Recent Publications

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

Stoessel, J., and D. Collins. 2022. “«Sonorous Number-Objects»: Canonic Techniques, Combinatorics and Early Scientific Thought in 17th-Century Rome.” In Music and Science from Leonardo to Galileo, edited by Victor Coelho and Rudolf Rasch. Music, Science, and Technology. Turnhout: Brepols.

Stoessel, J. 2021. “Pier Francesco Valentini and Musical Canons in the Visual Culture of Early Modern Rome.” In Belonging and Detachment: Representing Musical Identity in Visual Culture, edited by Antonio Baldassarre and Arabella Teniswood-Harvey. Vienna: Hollitzer Verlag.

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, 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.

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

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 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.