Vocal Music in France | |
Élisabeth-Claude Jacquet de La Guerre: a biographical essay | |
The sacred and secular cantatas of Élisabeth-Claude Jacquet de La Guerre: an introduction | |
Representing Jacquet de La Guerre on disc: scoring and basse continue practices and a new painting of the composer | |
A new Rameau cantata | |
Performing Rameau's cantatas | |
Towards a chronology of Rameau's cantatas | |
Declamation and expressive singing in recitative | |
18th-century French and Italian singing: Rameau's writing for the voice | |
On performing 18th-century haute-contre roles | |
Basses and basse continue in the orchestra of the Paris Opéra, 1700-1764 | |
The dramatic role of the chorus in French opera: evidence for the use of gesture, 1670-1770 | |
The Paris Opéra chorus during the time of Rameau | |
'Inclina Domine': a Martin motet wrongly attributed to Rameau | |
Preface to François Martin, Petits Motets for One and Two Solo Voices with Instruments | |
Bach's music in France: a new source | |
The Viol and Violin in England | |
A 17th-century source of ornamentation for voice and viol | |
British Museum ms. Egerton 2971 | |
Carl Friedrich Abel's solos: a musical offering to Gainsborough? | |
Books on old violins and 19th-century playing from the bequest of T.W. Mills | |
Tempo graduations in Purcell's sonatas | |
Violin playing in late 17th-century England: Baltzar, Matteis, and Purcell | |
Ornamentation in English lyra viol music: part 1: slurs, juts, and thumpes and other 'graces' for the bow | |
Ornamentation in English lyra viol music: part 2: shakes, relishes, falls, and other 'graces' for the left hand | |
Index | |
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