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Chapter 1: Baroque Music in Early Modern Europe

Benjamin, Walter. The Origin of German Tragic Drama, trans. John Osborne, with an introduction by George Steiner. London and New York: Verso, 1998. http://www.worldcat.org/oclc/40629433

Bianconi, Lorenzo, Music in the Seventeenth Century, trans. David Bryant. Cambridge and New York: Cambridge University Press, 1987. http://www.worldcat.org/oclc/15628213

Bukofzer, Manfred. Music in the Baroque Era: From Monteverdi through Bach. New York: Norton, 1946. http://www.worldcat.org/title/music-in-the-baroque-era-from-monteverdi-to-bach/oclc/426637

Carter, Tim. “Performance in the Seventeenth Century: An Overview.” In The Cambridge History of Musical Performance, ed. Colin Lawson and Robin Stowell. Cambridge and New York: Cambridge University Press, 2012. http://www.worldcat.org/oclc/758983133

Coelho, Victor, ed. Music and Science in the Age of Galileo. Dordrecht: Kluwer, 1992. http://www.worldcat.org/oclc/26767357

Cowart, Georgia, ed. French Musical Thought, 1600–1800. Ann Arbor, MI: UMI Research Press, 1989. http://www.worldcat.org/oclc/18878674

de Santillana, Giorgio. The Crime of Galileo. Chicago: University of Chicago Press, 1955. http://www.worldcat.org/oclc/710646

Eck, Caroline van, and Stijn Bussels, eds. Theatricality in Early Modern Art and Architecture. Chichester: Wiley-Blackwell, 2011. http://www.worldcat.org/oclc/729724682

Haar, James, ed. European Music, 1520–1640. Woodbridge, Suffolk, and Rochester, NY: Boydell Press 2006. http://www.worldcat.org/oclc/64097887

Hill, John Walter. Baroque Music: Music in Western Europe, 1580–1750. Norton Introduction to Music History. New York: Norton, 2005. http://www.worldcat.org/oclc/56213949

Hills, Helen, ed. Rethinking the Baroque. Farnham, Surrey, and Burlington, VT: Ashgate, 2011. http://www.worldcat.org/oclc/694616504

Kite-Powell, Jeffery, ed. A Performer’s Guide to Seventeenth-Century Music. 2nd ed. Publications of the Early Music Institute. Bloomington: Indiana University Press, 2012. http://www.worldcat.org/oclc/707212741

Laqueur, Thomas. Making Sex: Bodies and Gender from the Greeks to Freud. Cambridge, MA: Harvard University Press, 1990. http://www.worldcat.org/oclc/21375348

Maravall, José Antonio. Culture of the Baroque: Analysis of a Historical Structure, trans. Terry Cochran. Theory and History of Literature 25. Minneapolis: University of Minnesota Press, 1986. http://www.worldcat.org/oclc/12974936

Minor, Vernon Hyde. Baroque and Rococo: Art and Culture. New York: Abrams, 1999. http://www.worldcat.org/oclc/41431746

Munck, Thomas, Seventeenth-Century Europe: State, Conflict and the Social Order in Europe, 1598–1700. Macmillan History of Europe. Basingstoke, Hants: Macmillan, 1990. http://www.worldcat.org/oclc/19263726

Skrine, Peter N. The Baroque: Literature and Culture in Seventeenth-Century Europe. London: Methuen, 1978. http://www.worldcat.org/oclc/601010718

Chapter 2. Ancients and Moderns

Brosius, Amy. “‘Il Suon, Lo Sguardo, Il Canto’: The Function of Portraits of Mid-Seventeenth-Century Virtuose in Rome.” Italian Studies 63, no. 1 (2008): 17–39. http://www.worldcat.org/oclc/4636501968

Carter, Tim. Music in Late Renaissance and Early Baroque Italy. Portland, OR: Amadeus Press, 1992. http://www.worldcat.org/oclc/26774707

Chafe, Eric Thomas. Monteverdi’s Tonal Language. New York: Schirmer Books, 1992. http://www.worldcat.org/oclc/24142319

Coelho, Victor. “The Players of Florentine Monody in Context and in History, and a Newly Recognized Source for Le nuove musiche.” Journal of Seventeenth-Century Music 9, no. 1 (2003). http://www.sscm-jscm.org/v9/no1/coelho.html

Gerbino, Giuseppe. Music and the Myth of Arcadia in Renaissance Italy. New Perspectives in Music History and Criticism. Cambridge and New York: Cambridge University Press, 2009. http://www.worldcat.org/oclc/268793380

Hanning, Barbara Russano. “Glorious Apollo: Poetic and Political Themes in the First Opera.” Renaissance Quarterly 32, no. 4 (Winter 1979): 485–513. http://www.jstor.org/stable/2861413

Hill, John Walter. Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto. 2 vols. Oxford Monographs on Music. Oxford: Clarendon Press; New York: Oxford University Press, 1997. http://www.worldcat.org/oclc/36352438

Holman, Peter, Dowland: Lachrimae (1604). Cambridge Music Handbooks. Cambridge and New York: Cambridge University Press, 1999. http://www.worldcat.org/oclc/48138566

Katz, Ruth. “Collective ‘Problem Solving’ in the History of Music: The Case of the Camerata.” Journal of the History of Ideas, 45, no. 3 (July–September 1984): 361–77. http://www.jstor.org/stable/2709230

Monson, Craig. “Songs of Shakespeare’s England,” in The World of Baroque Music: New Perspectives, ed. George B. Stauffer. Bloomington: Indiana University Press, 2007. http://www.worldcat.org/oclc/65165344

Murata, Margaret. “Image and Eloquence: Secular Song.” In The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt. Cambridge History of Music. Cambridge: Cambridge University Press, 2006. http://www.worldcat.org/oclc/57893415

Ossi, Massimo. Divining the Oracle: Monteverdi’s Seconda Prattica. Chicago: University of Chicago Press, 2003. http://www.worldcat.org/oclc/51009065

Ossi, Massimo. “Monteverdi, Marenzio, and Battista Guarini’s ‘Cruda Amarilli.’” Music & Letters, vol. 89, no. 3 (August 2008): 311–36. http://www.jstor.org/stable/30162995

Palisca, Claude V. “Aria Types in the Earliest Operas.” Journal of Seventeenth-Century Music vol. 9, no. 1 (2003). http://www.sscm-jscm.org/v9/no1/palisca.html

Palisca, Claude V. The Florentine Camerata: Documentary Studies and Translations. Music Theory Translation series. New Haven: Yale University Press, 1989. http://www.worldcat.org/oclc/17648990

Rowland, Ingrid. Giordano Bruno: Philosopher Heretic. New York: Farrar, Straus and Giroux, 2008. http://www.worldcat.org/oclc/180751451

Treadwell, Nina. “She Descended on a Cloud ‘From the Highest Spheres’: Florentine Monody ‘alla Romanina.’” Cambridge Opera Journal 16, no. 1 (March 2004): 1–22. http://www.jstor.org/stable/3878302

Wistreich, Richard. Warrior, Courtier, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance. Aldershot, Hants: Ashgate, 2007. http://www.worldcat.org/oclc/648340259

Wells, Robin Headlam. “John Dowland and Elizabethan Melancholy.” Early Music 13, no. 4 (November 1985): 514–28. http://www.jstor.org/stable/3127229

Chapter 3. Theatrical Baroque

Bloechl, Olivia A. Native American Song at the Frontiers of Early Modern Music. New Perspectives in Music History and Criticism. Cambridge and New York: Cambridge University Press, 2008. http://www.worldcat.org/oclc/181141173

Carter, Tim. Monteverdi’s Musical Theatre. New Haven and London: Yale University Press, 2002. http://www.worldcat.org/oclc/50100523

Cusick, Suzanne G. Francesca Caccini at the Medici Court: Music and Circulation of Power. Women in Culture and Society. Chicago: University of Chicago Press, 2009. http://www.worldcat.org/oclc/215173194

Cusick, Suzanne G. “‘There Was Not One Lady Who Failed to Shed a Tear’: Arianna’s Lament and the Construction of Modern Womanhood.” Early Music, 22, no. 1 (February 1994): 32+35–38+41–43. http://www.jstor.org/stable/3128481

Fabbi, Paolo. Monteverdi, trans. Tim Carter. Cambridge: Cambridge University Press, 2006. http://www.worldcat.org/oclc/608619989

Garden, Greer, ed.. La délivrance de Renaud: Ballet Danced by Louis XIII in 1617. Turnout: Brepols, 2010. http://www.worldcat.org/title/delivrance-de-renaud-ballet-danced-by-louis-xiii-in-1617-ballet-danse-par-louis-xiii-en-1617/oclc/780223834

Hanning, Barbara. “The Ending of L’Orfeo: Father, Son, and Rinuccini.” Journal of Seventeenth-Century Music 9, no. 1 (2003). http://www.sscm-jscm.org/v9/no1/hanning.html

Harness, Kelley, Echoes of Women’s Voices: Music, Art, and Female Patronage in Early Modern Florence. Chicago: University of Chicago Press, 2006. http://www.worldcat.org/oclc/60375721

MacNeil, Anne. Music and Women of the Commedia dell’Arte in the Late Sixteenth Century. Oxford: Oxford University Press, 2003. http://www.worldcat.org/oclc/50653894

Pirrotta, Nino. “Early Opera and Aria.” In Music and Theater from Poliziano to Monteverdi, ed. Nino Pirrotta and Elena Povoledo, trans. Karen Eales. Cambridge Studies in Music. Cambridge: Cambridge University Press, 1982. http://www.worldcat.org/oclc/7461929

Powell, John S. Music and Theater in France, 16001680. Oxford Monographs on Music. Oxford: Clarendon Press; New York: Oxford University Press, 2000. http://www.worldcat.org/oclc/39116571

Ravelhofer, Barbara. The Early Stuart Masque: Dance, Costume, and Music. Oxford: Oxford University Press, 2006. http://www.worldcat.org/oclc/62738540

Rosand, Ellen. “The Descending Tetrachord: An Emblem of Lament.” Musical Quarterly, 65, no. 3 (July 1979): 346–59. http://www.jstor.org/stable/741489

Rosow, Lois. “Power and Display: Music in Court Theatre.” In The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt. Cambridge History of Music. Cambridge: Cambridge University Press, 2005. http://www.worldcat.org/oclc/57893415

Stein, Louise. Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain. Oxford Monographs on Music. Oxford: Oxford University Press, 1993. http://www.worldcat.org/oclc/27220291

Van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago: University of Chicago Press, 2005. http://www.worldcat.org/oclc/56481445

Walls, Peter. Music in the English Courtly Masque, 16041640. Oxford Monographs on Music. Oxford: Clarendon Press; New York: Oxford University Press, 1996. http://www.worldcat.org/oclc/32348105

Chapter 4. The Art and Craft of Instrumental Music in the Early Seventeenth Century

Boye, Gary. “The Case of the Purloined Letter Tablature: The Seventeenth-Century Guitar Books of Foriano Pico and Pietro Millioni.” Journal of Seventeenth-Century Music 11, no. 1 (2005). http://www.sscm-jscm.org/v11/no1/boye.html

Collins, Paul. The Stylus Fantasticus and Free Keyboard Music of the North German Baroque. Aldershot, Hants, and Burlington, VT: Ashgate, 2005. http://www.worldcat.org/oclc/57068461

Cunningham, John Patrick. The Consort Music of William Lawes, 1602–1645. Woodbridge, Suffolk, and Rochester, NY: Boydell Press, 2010. http://www.worldcat.org/oclc/619611629

Dell’Antonio, Andrew. Listening as Spiritual Practice in Early Modern Italy. Berkeley: University of California Press, 2011. http://www.worldcat.org/oclc/701495663

Hammond, Frederick. Frescobaldi. Cambridge, MA: Harvard University Press, 1983. http://www.worldcat.org/oclc/8627214

Kite-Powell, Jeffery, ed. A Performer’s Guide to Seventeenth-Century Music. 2nd ed. Publications of the Early Music Institute. Bloomington: Indiana University Press, 2012. http://www.worldcat.org/oclc/707212741

Kroll, Mark. Playing the Harpsichord Expressively: A Practical and Historical Guide. Lanham, MD: Scarecrow Press, 2004. http://www.worldcat.org/oclc/54454529

Mace, Thomas. Musick’s monument; or, A remembrancer of the best practical musick, both divine and civil, that has ever been known to have been in the world. Facsimile. Monuments of Music and Music Literature in Facsimile, 1st ser.: Music. London, 1676; New York: Broude Brothers, 1966. http://www.worldcat.org/oclc/20546035

Marsh, Christopher. Music and Society in Early Modern England. Cambridge: Cambridge University Press, 2010. http://www.worldcat.org/oclc/605019363

Mersenne, Marin. Harmonie universelle: The Books on Instruments, trans. Roger E. Chapman. The Hague: M. Nijhoff, 1957. http://www.worldcat.org/oclc/394914

Praetorius, Michael. The Syntagma Musicum of Michael Praetorius. Volume Two, De Organographia: First and Second Part, Plus Illustrations from Theatrum Instrumentorum, captions trans. Harold Blumenfeld. New York: Da Capo Press, 1980. http://www.worldcat.org/oclc/5352919

Saint-Lambert, Michel de. Principles of the Harpsichord by Monsieur de Saint Lambert, trans. and ed. Rebecca Harris-Warrick. Cambridge: Cambridge University Press, 1984. http://www.worldcat.org/oclc/9557213

Saunders, Steven. Cross, Sword, and Lyre: Sacred Music at the Imperial Court of Ferdinand II of Habsburg (1619–1637). Oxford: Clarendon Press; New York: Oxford University Press, 1995. http://www.worldcat.org/oclc/31288065

Silbiger, Alexander. “Fantasy and Craft: The Solo Instrumentalist.” In The Cambridge History of Seventeenth-Century Music, ed. John Butt and Tim Carter. Cambridge History of Music. Cambridge: Cambridge University Press, 2005. http://www.worldcat.org/oclc/57893415

Silbiger, Alexander, ed. Keyboard Music before 1700. 2nd ed. New York and London: Routledge, 2004. http://www.worldcat.org/title/keyboard-music-before-1700/oclc/826515957

Silbiger, Alexander. “Passacaglia and Ciaccona: Genre Pairing and Ambiguity from Frescobaldi to Couperin.” Journal of Seventeenth-Century Music, 2, no. 1 (1996). http://www.sscm-jscm.org/v2/no1/silbiger.html

Sparti, Barbara. “Irregular and Asymmetric Galliards: The Case of Salamone Rossi.” In The Sights and Sounds of Performance in Early Music: Essays in Honor of Timothy J. McGee, ed. Maureen Epp and Brian E. Power. Farnham, Surrey, and Burlington, VT: Ashgate, 2009. http://www.worldcat.org/oclc/306802256

Stolzenberg, Daniel. Great Art of Knowing: The Baroque Encyclopedia of Athanasius Kircher. Stanford: Stanford University Press, 2001. http://www.worldcat.org/oclc/70774113

Chapter 5. Music in Civic and Religious Ritual

Baker, Geoffrey “Music at Corpus Christi in Colonial Cuzco.” Early Music 32, no. 3 (August 2004): 355+357–67. http://www.jstor.org/stable/3519336

Baker, Geoffrey, and Tess Knighton, eds. Music and Urban Society in Colonial Latin America. Cambridge: Cambridge University Press, 2011. http://www.worldcat.org/oclc/656771863

Davies, Drew Edward. “Villancicos from Mexico City for the Virgin of Guadalupe.” Early Music 39, no. 2 (May 2011): 229–44. http://www.jstor.org/stable/41262167

Fisher, Alexander. Music and Religious Identity in Counter-Reformation Augsburg, 1580–1630. St. Andrews Studies in Reformation History. Aldershot, Hants, and Burlington, VT: Ashgate, 2004. http://www.worldcat.org/oclc/52554436

Frandsen, Mary E. Crossing Confessional Boundaries: The Patronage of Italian Sacred Music in Seventeenth-Century Dresden. Oxford and New York: Oxford University Press, 2006. http://www.worldcat.org/oclc/59011673

HaCohen, Ruth. The Music Libel Against the Jews. New Haven: Yale University Press, 2011. http://www.worldcat.org/oclc/711045613

Harrán, Don. Salamone Rossi: Jewish Musician in Late Renaissance Mantua. Oxford Monographs on Music. Oxford: Oxford University Press, 1999. http://www.worldcat.org/oclc/39108568

Kendrick, Robert L. “Devotion, Piety and Commemoration: Sacred Songs and Oratorios.” In The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt. Cambridge History of Music. Cambridge: Cambridge University Press, 2005. http://www.worldcat.org/oclc/57893415

Kurtzman, Jeffrey. The Monteverdi Vespers of 1610: Music, Context, and Performance. Oxford and New York: Oxford University Press, 1999. http://www.worldcat.org/oclc/38557342

Kurtzman, Jeffrey, ed. “The Patronage of Sacred Music in Seventeenth-Century Italy: A Special Issue Dedication to Jean Lionnet.” Journal of Seventeenth-Century Music 6, no. 1 (2000). http://www.sscm-jscm.org/v6no1.html

Kurtzman, Jeffrey, and Linda Maria Koldau. “Trombe, Trombe d’argento, Trombe squarciate, Tromboni, and Pifferi in Venetian Processions and Ceremonies of the Sixteenth and Seventeenth Centuries.” Journal of the Society for Seventeenth-Century Music 8, no. 1 (2002). http://www.sscm-jscm.org/v8/no1/kurtzman.html

Leaver, Robin A. Luther’s Liturgical Music: Principles and Implications. Lutheran Quarterly Books. Grand Rapids, MI: William B. Eerdmans Publishing Company, 2007. http://www.worldcat.org/oclc/74915463

Morelli, Arnoldo. “The Chiesa Nuova in Rome around 1600: Music for the Church, Music for the Oratory.” Journal of Seventeenth-Century Music 9, no. 1 (2003). http://www.sscm-jscm.org/v9/no1/morelli.html

Muir, Edward. Civic Ritual in Renaissance Venice. Princeton, NJ: Princeton University Press, 1981. http://www.worldcat.org/oclc/6815331

O’Regan, Noel. “The Church Triumphant: Music in the Liturgy.” In The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt. Cambridge History of Music. Cambridge: Cambridge University Press, 2005. http://www.worldcat.org/oclc/57893415

Smallman, Basil. Schütz. Master Musicians series. Oxford and New York: Oxford University Press, 2000. http://www.worldcat.org/oclc/42080191

Spagnoli, Gina. Letters and Documents of Heinrich Schütz: An Annotated Translation. Studies in Music 106. Ann Arbor, MI: UMI Research Press, 1990. http://www.worldcat.org/oclc/20056260

Smither, Howard E. A History of the Oratorio, vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, and Paris. Chapel Hill: University of North Carolina Press, 1977. http://www.worldcat.org/title/history-of-the-oratorio-vol-1-the-oratorio-in-the-baroque-era-italy-vienna-paris/oclc/263566263

Varwig, Bettina, Histories of Heinrich Schütz. Music Performance and Reception. New York: Cambridge University Press, 2011. http://www.worldcat.org/oclc/714111914

Vendrix, Philip, ed. Music and the Renaissance: Renaissance, Reformation and Counter-Reformation. Library of Essays on Renaissance Music. Farnham, Surrey: Ashgate, 2011. http://www.worldcat.org/oclc/733723918

Weaver, Andrew H. Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years’ War. Catholic Christendom, 1300–1700. Aldershot, Hants, and Burlington, VT: Ashgate, 2004. http://www.worldcat.org/oclc/764573821

Weil, Mark. S. “The Devotion of the Forty Hours and Roman Baroque Illusions.” Journal of the Warburg and Courtauld Institutes 37 (1974): 218–48. http://www.jstor.org/stable/750841

Chapter 6. Opera in Venice and Beyond

Alm, Irene. “Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera,” ed. Wendy Heller and Rebecca Harris-Warrick. Cambridge Opera Journal 15, no. 3 (November 2003): 216–80. http://www.jstor.org/stable/3878252

Brown, Jennifer Williams. “On the Road with the ‘Suitcase Aria’: The Transmission of Borrowed Arias in Late Seventeenth-Century Italian Opera Revivals.” Journal of Musicological Research 15, no. 1–2 (1995): 3–23. http://www.worldcat.org/oclc/87580293

Carter, Tim. “Re-Reading Poppea: Some Thoughts on Music and Meaning in Monteverdi’s Last Opera.” Journal of the Royal Musical Association 122, no. 2 (1997): 173–204. http://www.jstor.org/stable/766293

De Lucca, Valeria. “L’Alcasta and the Emergence of Collective Patronage in Mid-Seventeenth-Century Rome.” Journal of Musicology 28, no. 2 (Spring 2011): 195–230. http://www.jstor.org/stable/10.1525/jm.2011.28.2.195

Glixon, Beth L. “Private Lives of Public Women: Prima Donnas in Mid-Seventeenth-Century Venice.” Music & Letters 76, no. 4 (November 1995): 509–31. http://www.jstor.org/stable/737466

Glixon, Beth L. “Scenes from the Life of Silvia Gailarti Manni, a Seventeenth-Century Virtuosa.” Early Music History 15 (1996): 97–146. http://www.jstor.org/stable/853910

Glixon, Beth L, and Jonathan E. Glixon. Inventing the Business of Opera: The Impressario and His World in Seventeenth-Century Venice. Oxford and New York: Oxford University Press, 2006. http://www.worldcat.org/oclc/61228604

Ketterer, Robert C. “Militat omnis amans: Ovidian Elegy in L’incoronazione di Poppea.” International Journal for the Classical Tradition 4, no. 3 (Winter 1998): 381–95. http://www.jstor.org/stable/30222379

Heller, Wendy. “Daphne’s Dilemma: Desire as Metamorphoses in Early Modern Opera.” In Structures of Feeling in Seventeenth-Century Cultural Expression, ed. Susan McClary. Toronto: University of Toronto Press, 2013. http://www.worldcat.org/title/structures-of-feeling-in-seventeenth-century-cultural-expression/oclc/823506307

Heller, Wendy. Emblems of Eloquence: Opera and Women’s Voices in Seventeenth- Century Venetian Opera. Berkeley and Los Angeles: University of California Press, 2003. http://www.worldcat.org/oclc/51566365

Heller, Wendy. “The Queen as King: Refashioning Semiramide for Seicento Venice.” Cambridge Opera Journal 5, no. 2 (July 1993): 93–114. http://www.jstor.org/stable/823797

Heller, Wendy. “Tacitus Incognito: Opera as History in L’incoronazione di Poppea.” Journal of the American Musicological Society 52, no. 1 (Spring Œ1999): 39–96. http://www.jstor.org/stable/832024

Martin, John Jeffries, and Dennis Romano, eds. Venice Reconsidered: The History and Civilization of an Italian City-State, 1297–1797. Baltimore: Johns Hopkins University Press, 2002. http://www.worldcat.org/oclc/43317452

Rabb, Theodore, ed. “Seventeenth-Century Venice” (articles by Edward Muir, Mauro Calcagno, Wendy Heller, Dennis Romano, and Ellen Rosand). Journal of Interdisciplinary History 36 (2006): 331–417. http://www.jstor.org/stable/i370493

Rosand, Ellen. Monteverdi’s Last Operas: A Venetian Trilogy. Berkeley and Los Angeles: University of California Press, 2007. http://www.worldcat.org/oclc/80020015

Rosand, Ellen. “Monteverdi’s Mimetic Art: L’incoronazione di Poppea.Cambridge Opera Journal 1, no. 2 (July 1989): 113–37. http://www.jstor.org/stable/823587

Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley and Los Angeles: University of California Press, 1991. http://www.worldcat.org/oclc/45732734

Rosand, Ellen, ed. Readying Cavalli’s Operas for the Stage: Manuscript, Edition, Production. Ashgate Interdisciplinary Studies in Opera. Aldershot, Hants, and Burlington, VT: Ashgate, 2013. http://www.worldcat.org/oclc/815758042

Rosand, Ellen. “Il ritorno a Seneca.” Cambridge Opera Journal 21, no. 2 (July 2009): 119–37. http://www.worldcat.org/oclc/4910143681

Stein, Louise. “A Viceroy Behind the Scenes: Opera, Production, Politics, and Financing in 1680s Naples.” In Structures of Feeling in Seventeenth-Century Cultural Expression, ed. Susan McClary. Toronto: University of Toronto Press, 2013. http://www.worldcat.org/title/structures-of-feeling-in-seventeenth-century-cultural-expression/oclc/823506307

Chapter 7. Power and Pleasure at the Court of Louis XIV

Anthony, James R. French Baroque Music: From Beaujoyeulx to Rameau. Rev. and expanded ed. Portland, OR: Amadeus, 1997. http://www.worldcat.org/title/french-baroque-music-from-beaujoyeulx-to-rameau/oclc/318382803

Banducci, Antonia L. “Staging and Its Dramatic Effect in French Baroque Opera: Evidence from Prompt Notes.” Eighteenth-Century Music 1, no. 1 (2004): 5–28. http://www.worldcat.org/oclc/366094806

Burden, Michael, and Jennifer Thorpe, eds. Ballet de la Nuit. Wendy Hilton Dance and Music 15. Hillsdale, NY: Pendragon, 2009. http://www.worldcat.org/oclc/645679008

Cowart, Georgia. The Triumph of Pleasure: Louis XIV and the Politics of Spectacle. Chicago: University of Chicago Press, 2008. http://www.worldcat.org/oclc/227000202

Gordon-Seifert, Catherine. Music and the Language of Love: Seventeenth-Century French Airs. Bloomington: University of Indiana Press, 2011. http://www.worldcat.org/oclc/639940416

Harris-Warrick, Rebecca. “Ballroom Dancing at the Court of Louis XIV.” Early Music 14, no. 1 (February 1986): 40–49. http://www.jstor.org/stable/3127597

Harris-Warrick, Rebecca, and Carol Marsh. Musical Theatre at the Court of Louis XIV: Le Mariage de la Grosse Cathos. Cambridge Musical Texts and Monographs. Cambridge and New York: Cambridge University Press, 1994. http://www.worldcat.org/oclc/28708152

Heyer, John Hajdu, ed. Lully Studies. Cambridge: Cambridge University Press, 2000. http://www.worldcat.org/oclc/43245514

Hilton, Wendy. Dance of Court and Theater: The French Noble Style, 16901725. Princeton, NJ: Princeton Book Company, 1981. http://www.worldcat.org/oclc/7340976

Howard, Patricia. “The Influence of the Précieuses on Content and Structure in Quinault’s and Lully’s Tragédies Lyriques.” Acta Musicologica 63, fasc. 1 (January–April 1991): 57–72. http://www.jstor.org/stable/932887

Kroll, Mark. “French Masters.” In Eighteenth-Century Keyboard Music, 2nd ed., ed. Robert L. Marshall. Routledge Studies in Musical Genres. London and New York: Routledge, 2003. http://www.worldcat.org/oclc/470060009

Lully, Jean-Baptiste. Armide: Tragédie en musique, score ed. Lois Rosow, livret ed. Jean-Noël Laurenti. Lully, OEuvres complètes, serie III, Opéras, vol. 14. Musica Gallica. Hildesheim: Georg Olms Verlag, 2003. http://www.worldcat.org/oclc/54532775

McClary, Susan. Desire and Pleasure in Seventeenth-Century Music. Berkeley: University of California Press, 2012. http://www.worldcat.org/oclc/756166982

Montagnier, Jean Paul C. “French Grand Motets and Their Use at the Chapelle Royale from Louis XIV to Louis XVI.” Musical Times 146, no. 1891 (Summer 2005): 47–57. http://www.jstor.org/stable/30044089

Pruiksma, Rose A. “Music, Sex, and Ethnicity: Signification in Lully’s Theatrical Chaconnes.” In Gender, Sexuality, and Early Music, ed. Todd Borgerding. Criticism and Analysis of Early Music. New York: Routledge, 2002. http://www.worldcat.org/oclc/45715850

Rosow, Lois, “French Baroque Recitative as an Expression of Tragic Declamation.” Early Music 11, no. 4 (October 1983): 468–79. http://www.jstor.org/stable/3137873

Thomas, Downing A. Aesthetics of Opera in the Ancien Régime, 16471785. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 2002. http://www.worldcat.org/oclc/49530155

Chapter 8. Music in Seventeenth-Century England

Austern, Linda Phyllis. “‘For Musicke Is the Handmaid of the Lord’: Women, Psalms, and Domestic Music-Making in Early Modern England.” In Psalms in the Early Modern World, ed. Linda Phyllis Austern, Kari Boyd McBride, and David L. Orvis. Farnham, Surrey, and Burlington, VT: Ashgate, 2011. http://www.worldcat.org/oclc/756484126

Burden, Michael, ed. Performing the Music of Henry Purcell. Oxford: Clarendon Press; New York: Oxford University Press, 1996. http://www.worldcat.org/oclc/32240218

Burden, Michael, ed. A Woman Scorn’d: Responses to the Dido Myth. London: Faber and Faber, 1998. http://www.worldcat.org/oclc/60138178

Burrows, Donald. Handel and the Chapel Royal. Oxford Studies in British Church Music. Oxford and New York: Oxford University Press, 2008. http://www.worldcat.org/oclc/57283035

Cunningham, John. The Consort Music of William Lawes, 1602–1645. Music in Britain, 1600–1900. Woodbridge, Suffolk, and Rochester, NY: Boydell Press, 2010. http://www.worldcat.org/oclc/619611629

Gouk, Penelope. Music, Science, and Natural Magic in Seventeenth-Century England. New Haven: Yale University Press, 1999. http://www.worldcat.org/oclc/40927065

Harley, John. Orlando Gibbons and the Gibbons Family of Musicians. Aldershot, Hants, and Brookfield, VT: Ashgate, 1999. http://www.worldcat.org/oclc/41387611

Heller, Wendy. “‘A Present for the Ladies’: Ovid, Montaigne, and the Redemption of Virgil’s Dido.” Music & Letters 84, no. 2 (May 2003): 189–208. http://www.jstor.org/stable/3526191

Herrisone, Rebecca. “Playford, Purcell, and the Functions of Music Publishing in Restoration England.” Journal of the American Musicological Society 63, no. 2 (Summer 2010): 243–90. http://www.jstor.org/stable/10.1525/jams.2010.63.2.243

Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court, 1600–1690. Oxford Monographs on Music. Oxford: Clarendon; New York: Oxford University Press, 1993. http://www.worldcat.org/oclc/27265398

Lindenbaum, Peter. “John Playford: Music and Politics in the Interregnum.” Huntington Library Quarterly 64, no. 1/2 (2001): 124–38. http://www.jstor.org/stable/3817880

Marsh, Christopher W. Music and Society in Early Modern England. New York: Cambridge University Press, 2010. http://www.worldcat.org/oclc/605019363

Playford, John. A Breefe Introduction to the Skill of Musick for Song and Violl. London, 1654. http://www.worldcat.org/oclc/839045122

Pollack, Janet. “Princess Elizabeth Stuart as Musician and Muse.” In Musical Voices of Early Modern Women: Many-Headed Melodies, ed. Thomasin La May. Women and Gender in the Early Modern World. Aldershot, Hants, and Burlington VT: Ashgate, 2005. http://www.worldcat.org/oclc/54974608

Price, Curtis A. Henry Purcell and the London Stage. Cambridge and New York: Cambridge University Press, 1984. http://www.worldcat.org/oclc/9852421

Shay, Robert. “Dryden and Purcell’s King Arthur: Legend and Politics on the Restoration Stage.” In King Arthur in Music, ed. Richard Barber. Arthurian Studies [52]. Cambridge: D. S. Brewer, 2002. http://www.worldcat.org/oclc/50334083

Uribe, Patrick Wood. “‘On that single Instrument a full Consort’: Thomas Baltzar’s Works for Solo Violin and “the grand metamorfosis of musick.” Journal of Seventeenth-Century Music 15, no. 1 (2009). http://www.sscm-jscm.org/v15/no1/uribe.html

Winkler, Amanda Eubanks. O Let Us Howle Some Heavy Note: Music for Witches, Its Melancholic, and the Mad on the Seventeenth-Century English Stage. Bloomington: Indiana University Press, 2006. http://www.worldcat.org/oclc/64688662

Chapter 9. Music and Education

Baade, Colleen. “‘Hired’ Nun Musicians in Early Modern Castille.” In Musical Voices of Early Modern Women: Many-Headed Melodies, ed. Thomasin La May. Women and Gender in the Early Modern World. Aldershot, Hants, and Burlington VT: Ashgate, 2005. http://www.worldcat.org/oclc/54974608

Baldauf-Berdes, Jane L. Women Musicians of Venice: Musical Foundations, 1525–1855. Oxford Monographs on Music. Oxford: Clarendon Press; New York: Oxford University Press, 1993. http://www.worldcat.org/oclc/832535119

Butt, John. Music Education and the Art of Performance in the German Baroque. Cambridge Musical Texts and Monographs. Cambridge and New York: Cambridge University Press, 1994. http://www.worldcat.org/oclc/28026843

Freitas, Roger, Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani. New Perspectives in Music History and Criticism. Cambridge and New York: Cambridge University Press, 2009. http://www.worldcat.org/oclc/268793382

Heartz, Daniel. Music in European Capitals: The Galant Style, 1720–1780. New York: Norton, 2003. http://www.worldcat.org/oclc/50693068

Kendrick, Robert L. Celestial Sirens: Nuns and Their Music in Early Modern Milan. Oxford Monographs on Music. Oxford and New York: Oxford University Press, 1996. http://www.worldcat.org/oclc/33334385

Monson, Craig. Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century Italy. Chicago: University of Chicago Press, 2012. http://www.worldcat.org/oclc/752471713

Monson, Craig. Nuns Behaving Badly: Tales of Magic, Art, and Arson in the Convents of Italy. Chicago: University of Chicago Press, 2010. http://www.worldcat.org/oclc/587209538

Montford, Kimberlyn. “Holy Restraint: Religious Reform and Nuns’ Music in Early Modern Rome.” Sixteenth Century Journal 37, no. 4 (Winter 2006): 1007–26. http://www.jstor.org/stable/20478126

Mould, Alan. The English Chorister: A History. London and New York: Hambledon Continuum, 2007. http://www.worldcat.org/oclc/71165225

O’Regan, Noel. “Choirboys in Early Modern Rome.” In Young Choristers, 6501750, ed. Susan Boynton and Eric Rice. Studies in Medieval and Renaissance Music 7. Woodbridge, Suffolk, and Rochester, NY: Boydell, 2008.. http://www.worldcat.org/oclc/213307987

Reardon, Colleen. “Cantando tutte insieme: Training Girl Singers in Early Modern Sienese Convents.” In Young Choristers, 6501750, ed. Susan Boynton and Eric Rice. Studies in Medieval and Renaissance Music 7. Woodbridge, Suffolk, and Rochester, NY: Boydell, 2008.. http://www.worldcat.org/oclc/213307987

Rice, Louise. “Jesuit Thesis Prints and the Festive Academic Defence at the Collegio Romano.” In The Jesuits: Culture, Science, and the Arts, 1540–1773, ed. John W. O’Malley, S.J., et al. Toronto: University of Toronto Press, 2000. http://www.jstor.org/stable/10.3138/9781442681569 http://www.worldcat.org/oclc/40813738

Rosand, Ellen. “Vivaldi’s Stage.” Journal of Musicology 18, no. 1 (Winter 2001): 8–30. http://www.jstor.org/stable/10.1525/jm.2001.18.1.8

Rose, Stephen. The Musician in Literature in the Age of Bach. Cambridge and New York: Cambridge University Press, 2011. http://www.worldcat.org/oclc/664258870

Talbot, Michael. “Sacred Music at the Ospedale della Pietà in Venice in the Time of Handel.” HŠndel Jahrbuch 24 (2000): 125–56. http://www.worldcat.org/oclc/844893210

Chapter 10. Academies, Salons, and Music Societies

Barnett, Gregory. Bolognese Instrumental Music, 16601719: Spiritual Comfort, Courtly Delight, and Commercial Triumph. Aldershot, Hants, and Burlington, VT: Ashgate, 2008. http://www.worldcat.org/oclc/85862497

Chevill, Elizabeth. “Clergy, Music Societies and the Development of a Musical Tradition: A Study of Music Societies in Hereford, 1690–1760.” In Concert Life in Eighteenth-Century Britain, ed. Susan Wollenberg and Simon McVeigh. Aldershot, Hants, and Burlington, VT: Ashgate, 2004. http://www.worldcat.org/oclc/52554434

De Lucca, Valeria. “Strategies of Women Patrons of Music and Theatre in Rome: Maria Mancini, Queen Christina of Sweden, and Women of Their Circles.” Renaissance Studies 25, no. 3 (2011): 374–92. http://www.worldcat.org/oclc/730476950

Glixon, Beth. “More on the Life and Death of Barbara Strozzi.” Musical Quarterly 83, no. 1 (Spring 1999): 131–41. http://www.jstor.org/stable/742264

Goodman, Katherine. Amazons and Apprentices: Women and the German Parnassus in the Early Enlightenment. Studies in German Literature, Linguistics, and Culture. Rochester, NY: Camden House, 1999. http://www.worldcat.org/oclc/40813467

Gordon-Seifert, Catherine. Music and the Language of Love: Seventeenth-Century French Airs. Bloomington: Indiana University Press, 2011. http://www.worldcat.org/oclc/639940416

Hawkins, John. A General History of the Science and Practice of Music, vol. 2. London: Novello, Ewer & Co., 1853; New York: J. L. Peters, 1875. http://www.worldcat.org/oclc/1243094

Heller, Wendy. “Barbara Strozzi and the Taming of Male Poetic Voice.” In Passaggio in Italia: Music on the Grand Tour in the Seventeenth Century, ed. Margaret Murata and Dinko Fabris. Turnhout: Brepols, 2013. http://www.worldcat.org/oclc/676870298

Heller, Wendy. “Usurping the Place of the Muses: Barbara Strozzi and the Female Composer in Seventeenth-Century Italy.” In The World of Baroque Music: New Perspectives, ed. George P. Stauffer. Bloomington: Indiana University Press, 2006. http://www.worldcat.org/oclc/65165344

Kendrick, Robert. “Intent and Intertextuality in Barbara Strozzi’s Sacred Music.” Recercare 14 (2002): 65–98. http://www.jstor.org/stable/41701379

Kevorkian, Tanya, “Changing Times, Changing Music: ‘New Church’ Music and Musicians in Leipzig, 1699–1750.” In The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists, ed. William Weber. Bloomington: Indiana University Press, 2004. http://www.worldcat.org/oclc/54778512

Newman, Karen. Cultural Capitals: Early Modern London and Paris. Princeton, NJ: Princeton University Press, 2007. http://www.worldcat.org/oclc/70054181

Rosand, Ellen. “Barbara Strozzi, virtuosissima cantatrice: The Composer’s Voice.” Journal of the American Musicological Society 31, no. 2 (Summer 1978): 241–81. http://www.jstor.org/stable/830997

Weber, William. The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology. Oxford: Clarendon Press; New York: Oxford University Press, 1992. http://www.worldcat.org/oclc/25628752

Chapter 11. Rome in the Age of the Arcadian Academy

Allsop, Peter. Arcangelo Corelli: New Orpheus of Our Times. Oxford: Oxford University Press, 1999. http://www.worldcat.org/oclc/39108567

Burrows, Donald. Handel. Master Musicians series. Oxford: Oxford University Press, 2012. http://www.worldcat.org/oclc/649420399

Dixon, Susan M. Between the Real and the Ideal: The Accademia degli Arcadi and Its Garden in Eighteenth-Century Rome. Newark, DE.: University of Delaware Press, 2006. http://www.worldcat.org/oclc/68786643

Dubowy, Norbert. “‘Al tavolino medesimo del Compositor della musica’: Notes on the Text and Context in Alessandro Scarlatti’s cantate da camera.” In Aspects of the Secular Cantata in Late Baroque Italy, ed. Michael Talbot. Farnham, Surrey, and Burlington, VT: Ashgate, 2009. http://www.worldcat.org/oclc/311310198

Findlen, Paula, Wendy Wassyung Roworth, and Catherine M. Sarna, eds. Italy’s Eighteenth Century: Gender and Culture in the Age of the Grand Tour. Stanford: Stanford University Press, 2009. http://www.worldcat.org/oclc/225876048

Harris, Ellen T. Handel as Orpheus: Voice and Desire in the Chamber Cantatas. Cambridge, MA: Harvard University Press, 2004. http://www.worldcat.org/oclc/47013295

Holloway, John. “Corelli’s Op. 5: Text, Act . . . and Reaction.” Early Music 24, no. 4 (November 1996): 635–40+642–43. http://www.jstor.org/stable/3128060

Johnstone, H. Diack. “Yet More Ornaments for Corelli’s Violin Sonatas, Op. 5.” Early Music 24, no. 4 (November 1996): 623–24+626–33. http://www.jstor.org/stable/3128059

Joncus, Berta “Private Music in Public Spheres: Chamber Cantata and Song.” In The Cambridge History of Eighteenth-Century Music, ed. Simon P. Keefe. Cambridge History of Music. Cambridge: Cambridge University Press, 2009. http://www.worldcat.org/oclc/320802718

Marx, Hans Joachim, and Laurence Dana Dreyfus. “Some Unknown Embellishments of Corelli’s Violin Sonatas.” Musical Quarterly 61, no. 1 (January 1975): 65–76. http://www.jstor.org/stable/741685

North, Roger. On Music, being a Selection from His Essays Written during the Years c. 16951728, ed. John Wilson. London: Novello, 1959. http://www.worldcat.org/oclc/794543

Olszewski, Edward J. “The Enlightened Patronage of Cardinal Pietro Ottoboni (1667-1740.” Artibus et Historiae 23, no. 45 (2002): 139–65. http://www.jstor.org/stable/1483685

Pagano, Roberto. Alessandro Scarlatti and Domenico Scarlatti: Two Lives in One, trans. Frederick Hammond. Lives in Music 6. Hillsdale, NY: Pendragon Press, 2006. http://www.worldcat.org/oclc/71790146

Rosand, Ellen. “Handel Paints the Resurrection.” In Festa musicologica: Essays in Honor of George J. Buelow, ed. Thomas J. Mathiesen and Benito V. Rivera. Festschrift series 14. Stuyvesant, NY: Pendragon Press, 1995. http://www.worldcat.org/oclc/31737723

Spitzer, John, and Neal Zaslaw. The Birth of the Orchestra: History of an Institution, 16501815. Oxford and New York: Oxford University Press, 2004. http://www.worldcat.org/oclc/52485404

Strohm, Reinhard. Essays on Handel and Italian Opera. Cambridge: Cambridge University Press, 1985. http://www.worldcat.org/oclc/11210695

Talbot, Michael. “The Italian Concerto in the Late Seventeenth and Early Eighteenth Centuries.” In The Cambridge Companion to the Concerto, ed. Simon P. Keefe. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press, 2005. http://www.worldcat.org/oclc/492928389

Tcharos, Stefanie. Opera’s Orbit: Music Drama and the Influence of Opera in Arcadian Rome. Cambridge and New York: Cambridge University Press, 2011. http://www.worldcat.org/oclc/663441076

Tcharos, Stefanie. “The Serenata in the Eighteenth Century.” In The Cambridge History of Eighteenth-Century Music, ed. Simon P. Keefe. Cambridge History of Music. Cambridge and New York: Cambridge University Press, 2009. http://www.worldcat.org/oclc/320802718

Zaslaw, Neal. “Ornaments for Corelli’s Violin Sonatas, Op. 5.” Early Music 24, no. 1 (February 1996): 95–116. http://www.jstor.org/stable/3128452

Chapter 12. Parisians and Their Music in the Eighteenth Century

Anderson, Nicholas. “Rameau’s Platée: Burlesque or Grotesque?” Early Music 11, no. 4 (October 1983): 505–8. http://www.jstor.org/stable/3137877

Cabrini, Michele. “Breaking Form through Sound: Instrumental Aesthetics, Tempte, and Temporality in the French Baroque Cantata.” Journal of Musicology 26, no. 3 (Summer 2009): 327–78. http://www.jstor.org/stable/10.1525/jm.2009.26.3.327

Charlton, David. Opera in the Age of Rousseau: Music, Confrontation, Realism. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 2012. http://www.worldcat.org/oclc/795504222

Clark, Jane, and Derek F. Connon. “The Mirror of Human Life”: Reflections on Franois Couperin’s Pièces de clavein. Huntingdon [UK]: King’s Music, 2002. http://www.worldcat.org/oclc/50845354

Cohen, Sarah R. “Body as ‘Character’ in Early Eighteenth-Century French Art and Performance.” Art Bulletin 78, no. 3 (September 1996): 454–66. http://www.jstor.org/stable/3046195

Cowart, Georgia. Carnival in Venice or Protest in Paris? Louis XIV and the Politics of Subversion at the Paris Opéra.” Journal of the American Musicological Association 54, no. 2 (Summer 2001): 265–302. http://www.jstor.org/stable/10.1525/jams.2001.54.2.265

Cowart, Georgia. “Watteau’s Pilgrimage to Cythera and the Subversive Utopia of the Opera-Ballet.” Art Bulletin 83, no. 3 (September 2001): 461–78. http://www.jstor.org/stable/3177238

Dill, Charles. Monstrous Opera: Rameau and the Tragic Tradition. Princeton Studies in Opera. Princeton, NJ: Princeton University Press, 1998. http://www.worldcat.org/oclc/37437552

Fader, Don. “The ‘Cabale du Dauphin,’ Campra, and Italian Comedy: The Courtly Politics of French Musical Patronage around 1700.” Music and Letters 86, no. 3 (August 2005): 380–413. http://www.jstor.org/stable/3526608

Fader, Don. “Philippe II d’Orleans’s ‘chanteurs italiens,’ the Italian Cantata and the goûts-réunis under Louis XIV.” Early Music 35, no. 2 (May 2007): 237–49. http://www.jstor.org/stable/30138021

Girdlestone, Cuthbert. Jean-Philippe Rameau: His Life and Work. Rev. and enlarged version. New York: Dover Publications, 1969. http://www.worldcat.org/oclc/80803

Harris-Warrick, Rebecca. “Staging Venice.” Cambridge Opera Journal 15, no. 3 (November 2003): 297–316. http://www.jstor.org/stable/3878254

Kintzler, Catherine. “Representations of le peuple in French Opera, 1673–1764.” In Opera and Society in Italy and France from Monteverdi to Bourdieu, ed. Victoria Johnson, Jane F. Fulcher, and Thomas Ertman. Cambridge Studies in Opera. Cambridge and New York: Cambridge University Press, 2007. http://www.worldcat.org/oclc/74523243

Mellers, Wilfred. Franois Couperin and the French Classical Tradition. Rev. ed. London and Boston: Faber and Faber, 1987. http://www.worldcat.org/oclc/14240077

Sadler, Graham. “Patrons and Pasquinades: Rameau in the 1730s.” Journal of the Royal Musical Association 113, no. 2 (1988): 314–37. http://www.jstor.org/stable/766364

Sadler, Graham. “The Role of the Keyboard Continuo in French Opera 1673–1776.” Early Music 8, no. 2 (April 1980): 148–57. http://www.jstor.org/stable/3126772

Semmens, Richard Templer. The Bals publics at the Paris Opéra in the Eighteenth Century. Dance and Music 13. Hillsdale, NY: Pendragon Press, 2004. http://www.worldcat.org/oclc/52902707

Chapter 13. Music in City, Court, and Church in the Holy Roman Empire

Brewer, Charles E. The Instrumental Music of Schmeltzer, Biber, Muffat, and Their Contemporaries. Farnham, Surrey, and Burlington, VT: Ashgate, 2011. http://www.worldcat.org/oclc/756192754

Buelow, George J. “Hamburg and Lübeck.” In The Late Baroque Era: From the 1680s to 1740. Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1993. http://www.worldcat.org/oclc/29547151

Chafe, Eric Thomas. The Church Music of Heinrich Biber. Studies in Musicology 95. Ann Arbor, MI: UMI Research Press, 1987. http://www.worldcat.org/oclc/15053153

Fergusson, Frances D. “St. Charles’ Church, Vienna: The Iconography of its Architecture.” Journal of the Society of Architectural Historians 29, no. 4 (December 1970): 318–26. http://www.jstor.org/stable/988594

Heller, Wendy. “Reforming Achilles: Gender, opera seria, and the Rhetoric of the Enlightened Hero.” Early Music 26, no. 4 (November 1998): 562–81. http://www.jstor.org/stable/3128731

Jones, David Wyn, ed. Music in Eighteenth-Century Austria. Cambridge and New York: Cambridge University Press, 1996. http://www.worldcat.org/oclc/32431013

Landmann, Ortrun. “The Dresden Hofkapelle During the Lifetime of Johann Sebastian Bach.” Early Music 17, no. 1 (February 1989): 17–30. http://www.jstor.org/stable/3127257

Neville, Don. “Metastasio and the Image of Majesty in the Austro-Italian Baroque.” In Italian Culture in Northern Europe in the Eighteenth Century, ed. Shearer West. Cambridge Studies in Italian History and Culture. Cambridge: Cambridge University Press, 1999. http://www.worldcat.org/oclc/39130709

Neville, Don. “Opera or Oratorio? Metastasio’s Sacred opere serie.” Early Music 26, no. 4 (November 1998): 598–607. http://www.jstor.org/stable/3128733

Savage, Roger. “Staging an Opera: Letters from the Cesarian Poet.” Early Music 26, no. 4 (November 1998): 583–95. http://www.jstor.org/stable/3128732

Snyder, Kerala J. Dieterich Buxtehude: Organist in Lübeck. Rev. ed. Eastman Studies in Music 44. Rochester, NY: University of Rochester Press, 2007. http://www.worldcat.org/oclc/82172694

Snyder, Kerala J. The Organ as a Mirror of Its Time: North European Reflections, 1610–2000. Oxford: Oxford University Press, 2002. http://www.worldcat.org/oclc/47996276

Speerstra, Joel. The North German Organ Project at Göteberg University. GOArt Publications 12. Göteberg, Sweden: Göteborg Organ Art Center, Göteborg University, 2003. http://www.worldcat.org/oclc/54436201

Swack, Jeanne. “Anti-Semitism at the Opera: The Portrayal of Jews in the Singspiels of Reinhard Keiser.” Musical Quarterly 84, no. 3 (Autumn 2000): 389–416. http://www.jstor.org/stable/742585

Walker, Paul. Church, Stage, and Studio: Music and its Contexts in Seventeenth-Century Germany. Studies in Music 107. Ann Arbor, MI: UMI Research Press, 1990. http://www.worldcat.org/oclc/19589322

Wollenberg, Susan, “Vienna under Joseph I and Charles VI.” In The Late Baroque Era: From the 1680s to 1740, ed. George J. Buelow. Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1993. http://www.worldcat.org/oclc/29547151

Wollny, Peter, and Stephen Rose. “From Lübeck to Sweden: Thoughts and Observations on the Buxtehude Sources in the Düben Collection.” Early Music 35, no. 3 (August 2007): 371­–84. http://www.jstor.org/stable/30054648

Yearsley, David. “In Buxtehude’s Footsteps.” Early Music 35, no. 3 (August 2007): 339–53. http://www.jstor.org/stable/30054646

Zohn, Stephen David. Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works. Oxford and New York: Oxford University Press, 2008. http://www.worldcat.org/oclc/85862249

Chapter 14. The London of Handel and Hogarth

Addison, Joseph. The Tatler, ed. Alexander Chalmers, vol. 3. London, 1822. http://www.worldcat.org/oclc/8857518

Aspden, Suzanne. “‘Fam’d Handel Breathing, tho’ Transformed to Stone’: The Composer as Monument.” Journal of the American Musicological Society 55, no. 1 (Spring 2002): 39–90. http://www.jstor.org/stable/10.1525/jams.2002.55.1.39

Aspden, Suzanne. The Rival Sirens: Performance and Identity on Handel’s Operatic Stage. Cambridge Studies in Opera. Cambridge and New York: Cambridge University Press, 2013. http://www.worldcat.org/oclc/806456391

Burrows, Donald. Handel. 2nd. ed. Master Musicians series. Oxford: Oxford University Press, 2012. http://www.worldcat.org/oclc/649420399

Burrows, Donald. Handel and the Chapel Royal. Oxford Studies in British Church Music. Oxford and New York: Oxford University Press, 2008. http://www.worldcat.org/oclc/57283035

Coke, David, and Alan Borg. Vauxhall Gardens. Yale: Yale University Press, 2011. http://www.worldcat.org/oclc/693684108

Colley, Linda. Britons: Forging the Nation, 1707–1837. New Haven: Yale University Press, 1992. http://www.worldcat.org/oclc/25630983

Dean, Winton. Handel’s Operas, 1726–1741. Woodbridge, Suffolk, and Rochester, NY: Boydell Press, 2006. http://www.worldcat.org/oclc/70400407

Dean, Winton, and John Merrill Knapp. Handel’s Operas, 17041726. Oxford: Clarendon Press; New York: Oxford University Press, 1987. http://www.worldcat.org/oclc/12106982

The Diary of John Evelyn, Esq., FRS from 1641 to 17056, with memoir, ed. John Bray. Chandos Classics. London and New York: Frederick Warne, 1889. http://www.worldcat.org/oclc/3357017

Harris, Ellen T. “Handel the Investor.” Music and Letters 85, no. 4 (November 2004): 521–75. http://www.jstor.org/stable/3526342

Heller, Wendy. “The Beloved’s Image: Handel’s Admeto and the Statue of Alcestis.” Journal of the American Musicological Society 58, no. 3 (Fall 2005): 559–637. http://www.jstor.org/stable/10.1525/jams.2005.58.3.559

Joncus, Berta. “Handel at Drury Lane: Ballad Opera and the Production of Kitty Clive.” Journal of the Royal Musical Association 131, no. 2 (2006): 179–226. http://www.jstor.org/stable/30161399

Joncus, Berta, and Jeremy Barlow, eds. The Stage’s Glory: John Rich (1692–1761). Newark, DE: University of Delaware Press, 2011. http://www.worldcat.org/oclc/611038190

Lowell, Lindgren. “The Three Great Noises ‘Fatal to the Interests of Bononcini.’” Musical Quarterly 61, no. 4 (October 1975): 560–83. http://www.jstor.org/stable/741396

McVeigh, Simon. “Italian Violinists in Eighteenth-Century London.” In The Eighteenth-Century Diaspora of Italian Music, ed. Reinhard Strohm. Speculum musicae 8. Turnhout: Brepols, 2001. http://www.worldcat.org/oclc/49036285

Milhous, Judith. “Opera Finances in London, 1674–1738.” Journal of the American Musicological Society 37, no. 3 (Autumn 1984): 567–92. http://www.jstor.org/stable/831338

Price, Curtis. “English Traditions in Handel’s Rinaldo.” In Handel: Tercentenary Collection, ed. Stanley Sadie and Anthony Hicks. Studies in Musicology 99. Ann Arbor, MI: UMI Research Press; Baskingstoke, Hants: Macmillan, 1987. http://www.worldcat.org/oclc/16129206

Roberts, John. “Why Did Handel Borrow?” In Handel: Tercentenary Collection, ed. Stanley Sadie and Anthony Hicks. Studies in Musicology 99. Ann Arbor, MI: UMI Research Press; Baskingstoke, Hants: Macmillan, 1987. http://www.worldcat.org/oclc/16129206

Smith, Ruth. “Early Music’s Dramatic Significance in Handel’s Saul.” Early Music 35, no. 2 (May 2007): 173–90. http://www.jstor.org/stable/30138017

Smith, Ruth. Handel’s Oratorios and Eighteenth-Century Thought. Cambridge and New York: Cambridge University Press, 1995. http://www.worldcat.org/oclc/30594223

Strohm, Reinhard. Dramma per Musica: Italian Opera in the Eighteenth Century. New Haven: Yale University Press, 1997. http://www.worldcat.org/oclc/37221010

Strohm, Reinhard. Essays on Handel and Italian Opera. Cambridge and New York: Cambridge University Press, 1985. http://www.worldcat.org/oclc/11210695.

Chapter 15. Postlude and Prelude: Bach and the Baroque

Boyd, Malcolm. Bach. Master Musicians series. Oxford and New York: Oxford University Press, 2000. http://www.worldcat.org/oclc/44045654

Butt, John. The Cambridge Companion to Bach. Cambridge Companions to Music. Cambridge: Cambridge University Press, 1997. http://www.worldcat.org/oclc/34676056

Chafe, Eric Thomas. Analyzing Bach Cantatas. Oxford and New York: Oxford University Press, 2004. http://www.worldcat.org/oclc/38580245

David, Hans T., and Arthur Mendel, eds. The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. Rev. and expanded by Christoph Wolff. New York: Norton, 1998. http://www.worldcat.org/oclc/37801400

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