenburg, Corfù, and the dating of Juditha triumphans" in Fulgeat sul frontis decorae: Studi in onore di Michael Talbot, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221.
"La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage" ], with Margherita Gianola, in Studi vivaldiani No. 15 (Florence: Editore SPES, 2015), 13-53. English summary pp. 49-54.
"From Vivaldi to Gluck: On the road with Anna Girò" in Gluck and the map of eighteenth-century music, ed. Brian Locke and Bruce Brown. Forthcoming [Talk, 2014].
"Marcello's Orientalism" in Psalmen: Kirchenmusik zwischen Tradition, Dramatik und Experiment, ed. Helen Geyer and Birgit Johanna Wertenson (Cologne: Böhlau, 2013), 205-222.
Ryom, Peter, Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV), Breitkopf & Härtel, 2007 [review] in Notes 65/2 (Dec. 2008).
“Musical Commerce and the Fiera della Sensa, 1720-1760,” Venezia mercato delle arti, Ducal Palace, Venice, 11 October 2008 (Venezia mercato delle arti, org. Barbara Marx). Proceedings unpublished.
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in Antonio Vivaldi: Passato e futuro, ed. F. Fanna and M. Talbot (Venice, 2008). Download here.
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” Passages: Congress of the International Musicological Society, Zurich, 10-15 July 2007.
[Vio, Gastone] “Scuole della musica a Venezia da 1500 al 1797,” Recercare, 2007 [posthumous completion, with Loris Stella].
“The Invention of the Fortepiano as Intellectual History,” Early Music 29 (2005), 81-94.
"The Pieta Museum, Venice," Early Music, 33/1 (Feb. 2005), p 154.
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.
“Francesco Maria Piccioli-Carlo Pallavicino, Messalina," facs. edn. (Drammaturgia musicale veneta, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” Recercare, X (1998, In memoriam Nino Pirrotta), 209-248.
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for the mass.
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft.
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7.
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music): Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), Virtual Music: Computer Synthesis of Musical Style (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu.
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], The Virtual Score (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/
“Conceptual and Representational Issues in Melodic Comparison” in Melodic Similarity: Concepts, Procedures, and Applications, (Computing in Musicology, 11, 1998), 3-64.
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” The Musical Quarterly 81/2 (1997), 291-310.
Invited talks and panels
“Musical Commerce and the Fiera della Sensa, 1720-1760,” Venezia mercato delle arti, Ducal Palace, Venice, 11 October 2008 (Venezia mercato delle arti, org. Barbara Marx). Forthcoming.
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in Antonio Vivaldi: Passato e futuro, ed. F. Fanna and M. Talbot (Venice, 2008). Download here.
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” Passages: Congress of the International Musicological Society, Zurich, 10-15 July 2007.
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000.
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000.
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.
“Francesco Maria Piccioli-Carlo Pallavicino, Messalina," facs. edn. (Drammaturgia musicale veneta, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” Recercare, X (1998, In memoriam Nino Pirrotta), 209-248.
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000.
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000.
“Celebrations of Power: The Performing Arts in Baroque Venice,” National Gallery of Art, Washington, DC (1995) and other venues.
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass.
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201.
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7.
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), Virtual Music: Computer Synthesis of Musical Style (Cambridge: The MIT Press, 2001), pp. 187-220.
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], The Virtual Score: Representation, Retrieval, Restoration (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), First International Congress on Web Delivery of Music (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).
“Conceptual and Representational Issues in Melodic Comparison” in Melodic Similarity: Concepts, Procedures, and Applications (Computing in Musicology, 11, 1998), 3-64.
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” The Musical Quarterly 81/2 (1997), 291-310.
"Marcello and Greek Mythology" in L’invenzione del gusto. Corelli e Vivaldi: mutazioni culturali, a Roma e Venezia, nel periodo post-barocco, ed. Giovanni Morelli, 1982.
Music Theory, Cognition, and Technology
Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (Wadern, DE), 25-30 January 2009. See The Dagstuhl Core. Coverage in the Frankfurter Allgemeine Zeitung (1 March 2009).
"Musical Variants in Digital Practice", Digitale Edition zwischen Experiment und Standardisierung: Musik-Text-Codierung , ed. Peter Stadler, Joachim Veit, Tübingen: Max Niemeyer Verlag (2009), 111-129.
“Symbolic Musical Data: ISMIR Tutorial (with Craig Stuart Sapp). Proceedings of the Ninth International Symposium on Music Information Retrieval, Philadelphia, 2008. Tutorial.
“Algorithms for Music Information Retrieval: The Hausdorff Metric and Geometric Hashing” [lead author: Christian André Romming], ISMIR 2007. Available here.
“Social Dimensions of Melodic Identity, Cognition, and Association,” Musicae Scientiae: European Journal for the Sciences of Music (2007), 77-97.
“Social Cognition and Melodic Persistence: Where Metadata and Content Diverge,” ISMIR2006 (Victoria, BC) Proceedings, ed. R. Dannenberg and K. Lemstrom. Available here.
“Towards a Measure of Cognitive Distance in Melodic Similarity,” Music Query: Methods, Models, and User Studies (Computing in Musicology, 13 [2004]), 93-112.
“Search Effectiveness Measures for Symbolic Music Queries in Very Large Databases,” [with Craig Stuart Sapp and Yi-Wen Liu], ISMIR2004: Proceedings of the Fifth International Symposium on Music Information Retrieval. Available here.
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), First International Congress on Web Delivery of Music (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).
Music as Intellectual Property
"Substantial Musical Similarity," European Panel in Global Perspectives on Music Copyright, org. Robert Brauneis, Charles Cronin, and Daryl Lim (U. Illinois Chicago and Geo. Washington University Law Schools), 18 March 2022.
"Substantial Musical Similarity in Sound and Notation: Perspectives from Digital Musicology," Colorado Technology Law Journal, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See CTLJ and Hein Online.
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology", as part of the Symposium "Blurred v. Bright: The Changing Analysis of Copyright Infringement in Music", Colorado Law/Silicon Flatirons 3rd Annual Content Conference, University of Colorado Law School, March 23, 2017.
"Copyright in a Changing Digital Landscape", chair, Symposium of the International Association of Music Libraries, Archives, and Documentation Centres IIAML) and the International Musicological Society (IMS), New York: The Juilliard School, 25 June 2015. With Derek Miller, Eric Harbeson, Nicholas Tsui, Robert Clarida, Richard Chesser, and Federica Riva.
“Copyright Issues in Scholarly Editions of Music” [panel], American Musicological Society, Washington, DC, 26-29 October 2005.
Organizer and Chair, “Musical Data as Intellectual Property” [panel], ISMIR2004, Barcelona (ES). Participants: Charles Cronin, Enric Enrich, Masataka Goto. October 13, 2004.
“Fixed Form, Fluid Content: Musical Data as Intellectual Property,” Invited talk, Conference on Virtual Scores, Kernochan Center for Law and the Arts, Law School, Columbia University, 5 May 2003.
“Music Copyright, Music Technology, and Music Archiving: Issues and Interpretations,” Fourth Conference on Digital Resources in the Humanities, King’s College, London, September 14, 1999.
“Copyright and Fair Use in Electronic Scholarship” [panel], Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York, NY, November 1, 1995.
Reviews
"Echoes of Gabrieli", Early Music 45/4 (2017). doi:10.1093/em/cax126.
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," Notes, 72/1 (September 2015), 9-22.
Catalogo delle concordanze musicali vivaldiane, Federico Maria Sardelli, Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in Il Saggitore musicale, XXI (2014), 313-318.
"Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums," Notes, 67/3 (March 2011), 557-559.
"Antonio Vivaldi und seine Zeit", Notes, 68/2 (December 2011), 348-351.
"Tonal Space in the Music of Antonio Vivaldi", Notes, 66/3 (March 2010), 542-544.
Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV), Peter Ryom, Breitkopf & Härtel, 2007, in Notes 65/2 (Dec. 2008), 294-298.
"Venetian orphans," Early Music, 34/4 (November 2006), 681-682.
"La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano", Music & Letters, 85/3 (August 2004), 436-437.
"Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies", ed. Melania Bucciarelli, Music and Letters, 85/6 (August 2004), 438-439.