Difference between revisions of "Eleanor Selfridge-Field: Articles"

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Articles through 2008 <small>(or later if open access is lacking)</small>
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Articles through 2022 <small>(or later if open access is lacking)</small>
  
==<b>Digital Musicology</b>==
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==<b>European Culture, Music, and History</b>==
  
"A Topography and Taxonomy of Digital Musicology," <i>Arti musices: Croatian Musicological Review</i>, 48/2 (January 2018), 215-225. Read it [https://orcid.org/0000-0003-4618-1372 here.]
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"The Vivaldis of Brescia," <i>Recercare</i>, XXXV (2023), 69-101.
  
"Cognition, early polyphony, and interdisciplinary music studies," <i>Journal of interdiciplinary musicology</i>, 8/1 (2017), 5-10.  Read it [http://musicstudies.org/wp-content/uploads/2017/03/Selfridge-Field_JIMS_16081207.pdf#page=1&zoom=auto,-12,848 here].
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"The Keyboard Transcriptions of J. S. Bach and J. G. Walther," <i>Bach and Mozart: Connections, Patterns, and Pathways</i>, ed. Paul Corneilson (Bach Perspectives, 14), Champaign, IL: University of Illinois Press (2022), pp. 1-22.  
  
"<i>Il Maeftro di Mufica</i> or Quality Control in the Virtual Library", <i>Fontes Artis Musicae</i> 62/2 (April-June 2015), 62-77.
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"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i> (2018), 157-170. DOI:10.5817/MB2018-S-11 Corpus ID: 194638187 
  
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," <i>Notes</i> 72/1, (2015), 9-22.  
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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.
  
"Does Musical Notation have a Cultural Centre?", <b>keynote address</b>, <i>[http://tenor2015.tenor-conference.org/ TENOR 2015]</i>. Paris: Maison de la Recerche (Sorbonne), 28-30 May 2015.
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"Echoes of Gabrieli" [review], <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126.  
  
"Evolving Uses of Encoded Music", <b>keynote address</b>, <i>Music Encoding Conference</i>, Università degli Studi, Florence, 15-18 May 2015. https://doi.org/10.1093/em/cau099.
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"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.
  
"Search Engines for Digitally Encoded Scores," <i>Early Music</i>, 42/4 (2014), 591-598.  
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[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. English summary pp. 49-54.
  
"Applications of Encoded Musical Data" Browsing Beethoven's Harmonic Usage" with Craig Sapp in <i>Die Tonkunst</i> 5/3 (Juli 2011), 301-304.
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"From Vivaldi to Gluck: On the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.
  
“Symbolic Musical Data", <b>tutorial</b> with Craig Stuart Sapp. Proceedings of the Ninth International Symposium on Music Information Retrieval, Philadelphia, 2008.  
+
Federico Maria Sardelli, <i>Catalogo delle concordanze musicali vivaldiane</i> [review], Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in <i>Il Saggitore musicale</i>, XXI (2014), 313-318.
  
“Digital Philology, Performing Medium, and Graphical Idiom,” <i>Digitale Edition zwischen Experiment und Standardisierung</i>, ed. Peter Stadler and Joachim Veit (Tübingen: Niemeyer, 2009) pp. 111-128. From the conference held in Paderborn (DE): Heinz Nixdorf Museum, 6-8 Dec. 2007.
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[[Media:Selfridge-Field_MarcelloOrientalism2013.pdf|"Marcello's Orientalism"]] in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik und Experiment</i>, ed. Helen Geyer and Birgit Johanna Wertenson (Cologne: Böhlau, 2013), 205-222.
  
“Algorithms for Music Information Retrieval: The Hausdorff Metric and Geometric Hashing]”, lead author Christian André Romming, ISMIR 2007. [http://ismir2007.ismir.net/proceedings/ISMIR2007_p457_romming.pdf pdf]
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Ryom, Peter, <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007 [review] in <i>Notes</i> 65/2 (Dec. 2008).  
  
“Social Dimensions of Melodic Identity, Cognition, and Association,” <i>Musicae Scientiae: European Journal for the Sciences of Music</i> (2007), 77-97.
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“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. 
 +
 
 +
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, 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 <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here].
 +
 
 +
Vio, Gastone, “Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella].
 +
 
 +
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages: Congress of the International Musicological Society</i>, Zurich, 10-15 July 2007.
 +
 
 +
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.
 +
 
 +
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94.
 +
 
 +
"The Pieta Museum, Venice," <i>Early Music</i>, 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, <i>Messalina</i>," facs. edn.  (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.
 +
 
 +
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, 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.
  
“Social Cognition and Melodic Persistence: Where Metadata and Content Diverge,” <i>ISMIR2006 (Victoria, BC) Proceedings</i>, ed. Roger Dannenberg and Kjell Lemstrom. [http://ismir2006.ismir.net/PAPERS/ISMIR0625_Paper.pdf  pdf]
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“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.
  
“Towards a Measure of Cognitive Distance in Melodic Similarity,” <i>Music Query: Methods, Models, and User Studies</i> (<i>Computing in Musicology</i>, 13 [2004]), 93-112.
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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 the mass.
  
“Search Effectiveness Measures for Symbolic Music Queries in Very Large Databases,” [with Craig Stuart Sapp and Yi-Wen Liu], <i>ISMIR2004: Proceedings of the Fifth International Symposium on Music Information Retrieval</i>. [http://ismir2004.ismir.net/proceedings/p051-page-266-paper135.pdf pdf]
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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.  
  
“Is Implicit Information Retrievable in Music Queries?”, <b>invited talk</b>, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.
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“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.
  
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in <i>Music and Globalization</i> (in Japanese) (Tokyo, 2004), 434-48.
+
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7.  
  
“Base-40 Arithmetic: Implications for Notation-Based Applications,” <b>invited talk</b>, <i>WEDEL 2003/Interactive Music Network</i>, Leeds University (UK), 11-14 September 2003.
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“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.
  
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), [https://mitpress.mit.edu/books/virtual-musi <i>Virtual Music: Computer Synthesis of Musical Style</i>] (Cambridge: The MIT Press, 2001), pp. 187-220.
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“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.
  
“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. [http://www.ccarh.org/publications/books/cm/vol/12/10/ Description]
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“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.
  
“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.
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“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.
  
“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), p. 71.
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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.
  
“Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity</i>, (<i>Computing in Musicology</i>, 11, 1998), 3-64.
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“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/
  
“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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“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.
  
==<b>Italian Culture, Music, and History</b>==
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“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).
  
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i>, 157-170. doi:10.5817/mb2018-s-11.  
+
“Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity</i>, (Computing in Musicology, 11, 1998), 3-64.
  
"Venetian Instrumental Music in the Sixteenth Century" in <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.
+
“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.
  
"Echoes of Gabrieli," <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126.
+
==<b>European Culture, Music, and History</b>==
  
 
"From Vivaldi to Gluck: One the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown.  Forthcoming.
 
"From Vivaldi to Gluck: One the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown.  Forthcoming.
Line 73: Line 103:
 
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.
 
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.
  
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare<i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].
+
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].
  
 
“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.
  
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here].  
+
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here].  
  
 
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.
 
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.
  
“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> 33/1 (Feb. 2005), 81-94.
  
 
“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.
 
“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.
Line 128: Line 158:
  
 
“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.
 +
 +
"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.
  
 
==<b>Music Theory, Cognition, and Technology</b>==
 
==<b>Music Theory, Cognition, and Technology</b>==
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==<b>Music Copyright</b>==
 
==<b>Music Copyright</b>==
  
"Substantial Musical Similarity in Sound and Notation: Perspectives from Digital Musicology," <i>Colorado Technology Law Journal</i>, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See [http://ctlj.colorado.edu/?page_id=796 CTLJ] and [http://heinonline.org Hein Online].
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"Substantial Musical Similarity," European Panel in <i>Global Perspectives on Music Copyright</i>, 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," <i>Colorado Technology Law Journal</i>, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See [http://ctlj.colorado.edu/?page_id=796 CTLJ] and [http://heinonline.org Hein Online].
  
 
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology",
 
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology",
Line 165: Line 199:
  
 
“Copyright and Fair Use in Electronic Scholarship,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.
 
“Copyright and Fair Use in Electronic Scholarship,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.
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 +
==<b>Reviews</b>==
 +
"Antonio Vivaldi: <i>Thematisch-systematisches Verzeichnis seiner Werke (RV)</i>", <i>Notes</i> (MLA), 65/2 (December 2008), 294-298.
 +
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"Venetian orphans," <i>Early Music</i>, 34/4 (November 2006), 681-682.
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"<i>Tonal Space in the Music of Antonio Vivaldi"</i>, <i>Notes</i>, 66/3 (March 2010), 542-544.
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"<i>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"</i>, <i>Music & Letters</i>, 85/3 (August 2004), 436-437.
 +
 +
"<i>Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies"</i>, ed. Melania Bucciarelli, <i>Music and Letters</i>, 85/6 (August 2004), 438-439.
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"Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums," <i>Notes</i>, 67/3 (March 2011), 557-559.
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"<i>Antonio Vivaldi und seine Zeit</i>", <i>Notes</i>, 68/2 (December 2011), 348-351.
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 +
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," <i>Notes</i>, 72/1 (September 2015), 9-22.

Latest revision as of 23:08, 14 December 2023

Articles through 2022 (or later if open access is lacking)

European Culture, Music, and History

"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.

"Echoes of Gabrieli" [review], Early Music 45/4 (2017). doi:10.1093/em/cax126.

"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.

Federico Maria Sardelli, Catalogo delle concordanze musicali vivaldiane [review], Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in Il Saggitore musicale, XXI (2014), 313-318.

"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.

Vio, Gastone, “Scuole della musica a Venezia da 1500 al 1797,” Recercare, 2007 [posthumous completion, with Loris Stella].

“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.

“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.

“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 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), 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. 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/

“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, (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.

European Culture, Music, and History

"From Vivaldi to Gluck: One the road with Anna Girò" in Gluck and the map of eighteenth-century music, ed. Brian Locke and Bruce Brown. Forthcoming.

"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 («Studi vivaldiani» 1), 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. A long summary in English starts at p. 49.

Review of Federico Maria Sardelli's Catalogo delle concordanze musicali vivaldiane, Florence: Leo S. Olschki, 2012 («Studi di Musica veneta. Quaderni vivaldiani», 16), vol. cxlvii, in Il Saggiotre musicale XXI (2014), 313-318.

Review of Peter Ryom's Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV), Breitkopf & Härtel, 2007, in Notes 65/2 (Dec. 2008). Text.

“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.

“Scuole della musica a Venezia da 1500 al 1797,” Recercare, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].

“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” Passages: Congress of the International Musicological Society, Zurich, 10-15 July 2007.

“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.

“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.

“The Invention of the Fortepiano as Intellectual History,” Early Music 33/1 (Feb. 2005), 81-94.

“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. 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), 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 (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, (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 (near Wadern, DE), 25-30 January 2009. See The Dagstuhl Core. Coverage in the Frankfurter Allgemeine Zeitung (1 March 2009).

“Symbolic Musical Data: Tutorial (with Craig Stuart Sapp). Proceedings of the Ninth International Symposium on Music Information Retrieval, Philadelphia, 2008. Talk. Handout.

“Digital Philology, Performing Medium, and Graphical Idiom,” Digitale Edition zwischen Experiment und Standardisierung" Musik Codierung, ed. P. Stadler and J. Veit (Behefte zu Editio, 31) De Gruyter, 2009.

“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.

Music Copyright

"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,” 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,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.

Reviews

"Antonio Vivaldi: Thematisch-systematisches Verzeichnis seiner Werke (RV)", Notes (MLA), 65/2 (December 2008), 294-298.

"Venetian orphans," Early Music, 34/4 (November 2006), 681-682.

"Tonal Space in the Music of Antonio Vivaldi", Notes, 66/3 (March 2010), 542-544.

"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.

"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.

"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," Notes, 72/1 (September 2015), 9-22.