This is a list of the out recent and forthcoming publications on canonic techniques

Stoessel, J. 2023. “Pier Francesco Valentini and Musical Canons in the Visual Culture of Early Modern Rome.” In Belonging, Detachment and the Representation of Musical Identities in Visual Culture, edited by Antonio Baldassarre and Arabella Teniswood-Harvey, 197-224. Vienna: Hollitzer Verlag.

Stoessel, J., and D. Collins. 2022. “«La grandezza del numero sonoro»: Canonic Techniques, Combinatorics, and Early Scientific Thought in Seventeenth-Century Rome.” In Music and Science from Leonardo to Galileo, edited by Rudolf Rasch, 155–86. Music, Science, and Technology, 5. Turnhout: Brepols.

Stoessel, J., D. Collins, and S. Bolland. 2020. “Using Optical Music Recognition to Encode 17th-Century Music Prints: The Canonic Works of Paolo Agostini (c.1583–1629) as a Test Case.” 7th International Conference on Digital Libraries for Musicology, Montréal, QC, Canada, Association for Computing Machinery.

Stoessel, J. and D. Collins. 2019. “New Light on the Mid Fourteenth-Century Chace: Canons Hidden in the Tournai Manuscript.”  Music Analysis 38/1: 155–203. doi: 10.1111/musa.12116.

Collins, D. 2018. “Approaching Renaissance Music using Taneyev’s Theories of Movable Counterpoint.” Acta Musicologica 90/2: 178–201.

Collins, D. and Stoessel, J. 2018. “Music as Symbolic Image: Christological Narratives in Agnus Dei Sections of Renaissance Masses.” In Transpositions: Music/Image. Edited by Mirjana Veselinović-Hofman et al. Belgrade: University of Arts, 60–71.

Collins, D. 2018. “Canon in Baroque Italy: Paolo Agostini’s Collections of Masses, Motets and Counterpoints from 1627.” In Music Preferred: Essays in Musicology, Cultural History and Analysis in Honour of Harry White. Edited by Lorraine Byrne Bodley, pp. 117–40. Vienna: Hollitzer Verlag.

Collins, D. 2015 (published 2017). “Instructions for Keyboard Accompaniment in Music Manuscript 244 of the University of Melbourne.” Musica Disciplina 60: 175–201.

Stoessel, J. 2015 (published 2017). “The Making of Louise Hanson-Dyer Collection Manuscript 244 (LHD 244).”  Musica Disciplina 60: 69–94.

Stoessel, J. 2016. “Introduction.” In The Complete Extant Transmissions of the Masses by Guillaume Faugues. Edited by Rex Eakins. Lions Bay: The Institute of Mediaeval Music.

Collins, D. 2016. “‘Discomfit them, O Lord, that trust in their own multitude’: A New Editorial Approach to the Tallis-Byrd Cantiones Sacrae.” Review Article. Musicology Australia 38/2: 72–81.

Collins, D. 2013. “John Bull’s ‘Art of Canon’ and Plainsong-Based Counterpoint in the Late Renaissance.” In Music Theory and its Methods: Structures, Challenges, Directions. Edited by Denis Collins, pp. 99-127. Frankfurt am Main: Peter Lang.

Collins, D. 2008. ‘“So you want to write a canon?’ An Historically-Informed New Approach for the Modern Theory Class.” College Music Symposium 48: 108–123.

Collins, D. 2008. “William Byrd’s Motets and Canonic Writing in England.” Context: A Journal of Music Research (University of Melbourne) 33: 45–65

Collins, D. 2007. “‘Sufficient to quench the thirst of the most insaciate scholler whatsoeuer’: George Waterhouse’s 1,163 Canons on the Plainsong Miserere.” In Canons and Canonic Techniques, 14^th-16^th Centuries: Theory, Practice, and Reception History. Edited by Katelijne Schiltz and Bonnie J. Blackburn, pp. 407-420. Analysis in Context. Leuven Studies in Musicology vol. 1. Leuven and Dudley, MA: Peeters. (Book awarded Special Citation by Society for Music Theory)

Collins, D., ed. 2007. Elway Bevin’s A Briefe and Short Instruction of the Art of Musicke. Music Theory in Britain, 1500-1700: Critical Editions. Aldershot: Ashgate, 2007.

Related Publications

Collins, D. 2019.”Zelenka and the combinative impulse: contrapuntal techniques in the Miserere in D Minor, ZWV 56.” Musicology Australia 41/2: 199–225. doi: 10.1080/08145857.2019.1703488

Collins, D. 2018. “Horizontal-Shifting Counterpoint and Parallel-Section Constructions in Contrapuncti 8 and 11 from J.S. Bach’s Art of Fugue.” Music Theory Online 24/4 http://mtosmt.org/issues/mto.18.24.4/mto.18.24.4.collins.html

Stoessel, J. 2016. “Review: Music and Riddle Culture in the Renaissance. By Katelijne Schiltz.”  Music & Letters 97/2:327–329. doi: 10.1093/ml/gcw030.

Stoessel, J. 2016. “Editing Early English Music (Review Article).”  Musicology Australia 38 (1):108–116. doi: 10.1080/08145857.2016.1168344.

Collins, D. 2015. “Taneyev’s Theories of Moveable Counterpoint and the Music of J.S. Bach.” BACH: The Journal of the Riemenschneider Bach Institute 46/2: 23-45.

Collins, D. 2013. “Counterpoint.” Oxford Bibliographies in Music. Editor-in-Chief Bruce Gustafson www.oxfordbibliographiesonline.com Oxford University Press (subscription may be required).

Stoessel, J. 2012. “Revisiting Aÿ, mare, amice mi care: insights into late medieval music notation.”  Early Music 40/3:455–468. doi: 10.1093/em/cas101.

Stoessel, J. 2010. “Looking back over the Missa L’Ardant desir: Double Signatures and Unusual Signs in Sources of Fifteenth-Century Music.” Music & Letters 91/3:311–342. doi: 10.1093/ml/gcq059.