|
Abraham, Gerald, ed. The Age of Humanism: 1540-1630. Vol. 4 of The New
Oxford History of Music. London: Oxford University Press, 1968.
Reprint, 1988.
Aldrich, Putnam. “The ‘Authentic’ Performance of Baroque Music.” In
Essays on Music in Honor of Archibald T. Davison, 161-71.
Cambridge, MA: Harvard University, Department of Music, 1957.
Apel, Willi. The Notation of Polyphonic Music, 900-1600, 5th ed. Cambridge,
MA: Mediaeval Academy of America, 1953.
Arnold, Denis. “Schutz in Venice.” Music and Musicians 21, no. 1 (1972):
30-35.
--------. “The Baroque in Germany.” Early Music 4 (1976): 183-7.
--------. “The Second Venetian Visit of Heinrich Schutz.” Musical Quarterly
71 (1985): 359-74.
Arnold, Denis, and Nigel Fortune, eds. The New Monteverdi Companion.
London: Faber and Faber, 1985.
Babitz, Sol. “A Problem of Rhythm in Baroque Music.” Musical Quarterly
38 (1952): 533-65.
Baker, Nancy K., and Barbara R. Hanning, eds. Musical Humanism and its
Legacy: Essays in Honor of Claude V. Palisca. Stuyvesant, NY:
Pendragon Press, 1992.
Barnett, Gregory. “Modal Theory, Church Keys, and the Sonata at the End of
the Seventeenth Century.” Journal of the American Musicological
Society 51 (1998): 245-81.
Bartel, Dietrich. Musica Poetica: Musical-Historical Figures in German
Baroque Music. Lincoln, NE: University of Nebraska Press, 1997.
Bartlett, Clifford, and Peter Holman. “Giovanni Gabrieli: A Guide to the
Performance of His Instrumental Music.” Early Music 3 (1975):
25-32.
Benecke, Gerhard. Germany in the Thirty Years War. London: Edward
Arnold, 1978.
Bianconi, Lorenzo. Music in the Seventeenth Century. Translated by David
Bryant. Cambridge: Cambridge University Press, 1987.
Bonta, Stephen. “The Use of Instruments in Sacred Music in Italy:
1560-1700.” Early Music 18 (1990): 519-35.
Boyden, David. “Dynamics in Seventeenth- and Eighteenth-century Music.”
In Essays on Music in Honor of Archibald T. Davison, 185-93.
Cambridge, MA: Harvard University, Department of Music, 1957.
Brainard, Paul. “Proportional Notation in the Music of Schutz and His
Contemporaries.” Current Musicology 50 (1992): 21-46.
Brown, Howard Mayer, and Stanley Sadie, eds. Performance Practice:
Music After 1600. New York: Norton, 1990.
Buelow, George J. “Symposium on Seventeenth-century Music Theory:
Germany.” Journal of Music Theory 16 (1972): 36-49.
--------. “Music, Rhetoric, and the Concept of the Affections: A Selective
Bibliography.” Notes 30 (1973-4): 250-9.
--------. “Vocal Ornamentation in the Sacred Music of the Schütz Era.”
American Choral Review 24, no. 2 (1982): 5-13.
Bukofzer, Manfred. Music in the Baroque Era: From Monteverdi to Bach.
New York: Norton, 1947.
Butt, John. Music Education and the Art of Performance in the German
Baroque. Cambridge: Cambridge University Press, 1994.
Carroll, Paul. Baroque Woodwind Instruments: A Guide to Their History,
Repertoire, and Basic Technique. Aldershot, UK: Ashgate, 1999.
Clough, Loren A. “Schutz’s Christmas Oratorio: Perhaps an Answer to Your
Christmas Prayers.” Music Educators Journal 56, no. 2 (1969): 42-3.
Crocker, Richard L. A History of Musical Style. New York: Dover, 1986.
Cyr, Mary. “Declamation and Expressive Singing in Recitative.” In Opera
and Vivaldi, ed. Michael Collins and Elise K. Kirk, 233-57. Austin,
TX: University of Texas Press, 1984.
--------. Performing Baroque Music. Portland, OR: Amadeus Press, 1992.
Donington, Robert. “The Choice of Instruments in Baroque Music.” Early
Music 1 (1973): 131-8.
--------. Baroque Music: Style and Performance. New York: Norton, 1982.
--------. “The Present Position of Authenticity.” Performance Practice
Review 2 (1989): 117-25.
--------. The Interpretation of Early Music. New York: Norton, 1992.
Dreyfus, Laurence. “Early Music Defend Against Its Devotees: A Theory of
Historical Performance in the Twentieth Century.” Musical Quarterly
69 (1983): 297-322.
Edwards, J. Michele. “Schutz’s Use of the Violone and Wind Instruments:
Reading the Evidence.” The American Organist 23 (Sep. 1989): 63-5.
Fabbri, Paolo. Monteverdi. Translated by Tim Carter. Cambridge:
Cambridge University Press, 1994.
Fortune, Nigel. “Italian Secular Monody from 1600 to 1635: An Introductory
Survey.” Musical Quarterly 39 (1953): 171-95.
--------. “Italian Seventeenth-century Singing.” Music and Letters 35 (1954):
206-19.
Frandsen, Mary E. “The Sacred Concerto in Dresden, ca. 1660-1680.” Ph.D.
diss., University of Rochester, 1996.
--------. “Allies in the Cause of Iatlian Music: Schutz, Prince Johann Georg II
and Musical Politics in Dresden.” Journal of the Royal Musical
Association 125 (2000): 1-40.
Grout, Donald J. “On Historical Authenticity in the Performance of Old
Music.” In Essays on Music in Honor of Archibald T. Davison, 341-7.
Cambridge, MA: Harvard University, Department of Music, 1957.
Gutmann, Myron P. “The Origins of the Thirty Years’ War.” Journal of
Interdisciplinary History 18, no. 4 (1988): 749-70.
Harnoncourt, Nikolaus. Baroque Music Today: Music As Speech. Translated
by Mary O’Neill. Portland, OR: Amadeus Press, 1988.
--------. The Musical Dialogue: Thoughts on Monteverdi, Bach and Mozart.
Translated by Mary O’Neill. Portland, OR: Amadeus Press, 1989.
Haskell, Harry. The Early Music Revival: A History. London: Thames and
Hudson, 1988.
Hefling, Stephen E. Rhythmic Alteration in Seventeenth- and
Eighteenth-century Music: Notes Ineagales and Overdotting. New
York: Schirmer Books, 1993.
Hill, J. W. “Oratory Music in Florence.” Acta Musicologica 51 (1979):
108-36, 246-67.
Houle, George. Meter in Music, 1600-1800: Performance, Perception, and
Notation. Bloomington, IN: Indiana University Press, 1987.
Johnston, Gregory S. “Textual Symmetries and the Origins of Heinrich
Schutz's Musikalische Exequien.” Early Music 19 (1991): 213-25.
Kenyon, Nicholas, ed. Authenticity and Early Music: A Symposium. Oxford:
Oxford University Press, 1988.
Kurtzman, Jeffrey. The Monteverdi Vespers of 1610: Music, Context,
Performance. Oxford: Oxford University Press, 1999.
Lang, Paul Henry. Musicology and Performance. New Haven, CT: Yale
University Press, 1997.
Lawson, Colin, and Robin Stowell. The Historical Performance of Music:
An Introduction. Cambridge: Cambridge University Press, 1999.
Leaver, Robin A. “Heinrich Schutz as Biblical Interpreter.” Bach 4, no. 3
(1973): 3-12.
--------. Music in the Service of the Church: The Funeral Sermon for
Heinrich Schutz (1585-1672). St. Louis, MO: Concordia, 1984.
Leonard, Charlotte A. “The Role of the Trombone and its Affect in the
Lutheran Church of Seventeenth-century Saxony and Thuringia.”
Historic Brass Society Journal 10 (1998): 57-91.
Leopold, Silke. Monteverdi: Music in Transition. Translated by Anne Smith.
Oxford: Clarendon Press, 1991.
Leppard, Raymond. Authenticity in Music. Portland, OR: Amadeus Press,
1988.
Lewis, Anthony, and Nigel Fortune, eds. Opera and Church Music,
1630-1750. Vol. 5 of The New Oxford History of Music. Oxford:
Oxford University Press, 1975. Reprint, 1988.
Limm, Peter. The Thirty Years War. London: Longman, 1984.
Linfield, Eva. “A New Look at the Sources of Schutz’s Christmas History.”
Schutz-Jahrbuch 4/5 (1982/3): 19-36.
--------. “Modal and Tonal Aspects in Two Compositions by Heinrich
Schutz.” Journal of the Royal Musical Association 117 (1992):
86-122.
--------. “Modulatory Techniques in Seventeenth-century Music: Schutz, a
Case in Point.” Music Analysis 12 (1993): 197-214.
Mattfeld, Victor H. “The Use of Instruments in the Music of Heinrich
Schutz.” The American Organist 22 (March 1988): 65-9.
Mendel, Arthur. “A Brief Note on Triple Proportion in Schutz.” Musical
Quarterly 46 (1960): 67-70.
--------. “Some Ambiguities of the Mensural System.” In Studies in Music
History: Essays for Oliver Strunk, ed. Harold Powers, 137-60.
Princeton: Princeton University Press, 1968.
Miller, D. Douglas, and Anne L. Highsmith, eds. Heinrich Schutz: A
Bibliography of the Collected Works and Performing Editions. New
York: Greenwood Press, 1986.
Montagu, Jeremy. “The ‘Authenticity’ Sound of Early Music.” Early Music
3 (1975): 242-3.
--------. “Choosing Brass Instruments.” Early Music 4 (1976): 35-8.
Moser, Hans Joachim. Heinrich Schutz: A Short Account of His Life and
Work. Translated and edited by Derek McCulloch. London: Faber
and Faber, 1967.
Neumann, Frederick. “The Use of Baroque Treatises on Musical
Performance.” Music and Letters 48, no. 4 (1967): 315-24.
Paine, John Gordon. “Tactus, Tempo, and Proportion in the Music of
Heinrich Schutz.” M.M. thesis, University of Colorado at Boulder,
1976.
Palisca, Claude V. Humanism in Italian Renaissance Musical Thought. New
Haven, CT: Yale University Press, 1985.
--------. Baroque Music, 3rd ed. Upper Saddle River, NJ: Prentice Hall, 1991.
Parker, Geoffrey. The Thirty Years War. London: Routledge & Kegan Paul,
1984. Revised, 1987.
Price, Curtis, ed. The Early Baroque Era: From the Late Sixteenth Century
to the 1660s. London: Macmillan Press, 1993.
Ransome, Antony. “Towards an Authentic Vocal Style and Technique in
Late Baroque Performance.” Early Music 6 (1978): 417-9.
Richter, Clifford. “The Music of Heinrich Schutz: Some Observations from
Performances.” American Choral Review 5, no. 1 (Oct. 1962): 1-5.
Rifkin, Joshua. “Schutz and Musical Logic,” The Musical Times 113 (1972):
1067-70.
--------. “Toward a New Image of Heinrich Schutz.” The Musical Times 126
(1985): 651-8, 716-20.
Roche, Jerome. “What Schutz Learnt from Grandi in 1629.” Musical Times
113 (1972): 1074-5.
Sadie, Julie Anne, ed. Companion to Baroque Music. With a foreword by
Christopher Hogwood. Berkeley, CA: University of California Press,
1990.
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians, 2nd
ed., 29 vols. London: Macmillan, 2001.
Segerman, Ephraim. “A Re-Examination of the Evidence on Absolute
Tempo Before 1700.” Early Music 24 (1996): 227-48, 681-9.
Selfridge-Field, Eleanor. “Instrumentation and Genre in Italian Music,
1600-1670.” Early Music 19 (1991): 61-7.
Skei, Allen B. Heinrich Schütz: A Guide to Research. New York: Garland,
1981.
Smallman, Basil. The Background of Passion Music: J. S. Bach and His
Predecessors. Naperville, IL: SCM Book Club, 1957.
--------. Schutz. The Master Musicians, ed. Stanley Sadie. Oxford: Oxford
University Press, 2000.
Smither, Howard E. “The Latin Dramtic Dialogue and the Nascent
Oratorio.” Jouranl of the American Musicological Society 20 (1967):
403-33.
--------. “Narrative and Dramatic Elements in the Laude Filippine:
1530-1600.” Acta Musicologica 41 (1969): 186-99.
--------. “The Baroque Oratorio: A Report on Research Since 1945.” Acta
Musicologica 48 (1976): 50-76.
Spagnoli, Gina. “The Letters and Documents of Heinrich Schutz, 1656-1672:
An Annotated Translation.” Ph.D. diss., Washington University,
1987.
Strunk’s Source Readings in Music History. Revised by Leo Treitler. New
York: Norton, 1998.
Taruskin, Richard, with Daniel Leech-Wilkinson, Nicholas Temperley, and
Robert Winter. “The Limits of Authenticity: A Discussion.” Early
Music 12 (1984): 3-25.
Ulrich, Homer. A Survey of Choral Music. The Harbrace History of Musical
Forms, ed. Karl Geiringer. Orlando, FL: Harcourt Brace Jovanovich,
1973.
Vaccaro, Jean-Michel. “Musical Symbolism in Schutz’ Historia der Geburt
Jesu Christi.” Yale French Studies 47 (1972): 218-31.
Webber, Geoffrey. North German Church Music in the Age of Buxtehude.
Oxford: Clarendon Press, 1996.
Whitwell, David. “Heinrich Schutz: His Music for Winds.” Instrumentalist
22 (1967): 63-8.
|