Difference between revisions of "Eleanor Selfridge-Field: Talks and Publications"

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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.
 
  
 
This webpage supplements [http://www.stanford.edu/~esfield http://www.stanford.edu/~esfield]
 
This webpage supplements [http://www.stanford.edu/~esfield http://www.stanford.edu/~esfield]

Revision as of 20:59, 24 July 2015


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

Recent interview by Michelle Ponto on the Frontiers blog

Historical Musicology and Cultural History

  • “Vivaldi’s Maternal Line” [with Margherita Gianola] Studi vivaldiani 15 (2015). In press.
  • “Bernardo Canal, Visual Dramatist,” forthcoming.
  • “Schulenburg, Corfù, and the Dating of Vivaldi’s Juditha triumphans”, Studi vivaldiani, special issue, ed. Alessandro Borin, forthcoming.
  • “Venetian Instrumental Music in the Sixteenth Century” in A Companion to Music in Sixteenth-Century Venice, ed. Katelijne Schiltz. Leiden: Brill, forthcoming.
  • [Review] Federico Maria Sardelli, Catalogo delle concordanze musicali vivaldiani (Olschki, 2012), forthcoming in Il saggitore musicale.
  • “Bernardo Canal and Antonio Vivaldi,” Venice Baroque Music Center, Palazzo Loredan, Venice, 2012. [no authorized publication]
  • “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, v. 62/3 (2015), 63-77.
  • "Hybrid Critical Editions of Opera: Motives, Milestones, and Quandries," Notes: The Journal of the Music Library Association, v. 72/1 (2015-16), 9-21.
  • [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

  • “Cognition, early polyphony, and interdisciplinary musicology”, introduction to the special issue of the Journal of Interdisciplinary Musicology, ed. Barbara Tilmann and Frans Wiering, from the exploratory workshop (U. Graz, 2012) on Cognition of Early Polyphony, forthcoming.
  • “Associative aspects of perceived musical similarity and the 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.