Research Catalogue

References

• Agawu, Kofi, Music As Discourse (Oxford: Oxford University Press, 2009)
• Agawu, Kofi, “Lives in Musicology: My Life in Writings”., Acta Musicologica, 93.1 (International Musicological Society, 2021), pp. 1-18
• Almén, Byron, A Theory of Musical Narrative (Bloomington, IN: Indiana University Press, 2008)
• Almén, Byron, and Robert Hatten, “Narrative Engagment With Twentieth Century Music: Possibilities and Limits”, in Music and Narrative Since 1900, ed. by Michael Klein and Nicholas Reyland (Bloomington, IN: Indiana University Press, 2013), pp. 59-85
• Armitage, Simon, Pearl (London: Faber and Faber, 2016)
• Armitage, Simon, and Matthew Kaner, “Hansel and Gretel: A Nightmare in Eight Scenes”, 2018
• Arthur, Bochner, “Criteria Against Ourselves”, Qualitative Inquiry, 6.2 (Sage Journals, 2000), pp. 266-72 <https://doi.org/https://doi.org/10.1177/107780040000600209>
• Bochner, Arthur, “Criteria Against Ourselves”, Qualitative Inquiry, 6.2 (Sage Journals, 2000), pp. 266-72 <https://doi.org/https://doi.org/10.1177/107780040000600209>
• Born, Georgina, “On Musical Mediation: Ontology, Technology and Creativity”, Twentieth-Century Music, 2.1 (Cambridge University Press, 2005), pp. 7–36 <https://doi.org/https://doi.org/10.1017/S147857220500023X>
• Croft, John, “Composition Is Not Research”, Tempo, 69.272 (Cambridge University Press, 2015), pp. 6-11 <https://doi.org/10.1017/S0040298214000989>
• Eco, Umberto, “Two Problems in Textual Interpretation”, Poetics Today, 2.1a (Duke University Press, 1980), pp. 145-61
• Eco, Umberto, “‘Casablanca’: Cult Movies and Intertextual Collage”, SubStance, 14.2 (Johns Hopkins University Press, 1985), pp. 3-12
• Ellis, Carolyn, Tony E. Adams, and Arthur P. Bochner, “Autoethnography: An Overview”, Historical Social Research, 36.4 (GESIS - Leibniz Institute for the Social Sciences, 2011), pp. 273-90
• Everett, Yayoi Uno, “The Tropes of Desire in Kaija Saariaho’s L’Amour De Loin”, in Music and Narrative Since 1900, ed. by Michael Klein and Nicholas Reyland (Bloomington, IN: Indiana University Press, 2013), pp. 329-45
• Ewell, Philip A, “Music Theory and the White Racial Frame”, Music Theory Online, 26.2 (Society for Music Theory, 2020) <https://doi.org/https://doi.org/10.30535/mto.26.2.4>
• Freeman, John, Remaking Memory: Autoethnography, Memoir and the Ethics of Self (Farringdon: Libri Publishing, 2015)
• Freytag, Gustav, Die Technik Des Dramas (Leipzig: G. Hirzel, 1876)
• Gardner, Bobbie-Jane, “Collaborative Composition in a Hyperlocal Environment”, Tempo, 300 (Cambridge University Press, 2022), pp. 44-61
• Goehr, Lydia, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford University Press, 1994) <https://doi.org/10.1093/0198235410.001.0001>
• Grabócz, Márta, “The ‘Preludio’ of the Four Orchestral Pieces Op. 12 by Bela Bartok: An Intertextual Analytical Approach”, in Music Semiotics: A Network of Significations in Honour and Memory of Raymond Monelle, ed. by Raymond Monelle and Esti Sheinberg (Farnham: Ashgate Publishing, 2012), pp. 115-28
• Harmat, László, Örjan de Manzano, and Fredrik Ullén, “Flow in Music and Arts”, in Advances in Flow Research, ed. by Corinna Peifer and Stefan Engeser (Cham: Springer International Publishing, 2021), pp. 337-91
• Harvey, Jonathan, Music and Inspiration (New York and London: Faber and Faber, 1999)
• Hatten, Robert S, Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert (Bloomington, IN: Indiana University Press, 2004)
• Hoffman, Richard, “Debussy’s ‘Canope’ As Narrative Form”, College Music Symposium, 42 (College Music Society, 2002), pp. 103-17
• Hughes, Bernard, “Classical CDS: Musical Saws, Keyed Fiddles and Kestrels”, The Arts Desk, 14 January 2023 (The Arts Desk, 2023)
• Hunt, Edmund, “Composition As Commentary: Voice and Poetry in Electroacoustic Music Composition As Commentary: Voice and Poetry in Electroacoustic Music”, Journal for Artistic Research, 20 (Society for Artistic Research, 2020) <https://doi.org/https://doi.org/10.22501/jar.643189>
• Jeal, Erica, “Prom 33: BBCSO/Wigglesworth Review – an Evening of Fizzing and Sparkling Mysticism | Proms 2022 | The Guardian”, The Guardian, 11 July 2022 (The Guardian, 2022)
• Juslin, Patrik N, Musical Emotions Explained (Oxford: Oxford University Press, 2019)
• Kaner, Matthew, and The Goldfield Ensemble, Matthew Kaner: Chamber Music <https://www.delphianrecords.com/products/matthew-kaner-chamber-music>
• Kaner, Matthew, “Adapting Robert Louis Stevenson’s ’Curious Poetry: Approaches to Musical Narrativization in My Recent Composition ’The Land of Nod’”, Adaptation, 17 (Oxford University Press, 2024), pp. 125-56 <https://doi.org/10.1093/adaptation/apad034>
• Kaner, Matthew, “Composing Narratives: Reimagining Musical Storytelling in New Vocal and Instrumental Works”, 2022 <https://openaccess.city.ac.uk/id/eprint/29592/>
• Kaner, Matthew, “‘Programme Note to Pearl’”, BBC Proms Programme, 33 (BBC, 2022)
• Klein, Michael, “Musical Story”, in Music and Narrative Since 1900, ed. by Michael Klein and Nicholas Reyland (Bloomington, IN: Indiana University Press, 2013), pp. 3-28
• Kleppinger, Stanley V, “Reconsidering Pitch Centricity”, Theory and Practicce, 36 (Music Theory Society of New York State, 2011), pp. 65-109
• Kramer, Lawrence, “Musical Narratology: A Theoretical Outline”, Indiana Theory Review, 12 (Indiana University Press, 1991), pp. 141-62
• Kramer, Lawrence, “Narrative Nostalgia: Modern Art Music off the Rails”, in Music and Narrative Since 1900, ed. by Michael Klein and Nicholas Reyland (Bloomington, IN: Indiana University Press, 2013), pp. 163-85
• Leech-Wilkinson, Daniel, “6.16 Composers Are Gods”, in Challenging Performance: Classical Music Performance Norms and How to Escape Them, ed. by Daniel Leech-Wilkinson, 2020
• Leedham, Christopher, and Martin Scheuregger, “The Composer’s Place in Academia” (London: Beyond ‘Mesearch’: Autoethnography, Self-Reflexivity, and Personal Experience as Academic Research in Music Studies: Institute of Musical Research, Senate House, 2018)
• Leedham, Christopher, and Martin Scheuregger, “The Purpose of the Written Element in Composition PhDs”, in Researching and Writing on Contemporary Art and Ar/Sts: Challenges, Practices, and Complexities, ed. by Christopher Wiley and Ian Pace (Springer International Publishing, 2020), pp. 65-90
• Levy, Gary, “Permeating the Membrane: Death As Life-Fulfilment Through the Prism of Bach’s (BWV 82)”, in Embodying the Music and Death Nexus, ed. by Marie Josephine Bennett, Jasmine Hazel Shadrack, and Gary Levy (Emerald Publishing, 2022), pp. 3-16
• Lolovar, Soosan, “An Auto-Ethnographic/ Compositional Approach to Questions of Diaspora and Hybridity”, Perspectives of New Music, 60/1 (Perspectives of New Music, 2022), pp. 153-200
• Mclaughlin, Scott, Zubin Kanga, and Mira Benjamin, “Composing Technique, Performing Technique”, Journal for Artistic Research, 23 (Society for Artistic Research, 2021)
• Mirka, Danuta, “Introduction”, in The Oxford Handbook of Topic Theory, ed. by Danuta Mirka (Oxford: Oxford University Press, 2014)
• Mitchell, J. Allan, “The Middle English ‘Pearl’: Figuring the Unfigurable”, The Chaucer Review, 35.1 (Penn State University Press, 2000), pp. 86-111
• Nelson, Robin, Practice As Research in the Arts: Principles, Protocols, Pedagogies, Resistances (New York: Palgrave Macmillan, 2013)
• Pace, Ian, “Composition and Performance Can Be, and Often Have Been, Research”, Tempo, 275 (Cambridge University Press, 2015), pp. 60-70
• Pohjannoro, Ulla, “Capitalising on Intuition and Reflection: Making Sense of a Composer’s Creative Process”, Musicae Scientiae, 20/2 (Sage Journals, 2016)
• Primier, Annarita, “The Concept of Self-Reflexive Intertextuality in the Works of Umberto Eco”, 2013
• Ratner, Leonard G, Classic Music: Expression, Form, and Style (New York: Schirmer Books, 1980)
• Reeves, Camden, “Composition, Research and Pseudo-Science: A Response to John Croft”, Tempo, 275 (Cambridge University Press, 2015), pp. 50-59
• Reyland, Nicholas, ’{Akcja}’ and Narrativity in the Music of {Witold} {Lutosławski} (Cardiff University, 2005)
• Reyland, Nicholas, “Livre or {Symphony}? {Lutoławski}’s {Livre} Pour Orchestre and the {Enigma} of {Musical} {Narrativity}”, Music Analysis, 27.2/3, 2008, p. 253-94
• Reyland, Nicholas, “Lutosławski, ’{Akcja}’, and the Poetics of Musical Plot”, Music and Letters, 88.4, 2007, p. 604-31 <https://doi.org/10.1093/ml/gcm067>
• Reyland, Nicholas, “Negation and {Negotiation}: {Plotting} {Narrative} through {Literature} and {Music} from {Modernism} to {Postmodernism}”, in Music and {Narrative} {Since} 1900, ed. by Michael Klein (Indiana University Press, 2013), p. 29-57
• Ryan, Marie-Laure, “Story/Worlds/Media: Tuning the Instruments of a Media-Conscious Narratology”, in Storyworlds across Media: Toward a Media-Conscious Narratology, ed. by Marie-Laure Ryan and Jan-Noël Thon (Lincoln and London: University of Nebraska Press, 2014), pp. 25-49
• Scheuregger, Martin, “Temporal Experience in George Benjamin’s Sudden Time”, in Time in Variance: The Study of Time, ed. by Arkadiusz Misztal, Paul A. Haris, and Jo Alyson Park (Leiden: Brill, 2021), pp. 291-317
• Schlipphacke, Heidi, “The Place and Time of the Uncanny”, Pacific Coast Philology, 50.2 (Penn State University Press, 2015), pp. 163-72
• Simaku, Thomas, “THINKING ALOUD: THE SOLILOQUY CYCLE”, Tempo, 309 (Cambridge University Press, 2024), pp. 22-36 <https://doi.org/10.1017/S0040298224000032>
• Spry, Tami, “Performing Autoethnography: An Embodied Methodological Praxis”, Qualitative Inquiry, 6.7 (Sage Journals, 2001), pp. 706-32 <https://doi.org/10.1177/107780040100700605>
• Stein, Robert, “Pearl (review)”, Musical Opinion Quarterly, 1533 (Musical Opinion Ltd, 2022), pp. 53-54
• Stewart, Robyn, “Creating New Stories for Praxis: Navigations, Narrations, Neonarratives”, in Practice As Research: Approaches to Creative Enquiry, ed. by Estelle Barrett and Barbara Bolt (I.B. Tauris, 2007), pp. 123-34
• Varwig, Bettina, “Death and Life in J. S. Bach’s Cantata Ich Habe Genung (BWV 82)”, Journal of the Royal Music Association, 135.2 (Cambridge University Press, 2010), pp. 315-56
• Westbrook, Roy, “Transcendent Programme from the BBC Symphony Orchestra and Ryan Wigglesworth”, Bachtrack, 11 August 2022 (Bachtrack, 2022)
• Whitall, Arnold, “Leitmotif, Grove Music Online” <https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000016360> [accessed 1 October 2024]
• Wintle, Christopher, All the Gods: Benjamin Britten’s Night-Piece in Context (London: Plumbago, 2006)
• Wolf, Werner, “Description: A Common Potential of Words and Music?”, in Essays on Word/Music Adaptation and on Surveying the Field, ed. by David Francis Urrows (Leiden: Brill, 2008), pp. 197-226