This is a list of the out recent publications on canonic techniques
Stoessel, J. and D. Collins. 2019. “New Light on the Mid Fourteenth-Century Chace: Canons Hidden in the Tournai Manuscript.” Music Analysis 23/1: forthcoming.
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, 14th-16th 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.
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.