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Number of items at this level: 754.

A

Ayangbekun, Kawoleyin and Villepastour, Amanda 2015. Divining Ayan: an Orisa priest from Ogbomoso speaks. In: Villepastour, Amanda ed. The Yorùbá God of Drumming: Transatlantic Perspectives on the Wood That Talks, University Press of Mississippi, pp. 51-73.

B

Barlow, Rachelle Louise 2011. Music in Welsh culture before 1650: a study of the principal sources. Ethnomusicology 55 (3) , pp. 511-516.

Barlow, Rachelle Louise 2015. The 'Land of Song': gender and identity in Welsh choral music, 1872-1918. PhD Thesis, Cardiff University.
Item availability restricted.
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Barlow, Rachelle Louise 2016. Land of my mothers? Clara Novello Davies as 'Mam' and musician. In: Hartmann, Martha Joy Rose and Ross, Lynda eds. Music and Motherhood, Demeter Press,

Beard, David 2018. Reconceptualising the performer in new music theatre: collaborations with actors, mimes and musicians. In: Adlington, R. and Schmidt, D. eds. New Music Theatre in Europe: Transformations Between 1955–1975, London: Routledge,

Beard, David 2019. 'Out of the air': Judith Weir's emergence in 1970s Britain, or interpreting creative self-censorship. Music and Letters , -.
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Beard, David Jason 1993. A 'seven year index' of The Musical Times, 1984-91. The Musical Times 134 (1804)

Beard, David Jason 2001. Reading pop: approaches to textual analysis in popular music Edited by Richard Middleton Oxford UP (Oxford, 2000); xi, 388pp; L40 / 14.99 pbk. ISBN 0 19 816612 5 / 0 19 816611 7. [Book Review]. The Musical Times 142 (1876) , pp. 70-71.

Beard, David Jason 2001. Sonance 2000 [Programme Note]. BBC Proms Festival: Prom 64, London: BBC, p. 17.

Beard, David Jason 2001. Tenebrae David: UK premiere [Programme Note]. BBC Proms Festival: Prom 64, London: BBC, pp. 5-6.

Beard, David Jason 2001. 'From the mechanical to the magical': A pre-compositional plan for Birtwistle's 'Carmen Arcadiae Mechanicae Perpetuum'. Mitteilungen der Paul Sacher Stiftung 14 , pp. 29-33.

Beard, David Jason 2003. Monuments and Miniatures [works by Kurtág, Birtwistle, and Beethoven]. In: Bellingham, Jane ed. Aldeburgh Music Festival 2003, Aldeburgh: Aldeburgh Productions, pp. 39-41.

Beard, David Jason 2003. The shadow of night: UK premiere [Programme Note]. BBC Proms Festival: Prom 72, London: BBC, pp. 5-7.

Beard, David Jason 2004. Refrains and choruses [works by Davies and Birtwistle]. In: Bellingham, Jane ed. Aldeburgh Music Festival 2004, Aldeburgh: Aldeburgh Productions, pp. 48-50.

Beard, David Jason 2004. The endless parade: competing narratives in recent Birtwistle studies. Music Analysis 23 (1) , pp. 89-127. 10.1111/j.0262-5245.2004.00196.x

Beard, David Jason 2004. Britten's ambiguities; Tippett's times; Metzer's borrowings. Journal of the Royal Musical Association 129 (2) , pp. 305-323. 10.1093/jrma/129.2.305

Beard, David Jason 2005. Meta-narratives and multidimensional opera: Harrison Birtwistle's 'The Mask of Orpheus'. In: Markovic, Tatjana and Mikic, Vesna eds. Music and Networking: The seventh international conference, Department of Musicology and Ethnomusicology, Faculty of Music, University of Arts, Belgrade., Beograd: Fakultet Muzicke Umetnosti, pp. 143-153.

Beard, David Jason 2005. Review: Analyzing Popular Music [Book Review]. Music & Letters 86 (2) , pp. 325-328. 10.1093/ml/gci057

Beard, David Jason 2005. The shadow of opera: Dramatic narrative and musical discourse in Gawain. twentieth-century music 2 (2) , pp. 159-195. 10.1017/S1478572206000259
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Beard, David Jason 2006. Brimful of Asia: Negotiating Ethnicity on the UK Music Scene [Book Review]. Music & Letters 87 (3) , pp. 482-485. 10.1093/ml/gci223

Beard, David Jason 2006. Aspects of British Music in the 1990s. Ed. by Peter O’Hagan. pp. xviii + 164. (Ashgate, Aldershot, 2003, £45. ISBN 0-7546-3041-2.) [Book Review]. Music & Letters 87 (1) , pp. 163-166. 10.1093/ml/gci161

Beard, David Jason 2006. Alison Latham, ed., Sing, Ariel: Essays and Thoughts for Alexander Goehr’s Seventieth Birthday (Aldershot: Ashgate, 2003), ISBN 0 7546 3497 3 (hb) [Book Review]. Twentieth-Century Music 3 (1) , pp. 150-154. 10.1017/S1478572207000370
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Beard, David Jason 2006. "A face like music": Shaping images into sound in the second Mrs Kong. Cambridge Opera Journal 18 (3) , pp. 273-300. 10.1017/S0954586706002205
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Beard, David Jason 2008. Beauty and the beast: a conversation with Sir Harrison Birtwistle. The Musical Times 149 (1902) , pp. 9-25.

Beard, David Jason 2008. Opera by number [Programme Essay]. Punch & Judy, London: Royal Opera House, pp. 3-6.

Beard, David Jason 2008. An opera of sinister charms and lyrical conceits: Richard Rodney Bennett's "The Mines of Sulphhur" [Programme Essay]. Wexford Opera Festival, Wexdord Opera, pp. 50-54.

Beard, David Jason 2008. Birtwistle's 'Labyrinth' [a preview of the Minotaur]? Opera 59 (4) , pp. 372-381.

Beard, David Jason 2008. A Handbook to Twentieth-Century Musical Sketches, eds Patricia Hall and Friedemann Sallis [Book Review]. twentieth-century music 5 (2) , pp. 243-251. 10.1017/S1478572209990077
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Beard, David Jason 2009. Blurring the boundaries. Geschlechterbeziehungen und Körperbilder in Harrison Birtwistle's The Corridor und Semper Dowland, semper dolens. In: Berman, Laura ed. Klang zu Gang Gedanken zur Musik in heutigen Theaterformen, Recherchen 73, Berlin: Theater der Zeit, pp. 37-48.

Beard, David Jason 2009. Carmen Arcadiae Mechanicae Perpetuum, Silbury Air and Verses for Ensembles (Prom 27). BBC Proms, London: BBC, pp. 6-11.

Beard, David Jason 2009. From "Heroische Bogenstriche" to "Waldeinsamkeit": Gender and genre in Judith Weir's 'Heroic Strokes of the Bow'. Dichotonies. Gender and Music., American Studies - A Monograph Series, Heidelberg: Univesitatsverlag, Winter, pp. 77-96.

Beard, David Jason 2009. Birtwistle at 75: a continuing radical. BBC Proms Festival: Prom 27, London: BBC, pp. 3-5.

Beard, David Jason 2009. Taverner: An interpretation. In: Gloag, Kenneth and Jones, Nicholas eds. Peter Maxwell Davies Studies, Cambridge Composer Studies, Cambridge: Cambridge University Press, pp. 79-105.

Beard, David Jason 2010. The shadow of opera: dramatic narrative and musical discourse in Gawain. In: Notley, Margaret ed. Opera After 1900, Vol. 6. The Ashgate Library of Essays in Opera Studies, Farnham: Ashgate, pp. 319-355.

Beard, David Jason 2010. "Batter the doom drum": The music for Peter Hall's 'Oresteia' and other productions of Greek tragedy by Harrison Birtwistle and Judith Weir. In: Brown, Peter and Ograjensek, Suzana eds. Ancient Drama in Music for the Modern Stage, Oxford: Oxford University Press, pp. 369-397.

Beard, David Jason 2011. La communication des emotions et des affects vocaux et instrumentaux: L'exemple de Punch and Judy. Le point de vue du musicologue. Acto: Le journal du cercle du Grand Théâtre et du Grand Théâtre de Genève 7 , pp. 12-14.

Beard, David Jason 2012. Harrison Birtwistle's operas and music theatre. Music Since 1900, Cambridge: Cambridge University Press.

Beard, David Jason 2013. Contrapuntal sublimations: Alberto Ginastera, 'String Quartet No. 1 op. 20' (1948); Johann Sebastian Bach, 'Three Fugues from Die kunst der Fuge BWV 1080' (arranged by Harrison Birtwistle, 2008); Dimitri Shostakovich, 'String Quartet No. 8, in C minor, op. 110' (1960); Maurice Ravel, 'String Quartet in F major' (1902-3; rev. 1910).[Programme essay for the Simon Bolivar String Quartet concert in the Mozarteum Grosser Saal, Salzburg Festival, 5/8/13]. Salzburg, Austria: Salzburg Festival.

Beard, David Jason 2013. Inner spirit: Harrison Birtwistle, 'Trio for violin, cello and piano' (2010); Gabriel Fauré, 'Piano Quartet No. 2 in G minor op. 45'; Birtwistle, 'Bourdon for violin and viola' (2009); Johannes Brahms, 'Piano Quartet No. 1 in G minor op. 25' {Programme essay for Capuçons and Friends in the Mozarteum Grosser Saal, Salzburg Festival, 22/8/13]. Salzburg, Austria: Salzburg Festival.

Beard, David Jason 2013. An introduction to Harrison Birtwistle's music. [Online]. London: Boosey and Hawkes. Available at: http://www.boosey.com/pages/cr/composer/composer_m...

Beard, David Jason 2013. 'The Minotaur' in context [Programme Essay]. The Minotaur, London: Royal Opera House, pp. 32-38.

Beard, David Jason 2013. New light on musical masters: Johannes Ockeghem, 'Ut heremita solus' (arranged by Harrison Birtwistle, 1969); Guillaume de Machaut, 'Hoquetus David' (arranged by Harrison Birtwistle,1969); George Benjamin, 'At First Light' (1982); Harrison Birtwistle, 'Bach Measures' (1996), 'Verses for Ensembles' (1968-9). [Programme essay for oenm in the Kollegienkirche, Salzburg Festival, 30/7/13]. Salzburg Festival.

Beard, David Jason 2013. Zurück in Die Zukunft: Gawain. Salzburg: Salzburg Festival.

Beard, David Jason 2013. Rites of passage: Harrison Birtwistle, 'Tombeau in memoriam Igor Stravinsky' (1971); 'Nine Settings of Celan' (1989-96); 'Cortege' (2007); 'Secret Theatre' (1984). [Programme essay for Klangforum Wien concert at the Kollegienkirche, Salzburg Festival, 31/7/13]. Salzburg Festival.

Beard, David Jason 2013. The silk house tattoo [Programme Note for London Sinfonietta]. Arconis International Brass Event: Brass Without Boundaries, Cardiff: St. David's Hall, n/a.

Beard, David Jason 2015. A selected inventory of Birtwistle manuscripts acquired by the British Library in 2013. Harrison Birtwistle Studies, Cambridge Composer Series, Cambridge: Cambridge University Press, pp. 304-309.

Beard, David Jason 2015. "The life of my music": What the sketches tell us. In: Beard, David Jason, Gloag, Kenneth and Jones, Nicholas eds. Harrison Birtwistle Studies, Cambridge Composer Studies, Cambridge: Cambridge University Press, pp. 120-174.

Beard, David Jason 2017. Listening to the river's roar: stance, texture and space in the concertos. In: Charlton, David ed. The Music of Simon Holt, Suffolk: Boydell & Brewer,

Beard, David Jason and Birtwistle, Harrison 2017. Deep Time [Composer note]. Boosey & Hawkes.

Beard, David Jason and Gloag, Kenneth 2005. Musicology: the key concepts. Routledge Key Guides, London: Routledge.

Beard, David Jason and Gloag, Kenneth 2016. Musicology: the key concepts. 2nd edition. Routledge.

Beard, David Jason and Spiric Beard, Danijela 2008. The liminality of song: illusion and reality in the films of Emir Kusturica. Texte und Töne: Zeitschrift zum Kopfschütteln 1 (1) , pp. 50-57.

Biber, Heinrich Ignaz Franz Ponsford, David Stewart, ed. 2007. Mystery (rosary) sonatas for violin and continuo. Ut Orpheus, Bologna.

Bickerton, Daniel 2007. On The Edge. Composer.
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Bickerton, Daniel 2007. Phoenix. Composer.
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Bickerton, Daniel 2010. The meaning of Alex. Daniel Bickerton.

Bickerton, Daniel 2011. Ecclesiastical musings. Daniel Bickerton.

Bickerton, Daniel 2011. Equation. Daniel Bickerton.

Bickerton, Daniel 2012. Garuda. Composer.
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Bickerton, Daniel 2013. Stand Up. Composer.
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Bickerton, Daniel 2014. Let's Do It Again. Composer.
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Bickerton, Daniel 2015. Eclipse. Edited by Davis, Alexander. Composer.
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Bickerton, Daniel 2015. Invictus. Daniel Bickerton.

Bickerton, Daniel 2015. Textbook. Composer.
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Bickerton, Daniel 2015. Two mourning angels [Tyne Cot Sketches: I]. Daniel Bickerton.

Bickerton, Daniel 2015. Weather By Funk. Composer.
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Bickerton, Daniel 2016. #CONNECT. Daniel Bickerton.

Bickerton, Daniel 2016. Even though it's breaking, imagine! [Score].
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Bickerton, Daniel 2017. Mad About ThaT. Daniel Bickerton.

Bickerton, Daniel 2017. The pitch within. Daniel Bickerton.

Bickerton, Daniel 2017. Sea of Stone [Tyne Cot Sketches: II]. [Score]. Bickerton.
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Bickerton, Daniel 2018. Flypast. Daniel Bickerton.

Bickerton, Daniel 2018. Simmer down. Daniel Bickerton.

Bickerton, Daniel 2018. Learn Plus: Advantages in formative assessments. Presented at: Cardiff University Education Innovation Week, Cardiff, UK, 23 January 2018.

Bickerton, Daniel 2018. Assessment and feedback challenges in music. Presented at: Assessment Challenges and Challenging Assessment, Cardiff, UK, 24 September 2018.

Bickerton, Daniel 2018. The opportunities of Panopto within the School of Music. . Cardiff: Cardiff University Centre for Education Innovation. Available at: https://www.youtube.com/watch?v=gnw6gdTKlIk

Bickerton, Daniel 2019. nighTrain. Orchestras for All.

Bickerton, Daniel 2019. By Gosh, By Golly. [Score]. Daniel Bickerton.

Bickerton, Daniel and Allen, Paul 2017. Cardiff - Capital city of Wales. . Cardiff: Cardiff University. Available at: https://www.youtube.com/watch?v=UqicqIMGGpI

Bickerton, Daniel and Gornall, Lynne 2018. Playing together: What can academics in higher education learn from musicians about creative leadership and collaboration? In: Gornall, Lynne, Thomas, Brychan and Sweetman, Lucy eds. Exploring Consensual Leadership in Higher Education, London: Bloomsbury, pp. 243-262.

Bizet, George 2013. Carmen. [Musical Score]. Edited by Langham Smith, R. and Rowden, Clair Sophie. Edition Peters.

Bizet, George 2014. Carmen. [Musical Score: Vocal Score]. Edited by Langham Smith, R. and Rowden, Clair Sophie. London: Edition Peters.

Boleslawska-Lewandowska, Beata 2009. Symphony and symphonic thinking in Polish music after 1956. PhD Thesis, Cardiff University.
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Boyd, Blair Elizabeth 2019. Temporal structuring in a portfolio of original compositions. Volume 2 of 2: Academic commentary. PhD Thesis, Cardiff University.
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Carew, Derek 2001. The consumption of music. In: Jim, Samson ed. The Cambridge History of Nineteenth-Century Music, Cambridge: Cambridge University Press, pp. 237-258. (10.1017/CHOL9780521590174.010)

Carew, Derek 2005. Hummel's Op. 81: a paradigm for Brahms's Op.2? Ad Parnassum 3 (6) , pp. 133-156.

Carew, Derek 2007. The companion to the mechanical muse: the piano, pianism and piano music, c.1760–1850. Aldershot: Ashgate.

Carew, Derek 2007. The mechanical muse: the piano, pianism and piano music c. 1760-1850. Aldershot: Ashgate.

Carr, James, Power, Martin and Millar, Stephen 2017. More than a game: football, politics and popular culture. Brainstorm
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Caton, Anke Theresa 2011. Disenchantment during the Biedermeier period: political subtexts in Schubert's songs. PhD Thesis, Cardiff University.
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Cenciarelli, Carlo 2006. The case against Nyman revisited: “affirmative” and “critical” evidence in Michael Nyman’s appropriation of Mozart. Radical Musicology 2006 (1) , 84 pars.

Cenciarelli, Carlo 2009. Off key: when film and music won't work together. By Kay Dickinson [Book Review]. Music and Letters 90 (2) , pp. 320-322. 10.1093/ml/gcn123

Cenciarelli, Carlo 2011. Bach and cigarettes: imagining the everyday in Jarmusch’s Int. Trailer. Night. Twentieth-Century Music 7 (2) , pp. 219-243. 10.1017/S147857221100017X

Cenciarelli, Carlo 2012. Dr Lecter’s taste for 'Goldberg', or: the horror of Bach in the Hannibal franchise. Journal of the Royal Musical Association 137 (1) , pp. 107-134. 10.1080/02690403.2012.669929

Cenciarelli, Carlo 2013. "What Never Was Has Ended": Bach, Bergman and the Beatles in Christopher Münch’s 'The Hours and Times'. Music and Letters 94 (1) , pp. 119-137. 10.1093/ml/gct038

Cenciarelli, Carlo 2013. At the margins of the televisual: picture frames, loops and ‘cinematics’ in the paratexts of opera videos. Cambridge Opera Journal 25 (2) , pp. 203-223. 10.1017/S0954586713000074

Cenciarelli, Carlo 2014. Lucrezia in 3D: il fallimento di critica, gli scollamenti formali e le epistemologie web della prima opera in tridimensione. In: Fornoni, Federico ed. Donizetti in Scena: Attualità del testo-spettacolo, Bergamo: Fondazione Donizetti, pp. 384-404.

Cenciarelli, Carlo 2015. "Warped singing": opera from cinema to YouTube. In: Vincent, Delphine ed. Verdi on Screen, Lausanne: L'Age d'Homme, pp. 251-267.

Cenciarelli, Carlo 2016. The limits of operatic deadness. Cambridge Opera Journal 28 (2) , pp. 221-226. 10.1017/S0954586716000276

Cenciarelli, Carlo 2018. The sense of an ending: music, time and romance in Before Sunrise. In: Bayman, L. and Pinazza, N. eds. Journeys on Screen: Theory, Ethics and Aesthetics, Edinburgh: Edinburgh University Press, pp. 167-182.

Chapin, Keith 2006. Classicist terms of sublimity: Christian Friedrich Michaelis, fugue, and fantasy. Ad Parnassum 4 (8) , pp. 115-139.

Chapin, Keith 2006. Labor and metaphysics in Hindemith's and Adorno's statements on counterpoint. In: Hoeckner, B. ed. Apparitions: New Perspectives on Adorno and Twentieth-Century Music, Studies in Contemporary Music and Culture, London: Routledge, pp. 19-40.

Chapin, Keith 2006. Lost in quotation: the nuances behind E. T. A. Hoffmann's programmatic statements. 19th-Century Music 30 (1) , pp. 44-64. 10.1525/ncm.2006.30.1.044
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Chapin, Keith 2006. Strict and free reversed: the law of counterpoint in Koch's Musikalisches Lexikon and Mozart's Zauberflöte. Eighteenth-Century Music 3 (1) , pp. 91-107. 10.1017/S1478570606000509
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Chapin, Keith 2008. Scheibe’s mistake: sublime simplicity and the criteria of classicism. Eighteenth-Century Music 5 (2) , pp. 165-177. 10.1017/S1478570608001474
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Chapin, Keith 2009. Alexandre Pierre François Boëly (1785-1858), ses contemporains et le style sévère, conservatoire à rayonnement régional de Paris, 4-5 décembre 2008 [Conference report]. Eighteenth-Century Music 6 (2) , pp. 306-309. 10.1017/S1478570609990340
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Chapin, Keith 2009. Sublime experience and ironic action: E. T. A. Hoffmann and the use of music for life. In: Chapin, Keith and Kramer, Lawrence eds. Musical Meaning and Human Values, New York: Fordham University Press, pp. 32-58.

Chapin, Keith 2010. John T. Hamilton, Music, madness and the unworking of language. New York: Columbia University Press, 2008 pp. xviii + 252, ISBN 978023142205 [Book Review]. Eighteenth-Century Music 7 (01) , pp. 114-117. 10.1017/S1478570609990510
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Chapin, Keith 2010. Time and the keyboard fugue. 19th-Century Music 34 (2) , pp. 186-207. 10.1525/ncm.2010.34.2.186
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Chapin, Keith 2011. Counterpoint: From the bees or for the birds? Telemann and early eighteenth-century quarrels with tradition. Music and Letters 92 (3) , pp. 377-409. 10.1093/ml/gcr036

Chapin, Keith 2011. 'A harmony or concord of several and diverse voices': Autonomy in 17th-Century German music theory and practice. International Review of the Aesthetics and Sociology of Music (IRASM) 42 (2) , pp. 219-255.
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Chapin, Keith 2013. Le contrepoint et ses logiques tonales au tournant du dix-neuvième siècle. In: Gonnard, Henri ed. Regards sur la tonalité / Perspectives on Tonality, Sampzon: Editions Delatour, pp. 197-210.

Chapin, Keith 2013. Bach's silence, Mattheson's words: professional and humanist ways of speaking of music. In: Chapin, Keith and Clark, Andrew H. eds. Speaking of Music: Addressing the Sonorous, New York: Fordham University Press, pp. 74-111.

Chapin, Keith 2014. Learned style and learned styles. In: Mirka, Danuta ed. The Oxford Handbook of Topic Theory, Oxford Handbooks Online, Oxford University Press, (10.1093/oxfordhb/9780199841578.013.0012)

Chapin, Keith 2014. Temporal modes and symbolic stakes: strict composition in early Nineteenth-Century Europe. Musurgia 21 (1) , pp. 29-41. 10.3917/musur.141.0029

Chapin, Keith 2014. Classicism/neo-classicism. In: Downes, Stephen ed. Aesthetics of Music: Musicological perspectives, Abingdon: Routledge, pp. 144-169.

Chapin, Keith 2015. Antoine Reicha and the three identities of the learned musician. In: Raymond, Louise Bernard de, Bartoli, Jean-Pierre and Schneider, Herbert eds. Antoine Reicha, compositeur et theoricien: Actes du colloque international tenu à Paris du 18 au 20 avril 2013, George Olms Verlag, pp. 109-118.

Chapin, Keith 2015. Sublime néoclassique et sublime rhétorique: La réception musicale des Odes et mélodies spirituelles (1757) de Christian Fürchtegott Gellert. In: Hachie, Sophie and Favier, Thierry eds. À la croisée des arts: Sublime et musique religieuse en Europe (XVIIe-XVIIIe siècles), Paris: Classiques Garnier, pp. 165-185.

Chapin, Keith 2016. The Secular Commedia: Comic Mimesis in Late Eighteenth-Century Music.By Wye Jamison Allanbrook [Book Review]. Music and Letters 97 (1) , pp. 165-167. 10.1093/ml/gcv111

Chapin, Keith 2017. The visual traces of a discourse of ineffability: Late Eighteenth-Century German published writings on music. In: Eisen, Cliff and Davison, Alan eds. Late Eighteenth-Century Music and Visual Culture, Music and Visual Cultures, Turnhout: Brepols,

Chapin, Keith and Clark, Andrew H. 2013. Speaking of music: a view across disciplines and a lexicon of topoi. In: Chapin, Keith and Clark, Andrew H. eds. Speaking of Music: Addressing the Sonorous, New York: Fordham University Press,

Cowgill, Rachel 2010. New light and the man of might: revisiting early interpretations of Die Zauberflöte. In: Cowgill, Rachel, Cooper, David and Brown, Clive eds. Art and Ideology in European Opera: Essays in Honour of Julian Rushton, Woodbridge: Boydell Press, pp. 194-221.

Cowgill, Rachel 2010. The works of Julian Rushton. In: Cowgill, Rachel, Cooper, David and Brown, Clive eds. Art and Ideology in European Opera: Essays in Honour of Julian Rushton, Woodbridge: Boydell Press, pp. 385-391.

Cowgill, Rachel 2011. Canonizing remembrance: Music for Armistice Day at the BBC, 1922–7. First World War Studies 2 (1) , pp. 75-107. 10.1080/19475020.2011.555499

Cowgill, Rachel 2012. 'Attitudes with a shawl': performance, femininity, and spectatorship at the Italian opera in early nineteenth-century London. In: Cowgill, Rachel and Poriss, Hilary eds. The Arts of the Prima Donna in the Long Nineteenth Century, New York: Oxford University Press, pp. 217-251.

Cowgill, Rachel 2012. Performance alfresco: Music-making in English pleasure gardens. In: Conlin, Jonathan ed. The Pleasure Garden: From Vauxhall to Coney Island, Penn Studies in Landscape Architecture, Philadephia, PA: University of Pennsylvania Press, pp. 100-126.

Cowgill, Rachel, Cooper, David and Brown, Clive 2010. Introduction. In: Cowgill, Rachel, Cooper, David and Brown, Clive eds. Art and Ideology in European Opera: Essays in Honour of Julian Rushton, Woodbridge: Boydell Press, pp. 1-10.

Cowgill, Rachel and Dideriksen, Gabriella 2008. Opera Orchestras in Georgian and Early Victorian London. In: Jensen, Niels Martin and Piperno, Franco eds. The Opera Orchestra in 18th- and 19th Century Europe: Vol. I: The Orchestra in Society, Musical Life in Europe, 1600-1900: Circulation, Institutions, Representation, Berlin: Berliner Wissenschafts-Verlag, pp. 259-321.

Cowgill, Rachel and Poriss, Hilary 2012. Introduction. In: Cowgill, Rachel and Poriss, Hilary eds. The Arts of the Prima Donna in the Long Nineteenth Century, New York: Oxford University Press, xxvii-xlvi.

Cox, Owen 2016. The interpretation of unusual dynamic markings in Beethoven’s string quartet in Bb Major, Op. 130: a study of selected twentieth-century recordings. PhD Thesis, Cardiff University.
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Crown, Helen 2013. Lewis Granom: His significance for the flute in the eighteenth century. PhD Thesis, Cardiff University.
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Curry, Ben John 2011. Reading conventions, interpreting habits: Peircian semiotics in music. PhD Thesis, Cardiff University.
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Devaux, Vanessa 2014. Joseph Mayseder (1789-1863): A Viennese violinist and composer. PhD Thesis, Cardiff University.
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Faria Gomes, Pedro 1997. Prelúdio em Mi Bemol. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 1999. Psalmus 3. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 1999. Romanza e Rondo. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 1999. Viva o Entrudo! [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2000. Campainhada. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2000. Fantasy on a Theme by Copland. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2000. Séptuor. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2001. Quatro Peças. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2001. Sinfonietta. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2002. Duas Fantasias. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2002. Nobre Povo. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2003. Crónica de Dor e Morte. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2003. Variações-Fantasia. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2004. Cinco Canções Breves. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2005. À Memória de Anarda. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2005. Romanza e Rondo. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2005. Uma Cantata Portuguesa. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2006. À Memória de Anarda. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2006. O Violino Cigano. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2007. Como se Faz Cor-de-Laranja. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2007. Dark Chamber. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2007. Díptico. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2007. Elegia. [Score]. AvA Musical Editions.

Faria Gomes, Pedro 2007. Escape. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2008. Drive. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2008. Epigrama. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2008. Thanatos. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2009. Espera. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2009. Sleeping. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2009. Three Pieces for Wind Quintet. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2010. Dual. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2010. Nachtmusik. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2010. Returning. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2010. Three Reflections from Inscriptions. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2011. Contours. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2012. Contraluz. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2012. Dual. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2012. Memória. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2012. Toys and Games. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2013. Tereza's dreams. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2013. Approaches to composition. Presented at: Research Training for Doctoral Students, Royal College of Music, London, UK, 23 January 2013.

Faria Gomes, Pedro 2014. Creating harmonic functionality in post-tonal music: a composer's perspective. Royal College of Music.

Faria Gomes, Pedro 2014. How beastly the bourgeois is. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2014. Function and meaning: the influence of Kundera's 'Ignorance' on 'Returning' for violin, clarinet and piano. Presented at: Music Literature, Historiography and Aesthetics, Institute of Musical Research, London, UK, 17-18 July 2014.

Faria Gomes, Pedro 2015. Canções do Quadrante. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2016. ELA. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2016. Pinguins. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2017. Evening. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2018. Sonata. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro 2018. Analytical reductions. Presented at: Research Training for Doctoral Students, Royal College of Music, London, UK, 11 January 2018.

Faria Gomes, Pedro 2018. Tableaux. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro and Costa, Luiz 2008. Poema. [Score]. AvA Musical Editions.

Faria Gomes, Pedro and Godinho, José Carlos 2003. À Procura de um Pinheiro. [Score]. Pedro Faria Gomes.

Faria Gomes, Pedro and Sousa, Paulo 2002. Rapsódia. [Score]. Pedro Faria Gomes.

Febrer Coll, Eulalia 2018. ‘Evolved’ traditions: The role of music in contemporary spiritual practices. PhD Thesis, Cardiff University.
Item availability restricted.
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Fokkens, Robert 2008. "Tracing Lines" for violin and cello. [Score and performance]. Composer.

Fokkens, Robert 2008. Cycling to Langa (for alto/bass quarter-tone flutes and electronics). [Score and performance]. Composer.

Fokkens, Robert 2009. "Glimpses of a half-forgotten future" for clarinet quartet. [Score (hard copy, PDF and Sibelius files) and performance]. Composer.

Fokkens, Robert 2011. Mammals of Southern Africa for piano trio. [Score]. Composer.

Fokkens, Robert 2012. "Flytrap" for SSA vocal trio. [Score (hard copy, PDF and Sibelius files) and performances]. Composer.

Fokkens, Robert 2012. Pentecost for soprano, baritone and recorders. [Score].

Fokkens, Robert 2014. Worry/Don't Worry. [Performances and Published score]. Composers Edition.

Fokkens, Robert 2014. Mzansi nights. [Performance AND Published score]. Composers Edition.

Fokkens, Robert 2015. The Application.

Fokkens, Robert 2015. Hoerikwaggo.

Fokkens, Robert 2016. On quietude and dancing.

Fokkens, Robert 2016. Reaching, falling.

Fokkens, Robert 2016. Two songs.

Fokkens, Robert 2017. Capriccio Variations.

Fokkens, Robert 2017. A darkness insinuating.

Fokkens, Robert 2018. Reaching, Falling. [Composition].

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Gardner, Cameron 2008. Distancing the heroic: Schubert's Piano Sonata in D major (D. 850). In: Reul, Barbara M. and Bodley, Lorraine Bryne eds. The Unknown Schubert, Ashgate, pp. 177-99.

Gardner, Cameron 2008. Franz Schubert (1797-1828) The Unauthorized Piano Duos. Volume 2: The Gahy Friendship. Trio in B-Flat, D. 898, Sonata in A Minor, D. 821, arranged for piano duet by Josef Von Gahy Anthony Goldstone and Caroline Clemmow, piano duet. Divine Art Record Co. 25039, 2006; 70 minutes [CD Review]. Eighteenth-Century Music 5 (1) , pp. 132-134. 10.1017/S1478570608001309

Gardner, Cameron 2008. Schubert in the European imagination: Fin-de-siècle Vienna, vol. 2 by Scott Messing [Book Review]. Eighteenth-Century Music 5 (2) , pp. 247-250. 10.1017/S1478570608001528

Gardner, Cameron 2016. (Re-)Theorising Schubert's 'Reliquie': precedents, the 'Great' Symphony, and narrative. In: Bryne Bodley, Lorraine and Horton, Julian eds. Rethinking Schubert, New York: Oxford University Press, pp. 147-172.

Gardner, Cameron. 2006. Towards a hermeneutic understanding of Schubert's 1825 piano sonatas : constructing and deconstructing interpretation from expressive opposition. PhD Thesis, Cardiff University.
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Gloag, Kenneth 2001. Situating the 1960s: popular music - postmodernism - history. Rethinking History 5 (3) , pp. 397-410. 10.1080/1364250110078514

Gloag, Kenneth 2003. 'Russian Rites: Petrushka, Rite of Spring, Les Noces'. In: Jonathan, Cross ed. The Cambridge Companion to Stravinsky, Cambridge University Press, pp. 79-97.

Gloag, Kenneth 2003. 'Gottfried von Einem and the Contexts of Modernism'. Presented at: Proceedings of Gottfried von Einem Congress Vienna 1998,

Gloag, Kenneth 2008. Nicholas Maw: Odyssey. Landmarks in Music since 1950, Aldershot: Ashgate.

Gloag, Kenneth 2009. Questions of form and genre in Peter Maxwell Davies's First Symphony. In: Gloag, Kenneth and Jones, Nicholas eds. Peter Maxwell Davies Studies, Cambridge Composer Studies, Cambridge: Cambridge University Press, pp. 129-150.

Gloag, Kenneth 2011. 'Nicholas Maw's Breakthrough: Scenes and Arias Reconsidered. Musical Times 152 (1915) , pp. 31-57.

Gloag, Kenneth 2012. Postmodernism in music. Cambridge Introductions to Music, Cambridge: Cambridge University Press.

Gloag, Kenneth 2014. Jazz-avant-garde-tradition. In: Downes, Stephen ed. Aesthetics of Music: Musicological Perspectives, London: Routledge, pp. 188-202.

Gloag, Kenneth 2015. 'A thing of the past': Canon formation and the postmodern condition. In: Kurkela, Vesa and Mantere, Markus eds. Critical Music Historiography: Probing Canons, Ideologies and Institutions, Aldershot: Ashgate, pp. 227-237.

Gloag, Kenneth 2015. Birtwistle's eloquently gestural music. In: Beard, David Jason, Gloag, Kenneth and Jones, Nicholas eds. Harrison Birtwistle Studies, Cambridge Composer Studies, Cambridge: Cambridge University Press, pp. 95-119.

Goodall, Kay, Hopkins, Peter, McKerrell, Simon, Markey, John, Millar, Stephen R., Richardson, John and Richardson, Michael J. 2015. Community experiences of sectarianism. [Project Report]. London: Scottish Government Social Research. Available at: https://www.gov.scot/Resource/0047/00470344.pdf
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Goodall, Kay, McKerrell, Simon, Markey, John, Millar, Stephen R. and Richardson, Michael J. 2015. Sectarianism in Scotland: A 'West of Scotland' problem, a patchwork or a cobweb? Scottish Affairs 24 (3) , pp. 288-307. 10.3366/scot.2015.0079
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Green, Julian Jay 2008. Frames of reference: three late-modernist case studies in music composed after painting. PhD Thesis, Cardiff University.
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Hall, Matthew 2013. Portfolio of original compositions. PhD Thesis, Cardiff University.
Item availability restricted.
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Hamer, Laura Ann 2009. Musiciennes : Women musicians in France during the interwar years, 1919-1939. PhD Thesis, Cardiff University.
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Hamilton, Kenneth 1996. Liszt: Sonata in B Minor. Cambridge Music Handbooks, Cambridge: Cambridge University Press. 10.1017/CBO9780511620133

Hamilton, Kenneth 2008. After the Golden Age: Romantic Pianism and Modern Performance. Oxford: Oxford University Press. 10.1093/acprof:oso/9780195178265.001.0001

Hamilton, Kenneth 2008. Mendelssohn and the piano. In: Reichwald, Siegwart ed. Mendelssohn in Performance, Bloomington, IN: Indiana University Press, pp. 19-40.

Hamilton, Kenneth 2009. Beethoven's 'Tempest' sonata in performance. In: Bergé, Pieter, D'Hoe, Jeroen and Caplin, William E. eds. Beethoven's 'Tempest' Sonata: Perspectives of Analysis and Performance, Analysis in Context. Leuven Studies in Musicology, vol. 2. Leuven: Peeters, pp. 127-163.

Hamilton, Kenneth 2009. Wagner and Liszt: Elective affinities. In: Grey, Thomas S. ed. Richard Wagner and His World, Princeton, NJ: Princeton University Press, pp. 27-64.

Hamilton, Kenneth 2010. Cara a cara con Chopin: Enfoques Interpretativos de Pianistas del Pasado [Confronting Chopin: Performance Approaches by Pianists of the Past]. Quodlibet: Rivista de especializacion Musical (47) , pp. 46-71.

Hamilton, Kenneth 2012. Os alunos de Liszt tocando Liszt - o que nos dizem gravações históricas [A Dance around Liszt's Totentanz]. Presented at: GuimaraMUS – Congresso Musical de Guimarães, Guimarães, Portugal, 23-25 March 2012.

Hamilton, Kenneth 2012. The sufferings and greatness of Franz Liszt. In: Saffle, M., Tibbetts, J. C. and McKinney, C. eds. Liszt: A Chorus of Voices, Franz Liszt Studies, vol. 13. Hillsdale, NY: Pendragon Press, pp. 141-149.

Hamilton, Kenneth 2013. The embarrassment of influence: Liszt, Paris and posterity. In: Haine, Malou, Dufetel, Nicolas, Gooley, Diana and Kregor, Jonathan eds. Liszt et La France: Musique, culture et société dans l'Europe du XIXe siècle, Musicologies, Paris: Editions Vrin, pp. 59-79.

Hamilton, Kenneth 2014. Nach persönlichen Erinnerungen: Liszt's Overlooked Lagacy to his Students. In: Deaville, James and Saffle, Michael eds. Liszt's Legacies, Hillsdale, NY: Pendragon Press, pp. 83-96.

Hamilton, Kenneth 2015. Franz Liszt: Totentanz for Piano and Orchestra. 2015.

Hamilton, Kenneth 2016. Kenneth Hamilton plays Ronald Stevenson, Vol 1. 2016.

Hamilton, Kenneth 2017. Franz Liszt defended against his devotees. Keyboard Perspectives 10

Hamilton, Kenneth 2017. Liszt, Rachmaninov, Busoni: Back to Bach - Tributes and transcriptions. [Audio CD]. 19 May 2017. ID number: B06XX6MTNQ.

Hamilton, Kenneth 2018. Do they still hate Horowitz?: The last romantic revisited. In: Kim, David and Seskir, Sezi eds. Musical Interpretation Today, University of Chicago Press,

Hamilton, Kenneth 2018. Preludes to Chopin - Sonatas, Barcarolle, Polonaise. 5 October 2018. ID number: PFCD084.

Hamilton, Kenneth 2019. Après une Lecture du Czerny?: Liszt’s creative virtuosity. In: Doran, Robert and Locke, Ralph eds. Liszt and Virtuosity, New York: University of Rochester Press,

Hayden, Andrew 2018. The organs and organists of St Nicholas, Great Yarmouth 1733-1894. PhD Thesis, Cardiff University.
Item availability restricted.
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Hemsley, J. D. C. 2005. Henry Bryceson (1832-1909) organ-builder and early work in the application of electricity to organ actions. PhD Thesis, Cardiff University.
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Hill, Sarah 1999. O'r Barrio i'r Byd: Marchnata'r Iaith Ryngwladol yn Ninas yr Engylion. Tu Chwith Gwanwy , pp. 100-105.

Hill, Sarah 1999. Families of resemblance: Welsh popular music and other marginalia. Presented at: University of Wales Centre for Advanced Welsh Musical Studies Conference, Bangor, UK, 29 July -1 August 1999.

Hill, Sarah 2000. Families of resemblance: Welsh popular music and other marginalia. Welsh Music History 4 , pp. 138-147.

Hill, Sarah 2000. Conference Review. Identities in Action: Gregynog, 10-12 December 1999. Popular Music 19 (3) , pp. 394-395.

Hill, Sarah 2000. Welsh popular music in the Anglo-American market. Presented at: Popular Music and National Culture: IASPM Slovenia Conference, Ljubljana, Slovenia, 22-25 November 2000.

Hill, Sarah 2001. Britpop: Syllu ar Fogail Lloegr. Tu Chwith , pp. 37-44.

Hill, Sarah 2001. Welsh popular music in the 1960s: The roots of an identity. Presented at: Looking Back, Looking Ahead: Popular Music Studies 20 Years Later: 11th Biennial IASPM Conference, Turku, Finland, 6-10 July 2001.

Hill, Sarah 2003. Book Review. Stan Hawkins, settling the pop score. Popular Music 22 (2) , pp. 251-253. 10.1017/S026114300323316X

Hill, Sarah 2003. From the new Jerusalem to the secret world: Peter Gabriel and the shifting self. Presented at: Practising Popular Music: 12th Biennial IASPM Conference, Montreal, QC, Canada, 3-7 July 2003.

Hill, Sarah 2003. 'All directions were forward from there': The Grateful Dead, San Francisco, and the memory of the 60s. Presented at: 39th Annual RMA Conference: Music Historiography, Cardiff, UK, 12-14 September 2003.

Hill, Sarah 2004. Ending it all: Genesis and Revelation. Presented at: SIMS 2004: Symposium of the International Musicological Society, Melbourne, Australia, 11-16 July 2004.

Hill, Sarah 2006. When deep soul met the love crowd: Otis Redding at the Monterey pop festival, June 16-18, 1967. Performance and Popular Music History, Place and Time, Ashgate, 28 - 40.

Hill, Sarah 2006. When deep soul met the love crowd: Otis Redding at the Monterey Pop Festival, June 16-18, 1967. In: Inglis, Ian ed. Performance and Popular Music: History, Place and Time, Ashgate Popular and Folk Music Series, Abingdon: Ashgate, pp. 28-40.

Hill, Sarah 2006. Beyond borders: the female Welsh pop voice. Radical Musicology 1 (17 May)

Hill, Sarah 2007. 'Blerwytirhwng?' The place of Welsh pop music. Ashgate Popular and Folk Music Series, Abingdon: Ashgate.

Hill, Sarah 2007. Beyond Borders: The female Welsh pop voice. Radical Musicology 1

Hill, Sarah 2007. 'Blerwytirhwng?' the place of Welsh pop music. Ashgate Popular and Folk Music Series, Aldershot: Ashgate.

Hill, Sarah 2007. A taste of summer. [Radio]. 9 October 2007.

Hill, Sarah 2007. Book Review. Monte Dutton, true to the roots: American music revealed. Music and Letters 88 (4) , pp. 708-709. 10.1093/ml/gcm039

Hill, Sarah 2008. Cerddoriaeth Boblogaidd yng Nghymru ers 1945. Gwyddoniadur Cymru yr Academi Gymreig, University of Wales Press,

Hill, Sarah 2008. The sound of San Francisco? The Grateful Dead, urban hippies and the memory of the 60s. Presented at: 29th Annual Southwest Texas Popular Culture and American Culture Association, Albuquerque, NM, 13-16 February 2008.

Hill, Sarah 2008. Popular music in Wales since 1945. In: Davies, John, Jenkins, Nigel, Baines, Menna and Lynch, Peredur I. eds. The Welsh Academy Encyclopaedia of Wales, Cardiff: University of Wales Press,

Hill, Sarah 2008. Record companies in Wales. In: Davies, John, Jenkins, Nigel, Baines, Menna and Lynch, Peredur I. eds. The Welsh Academy Encyclopaedia of Wales, Cardiff: University of Wales Press,

Hill, Sarah 2009. Book Review. Olivier Julien, ed., Sgt Pepper and the Beatles: It was forty years ago today. Ethnomusicology 53 (2) , pp. 329-331. 10.2307/25653072

Hill, Sarah 2009. Hippies Inc.: San Francisco and the commodification of the 60s. Presented at: Popular Music Worlds, Popular Music Histories: 15th Biennial IASPM Conference, Liverpool, UK, 13-17 July 2009.

Hill, Sarah 2009. Hippies, Inc.: San Francisco and the commodification of the 60s. Presented at: 15th Biennial IASPM Conference: Popular Music Worlds, Popular Music Histories, Liverpool, UK, 13-17 July 2009.

Hill, Sarah 2009. Book Review. David W. Bernstein, ed., The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. Popular Music 28/3 , pp. 433-434. 10.1017/S026114300999016X

Hill, Sarah 2010. Book Review. Mina Yang, California Polyphony. twentieth-century music 7 (1) , pp. 122-127. 10.1017/S1478572211000089

Hill, Sarah 2011. Mary Hopkin and the deep throat of culture. In: Laurie, Stras ed. She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music, Surrey: Ashgate, pp. 163-182.

Hill, Sarah 2011. Psychedelia and its high other in 1960s San Francisco. Presented at: 7th International Conference on Music Since 1900 / Lancaster University Music Analysis Conference (LancMAC), Lancaster, UK, 28-31 July 2011.

Hill, Sarah 2011. Psychedelia and Its high other in 1960s San Francisco. Presented at: 7th International Conference on Music Since 1900 / Lancaster University Music Analysis Conference (LancMAC), University of Lancaster, UK, 28-31 July 2011.

Hill, Sarah 2012. Mapio Canu Pop Cymraeg / Mapping Welsh Pop. Presented at: 11th Conference of the Centre for Advanced Welsh Musical Studies, Aberystwyth, UK, February 2012.

Hill, Sarah 2012. Minority language, majority canon. Popular Music History 7 (3) , pp. 283-300.

Hill, Sarah 2012. A Night at the Avalon. Presented at: Imagining Communities Musically: Putting Popular Music in its Place: IASPM-UK/Ireland Conference, Salford, UK, 5-7 September 2012.

Hill, Sarah 2012. A night at the Avalon. Presented at: Biennial IASPM-UK/Ireland conference: Imagining Communities Musically: Putting Popular Music in its Place, Salford, Manchester, UK, 5-7 September 2012.

Hill, Sarah 2013. Choreographing 'In C'. Presented at: Left Coast Minimalism: 4th International Conference on Minimalist Music, Long Beach, CA, 3-6 October 2013.

Hill, Sarah 2013. Desert Island Discs, Beti a'i Phobol, and Britishness. Presented at: Desert Island Discs and the Discographic Self, London, UK, 5-6 November 2013.

Hill, Sarah 2013. The Heritage of failure: marginal Welsh Pop in the capital city. Presented at: Bridge Over Troubled Waters: Challenging Orthodoxies: 17th IASPM International Conference, Oviedo, Spain, 24-28 June 2013.

Hill, Sarah 2013. Book Review. Alice Echols, hot stuff: disco and the remaking of American culture. Popular Music 32 (1) , pp. 133-135. 10.1017/S0261143012000657

Hill, Sarah 2013. "This is my country": American popular music and political engagement in 1968. In: Kutschke, Beate and Norton, Barley eds. Music and Protest in 1968, Music since 1900, Cambridge: Cambridge University Press, pp. 46-63.

Hill, Sarah 2013. Ending it all: Genesis and revelation. Popular Music 32 (2) , pp. 197-221. 10.1017/S0261143013000044
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Hill, Sarah 2013. The heritage of failure: Marginal Welsh pop in the capital city. Presented at: IASPM 17th Biennial Conference: Bridge Over Troubled Waters: Challenging Orthodoxies, Oviedo, Spain, 24-28 June 2013.

Hill, Sarah 2013. Choreographing In C. Presented at: 4th International Conference on Music and Minimalism, Long Beach, CA, USA, 3-6 October 2013.

Hill, Sarah 2013. Desert Island Discs, Beti a'i Phobol, and Britishness. Presented at: Desert Island Discs and the Discographic Self, London, UK, 5-6 November 2013.

Hill, Sarah 2014. Psychedelic aesthetic and progressive impulse: A Tale of Two Cities. Presented at: First International Conference of the ACADPROG Network, Dijon, France, 10-12 December 2014.

Hill, Sarah 2015. Connecting the dots: pop historiography since one chord wonders. Presented at: 30 Years of One Chord Wonders, Sellis Benney Theatre, Brighton, UK, 17 Oct 2015.

Hill, Sarah 2016. 'An Enticing Experience': Women Listening to Prog. Presented at: Second International Conference of the Progect Network for the Study of Progressive Rock, University of Edinburgh, May 2016.

Hill, Sarah 2016. San Francisco and the long 60s. London: Bloomsbury.

Hill, Sarah 2017. O'r Bae i'r Bala: Dylanwad Haf Hir 1967. O'r Pedwar Gwynt 4
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Hill, Sarah 2017. Teaching popular music and protest from the 1960s. Presented at: Revolution in the Air, Université de Rouen, France, Mar 2017.

Hill, Sarah 2017. Celtic music in Wales. In: Horn, David, Shepherd, John and Prato, Paolo eds. Bloomsbury Encyclopedia of Popular Music of the World, Volume 11: Genres: Europe, London: Bloomsbury,

Hill, Sarah 2017. Explosion of deferred dreams: musical renaissance and social revolution in San Francisco, 1965-1975 [Book Review]. The Sixties 10 (1) , pp. 113-114. 10.1080/17541328.2017.1310438

Hill, Sarah 2017. 'If you can remember the 60s...'. Presented at: Summer of Love Conference: Revisiting the Summer of Love, Rethinking the Counterculture, San Francisco, CA, USA, 27-29 July 2017.

Hill, Sarah 2017. A historiography of pop historiography. Presented at: RMA 53rd Annual Conference, Liverpool, UK, 7-9 September 2017.

Hill, Sarah 2017. Peripheral identities on Desert Island Discs and Beti a'I Phobol. In: Brown, Julie, Cook, Nicholas and Cottrell, Stephen eds. Defining the Discographic Self: Desert Island Discs in Context, Proceedings of the British Academy, Oxford: Oxford University Press, pp. 189-212.

Hill, Sarah 2018. Un Naw Chwech Wyth. Journal of Communication Inquiry 42 (3) , pp. 300-305. 10.1177/0196859918776506

Hill, Sarah 2018. Bara Menyn, Y. In: Thomas, Wyn and Ap Sion, Pwyll eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 45-46.

Hill, Sarah 2018. Bois y Blacbord. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, p. 54.

Hill, Sarah 2018. Bois y Frenni. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 54-55.

Hill, Sarah 2018. Catatonia. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 74-75.

Hill, Sarah 2018. Datblygu. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, p. 131.

Hill, Sarah 2018. Ffa Coffi Pawb. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 179-180.

Hill, Sarah 2018. Gorky's Zygotic Mynci. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 194-195.

Hill, Sarah 2018. Hogia Llandegai. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 237-238.

Hill, Sarah 2018. Hogia'r Gogledd. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, p. 238.

Hill, Sarah 2018. Hogia'r Wyddfa. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 238-239.

Hill, Sarah 2018. Hopkin, Mary. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 239-240.

Hill, Sarah 2018. James, Richard. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 255-256.

Hill, Sarah 2018. Jones, Tom. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 288-289.

Hill, Sarah 2018. Le Bon, Cate. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 294-295.

Hill, Sarah 2018. Pelydrau, Y. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, p. 343.

Hill, Sarah 2018. Pope, Mal. In: Sion, Pwyll ap and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, Y Lolfa, pp. 352-353.

Hill, Sarah 2018. Rhys, Gruff. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 378-379.

Hill, Sarah 2018. Roberts, Robert (Bob Tai'r Felin). In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, p. 369.

Hill, Sarah 2018. Squires, Dorothy. In: Sion, Pwyll ap and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, Y Lolfa, pp. 386-387.

Hill, Sarah 2018. Super Furry Animals. In: Sion, Pwyll ap and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, Y Lolfa, pp. 390-391.

Hill, Sarah 2018. Williams, Margaret. In: Sion, Pwyll ap and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, Y Lolfa, p. 432.

Hill, Sarah 2019. 1968: Mythology matters. Twentieth-Century Music 16 (1) , pp. 165-168. 10.1017/S147857221900015X

Hill, Sarah and Ap Glyn, Sion 2018. Jones, Heather. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 281-282.

Hill, Sarah and Ap Siôn, Pwyll 2018. Hergest. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 234-235.

Hill, Sarah and Ap Siôn, Pwyll 2018. Iwan, Dafydd. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 251-253.

Hill, Sarah and Ap Siôn, Pwyll 2018. Jarman, Geraint. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 257-259.

Hill, Sarah and Ap Siôn, Pwyll 2018. Jess. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 271-272.

Hill, Sarah and Dai, Griffiths 2005. Postcolonial music in contemporary Wales: hybridities and weird geographies. In: Jane, Aaron and Chris, Williams eds. Postcolonial Wales, Cardiff: University of Wales Press, pp. 215-233.

Hill, Sarah and Gower, Jon 2018. Davies, Ryan. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, pp. 141-142.

Hill, Sarah and Gower, Jon 2018. Max Boyce. In: Ap Siôn, Pwyll and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, United Kingdom: Y Lolfa, p. 56.

Hill, Sarah and Griffiths, Dai 2002. What did 'Welsh' mean for Welsh pop in the 1990s? Presented at: Postcolonial Wales, Treforest, Wales, UK, 13 July 2002.

Hill, Sarah and Herbert, Trevor 2018. Poblogaidd, Cerddoriaeth. In: Sion, Pwyll ap and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, Y Lolfa, pp. 348-352.

Hill, Sarah, O'Connell, Joseph and Thomas, Isabel 2017. One weekend in October: The Swn Festival, Cardiff. Presented at: CHIME Conference 2017: Music, Festivals, Heritage, Siena , Italy, 25-28 May 2017.

Hill, Sarah and Sion, Pwyll ap 2018. Stevens, Meic. In: Sion, Pwyll ap and Thomas, Wyn eds. Cydymaith i Gerddoriaeth Cymru, Y Lolfa, pp. 389-390.

Hill, Sarah Susan 2012. From the new Jerusalem to the secret world: Peter Gabriel and the shifting self. In: Drewett, Michael, Hill, Sarah Susan and Kärki, Kimi eds. Peter Gabriel: From Genesis to Growing Up, Ashgate Popular and Folk Music Series, Farnham: Ashgate, pp. 15-30.

Holden, Claire 2012. Recreating early 19th- century style in a 21st-century marketplace: An orchestral violinist’s perspective. Presented at: Institute of Musical Research DeNote Seminar, Senate House, London, 30 January 2012.
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Hughes, Gareth Olubunmi 2016. A portfolio of acoustic/electroacoustic music compositions & computer algorithms that investigate the development of polymodality, polyharmony, chromaticism & extended timbre in my musical language. PhD Thesis, Cardiff University.
Item availability restricted.
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Jassey, Victoria Rosemary 2019. Tambor Reverberations: Gender, Sexuality and Change in Cuban Batá performance. PhD Thesis, Cardiff University School of Music.
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Jones, David 2019. Religious views. In: Keefe, Simon ed. Mozart in Context, Composers in Context, Cambridge: Cambridge University Press, pp. 27-33.

Jones, David 2019. Vienna. In: Keefe, Simon ed. Mozart in Context, Composers in Context, Cambridge: Cambridge University Press, pp. 88-96.

Jones, David 2019. Institutions. In: Clark, Caryl and Day-O'Connell, Sarah eds. The Cambridge Haydn Encyclopedia, Cambridge: Cambridge University Press, pp. 167-177.

Jones, David Wyn 1978. Robert Bremner and the periodical overture. Soundings (7) , pp. 63-84.

Jones, David Wyn 1984. Haydn's Music in London in the Period 1760-1790. In: Landon, H.C. Robbins ed. Haydn Yearbook, Vol. 14. Cardiff: University College Cardiff Press, pp. 144-172.

Jones, David Wyn 1990. Why did Mozart compose his last three Symphonies? Some new Hypotheses. Music Review 51 , pp. 280-289.

Jones, David Wyn 1992. A Spanish Source for Haydn’s “Non nobis Domine”. In: Landon, H. C. Robbins ed. Haydn Yearbook, Vol. 17. London: Thames & Hudson, pp. 167-169.

Jones, David Wyn 1995. Beethoven: The Pastoral Symphony. Cambridge Music Handbooks, Cambridge: Cambridge University Press.

Jones, David Wyn 1996. From Artaria to Longman & Broderip: Mozart's music on sale in London. In: Biba, Otto and Jones, David Wyn eds. Studies in Music History: Presented to H. C. Robbins Landon on his Seventieth Birthday, London: Thames & Hudson, pp. 105-114.

Jones, David Wyn 1996. Haydn’s Missa sunt bona mixta malis and the a cappella tradition. In: Jones, David Wyn ed. Music in Eighteenth-Century Austria, Cambridge: Cambridge University Press, pp. 89-111. (10.2277/ 0521453496)

Jones, David Wyn 1996. Introduction: new challenges, new perspectives. In: Jones, David Wyn ed. Music in Eighteenth-Century Austria, Cambridge: Cambridge University Press, pp. 1-10. (10.2277/ 0521453496)

Jones, David Wyn 1998. Austrian Symphonies in the Royal Palace, Madrid. In: Boyd, Malcolm and Carreras, Juan-Jose eds. Music in Spain during the Eighteenth Century, Cambridge: Cambridge University Press, pp. 125-143. (10.2277/ 0521481392)

Jones, David Wyn 1998. The life of Beethoven. Musical Lives, Cambridge: Cambridge University Press.

Jones, David Wyn 2001. "ma in Ispagna..." Manuscript sources for Mozart's Music in the Royal Palace, Madrid. Mitteilungen der Internationalen Stiftung Mozarteum 49 (1/2) , pp. 40-50.

Jones, David Wyn 2002. A newly identified sketchleaf for Haydn's quartet in D minor, "Opus 103". Haydn-Studien 8 (4) , 413 - 17.

Jones, David Wyn 2003. Beethoven and the Viennese Legacy. In: Stowell, Robin ed. The Cambridge Companion to the String Quartet, Cambridge Companions to Music, Cambridge: Cambridge University Press, pp. 210-237. (10.1017/CCOL9780521801942.011)

Jones, David Wyn 2003. The origins of the quartet. In: Stowell, Robin ed. The Cambridge Companion to the String Quartet, Cambridge Companions to Music, Cambridge: Cambridge University Press, pp. 177-184. (10.1017/CCOL9780521801942.009)

Jones, David Wyn 2005. First among equals: Haydn and his fellow composers. In: Clark, C. ed. The Cambridge Companion to Haydn, Cambridge Collections Online, Cambridge: Cambridge University Press, pp. 45-57. (10.1017/CCOL9780521833479.005)

Jones, David Wyn 2005. 'What do surviving copies of early printed music tell us?'. In: Rudolf, Rasch ed. Music Publishing in Europe 1600-1900. Concepts and Issues. Bibliography, Berliner Wissenschafts-Verlag, pp. 140-58.

Jones, David Wyn 2006. Haydn, Hoffmeister, Beethoven and Mozart: Salomon's 1801 concert series. In: Fuchs, Ingrid ed. Festschrift Otto Biba zum 60. Geburtstag, Tutzing: Hans Schneider, pp. 39-56.

Jones, David Wyn 2006. Some aspects of Clementi’s career as a publisher. In: Antolini, B. M. and Mastroprimiano, C. eds. Muzio Clementi: Compositore, (Forte) Pianista, editore: Atti del Convegno internazionale di studi (Perugia, Conservatorio di Musica, 4-6 ottobre 2002), Strumenti della ricerca musicale, vol. 9. Lucca: Lim Editrice, pp. 3-19.

Jones, David Wyn 2006. The stylus a cappella masses of the Viennese classical school: Palestrina honoured and transformed. In: Rostirolla, Giovanni, Soldati, Stefania and Zomparelli, Elena eds. Palestrina e l'Europa: Atti del III Convegno Internazionale di Studi (Palestrina, 6-9 ottobre 1994), Palestrina: Fondazione Giovanni Pierluigi da Palestrina, pp. 1061-1074.

Jones, David Wyn 2006. The symphony in Beethoven's Vienna. Cambridge: Cambridge University Press.

Jones, David Wyn 2009. The life of Haydn. Musical Lives, Cambridge: Cambridge University Press.

Jones, David Wyn 2010. Becoming a complete Kapellmeister: Haydn and Mattheson's 'Der vollkommene Capellmeister'. Studia Musicologica 51 (1-2) , pp. 29-40. 10.1556/SMus.51.2010.1-2.3

Jones, David Wyn 2011. Haydn's forgotten quartets: Three of the 'Paris' symphonies arranged for string quartet. Eighteenth-Century Music 8 (2) , pp. 287-305. 10.1017/S147857061100008X
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Jones, David Wyn 2013. Haydn, Austria and Britain: Music, culture and politics in the 1790s. In: Chesser, Richard and Jones, David Wyn eds. The Land of Opportunity: Joseph Haydn and Britain, London: British Library, pp. 1-21.

Jones, David Wyn 2015. Introduction. In: Jones, David Wyn ed. Haydn, The Late Eighteenth-Century Composers, Surrey: Ashgate, xi-xxv.

Jones, David Wyn 2015. Mozart's spirit from Seyfried's hands. In: Keefe, Simon P. ed. Mozart Studies 2, Cambridge Composer Studies, Cambridge: Cambridge University Press, pp. 195-228.

Jones, David Wyn 2016. Music in Vienna, 1700, 1800, 1900. Woodbridge: Boydell.

Jones, David Wyn 2017. "What noble simplicity, what strength and, certainly, melody this music has." Handel's reputation in Beethoven's Vienna. Händel-Jahrbuch, Vol. 63. Basel: Bärenreiter Kassel, pp. 73-86.

Jones, Nicholas Embedding assessment into course design: a view from Lifelong Learning. Presented at: UALL Annual Conference: Who and What are Universities For?, Durham University, UK, 20-22 March 2013.

Jones, Nicholas 1998. 'Preliminary workings': The precompositional process in Maxwell Davies's Third Symphony. Tempo 204 , pp. 14-22.

Jones, Nicholas 2000. Architectural perspectives on Peter Maxwell Davies's Third Symphony. Presented at: Peter Maxwell Davies Conference, St Martin's College, Lancaster, UK, 1-2 April 2000.

Jones, Nicholas 2000. Mathias's String Quartet No.1. Something to shout about. The Musical Times 141 (1872) , pp. 24-32. 10.2307/1004395

Jones, Nicholas 2002. Dominant Logic: Peter Maxwell Davies's basic unifying hypothesis. The Musical Times 143 (1878) , pp. 37-45. 10.2307/1004421

Jones, Nicholas 2002. Perspectives on Peter Maxwell Davies edited by R. McGregor [Book Review]. Music and Letters 83 (1) , pp. 147-151. 10.1093/ml/83.1.147

Jones, Nicholas 2002. Review: All Set. Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe by MJ Grant [Book Review]. Musical Times 143 (1879) , pp. 78-79. 10.2307/1004607

Jones, Nicholas 2003. Anthony Powers at 50: Luminous, but with shadows. Musical Times 144 (1884) , pp. 26-35. 10.2307/3650698

Jones, Nicholas 2004. Peter Maxwell Davies and sonata form. Presented at: Peter Maxwell Davies One-Day Conference, Canterbury Christ Church University, Canterbury, UK, 16 October 2004.

Jones, Nicholas 2005. The music of Peter Maxwell Davies: An introduction. Presented at: Cardiff Recorded Music Society Lecture Series, Cardiff, UK, 30 November 2005.

Jones, Nicholas 2005. 'Playing the Great Game'? Peter Maxwell Davies, Sonata form, and the Naxos Quartet no. 1. Musical Times 146 , pp. 71-81. 10.2307/30044107

Jones, Nicholas 2007. 'The End' by The Doors [Chapter in Block 5 of A179 Start Listening to Music]. [Teaching Resource]

Jones, Nicholas 2007. Review: Dumbing up. The way of music: aural training for the Internet generation by Robin Maconie [Book review]. Musical Times 148 (1901) , pp. 111-114. 10.2307/25434506

Jones, Nicholas 2007. Review: Existential Elgar. Edward Elgar, Modernist by JPE Harper-Scott [Book review]. Musical Times 148 (1899) , pp. 81-88. 10.2307/25434460

Jones, Nicholas 2008. Madonna as pop diva [Chapter in Book 1 of AA100 The Arts Past and Present]. [Teaching Resource]

Jones, Nicholas 2008. Seaside music: The Beach Boys and The Who [Chapter in Book 4 of AA100 The Arts Past and Present]. [Teaching Resource]

Jones, Nicholas 2009. Peter Maxwell Davies's articles, lectures, interviews and radio broadcasts. In: Gloag, Kenneth and Jones, Nicholas eds. Peter Maxwell Davies Studies, Cambridge Composer Studies, Cambridge: Cambridge University Press, pp. 231-241.

Jones, Nicholas 2009. Review: Law & Order. Serialism by Arnold Whittall. Musical Times 150 (1906) , pp. 100-103.

Jones, Nicholas 2009. The writings of a young British composer: Peter Maxwell Davies in the 1950s. Peter Maxwell Davies Studies, Cambridge: Cambridge University Press, pp. 21-44.

Jones, Nicholas 2009. The music of Hugh Wood. By Edward Venn. [Book review]. Music and Letters 90 (3) , pp. 514-516. 10.1093/ml/gcp016

Jones, Nicholas 2010. Review: Managing modernism 2. Reviewed work: Musical modernism at the turn of the twenty-first century by David Metzer [Book review]. The Musical Times 151 (1912) , pp. 109-112.

Jones, Nicholas 2010. Review: Second chance. Havergal Brian on music, volume two: European and American music in his time, edited by Malcolm MacDonald [Book Review]. Musical Times 151 (1911) , pp. 118-120.

Jones, Nicholas 2010. Northcott Bayan, The Way We Listen Now and Other Writings on Music, ed. Wintle Christopher (London: Plumbago, 2009) [Book Review]. Twentieth-Century Music 7 (2) , pp. 267-270. 10.1017/S1478572211000223

Jones, Nicholas 2011. György Kurtág: Three Interviews and Ligeti Homages. Compiled & ed. by Bálint András Varga. [Book review]. Music & Letters 92 (2) , pp. 330-332. 10.1093/ml/gcr014

Jones, Nicholas 2012. Being British: Issues of national identity in classical music, from Edward Elgar to Peter Maxwell Davies. Presented at: Creative Minds Festival of Ideas, Cardiff University, Cardiff, UK, 13 November 2012.

Jones, Nicholas 2012. Interlacings: Reflections on issues of autobiography in two works of Peter Maxwell Davies. Presented at: New Music in Britain, Canterbury Christ Church University, UK, 10-12 May 2012.

Jones, Nicholas 2013. Formal archetypes, revered masters and singing nightingales: Tippett’s string quartets. The Cambridge Companion to Michael Tippett, Cambridge: Cambridge University Press, pp. 206-228.

Jones, Nicholas 2015. Das Land ohne Musik? British classical music, from Elgar to the Cultural Olympiad. Presented at: Exploring the Past Lecture Series, Cardiff University, Cardiff, UK, 20 May 2015.

Jones, Nicholas 2015. The sound of Raasay: Birtwistle's Hebridean experience. In: Beard, David, Gloag, Kenneth and Jones, Nicholas eds. Harrison Birtwistle Studies, Cambridge University Press, pp. 175-205.

Jones, Nicholas 2017. British classical music, landscape and a sense of place. Presented at: AWEN [Arts-Whitchurch-Eglwys-Newydd] Public Lecture, Whitchurch, Cardiff, UK, 13 June 2017.

Jones, Nicholas Jones, Nicholas, ed. 2017. Peter Maxwell Davies, selected writings. Cambridge University Press.

Jones, Nicholas 2017. 'Max the Mighty carved these runes': editing the writings of Peter Maxwell Davies. Presented at: Kenneth Gloag In Memoriam One Day Public Symposium, Chamber Recital and Jazz Concert, School of Music, Cardiff University, Cardiff, 2 December 2017.

Jones, Nicholas 2018. 'For the Islands I sing': composing the Orkney landscape. Presented at: New Perspectives on the Music of Sir Peter Maxwell Davies, Canterbury Christ Church University, UK, 12 May 2018.

Jones, Nicholas 2018. ‘Death’s dark door stands open’: Peter Maxwell Davies’s Tenth Symphony. Presented at: 54th Annual Conference of the Royal Musicians Assocation, Bristol, UK, 13-15 September 2018.

Jones, Nicholas and McGregor, Richard 2010. Peter Maxwell Davies's Opus and WoO Numbers: A New Work List. Musical Times 151 , pp. 53-86.

Jones, Nicholas and Warnaby, John 2016. Davies, Peter Maxwell. Oxford Music Online, Oxford: Oxford University Press,

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Kostka, Magdalena 2014. Sonatas for violin and basso continuo written by British composers in the first half of the eighteenth century. PhD Thesis, Cardiff University.
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Laghi, Simone 2017. Italian string quartets and late eighteenth-century London: publication and production. With a critical edition of the quartets opp. 2 and 7 by Venanzio Rauzzini (1746-1810). PhD Thesis, Cardiff University.
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Landon, H.C. Robbins and Jones, David Wyn 1988. Haydn: his life and work. London: Thames & Hudson.

Lane, Liz. 2009. Commentary on a portfolio of original compositions. PhD Thesis, Cardiff University.
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Lawson, Colin and Stowell, Robin 1999. The historical performance of music: an introduction. Cambridge Handbooks to the Historical Performance of Music, Cambridge: Cambridge University Press. 10.1017/CBO9780511481710

Lawson, Colin and Stowell, Robin 2012. The Future? In: Lawson, Colin and Stowell, Robin eds. The Cambridge History of Musical Performance, The Cambridge History of Music, Cambridge: Cambridge University Press, pp. 817-833.

Leech, Peter 2001. Records of the Chapel Royal [Book Review]. Early Music 29 (3) , pp. 456-457.

Leech, Peter 2001. Musicians in the Catholic chapel of Catherine of Braganza, 1662-92. Early Music 29 (4) , pp. 570-587. 10.1093/earlyj/XXIX.4.570

Leech, Peter 2003. Catholic musicians in Restoration London. Genealogists Magazine 27 (9) , pp. 391-397.

Leech, Peter 2006. Regal Handel [Book Review]. Early Music 34 (1) , pp. 143-146.

Leech, Peter 2007. Music for an Academic Defense (Rome, 1617) [Music Review]. Archivum Historicum Societatis Iesu 76 (151) , pp. 174-177.

Leech, Peter 2007. Devotional music from Stuart England. Early Music 35 (4) , pp. 644-647. 10.1093/em/cam065

Leech, Peter 2009. Recusant song? Early Music 37 (3) , pp. 485-487. 10.1093/em/cap049

Leech, Peter 2009. Handel's legacy [Book Reviews]. Early Music 37 (4) , pp. 657-660. 10.1093/em/cap089

Leech, Peter 2010. George Frideric Handel Parnasso in Festa [CD Review]. Eighteenth-Century Music 7 (2) , pp. 305-309. 10.1017/S1478570610000199

Leech, Peter 2011. Richard Dering, Motets for One, Two or Three Voices and Basso Continuo [Book Review]. Music & Letters 92 (2) , pp. 282-285.

Leech, Peter 2011. Music and musicians in the Catholic chapel of James II at Whitehall, 1686-1688. Early Music 39 (3) , pp. 379-400. 10.1093/em/car072

Leech, Peter 2015. Princely splendour: Cardinal Henry Stuart and music patronage in 18th-century Rome. The Consort 71 , pp. 51-73.

Leech, Peter 2016. The Cardinal King - Music for Henry Benedict Stuart in Rome, 1740-91. [CD]. 2016. ID number: TOCC 0300.

Leech, Peter 2016. Prince, priest and patron: Cardinal Henry Benedict Stuart and musical patronage in eighteenth-century Rome. Society for Eighteenth-century Music Newsletter 27 , 1, 11-12.

Leech, Peter 2016. Richard Dering, Motets and Anthems, Ed.by Jonathan P. Wainwright. Music Britannica, 98 (Stainer & Bell), London, 2015.[Book Review]. Music and Letters 97 (2) , pp. 329-332. 10.1093/ml/gcw039

Leech, Peter and Whitehead, Maurice 2011. 'In Paradise and among angels'. Music and musicians at St Omers English Jesuit College, 1593-1721. Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 61 (1-2) , pp. 57-82.

Leech, Peter and Whitehead, Maurice 2016. Clamores omnino atque admirationes excitant: New light on music and musicians at St Omers English Jesuit College, 1658-1714. Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis LXVI (1) , pp. 123-148.

Llewelyn-Jones, Iwan 2016. Studies in pianistic sonority, nuance and expression: French performance practices in the piano works of Maurice Ravel. PhD Thesis, Cardiff University.
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Machin-Autenrieth, Matthew 2013. Andalucía flamenca: Music, regionalism and identity in southern Spain. PhD Thesis, Cardiff University.
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Manning, David 2003. Harmony, tonality and structure in Vaughan Williams's music. PhD Thesis, Cardiff University.
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McReynolds, Richard 2019. An exploration of the influence of technology upon the composer’s process. PhD Thesis, Cardiff University.
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Melen, Christopher John 2006. Kalachakra. PhD Thesis, Cardiff University.
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Millar, Stephen 2016. Kate Horgan.The Politics of Songs in Eighteen-Century Britain, 1723-1795. Poetry and Song in the Age of Revolution Number 4 [Book Review]. Blake: An Illustrated Quarterly 50 (1)

Millar, Stephen, Steiner, Artur, Caló, Francesca and Teasdale, Simon 2019. COOL Music: a ‘bottom-up’ music intervention for hard-to-reach young people in Scotland. British Journal of Music Education , pp. 1-12. 10.1017/S0265051719000226
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Millar, Stephen R. 2015. 'I Forbid You To Like It:' The Smiths, David Cameron, and the politics of (mis)appropriating popular culture. Echo: A Music-Centered Journal 13 (1)

Millar, Stephen R. 2015. Musically consonant, socially dissonant: orange walks and Catholic interpretation in West-Central Scotland. Music and Politics 9 (1) 10.3998/mp.9460447.0009.102
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Millar, Stephen R. 2016. Irish Republican music and (post)colonial schizophrenia. Popular Music and Society 40 (1) , pp. 75-88. 10.1080/03007766.2016.1229098
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Millar, Stephen R. 2016. Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act. Popular Music 35 (3) , pp. 297-319. 10.1017/S0261143016000519
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Millar, Stephen R. 2018. 'Music is my AK-47': performing resistance in Belfast's rebel music scene. Journal of the Royal Anthropological Institute 24 (2) , pp. 348-365. 10.1111/1467-9655.12814
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Moore, Rachel, Hamer, Laura and Branger, Aurélie Hibberd, Sarah, Rowden, Clair Sophie and Everist, Mark, eds. 2011. Complete criticism of Joseph d’Ortigues. [Online]. Francophone Music Criticism 1789-1914: Institute of Musical Research. Available at: http://music.sas.ac.uk/fmc/collections.html

Murray, Samuel 2018. An ethnography of the music scene in Portland, Oregon. PhD Thesis, Cardiff University.
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Neale, Elizabeth Katherine Ruth 2018. Cornish carols: Heritage in California and South Australia. PhD Thesis, Cardiff University, University of Exeter.
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Neff, Eoghan 2012. At the vanguard of antiquity: seeking the avant-garde of the Irish Fiddle in C20th performance practices. PhD Thesis, Cardiff University.
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Niccolai, Michela and Rowden, Clair Niccolai, Michela and Rowden, Clair, eds. 2017. Musical theatre in Europe 1830-1945. Turnhout: Brepols.

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O'Connell, John 2017. Concert platform: a space for a style in Turkish music. In: Spinetti, Federico and Frishkopf, Michael eds. Music, Sound, and Architecture in Islam, University of Texas Press, pp. 79-109.

O'Connell, John 2017. Kâr-ı Nev: elaboration and retardation in the musical performances of a Turkish classic. In: Harris, R. and Stokes, M. eds. Theory and Practice in the Music of the Islamic World: Essays in Honour of Owen Wright, Routledge, pp. 123-143.

O'Connell, John 2017. Commemorating Gallipoli through music: Remembering and forgetting. Lanham, MD: Rowman and Littlefield, Lexington Monographs.

O'Connell, John Morgan 1989. Jean During. La musique traditionnelle de I'Azerbayjan et la science des muqâms [Book Review]. Pacific Review of Ethnomusicology 5 , pp. 130-132.

O'Connell, John Morgan 1991. Die musik der Araber (The music of the Arabs) by Habib Hasan Touma [Book Review]. Asian Music 22 (1) , pp. 154-156. 10.2307/834296

O'Connell, John Morgan 1998. The Arab in Arabesk: style and stereotype in Turkish vocal performance. In: Wharton, Barrie and Adawy, Nabil eds. The Limerick Anthology of Arab Affairs, University of Limerick Press, pp. 87-103.

O'Connell, John Morgan 2001. Major minorities: towards an ethnomusicology of Irish minority musics. In: Pettan, Svanibor, Reyes, Adelaida and Komavec, Maša eds. Music and Minorities, ZRC Publishing, pp. 165-182.

O'Connell, John Morgan 2001. Münir Nurettin Selçuk. In: Sadie, Stanley and Tyrrell, John eds. The New Grove Dictionary of Music and Musicians, Oxford University Press, pp. 55-56.

O'Connell, John Morgan 2001. Fine art, fine music: Controlling Turkish taste at the Fine Arts Academy in 1926. Yearbook for Traditional Music 32 , pp. 117-142. 10.2307/3185245

O'Connell, John Morgan 2002. From Empire to Republic: vocal style in twentieth century Turkey. In: Danielson, Virginia, Marcus, Scott and Reynolds, Dwight eds. The Garland Encyclopedia of World Music: The Middle East, Vol. 6. Routledge, pp. 781-787.

O'Connell, John Morgan 2002. Snapshot: Tanburî Cemil Bey. In: Danielson, Virginia, Marcus, Scott and Reynolds, Dwight eds. The Garland Encyclopedia of World Music: The Middle East, Routledge, pp. 757-758.

O'Connell, John Morgan 2003. Music of the Ottoman court: makam, composition and the early Ottoman instrumental repertoire by Walter Feldman [Book Review]. Edebiyât 13 (2) , pp. 260-263. 10.1080/0364650032000143283

O'Connell, John Morgan 2003. Song cycle: the life and death of the Turkish gazel: a review essay [Musical Recordings Review]. Ethnomusicology 47 (3) , pp. 399-414. 10.2307/3113948

O'Connell, John Morgan 2003. A resounding issue: Greek recordings of Turkish music, 1923-1938. Middle East Studies Association Bulletin 37 (2) , pp. 200-216.

O'Connell, John Morgan 2004. Sustaining difference: theorizing minority musics in Badakhshan. In: Hemetek, Ursula, Lechleitner, Gerda, Naroditskaya, Inna and Czekanowska, Anna eds. Manifold Identites, Cambridge Scholars Press, pp. 1-19.

O'Connell, John Morgan 2004. The tale of Crazy Harman: the musician and the concept of music in the Türkmen epic tale, Harman Däli by Sławomira Żerańska-Kominek [Book Review]. Yearbook for Traditional Music 36 , pp. 171-175.

O'Connell, John Morgan 2004. Liaison officer report: Ireland. Bulletin of the International Council for Traditional Music 105 , pp. 24-27.

O'Connell, John Morgan 2005. 'Sound sense: mediterranean music from a Turkish perspective'. In: Cooper, David and Dawe, Kevin eds. The Mediterranean in Music, Scarecrow Press, pp. 3-25.

O'Connell, John Morgan 2005. The 15th ICTM colloquium: identifying conflict in music, resolving conflict through music. Bulletin of the International Council for Traditional Music 106 , pp. 55-57.

O'Connell, John Morgan 2005. In the time of Alaturka: Identifying difference in musical discourse. Ethnomusicology 49 (2) , pp. 177-205.

O'Connell, John Morgan 2005. The Edvâr of Demetrius Cantemir: recent publications. Ethnomusicology Forum 14 (2) , pp. 235-239. 10.1080/17411910500415887

O'Connell, John Morgan 2006. 'The mermaid of the Meyhane: the legend of a Greek singer in a Turkish tavern'. In: Linda, P. Austern and Inna, Naroditskaya eds. Music of the Sirens, Indiana University Press, pp. 273-293.

O'Connell, John Morgan 2006. National symposium: towards a national ethnomusicology. Bulletin of the International Council for Traditional Music 109 , pp. 61-62.

O'Connell, John Morgan 2007. Falak: the voice of destiny: traditional, popular and symphonic music of Tajikistan. Compiled by Federico Spinetti [Musical Recording Review]. Ethnomusicology Forum 16 (1) , pp. 179-181. 10.1080/17411910701273101

O'Connell, John Morgan 2007. Timothy D. Taylor, Beyond exoticism: Western music and the world (Durham, NC: Duke University Press, 2007), ISBN 978 0 8223 9571 (hb), 978 0 8223 3968 7 (pb) [Book Review]. Twentieth-Century Music 4 (2) , pp. 261-265. 10.1017/S1478572208000546

O'Connell, John Morgan 2008. War of the Waves: Cypriot Broadcasting in Great Britain. In: Hemetek, Ursula and Sağlam, Hande eds. Music from Turkey in the Diaspora, Klanglese, vol. 5. Vienna: Institut für Volksmusikforschung und Ethnomusikologie, pp. 119-130.

O'Connell, John Morgan 2009. Ayin. In: Fleet, Kate, Krämer, Gudrun, Matringe, Denis, Nawas, John and Rowson, Everett eds. Encyclopaedia of Islam, Three, Brill, pp. 86-87. (10.1163/1573-3912_ei3_COM_23036)

O'Connell, John Morgan 2010. Introduction: an ethnomusicological approach to music and conflict. In: O'Connell, John Morgan and El-Shawan Castelo-Branco, Salwa eds. Music and Conflict, Urbana: University of Illinois Press, pp. 1-14.

O'Connell, John Morgan 2010. Music and the play of power in the Middle East, North Africa and Central Asia. Laudan Nooshin, ed. [Book Review]. Ethnomusicology 54 (2) , pp. 347-351. 10.5406/ethnomusicology.54.2.0347

O'Connell, John Morgan 2010. Music in war. In: O'Connell, John Morgan and El-Shawan Castelo-Branco, Salwa eds. Music and Conflict, University of Illinois Press, pp. 15-16.

O'Connell, John Morgan 2010. A staged fright: Musical hybridity and religious intolerance in Turkey, 1923-38. twentieth-century music 7 (1) , pp. 3-28. 10.1017/S147857221100003X
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O'Connell, John Morgan 2010. Alabanda: Brass bands and musical methods in Turkey. In: Spinetti, Federico ed. Giuseppe Donizetti Pasha: Musical and Historical Trajectories between Italy and Turkey [Giuseppe Donizetti Pascià: Traiettorie Musicali e Storiche tra Italia e Turchia], Saggi e Monografie, vol. 7. Bergamo, Italy: Fondazione Donizetti, pp. 19-37.

O'Connell, John Morgan 2011. Music in war, music for peace: A review article. Ethnomusicology 55 (1) , pp. 112-127. 10.5406/ethnomusicology.55.1.0112

O'Connell, John Morgan 2013. Beste. In: Fleet, Kate, Krämer, Gudrun, Matringe, Denis, Nawas, John and Rowson, Everett eds. Encyclopaedia of Islam, Three, Brill, pp. 52-53. (10.1163/1573-3912_ei3_COM_24017)

O'Connell, John Morgan 2013. Pir Sultan Abdal. In: Fleet, Kate, Krämer, Gudrun, Matringe, Denis, Nawas, John and Rowson, Everett eds. Encyclopaedia of Islam, Three, Brill, pp. 135-136. (10.1163/1573-3912_ei3_COM_23910)

O'Connell, John Morgan 2013. Alaturka: Style in Turkish music (1923-1938). SOAS Musicology Series, Aldershot: Ashgate.

O'Connell, John Morgan 2015. The classical style: modal analysis of vocal improvisation in Turkey. In: Agayeva, Suraya ed. Space of Maugham, Şerq-Qerb, pp. 124-139.

O'Connell, John Morgan 2015. Music and humanism in the Aga Khan Humanities Project. In: Pettan, Svanibor and Titon, Jeff Todd eds. The Oxford Handbook of Applied Ethnomusicology, Oxford Handbooks, Oxford University Press, pp. 602-638.

O'Connell, John Morgan 2015. Modal trails, model trials: Musical migrants and mystical critics in Turkey. In: Davis, Ruth ed. Musical Exodus: Al-Andalus and its Jewish Diasporas, Europea: Ethnomusicologies and Modernities, Lanham, MD: Rowman & Littlefield Publishers, pp. 101-124.

O'Connell, John Morgan 2015. Gazel. In: Jankowsky, Richard C. ed. Bloomsbury Encyclopedia of Popular Music of the World, Vol. 10. Encyclopedia of Popular Music of the World, Bloomsbury Academic, pp. 35-37.

O'Connell, John Morgan 2015. Iranian classical music: the discourse and practice of creativity. By Laudan Nooshin [Book Review]. Music and Letters 96 (4) , pp. 677-679. 10.1093/ml/gcv080

O'Connell, John Morgan 2017. Concert platform: a space for a style in Turkish music. In: Spinetti, Federico and Frishkopf, Michael eds. Music, Sound, and Architecture in Islam, University of Texas Press, pp. 79-109.

O'Connell, John Morgan 2017. Usûlsüz: Meter in the Concerts of Münir Nurettin Selçuk (1923-1938). In: Jäger, Ralf Martin, Helvacı, Zeynep and Olley, Jacob eds. Rhythmic cycles and structures in the art music of the Middle East, Ergon Verlag, pp. 247-276.

O'Connell, John Morgan and Smith, Thérèse 2005. Liaison officer report: Ireland. Bulletin of the International Council for Traditional Music 106 , pp. 65-67.

O'Connell, Joseph 2010. Rumba Rules: The politics of dance music in Mobutu's Zaire. By Bob W. White. Durham and London: Duke University Press, 2008. 300 pp. ISBN 978-0822341123 [Book Review]. Popular Music 29 (3) , pp. 483-485. 10.1017/S0261143010000310

O'Connell, Joseph 2014. 'Better Decide Which Side You're On': Authenticity, politics and post-punk in Thatcherite Britain. PhD Thesis, Cardiff University.
Item availability restricted.
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O'Connell, Joseph 2016. 'Practical Dreamers': Red wedge and the British State. Presented at: Music, Political Activism and the State, University of Southampton, 13 April 2016. -.

O'Connell, Joseph 2018. Rethinking Live Aid: a social mo(ve)ment? Presented at: Music and Social Movements Symposium, Northumbria University, 30 November 2018. -.

O'Connell, Joseph 2018. 'Suffer Louder': the cultural politics of the American mathcore canon. Presented at: Metal Punk Conference, De Montfort University, Leicester, 13-14 December 2018. -.

O'Connell, Joseph 2018. 'The undiluted squash of UK math rock': the performer's view of ArcTanGent. Presented at: Crosstown Traffic: Popular Music Theory and Practice, University of Huddersfield, 3-5 September 2018. -.

O'Connell, Joseph 2018. A Friday afternoon stroll through ArcTanGent Festival with Alpha Male Tea Party. Riffs: Experimental writing on popular music , pp. 5-7.

O'Connell, Joseph and Murray, Samuel 2018. 'Are You With Me Now?': the sŵn performer's journey. Presented at: Past and Present: Local Music Making and the Politics of Popular Music, REDHOUSE Cymru, Merthyr Tydfil, 27 January 2018. -.

Olatunji, B. O., Ferreira-Garcia, R., Caseras, Xavier, Fullana, M. A., Wooderson, S., Speckens, A., Lawrence, N., Giampietro, V., Brammer, M. J., Phillips, M. L., Fontenelle, L. F. and Mataix-Cols, D. 2014. Predicting response to cognitive behavioral therapy in contamination-based obsessive?compulsive disorder from functional magnetic resonance imaging. Psychological Medicine 44 (10) , pp. 2125-2137. 10.1017/S0033291713002766

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Pace, Ian 2018. The reconstruction of post-war West German new music during the early allied occupation (1945-46), and its roots in the Weimar Republic and Third Reich (1918-45). PhD Thesis, Cardiff University.
Item availability restricted.
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Palidda, Alessandra 2016. Milan and the music of political transitions in the Napoleonic period: the case of Ambrogio Minoja (1752-1825). In: Jardin, Etienne ed. Music and War in Europe from the French Revolution to WWI, Brepols, pp. 105-120.

Palidda, Alessandra 2017. Milan 1790-1802: Music, society and politics in the city of many regimes. PhD Thesis, Cardiff University.
Item availability restricted.
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Palidda, Alessandra 2018. Le pubbliche feste: Musical performances and propaganda strategies in Jacobin Milan (1796-1799). In: Lorens, Ana ed. VIII Jornadas de Jóvenes Musicólogos. Libro de Actas, Madrid: Wordpress JAM, pp. 213-228.

Parsons, John Lewis 2005. Stylistic change in violin performance 1900-1960: with special reference to recordings of the Hungarian violin school. PhD Thesis, Cardiff University.
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Paterson, Alexis 2010. The minimal kaleidoscope: exploring minimal music through the lens of postmodernity. PhD Thesis, Cardiff University.
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Pluta, Agnieszka 2014. The pianism of Paderewski. PhD Thesis, Cardiff University.
Item availability restricted.
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Ponsford, David Stewart 1997. Unwriting the unwritable. Musical Times -London- 1997 , pp. 24-26.

Ponsford, David Stewart 1999. Genre and Notes inegales in the Livres d'orgue of Francois Couperin and Nicolas de Grigny. PhD Thesis, Cardiff University.

Ponsford, David Stewart 1999. Inegalite and recits: genre studies in seventeenth-century French organ music. In: Williams, Peter ed. The Organ yearbook, Vol. 28. Laaber, pp. 61-77.

Ponsford, David Stewart 2000. J. S. Bach and the nature of French influence. In: Williams, Peter and Heinemann, Michael eds. The Organ Yearbook, Vol. 29. Laaber-Verlag, pp. 59-74.

Ponsford, David Stewart 2000. Buxtehude defined. Choir & Organ 2000 (03/04)

Ponsford, David Stewart 2003. Preface. In: Mawby, Colin ed. J. S. Bach: 48 Preludes & Fugues, Kevin Mayhew, pp. 5-8.

Ponsford, David Stewart 2003. Towards a reappraisal of Francois Couperin's organ masses. Journal of the British Institute of Organ Studies , pp. 40-57.

Ponsford, David Stewart 2003. J.S.Bach: Clavierübung III and Sei gegrüsset. [CD].

Ponsford, David Stewart 2004. Charpentier's Messe pour plusieurs instruments au lieu des orgues (H513). In: Williams, Peter and Donati, Pier Paolo eds. The Organ Yearbook, Vol. 33. Laabar-Verlag, pp. 63-72.

Ponsford, David Stewart 2005. Parthenia. [CD].

Ponsford, David Stewart 2007. Spirit of the age. Choir & Organ , pp. 29-31.

Ponsford, David Stewart 2007. Touching the past. International Piano , pp. 20-23.

Ponsford, David Stewart 2007. The Power of Music. [CD].

Ponsford, David Stewart 2009. A Question of Genre: Charpentier's Messe pour plusieurs Instruments au lieu des orgues (H513). In: Thompson, Shirley ed. New Perspectives on Marc-Antoine Charpentier, Ashgate, pp. 105-131.

Ponsford, David Stewart 2011. French organ music in the reign of Louis XIV. Cambridge University Press.

Ponsford, David Stewart 2013. Francois Couperin & Marc-Antoine Charpentier. [CD]. 2013. ID number: NI 6225.

Ponsford, David Stewart 2013. Francois Couperin & Pierre Du Mage. [CD]. 2013. ID number: NI 6213.

Ponsford, David Stewart 2014. Andre Raison & Louis-Nicolas Clerambault. [CD]. 2014. ID number: NI 6268.

Ponsford, David Stewart 2015. Guillaume-Gabriel Nivers & Nicolas-Antoine Lebegue. [CD]. French Organ Music from the Golden Age. Volume 4 2015. ID number: NI6292.

Ponsford, David Stewart 2015. Instrumental performance in the seventeenth century. In: Lawson, Colin and Stowell, Robin eds. The Cambridge History of Musical Performance, Cambridge University Press, pp. 421-447.

Ponsford, David Stewart and Davis, Alan 2006. Handel: Complete Recorder Sonatas. [CD]. 2006. ID number: GMCD 7301.

Potter, Caroline and Rae, Caroline 2010. Preface. Contemporary Music Review 29 (5) , pp. 429-430. 10.1080/07494467.2010.589122

Powers, Anthony 2001. SYMPHONY No 2 for orchestra (28 minutes). [Published score].

Powers, Anthony 2003. AIR AND ANGELS for soprano, baritone, mixed chorus and orchestra (35 minutes). [Published score].

Powers, Anthony 2003. FROM STATION ISLAND for speaker, baritone and ensemble (26 minutes). [Published score].

Powers, Anthony 2005. STRING QUARTET No 4 (27 minutes). [Published score].

Price, Gareth Idwal John 2018. Performing Duruflé’s 'Veni creator' Op. 4: Influences, issues and ideals. PhD Thesis, Cardiff University.
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Rae, Caroline 1988. La Célestine: Maurice Ohana's Oper in Paris. Die neue Zeitschrift für Musik 149 (10) , pp. 35-36.

Rae, Caroline 1991. Maurice Ohana: iconoclast or individualist? The Musical Times , pp. 69-74.

Rae, Caroline 1992. La Célestine. In: Sadie, Stanley ed. The New Grove Dictionary of Opera, Vol. 1. Macmillan, p. 795.

Rae, Caroline 1992. Le symbolisme et l’archétype du mythe européen dans l’oeuvre de Maurice Ohana. 'Musique et Europe' Cahiers du CIREM (Centre international de recherche aesthétique musicale) (24-5) , pp. 115-130.

Rae, Caroline 1992. Ohana, Maurice. In: Morton, Brian and Collins, Pamela eds. Contemporary Composers, St James Press, pp. 703-705.

Rae, Caroline 1992. Ohana, Maurice. In: Sadie, Stanley ed. The New Grove Dictionary of Opera, Vol. 3. Macmillan, pp. 659-600.

Rae, Caroline 1992. Honegger: a centenary reappraisal. The Musical Times 133 (1789) , pp. 118-121.

Rae, Caroline 1994. Debussy et Ohana: allusions et références. Cahiers Debussy (17-18) , pp. 103-120.

Rae, Caroline 1994. L'improvisation dans l’oeuvre de Maurice Ohana. Presented at: l'improvisation Musicale En Question: Actes du Colloque International, Rouen, France, 16-18 March 1992. Published in: Dambricourt, Jean-Pierre ed. l'improvisation Musicale En Question: Actes du Colloque International Tenu à l'Université de Rouen les 16, 17 et 18 Mars 1992. Rouen: Université, Centre d'étude et de diffusion des langues artistiques, pp. 73-85.

Rae, Caroline 1994. La magie musicale de Maurice Ohana. Le Monde de la musique (2) , pp. 16-17.

Rae, Caroline 1995. The piano music of Maurice Ohana. Revista Musica 6 (12) , pp. 44-74.

Rae, Caroline 1999. Magic and music - Alejo Carpentier and Maurice Ohana: cross-connections in Twentieth Century French music and the South Americas. In: Barbiche, Jean-Paul ed. Des Amériques: impressions et expressions, Paris: L'Harmattan,

Rae, Caroline 2000. The Music of Maurice Ohana. Aldershot: Ashgate.

Rae, Caroline 2000. Henri Dutilleux and Maurice Ohana: victims of an exclusion zone? Tempo 212 (212) , pp. 22-30. 10.1017/s0040298200007580
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Rae, Caroline 2000. Maurice Ohana’s 'Office des Oracles' and 'Messe' [Music Review]. Tempo (212) , pp. 55-57. 10.1017/S0040298200007683
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Rae, Caroline 2000. Ohana’s 'In Dark and Blue', 'Sorgin-Ngo' and other music for strings. Notes 57 (2) , pp. 464-468.

Rae, Caroline 2001. Maurice Ohana's 'Livre des Prodiges', 'Anneau du Tamarit' and 'Synaxis'. Tempo (216) , pp. 55-58.

Rae, Caroline 2004. André Jolivet: The Erato recordings. Warner Classics.

Rae, Caroline 2004. Irish Music in the Twentieth Century [Book Review]. Music and Letters 85 (4) , pp. 666-669. 10.1093/ml/85.4.666

Rae, Caroline 2004. Lutoslawski Studies [Book Review]. Music and Letters 85 (1) , pp. 127-132. 10.1093/ml/85.1.127

Rae, Caroline 2004. Maurice Ohana and the Debussyian descendency: an exploration of the music for piano. Performed at Lecture-Recital [Elder Conservatorium University of Adelaide, 28 July 2004].

Rae, Caroline 2004. Alejo Carpentier and the magic of music: a Centenary retrospective. Presented at: Alejo Carpentier Centenary Lecture, Taylor Institution, Oxford University, 23 November 2004.

Rae, Caroline 2004. Myth and mysticism in Jolivet: musical magic realism? Cahiers rémois de musicologie 2 , pp. 139-171.

Rae, Caroline 2005. Alexandre Tansman and his Symphonies. Chandos.

Rae, Caroline 2005. Maurice Ohana: From the Garden of the Hesperides. Warner Classics.

Rae, Caroline 2006. Jolivet on Jolivet: an interview with the composer’s daughter. Musical Times 147 (1894) , pp. 5-22.

Rae, Caroline 2006. Alejo Carpentier and the promotion of new music in Machado's Cuba. Presented at: Royal Musical Association Conference, Nottingham University, July 2006.

Rae, Caroline 2007. Alejo Carpentier: music and magic realism. Presented at: Centre for Interdisciplinary Music Research (CIMR), Roehampton University, London, 13 October 2007.

Rae, Caroline 2007. Erinnerungen, Träume, Gedanken: Lieder des Zwanzigsten Jahrhunderts. Programmbuch zum Europäischen Musikfest Stuttgart , pp. 232-239.

Rae, Caroline 2007. The musical collaborations of Alejo Carpentier: Afrocubanism and the quest for spiritual renewal. Bulletin of Spanish Studies: Hispanic Studies and Researches on Spain, Portugal and Latin America 84 (7) , pp. 905-929. 10.1080/14753820701560519

Rae, Caroline 2008. In Havana and Paris: The musical activities of Alejo Carpentier. Music and Letters 89 (3) , pp. 373-395. 10.1093/ml/gcn033

Rae, Caroline 2008. The Works of Messiaen's Final Years. In: Sherlaw Johnson, Robert and Rae, Caroline eds. Messiaen, London: Omnibus Press, pp. 196-208.

Rae, Caroline 2009. Piano music of Africa and the African Diaspora. Ethnomusicology 53 (1) , pp. 146-151.

Rae, Caroline 2010. Beyond boundaries: Dutilleux's foreign leavening. Contemporary Music Review 29 (5) , pp. 431-446. 10.1080/07494467.2010.589123

Rae, Caroline 2011. Debussyist, Modernist, Exoticist: Marius-François Gaillard rediscovered. The Musical Times 152 (1916) , pp. 59-80.

Rae, Caroline 2011. From a foreign correspondent: Alejo Carpentier’s Parisian Chronicles. Presented at: Music Criticism in France in the Interwar Period (1918-1939), University of Ottawa, Canada, 4-6 November 2011.

Rae, Caroline 2012. Marius-François Gaillard’s Debussy: performances and recordings – controversy and legacy. Presented at: L'héritage de Claude Debussy: du rêve pour les générations futures, Université de Montréal, Canada, 29 February - 3 March 2012.

Rae, Caroline 2013. Dutilleux and Lutosławski: Franco-Polish connections. In: Mantzourani, Eva ed. Polish Music since 1945, Krakow: Musica Iagellonica, pp. 147-162.

Rae, Caroline 2013. Messiaen and Ohana: parallel preoccupations or anxiety of influence? In: Dingle, Christopher and Fallon, Robert eds. Messiaen perspectives 2: Techniques, influence and reception, Farnham: Ashgate, pp. 153-174.

Rae, Caroline 2013. Messiaen and the romantic gesture: Contemplations on his piano music and pianism. In: Dingle, Christopher and Fallon, Robert eds. Messiaen perspectives 1: Sources and influences, Farnham: Ashgate, pp. 235-256.

Rae, Caroline 2014. BBC Symphony Orchestra rehearsal performance of Ravel's Bolero, conducted by Lionel Bringuier, with commentary by Dr Caroline Rae. [Film video]. London: BBC Radio 3. Available at: https://www.bbc.co.uk/programmes/p01t693d

Rae, Caroline 2016. Celebrating the Dutilleux centenary. Presented at: International Dutilleux Symposium, Cardiff University, Cardiff, UK, 28 January 2016.

Rae, Caroline 2016. Henri Dutilleux and the power of enchantment. BBC Proms 2016: The Official Guide, BBC Proms Guides, London: BBC, pp. 54-57.

Rae, Caroline 2016. Musical revolutions: The promotion of new music in Machado’s Cuba. Presented at: Music and Nation 1918-1945 – Europe-Americas (II), Royal Northern College of Music, Manchester, UK, 23-24 November 2016.

Rae, Caroline 2017. Marius-François Gaillard's Debussy: controversies and pianistic legacy. In: de Medici, F., Duchesneau, M. and Huebner, S. eds. Debussy's Resonances, University of Rochester Press,

Rae, Caroline 2017. Aspects of colour and timbre in Julian Anderson’s Incantesimi: Exploring French connections. Presented at: Julian Anderson Symposium – Julian Anderson Total Immersion Weekend, Barbican Centre and Guildhall School of Music and Drama, London, 20-21 October 2017.

Rae, Caroline 2018. Exploring Marius-François Gaillard’s Debussy recordings. Presented at: Debussy Day: Commemorating the 100th Anniversary of Debussy's Death, University of Bangor, Wales, UK, 12 March 2018.

Rae, Caroline 2018. André Jolivet, Antonin Artaud and Alejo Carpentier: Redefining the surreal. Presented at: Surrealism and Music in France 1924-1952: Interdisciplinary and International Contexts, Senate House, London, UK, 8 June 2018.

Rae, Caroline 2018. Debussy's Violin Sonata. [BBC Radio Podcast]. June 2018.

Rae, Caroline 2018. From a foreign correspondent: the Parisian chronicles of Alejo Carpentier. In: Kelly, Barbara L. and Moore, Christopher eds. Music Criticism in France, 1918-1939: Authority, Advocacy, Legacy, Woodbridge: Boydell Press, pp. 193-217.

Rae, Caroline 2018. From a foreign Correspondent: the Parisian Chronicles of Alejo Carpentier. In: Kelly, Barbara L and Moore, Christopher eds. Music criticism in France, 1918-1939: Authority, advocacy, legacy, Woodbridge: Boydell, pp. 193-217.

Rae, Caroline 2018. Marius-François Gaillard et ses enregistrements de Debussy: exécution, style et esthétique pianistique. Presented at: Colloque international Claude Debussy, Université de Lorraine, Cité Musicale, Metz, 25-26 September 2018.

Rae, Caroline 2018. Marius-François Gaillard’s Debussy: Controversies and pianistic legacy. In: de Médicis, François and Huebner, Steven eds. Debussy's Resonance, Eastman Studies in Music, Rochester, NY: University of Rochester Press, pp. 540-558.

Rae, Caroline 2019. Chronology of Jolivet’s life and works. In: Rae, Caroline ed. André Jolivet: Music, Art and Literature, Music and Literature, Abingdon: Routledge, xxii-xxxix.

Rae, Caroline 2019. Forging identities: Latin Americans in Paris and the musical interactions of Miguel Angel Asturias and Alejo Carpentier. In: Huebner, Steven and Lazzaro, Federico eds. Artistic Migration and Identity: Paris 1870-1940, Rochester ,NY: University of Rochester Press,

Rae, Caroline 2019. Introduction: Jolivet in context. In: Rae, Caroline ed. André Jolivet: Music, Art and Literature, Music and Literature, Abingdon: Routledge, pp. 1-12.

Rae, Caroline 2019. Jolivet and the visual arts: Interactions and influences. In: Rae, Caroline ed. André Jolivet: Music, Art and Literature, Music and Literature, Abingdon: Routledge, pp. 107-131.

Rae, Caroline 2019. Sourcing Jolivet’s compositional aesthetic: Literary influences and his library. In: Rae, Caroline ed. André Jolivet: Music, Art and Literature, Music and Literature, Abingdon: Routledge, pp. 194-213.

Rae, Caroline 2019. Mussorgsky and his French compositional descendants’. London: Signum Classics, SIGCD-566.

Rae, Caroline 2019. Catalysing Latin American identities: Alejo Carpentier’s music criticism as a Cuban case study. In: Dingle, Christopher ed. The Cambridge History of Music Criticism, The Cambridge History of Music, Cambridge: Cambridge University Press,

Rae, Caroline 2020. Marius-François Gaillard and his Debussy recordings: Performance, style and pianistic aesthetic. In: Branger, Jean-Christophe, Moron, Nicolas, Pimentel, Juliana and Rae, Caroline eds. Claude Debussy d’hier à aujourd’hui, Paris: Société française de musicologie,

Reyland, Nicholas 2005. 'Akcja' and narrativity in the music of Witold Lutosławski. PhD Thesis, Cardiff University.
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Robling, Michael Richard, Matthews, S. J., Hood, Kerenza, Russell, I. T., Holloway, R., Wilkinson, Clare Elizabeth, Edwards, Adrian G., Austoker, J., Cohen, D., Mansel, Robert Edward, Pill, R. M., Stott, N. C. H. and Thapar, Ajay Kumar 2002. The development of a new site-specific measure of quality of life for breast problems: the Cardiff breast scales. Quality of Life Research 11 (4) , pp. 339-348. 10.1023/A:1015595627501

Ross, Jacqueline and Ponsford, David Stewart 2002. Johann Sebastian Bach Violin Sonatas. [CD]. 2002. ID number: GAU 308.

Ross, Jacqueline, Ponsford, David Stewart and Boothby, Richard 2003. Johann Sebastian Bach Violin Sonatas Vol. 3. [CD]. 2003. ID number: GAU 345.

Ross, Jaqueline and Ponsford, David Stewart 2015. Johann Sebastian Bach Violin Sonatas. [CD]. 2015. ID number: GAU 228.

Rowden, Clair 2015. ‘From the fairground to the heights of French art : Opéra comiqueand Le Pré aux clercs’, 64th Wexford Festival Opera 2015 Season programme [Programme notes]. 64th Wexford Festival Opera 2015 Season programme.

Rowden, Clair 2016. In the power of Venus, yet in union with Christ: Jules Massenet’s ‘comédie lyrique’ Thaïs’, Salzburger Festspiele programme (Austria) [Programme note]. Salzburger Festspiele programme.

Rowden, Clair 2017. Du petit au grand: Faust on Parisian stages, 1869. In: Niccolai, Michela and Rowden, Clair eds. Musical Theatre in Europe 1830-1945, Turnhout: Brepols,

Rowden, Clair 2017. Parodying opera in Paris: Tannhäuser on the popular stage, 1861. In: Kauppala, A, Hesselager, J and Broman-Kananen, U-B eds. Tracing Operatic and Theatrical Performances in the Long 19th Century, Helsinki: Sibelius Academy,

Rowden, Clair 2018. Reinventing 'Carmen'. Opera 69 (2) , pp. 139-144.

Rowden, Clair 2019. Deferent daisies: Caroline Miolan Carvalho, Christine Nilsson and Marguerite, 1869. Cambridge Opera Journal 30 (3)

Rowden, Clair and Langham Smith, Richard 2018. Carmen abroad: The when and where of Carmen performances, 1875-1945. [Online]. Cardiff University. Available at: http://www.carmenabroad.org/

Rowden, Clair and Niccolai, Michela 2017. Introduction. In: Rowden, Clair and Niccolai, Michela eds. Musical Theatre in Europe 1830-1945, Brepols,

Rowden, Clair Sophie 1998. 'Hérodiade': anticlerical, imperial or republican opera? British Postgraduate Musicology 2 , pp. 2-15.

Rowden, Clair Sophie 2002. 'Hérodiade': Church, State and the Feminist Movement. Presented at: Tenth International Conference on Nineteenth-Century Music, Bristol, UK, July 1998. Published in: Samson, Jim and Zon, Bennett eds. Nineteenth-Century Music: Selected Proceedings of the Tenth International Conference. London: Ashgate, pp. 250-278.

Rowden, Clair Sophie 2003. Cendrillon [Dictionary entry]. In: Fauquet, Joël-Marie ed. Dictionnaire de la musique en France au XIXe siècle, Paris: Fayard,

Rowden, Clair Sophie 2003. Chérubin [Dictionary entry]. In: Fauquet, Joël-Marie ed. Dictionnaire de la musique en France au XIXe siècle, Paris: Fayard,

Rowden, Clair Sophie 2003. Grisélidis [Dictionary entry]. In: Fauquet, Joël-Marie ed. Dictionnaire de la musique en France au XIXe siècle, Paris: Fayard,

Rowden, Clair Sophie 2003. Hérodiade [Dictionary entry]. In: Fauquet, Joël-Marie ed. Dictionnaire de la musique en France au XIXe siècle, Paris: Fayard,

Rowden, Clair Sophie 2003. La Navarraise [Dictionary entry]. In: Fauquet, Joël-Marie ed. Dictionnaire de la musique en France au XIXe siècle, Paris: Fayard,

Rowden, Clair Sophie 2003. Le Jongleur de Notre-Dame [Dictionary article]. In: Fauquet, Joël-Marie ed. Dictionnaire de la musique en France au XIXe siècle, Paris: Fayard,

Rowden, Clair Sophie 2003. Review: Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 [Book Review]. Music and Letters 84 (2) , pp. 300-302. 10.1093/ml/84.2.300

Rowden, Clair Sophie 2003. Thais [Dictionary entry]. In: Fauquet, Joël-Marie ed. Dictionnaire de la musique en France au XIXe siècle, Paris: Fayard,

Rowden, Clair Sophie 2003. Explosive Opera: 'La Navarraise' face à la critique londonienne [Programme note]. Avant-Scène Opéra: Massenet 'Sapho', 'La Navarraise', Paris: Avant-Scène Opéra, pp. 80-81.

Rowden, Clair Sophie 2004. Julian Rushton, The Music of Berlioz (Oxford: Oxford University Press, 2001). xv + 363pp. £50 (hb) £21.99 (pb) [Book Review]. Nineteenth-Century Music Review 1 (2) , pp. 112-115. 10.1017/S1479409800001415
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Rowden, Clair Sophie 2004. Meyerbeer [Book Review]. Nineteenth-Century Music Review 1 (2) , pp. 139-141. 10.1017/S1479409800001506
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Rowden, Clair Sophie 2004. Paris – Londres : 'La Navarraise' face à la presse. In: Branger, Jean-Christophe and Ramaut, Alban eds. Le Naturalisme sur la scène lyrique, Musicologie - Cahiers de L'Esplanade, vol. 3. Saint-Etienne: Publications de l’Université de Saint-Etienne, pp. 106-128.

Rowden, Clair Sophie 2004. Republican morality and Catholic tradition in opera: Massenet's Hérodïade and Thaïs. Etudes sur l'opéra français du XIXème siècle, vol. 6. Weinsberg: Musik-Edition Lucie Galland.

Rowden, Clair Sophie 2004. 'The island’s full of noises, sounds and voices': l’écriture vocale de Thomas Adès [Programme note]. Avant-Scène Opéra: Thomas Adès 'The Tempest', vol. 222. Paris: Avant-Scène Opéra, pp. 80-83.

Rowden, Clair Sophie 2004. 'Werther' at home and abroad [programme note]. Werther, London: Royal Opera House, pp. 43-48.

Rowden, Clair Sophie 2006. David Charlton (ed.), The Cambridge Companion to Grand Opera (Cambridge: Cambridge University Press, 2003). 496 pp. $29.99 [Book Review]. Nineteenth-Century Music Review 3 (1) , pp. 122-125. 10.1017/S1479409800000380
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Rowden, Clair Sophie 2006. L'amour sacré et le sacre de l'amour: l'homme saint chez Massenet. In: Ramaut, Alban and Branger, Jean-Christophe eds. Opéra et Religion sous la IIIe République, Travaux, vol. 129. Saint-Etienne: Publications de l’Université de Saint-Etienne, pp. 257-284.

Rowden, Clair Sophie 2007. Massenet and 'Thaïs': the religious context [programme note]. Thaïs, London: Royal Opera House, pp. 29-33.

Rowden, Clair Sophie 2007. Werther, La Navarraise and Verismo: A Matter of Taste. Franco - British Studies: journal of the British Institute in Paris 37 , 3 -34.

Rowden, Clair Sophie 2007. Cinderella takes a Roman holiday [programme note]. La Cenerentola, London: Royal Opera House, pp. 9-12.

Rowden, Clair Sophie 2008. Berlioz and Debussy: Sources, Contexts and Legacies: Essays in Honour of François Lesure [Book Review]. Musicology Australia 30 (1) , pp. 141-143. 10.1080/08145857.2008.10416750

Rowden, Clair Sophie 2008. Decentralisation and regeneration at the Théâtre des Arts, Rouen, 1889-1891. Revue de Musicologie 94 (1) , pp. 139-180.

Rowden, Clair Sophie 2008. French Music Since Berlioz [Book Review]. Musicology Australia 30 (1) , pp. 135-140. 10.1080/08145857.2008.10416749

Rowden, Clair Sophie 2008. Massenet and the 'Manon' score [Programme note]. Manon, London: Royal Opera House presents The Royal Ballet, pp. 19-24.

Rowden, Clair Sophie 2009. Alexandra Wilson, The Puccini Problem: Opera, Nationalism and Modernity (Cambridge: Cambridge University Press, 2007), ISBN 978-0-521-85688-1 (hb) [Book Review]. twentieth-century music 6 (1) , pp. 115-118. 10.1017/S1478572210000083
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Rowden, Clair Sophie 2009. Opera, caricature and the unconscious: Massenet’s 'Thaïs', a case study. Music in Art: International Journal for Music Iconography XXXIV (1-2) , pp. 274-289.

Rowden, Clair Sophie 2010. Andreas Giger, Verdi and the French Aesthetic: Verse, Stanza, and Melody in Nineteenth-Century Opera (Cambridge: Cambridge University Press, 2009). x + 294pp. £52.00 [Book Review]. Nineteenth-Century Music Review 7 (2) , pp. 129-132. 10.1017/S1479409800003657
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Rowden, Clair Sophie 2010. An Introduction to the Dramatic Works of Giacomo Meyerbeer: Operas, Ballets, Cantatas, Plays. By Robert Ignatius Letellier. [Book Review]. Music and Letters 91 (3) , pp. 441-444. 10.1093/ml/gcq031

Rowden, Clair Sophie 2010. Loïe Fuller et Salomé: Les drames mimés de Gabriel Pierné et de Florent Schmitt. In: Branger, Jean-Christophe ed. Musique et Chorégraphie en France de Léo Delibes à Florent Schmitt, Musicologie - Cahiers de l'Esplanade, vol. 6. Saint-Etienne: Publications de l’Université de Saint-Etienne, pp. 215-259.

Rowden, Clair Sophie 2010. Sentiment and Reminiscence [Programme note]. Manon, London: Royal Opera House, pp. 25-31.

Rowden, Clair Sophie 2010. 'Les Pêcheurs' and the Parisian Press [Programme note]. Les Pêcheurs de Perles, London: Royal Opera House, pp. 27-34.

Rowden, Clair Sophie 2010. A Source of Lyricism [Programme note]. Roméo et Juliette, London: Royal Opera House, pp. 32-36.

Rowden, Clair Sophie 2011. Annegret Fauser & Mark Everist (eds.), Music, Theater, and Cultural Transfer: Paris 1830-1914 (University of Chicago Press, 2009), 439 pp. ISBN-13: 978-0-226-23926-2. [Book Review]. H: France 11 (99)

Rowden, Clair Sophie 2011. Salome and modern opera: a Parisian perspective. In: Brosche, Günter, May, Jürgen, Internationale Richard Strauss-Gesellschaft, Wien and Richard Strauss-Institut, Garmisch-Partenkirchen eds. Richard Strauss-Jahrbuch 2011: Richard Strauss im Europäischen Kontext, Tutzing: Hans Schneider, pp. 163-176.

Rowden, Clair Sophie 2011. The End of the Fairytale [Programme note]. Cendrillon, London: Royal Opera House, pp. 12-19.

Rowden, Clair Sophie 2012. La Reception des Pecheurs de Perles [Programme note]. Opera Comique, Paris , pp. 71-76.

Rowden, Clair Sophie 2012. The Choral Music of Félicien David, Charles Gounod, and Jules Massenet. In: Di Grazia, Donna M. ed. Nineteenth-Century Choral Music, Routledge Studies in Musical Genres, London: Routledge,

Rowden, Clair Sophie 2013. Choral music and music making in France. In: Di Grazia, Donna M. ed. Nineteenth-Century Choral Music, Routledge Studies in Musical Genres, Abingdon. Oxon: Routledge, pp. 205-212.

Rowden, Clair Sophie 2013. Jann Pasler, ed., Camille Saint-Saëns and his world. Princeton and Oxford: Princeton University Press, 2012. [Book Review]. H-France Review 13 (40) , pp. 1-7.

Rowden, Clair Sophie 2013. Memorialisation, commemoration and commodification: Massenet and caricature. Cambridge Opera Journal 25 (2) , pp. 139-163. 10.1017/S0954586713000049
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Rowden, Clair Sophie 2013. Introduction. In: Rowden, Clair Sophie ed. Performing Salome, Revealing Stories, Ashgate Interdisciplinary Studies in Opera, Aldershot: Ashgate, pp. 1-14.

Rowden, Clair Sophie 2013. Whose/who's Salome? Natalia Trouhanowa, a dancing diva. In: Rowden, Clair Sophie ed. Performing Salome, Revealing Stories, Ashgate Interdisciplinary Studies in Opera, Aldershot: Ashgate, pp. 71-98.

Rowden, Clair Sophie 2014. Memorialisation, commemoration et commercialisation: Massenet et la caricature. In: Branger, Jean-Christophe and Giroud, Vincent eds. Massenet aujourd’hui : Héritage et postérité, Publications de l'Universite de Saint-Etienne, pp. 39-64.

Rowden, Clair Sophie 2014. The other 'Salome'. Opera , pp. 1234-1241.

Rowden, Clair Sophie 2014. Wilde's 'Salome': a very modern French affair. Wexford Festival Opera.

Rowden, Clair Sophie 2014. La Dramaturgie de Gustave Charpentier. By Michela Niccolai. Music and Letters 95 (2) , pp. 299-302. 10.1093/ml/gcu025

Rowden, Clair Sophie 2014. 'Thais': adaptation, degeneration and intermediality. Dix-Neuf 18 (2) , pp. 134-149. 10.1179/1478731814Z.00000000049

Rowden, Clair Sophie 2015. Loie Fuller and Salome: The unveiling of a myth. In: Lee, Hyunseon and Segal, Naomi eds. Opera, Exoticism and Visual Culture, Cultural Interactions: Studies in the Relationship between the Arts, vol. 34. Peter Lang, pp. 93-110.

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Sierra, Arlene 2017. Nature symphony. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 1994. Four love songs. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 1997. Of risk and memory. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 1997. Three descriptions. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 1998. Two etudes after Mantegna. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 1999. Harrow-lines. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2000. Alleluya (Bitter-Sweet). [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2000. Ballistae. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2000. Mantegna diptych: for orchestra. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2001. Alike dissolving. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2001. Aquae. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2001. Aquilo. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2001. Four choreographic studies. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2002. Hand mit Ringen. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2002. Tiffany windows. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2002. Truel 1. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2003. Trombone concerto: dedication and dance. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2004. Two Neruda odes. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2005. A conflict of opposites. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2005. Neruda settings. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2006. Art of Lightness. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2006. Cicada shell. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2007. Birds and insects. Book 1. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2007. Streets and rivers. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2008. Colmena. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2008. Hearing things. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2009. Game of attrition for chamber orchestra. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2010. Art of war: Concerto for piano and orchestra. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2010. Insects in amber for string quartet. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2011. Scenes from Faustine. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2012. Meditation on violence. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2012. Moler for Symphony Orchestra. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2013. Avian mirrors. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2013. Butterflies remember a mountain. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2013. Cuatro Corridos: Dalia. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2014. Urban birds. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2015. Birds and insects, Book 2. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2016. Ritual in transfigured time. [Score]. Cecilian Music.

Sierra, Arlene Elizabeth 2018. Bobolink from Birds and Insects, Book 2. [Score]. Cecilian Music.

Stark, Alicia 2018. Virtual pop: gender, ethnicity, and identity in virtual bands and vocaloid. PhD Thesis, Cardiff University.
Item availability restricted.
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Stowell, Robin 1994. The Violin Concerto (Op. 61): text and editions. In: Stowell, Robin ed. Performing Beethoven, Cambridge Studies in Performance Practice, vol. 4. Cambridge: Cambridge University Press, pp. 150-194.

Stowell, Robin 1998. Beethoven: Violin Concerto. Cambridge Music Handbooks, Cambridge: Cambridge University Press.

Stowell, Robin 2001. The early violin and viola: a practical guide. Cambridge Handbooks to the Historical Performance of Music, Cambridge: Cambridge University Press. 10.1017/CBO9780511481833

Stowell, Robin 2002. Strings. In: Burton, Anthony ed. A Performer’s Guide to Music of the Romantic Period, Performer's Guides, London: Associated Board of the Royal Schools of Music (ABRSM), pp. 45-55.

Stowell, Robin 2003. 'Extending the technical and expressive frontiers'. In: Stowell, Robin ed. The Cambridge Companion to the String Quartet, Cambridge University Press, 149 - 74.

Stowell, Robin 2005. 'Performance practice in the eighteenth-century concerto'. In: Simon, P Keefe ed. The Cambridge Companion to the Concerto, Cambridge University Press, pp. 192-226.

Stowell, Robin 2006. 'The Viotti school of violin playing: style and influence'. In: Massimiliano, Sala ed. Giovanni Battista Viotti: A Composer Between the Two Revolutions, Ut Orpheus Edizioni, pp. 219-49.

Stowell, Robin 2010. The Diabolus in Musica and Paganini Redivivus phenomena, with some thoughts on their relevance to the "German Paganini" [August Wilhelm (1845-1908)]. In: Barizza, A. and Morabito, F. eds. Nicolò Paganini: Diabolus in Musica, Studies on Italian Music History, vol. 5. Turnhout: Brepols, pp. 3-22.

Stowell, Robin 2011. Fantasising on Faust. Presented at: Henryk Wieniawski and the Bravura Tradition : [Proceedings of the 3rd International Musicological Conference], Poznań, Poland, 19-21 October 2009. Published in: Jabłoński, Maciej and Jasińska, Danuta eds. Henryk Wieniawski and the Bravura Tradition [Proceedings of the 3rd International Musicological Conference held in Poznań, Poland, 19-21 October 2009]. Poznan: Henryk Wieniawski Musical Society and Poznań Society for the Advancelent of the Arts and Sciences, pp. 23-45.

Stowell, Robin 2011. Henryk Wieniawski: "the true successor" of Nicolò Paganini? A comparative assessment of the two virtuosos with particular reference to their caprices. Presented at: Spielpraxis der Saiteninstrumente in der Romantik Bericht des Symposiums, Bern, Switzerland, 18-19 November 2006. Published in: Bacciagaluppi, Claudio, Brotbeck, Roman and Gerhard, Anselm eds. Spielpraxis der Saiteninstrumente in der Romantik: Bericht des Symposiums in Bern, 18.–19. November 2006. Musikforschung der Hochschule der Künste Bern (HKB) , vol. 3. Schliengen: Edition Argus, pp. 70-90.

Stowell, Robin 2011. Semblanzas de Compositores Espanõles 29: Pablo de Sarasate (1844-1908). Revista de la Fundación Juan March (401) , pp. 2-7.

Stowell, Robin 2012. Case study: Richard Wagner, Tristan und Isolde. In: Lawson, Colin and Stowell, Robin eds. The Cambridge History of Musical Performance, The Cambridge History of Music, Cambridge: Cambridge University Press, pp. 696-722.

Stowell, Robin 2012. The Evidence. In: Lawson, Colin and Stowell, Robin eds. The Cambridge History of Musical Performance, The Cambridge History of Music, Cambridge: Cambridge University Press, pp. 63-104.

Stowell, Robin 2012. Mozart’s 'Viennese' Sonatas for Keyboard and Violin according to Ferdinand David: A survey of editorial and violin performance practices. In: Harlow, Martin ed. Mozart's Chamber Music with Keyboard, Cambridge: Cambridge University Press, pp. 69-103.

Stowell, Robin 2013. The contribution of Geminiani's 'The art of playing on the violin' to "The improved state of the violin in England". In: Hogwood, Christopher ed. Geminiani Studies, Ad Parnassum Studies, Bologna: Ut Orpheus Edizioni, pp. 257-300.

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Thomas, Adrian Tregerthen 2002. 'File 750: Composers, Politics and the Festival of Polish Music (1951)'. Polish Music Journal 5 (1)

Thomas, Adrian Tregerthen 2003. In the public eye: Panufnik and his music, 1948-54. In: Paja-Stach, Jadwiga ed. Andrzej Panufnik's Music and its Reception, Musica Iagellonica, pp. 205-220.

Thomas, Adrian Tregerthen 2005. Polish music since Szymanowski. Music in the Twentieth Century, Cambridge: Cambridge University Press.

Thomas, Adrian Tregerthen 2007. One last meeting: Lutoslawski, Szymanowski and the fantasia. In: Skowron, Z. ed. Karol Szymanowski w perspektywie kultury muzycznej przeszlosci i terazniejszosci. Studia pod redakcja Zbigniewa Skowrona., Musica Iagellonica, 295 - 311.

Tyrrell, John 2003. 'How Janάček composed operas'. In: Michael, Beckerman ed. Janáček and his world, Yale University Press, pp. 55-78.

Tyrrell, John 2004. Janάček and programme music. Ad Parnassum 2 (3) , pp. 61-102.

Tyrrell, John 2006. Janάček: Years of a life. Volume 1, (1854-1914) The lonely blackbird. London: Faber and Faber.

Tyrrell, John 2007. Janάček: Years of a life. Volume 2, (1914-1928) Tsar of the forests. London: Faber and Faber.

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Villepastour, Amanda 2009. Fiddling in West Africa: Touching the spirit in Fulbe, Hausa, and Dagbamba cultures [Book Review]. Notes 66 (2) , pp. 284-286.

Villepastour, Amanda 2009. Two heads of the same drum? Musical narratives within a transatlantic religion. Journal of Transatlantic Studies 7 (3) , pp. 343-362. 10.1080/14794010903069185

Villepastour, Amanda 2010. Ancient text messages of the Yorùbá bàtá drum : cracking the code. SOAS Musicology Series, Farnham: Ashgate.

Villepastour, Amanda 2012. Theory of African Music by Gerhard Kubik [Book Review]. Ethnomusicology 56 (2) , pp. 334-340. 10.5406/ethnomusicology.56.2.0334

Villepastour, Amanda 2013. Amelia Pedroso: The voice of a Cuban priestess leading from the inside. In: Hellier, Ruth ed. Women Singers in Global Contexts: Music, Biography, Identity, Urbana, IL: University of Illinois Press, pp. 54-72.

Villepastour, Amanda 2014. Afro-Cuban music: a bibliographic guide by John Gray [Book Review]. Latin American Music Review 35 (2) , pp. 315-318.

Villepastour, Amanda 2014. Talking tones and singing speech among the Yorùbá of Southwest Nigeria. Jahrbuch des Phonogrammarchivs der Österreichischen Akademie der Wissenschaften 44 , pp. 29-47.

Villepastour, Amanda 2015. Anthropomorphizing Ayan in transatlantic gender narratives... In: Villepastour, Amanda ed. The Yorùbá God of Drumming: Transatlantic Perspectives on the Wood That Talks, University Press of Mississippi, pp. 125-146.

Villepastour, Amanda 2015. Introduction: Asoro Igi (Wood That Talks). In: Villepastour, Amanda ed. The Yorùbá God of Drumming: Transatlantic Perspectives on the Wood That Talks, University Press of Mississippi, pp. 3-32.

Villepastour, Amanda 2015. "Orin Ibeji": (songs for the twins): sounding the sacred twins of the Yorùbá. In: Harris, Rachel and Pease, Rowan eds. Pieces of the Musical World: Sounds and Cultures, Routledge, pp. 169-188.

Villepastour, Amanda 2017. Two heads of the same drum? Musical narratives within a transatlantic religion. In: Kenney, Elizabeth T, Salenius, Sirpa and Womack Smith, Whitney eds. Race and Transatlantic Identities, Routledge, pp. 56-75.

Villepastour, Amanda 2017. Speaking with the body in Nigerian and Cuban Orisha music: musical movements in song, dance and trance. In: Post, Jennifer ed. Ethnomusicology: A Contemporary Reader, Vol. 2. New York: Routledge,

Villepastour, Amanda and Bran, Luis 2017. Transmisión en la Eritá Meta. Music Works NYC.

Villepastour, Amanda and Bran, Luis 2017. Transmisión en la Eritá Meta: Ilú Keké,. [CD]. 15 July 2017. ID number: CD MW001.

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Walsh, Stephen 1980. Forte in his own Rite. Soundings (9) , pp. 81-89.

Walsh, Stephen 1982. Bartók Chamber Music. BBC Music Guides, London: BBC.

Walsh, Stephen 1988. The music of Stravinsky. London: Routledge.

Walsh, Stephen 1996. Stravinsky's Symphonies: Accident or Design? In: Ayrey, Craig and Everist, Mark eds. Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music, Cambridge: Cambridge University Press, pp. 35-71. (10.2277/ 0521543975)

Walsh, Stephen 2001. The New Grove Stravinsky. The New Grove Composer Biography Series, Oxford: Oxford University Press.

Walsh, Stephen 2001. Kurtag's Russian settings: The word made flesh. Contemporary Music Review 20 (2-3) , pp. 71-88. 10.1080/07494460100640181

Walsh, Stephen 2004. Mark Carroll, Music and Ideology in Cold War Europe [Book Review]. twentieth-century music 1 (2) , pp. 308-314. 10.1017/S147857220525017X
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Walsh, Stephen 2006. Stravinsky: the second exile: France and America, 1934-1971. New York: Alfred A. Knopf.

Walsh, Stephen 2007. The composer, the antiquarian and the go-between: Stravinsky and the Rosenthals. Musical Times 148 (1898) , pp. 19-34.

Walsh, Stephen 2010. Stravinsky, Boulez and the politics of the aviary. In: Dulova, Y. ed. Modern Musicology in the World of Science: Scientific Articles of Belarusian State Academy of Music, Naučnye trudy Belorusskoj Akademii Muzyki, vol. 23. Minsk: Ministry of Culture of the Republic of Belorus, pp. 192-203.

Walsh, Stephen 2010. The action drama and the still life: Enescu, Stravinsky, and Oedipus. In: Brown, Peter and Ograjenšek, Suzana eds. Ancient Drama in Music for the Modern Stage, Oxford: Oxford University Press, pp. 305-319.

Walsh, Stephen 2013. Remembering 'The Rite of Spring' or "Ce que je n'ai pas voulu exprimer dans Le sacre du printemps". In: Danuser, Hermann and Zimmermann, Heidy eds. Avatar of Modernity : The Rite of Spring Reconsidered, Basel: Paul Sacher Stiftung, pp. 155-173.

Walsh, Stephen 2013. Musorgsky and His Circle. London: Faber & Faber.

Weir, Judith 2003. The Welcome Arrival of Rain (16 minutes). [Published score].

Weir, Judith 2003. Tiger Under the Table (15 minutes). [Published score].

Weir, Judith 2003. The Voice of Desire (12 minutes). [Published score].

Weir, Judith 2005. Armida (50 minutes). [Published score].

White, Christopher Jack 2010. Commentary on a portfolio of original compositions. PhD Thesis, Cardiff University.
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Williams, Jeremy Huw 2013. Serialism, modality and poetic rhetoric in Alun Hoddinott’s Five Poems of Gustavo Adolfo Bécquer, Op. 152 no. 2 (1994). PhD Thesis, Cardiff University.
Item availability restricted.
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Wilson, Charles 2018. Times like the present: de-limiting music in the twenty-first century. In: Heile, Björn and Wilson, Charles eds. The Routledge Research Companion to Modernism in Music, London and New York: Routledge, pp. 258-286.

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Zammit, Stanley, Allebeck, Peter, David, Anthony S., Dalman, Christina, Hemmingsson, Tomas, Lundberg, Ingvar and Lewis, Glyn 2004. A longitudinal study of premorbid IQ Score and risk of developing schizophrenia, bipolar disorder, severe depression, and other nonaffective psychoses. Archives of General Psychiatry 61 (4) , pp. 354-360. 10.1001/archpsyc.61.4.354

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Čurda, Martin 2017. Analytical and hermeneutical perspectives on the music of Pavel Haas. PhD Thesis, Cardiff University.
Item availability restricted.
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This list was generated on Sun Sep 22 12:46:31 2019 BST.