Bibliography

Bibliography for topics related to the REMOSS group.

*This page is under construction. We are adding to this bibliography as regularly as we can. Check back soon for more. If there’s something you would like to be added, get in touch with us.


  • Addison, D. 2016. Politics, Patronage, and the State in British Avant-Garde Music, c. 1959-c.1974. Twentieth Century British History 27(2) 242-265.Addison, J. 1965. The Spectator No. 29: Tuesday, April 3, 1711. In D. F. Bond ed. The Spectator. Oxford, Clarendon Press. pp. 119–123.Adlington, R. 2000. The Music of Harrison Birtwistle. Cambridge: Cambridge University Press.Adorno, T.W. and Eisler, H. 1947. Composing for the Films. Frankfurt: Suhrkamp.

    Airlie, S. 2003. Strange Eventful Histories: The Middle Ages in the Cinema. In P. L. J. L. Nelson ed. The Medieval World. London & New York. pp. 163-188.

    Ambros, A.W. 1891. Geschichte der Musik. 3rd ed. Leipzig: Leuckart.

    Angel-Perez, E. 2014. Martin Crimp’s Nomadic Voices. Contemporary Theatre Review 24(3) 351-360.

    Arnold, S. 1972. The Music of Taverner. Tempo 101 20-39.

    Ashley, T. 2009. The Fairy Queen: Glyndebourne [online]. Available at: www.theguardian.com.

    Bahr, A. 2013. Fragments and Assemblages: Forming Compilations of Medieval London. Chicago and London: University of Chicago Press.

    Baines, A. 1957. Woodwind Instruments and their History. New York: Norton.

    Baines, A. 1966. European and American Musical Instruments. London: Batsford.

    Bardet, G. and Caron, D. 2008. Les Liaisons dangereuses: Laclos/Frears. Paris: Ellipses.

    Bartel, D. 1997. Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. London and Lincoln: University of Nebraska Press.

    Battisti, E. 1960. Rinascimento e Barocco. Turin: Einaudi.

    Battles, J. 2005. Enya Sings in a Tongue from a ‘Distant Past’. Sunday Times. 4.

    Beard, C.A. and Beard, M.R. 1927. The Rise of American Civilisation. New York: The Macmillan Company.

    Beard, D. 2009. Taverner: an interpretation. In K. Gloag and N. Jones eds. Peter Maxwell Davies Studies. Cambridge, Cambridge University Press. pp. 79-106.

    Benjamin, W. 1970. Illuminations. London: Cape.

    Bennahum, N.D. 2013. Carmen: a Gypsy Geography. Middletown, CN: Wesleyan University Press.

    Bent, M. 1998. The Grammar of Early Music: Preconditions for Analysis. In C. C. Judd ed. Tonal Structures in Early Music. London, Garland. pp. 15-60.

    Bernstein, C. 2001. Play It Again, Pac-Man. In M. J. P. Wolf ed. The Medium of the Video Game. Austin, University of Texas Press. pp. 155-168.

    Bohlman, P.V. 1988. The Study of Folk Music in the Modern World  Bloomington and Indianapolis: Indiana University Press.

    Bohlman, P.V. 2002. World Music: A Very Short Introduction. Oxford: Oxford University Press.

    Bohlman, P.V. and Stokes, M. 2003. Introduction. In P. V. Bohlman and M. Stokes eds. Celtic Modern: Music at the Global Fringe. Lanham, Maryland, Scarecrow Press. pp. 1-26.

    Boureau, A. 2001. The Myth of Pope Joan. Chicago: University of Chicago Press.

    Boyd, M.C. 1962. Elizabethan Music and Musical Criticism. Philadelphia: Univesrity of Pennsylvania Press.

    Boym, S. 2001. The Future of Nostalgia. New York: Basic Book.

    Breen, E. 2014. The Performance Practice of David Munrow and The Early Music Consort of London: Medieval Music in the 1960s and 1970s. London, King’s College London.

    Breen, E. 2016. Travel in Space, Travel in Time: Michael Morrow’s Approach to Performing Medieval Music in the 1960s. In K. Fugelso, S. Salih and J. Davies eds. Studies in Medievalism XXV: Medievalism & Modernity. Woodbridge, Boydell & Brewer. pp. 89-113.

    Breen, E. 2017. David Munrow’s ‘Turkish Nightclub Piece’. In J. Cook, A. Kolassa and A. Whittaker eds. Representations of Early Music on Stage and Screen: Recomposing the Past. Oxford, Routledge.

    Breen, E. 2017, in press. Performance and Reception History: On Parole/A Paris/FRESE NOUVELLE. In C. Bradley and K. Desmond eds. The Montpellier Codex: The Final Fascicle. London, Boydell & Brewer.

    Brill, L. 2014. True Love, Pride, and Passion: Re-viewing Stephen Frears’s Dangerous Liaisons (1988). Film International.

    Brill, L. 2016. The Ironic Filmmaking of Stephen Frears. New York and London: Bloomsbury Academic.

    Brocken, M. 2002. The British Folk Revival. Farnham: Ashgate.

    Brown, H.M. 1976. Instruments of the Middle Ages and Renaissance: In Memoriam David Munrow. Early Music 4(3 – July) 288-293.

    Brown, J. 2010. Carnival of Souls and the Organ of Horror. In N. Lerner ed. Music in the Horror Film: Listening to Fear. New York, Routledge. pp. 21-37.

    Brown, R.S. 1994. Overtones and Undertones: Reading Film Music. Berkeley: University of California Press.

    Buhler, J. 2017. Branding the Franchise: Music, Opening Credits, and the (Corporate) Myth of Origin. In S. C. Meyer ed. Music in Epic Film: Listening to Spectacle. New York, Routledge.

    Bukofzer, M. 1950. Studies in Medieval and Renaissance Music. New York: Norton.

    Bukofzer, M.F. 1947. Music in the Baroque Era: From Monteverdi to Bach. New York: W. W. Norton & Company.

    Burckhardt, J. 1860/1990. The Civilization of the Renaissance in Italy. London, Penguin.

    Burden, M. 1996. Purcell Debauch’d: The Dramatick Operas in Performance. In M. Burden ed. Performing the Music of Henry Purcell. Oxford, Clarendon Press. pp. 145–162.

    Burden, M. 2000. Aspects of Purcell’s Operas. In M. Burden ed. Henry Purcell’s Operas. Oxford, Oxford University Press. pp. 3–30.

    Burden, M., ed. 2000. Henry Purcell’s Operas: The Complete Texts. Oxford, Oxford University Press.

    Burgwinkle, W. 1997. Love for Sale: Materialist Readings of the Troubadour Razo Corpus. New York: Garland Publishing.

    Burkholder, J.P. 1983. Museum Pieces: The Historicist Mainstream in Music of the Last Hundred Years. The Journal of Musicology 2(2) 115-134.

    Butler, K. 2012. “By Instruments her Powers Appeare”: Music and Authority in the Reign of Queen Elizabeth I. Renaissance Quarterly 65 353-384.

    Butt, J. 2002. Playing with History : The Historical Approach to Musical Performance.

    Butterfield, A. 2002. Poetry and Music in Medieval France: Fro Jean Renart to Guillaume de Machaut. Cambridge; New York, Cambridge University Press.

    Canby, V. 1988. Passion in the Ancien Régime: “Dangerous Liaisons” on Screen. New York Times.

    Carpenter, G. 2000. The Wicker Man – Settling the Score.

    Carpenter, G. 2013. Introduction. The Wicker Man: The Complete Piano Songbook. Songs and Music from the Motion Picture by Paul Giovanni with an introduction by the movie’s Associate Musical Director Gary Carpenter. London, Summerisle Songs.

    Carroll, S. 2015. Rewriting the Fantasy Archetype: George R. R. Martin, Neomedievalist Fantasy, and the Quest for Realism. In H. Young ed. Fantasy and Science Fiction Medievalisms: From Isaac Asimov to A Game of Thrones. New York, Cambria Press.

    Charnon-Deutsch, L. 2004. The Spanish Gypsy: The History of a European Obsession. Pennsylvania: Pennsylvania University Press.

    Chion, M. 1994. Audio-vision. In C. Gorbman ed. Audio-vision – Sound on Screen. pp. 25-34.

    Citron, M.J. 2004. Operatic Style and Structure in Coppola’s “Godfather Trilogy” The Musical Quarterly 87(3) 423-467.

    Classen, A. 1992. The defeat of the matriarch Brünhild in the Nibelungenlied, with some thoughts on matriarchy as evinced in literary texts. In W. Wunderlich and U. Müller eds. “Waz sider da geschach”. American-German Studies on the “Nibelungenlied”: Text and Reception. Göppingen, Kümmerle. pp. 89-110.

    Cohen, A. 2001. Music as a source of emotion in film. Music and Emotion – Theory and Research. Oxford, Oxford University Press. pp. 249-272.

    Colton, L. 2010. The Female Exotic: Tradition, Innovation and Authenticity in the Reception of Music by Judith Weir. Contemporary Music Review 29(3) 277-289.

    Colton, L. 2014. Sumer is icumen in. Grove Music Online. Oxford University Press.

    Colton, L. 2017. Angel song : medieval English music in history. Abingdon, Oxon ; New York: Routledge.

    Colton, L. 2017. Medievalism, Music, and Agency in The Wicker Man (1973). In J. Cook, A. Kolassa and A. Whittaker eds. Recomposing the Past: Representations of Early Music on Stage and Screen. Great Britain, Routledge.

    Constantine, H. 2007. Introduction to Choderlos de Laclos, Dangerous Liaisons. London: Penguin Books.

    Cook, J. 2016. Playing with the Past in the Imagined Middle Ages: Music and Soundscape in Video Game. Sounding Out(October 2016).

    Cook, J. 2017. Authorship, Englishness, and the Early Mass Cycle. Great Britain: Routledge.

    Cook, J. 2017. Representing Renaissance Rome: Beyond Anachronism in Showtimes The Borgias (2011). In J. Cook, A. Kolassa and A. Whittaker eds. Recomposing the Past: Representations of Early Music on Stage and Screen. TBC, Routledge. pp. TBC.

    Cooke, M. 2008. A History of Film Music. Cambridge: Cambridge University Press.

    Cormack, M. 2006. The Pleasures of Ambiguity: Using Classical Music in Film. In P. Powrie and R. Stilwell eds. Changing Tunes: The Use of Pre-existing Music in Film. Aldershot, Ashgate. pp. 19-30.

    Crane, F. 1972. Extant Medieval Musical Instruments: A Provisional Catalogue by Types. Iowa City: Iowa University Press.

    Craven, A. 2012. Esmeralda of Notre Dame: The Gypsy in Medieval View fro Hugo to Disney. In T. Pugh and S. Aronstein eds. The Disney Middle Ages: A Fairy-Tale and Fantasy Past. New York, Palgrave Macmillan. pp. 225-242.

    Crimp, M. 2012. Written on Skin: opera in three parts: text for music after the anonymous 13th century razo Guillem de Cabestanh. London: Faber Music.

    Cross, J. 1998. The Stravinsky Legacy. Cambridge: Cambridge University Press.

    Cross, J. 2000. Harrison Birtwistole: Man, Mind, Music. London: Faber and Faber.

    Crouse, R. 2012. Raising Hell: Ken Russell and the Unmaking of The Devils. Toronto: ECW Press.

    Cunliffe, B. 2003. The Celts: A Very Short Introduction. New York: Oxford University Press.

    Cusset, C. 1998. Editor’s Preface: The Lesson of Libertinage. Yale French Studies 94(Libertinage and Modernity) 1-14.

    Cwelich, L. 2010. Director Stephen Frears on “Tamara Drewe” and the Lure of Comic Books. Wall Street Journal.

    Dahlhaus, C. 1983. Foundations of Music History. Cambridge: Cambridge University Press.

    Dart, T. 1954. The Interpretation of Music. New York: Harper Colophon.

    De Wachter, D. 2012. Borderline Times: Het einde van de normaliteit. Tielt: Lannoo.

    Deeming, e.H. 2013. Songs in British Sources, c.1150-1300. London: Stainer & Bell.

    Delaere, M. 2009. Self-Portrait with Boulez and Machaut (and Ligeti is there as well): Harrison Birwistle’s Hoquetus Petrus. In B. Heilie ed. The Modernist Legacy: Essays on New Music. Farnham, Ashgate.

    Dennis, F. 2010. Unlocking the Gates of Chastity: Music and the Erotic in the Domestic Sphere in Fifteenth and Sixteenth Century Italy. In S. F. Matthews-Grieco ed. Erotic Cultures of Renaissance Italy. Farnham, Ashgate. pp. 223-246.

    Dent, E.J. 1928, 1965. Foundations of English Opera: A Study of Musical Drama in England during the Seventeenth Century. A Da Capo Reprint Edition ed. New York: Da Capo Press.

    Department, U.P.P. 1922. Cathedral of Notre Dame to be Built by Universal’, Universal Weekly, Vol. 16, No. 17 (September 1922), p. 15. Universal Weekly. 15.

    Dietler, M. 2006. Celticism, Celtitude and Celticity: The Consumption of the Past in the Age of Globalisation. In S. Rieckhoff ed. Celtes et Gauloís, l’Archéologie face á l’Histoire: Celtes et Gaulois dans l’histoire, l’histographie et l’idéologie modern. Glux-en-Glenne, Bibracte, Centre archéologique européen. pp. 237-248.

    DiMarco, V. 2008. The Medieval Popess. In S. J. Harris and B. L. Grigsby eds. Misconceptions about the Middle Ages. Abingdon, Routledge. pp. 63-69.

    Dobson, E.J. and Harrison, F.L. 1979. Medieval English Songs. New York: Cambridge University Press.

    Donelly, K.J. 2005. The Spectre of Sound: Music in Film and Television. London: BFI Publishing.

    Donnelly, K.J. 2006. Musical Middle Earth. London: Wallflower Press. In E. Mathijs ed. The Lord of the Rings: Popular Culture in Global Context. London, Wallflower Press. pp. 301-316.

    Donnington, R. 1977. The Interpretation of Early Music. London: W. W. Norton & Company.

    Donovan, T. 2010. Replay: The History of Video Games. East Sussex: Yellow Ant.

    Doughtie, E. 1986. English Renaissance Song. Boston: Twayne Publishers.

    Dryden, J. 1691. King Arthur: or, The British Worthy: A Dramatick Opera.: Perform’d at the Queens Theatre By Their Majesties Servants. London: Jacob Tonson.

    Duerksen, M. 2008. Schenker’s Organicism Revisited. Intégral 22 1-58.

    Dugaw, D. 1989-1990. ‘Critical Instants’: Theatre Songs in the Age of Dryden and Purcell. Eighteenth-Century Studies 23(2) 157–181.

    Earp, L. 2011. Reception. In M. Everist ed. The Cambridge Companion to Medieval Music. New York, Cambridge University Press. pp. 335-370.

    Eco, U. 1986. Dreaming of the Middle Ages. Travels in Hyperreality. New York, Harcourt Brace. pp. 61-72.

    Eco, U. 1986. Living in the New Middle Ages. Travels in Hyperreality. New York, Harcourt Brace. pp. 73-86.

    Eco, U. 1988. Faith in Flakes: Travels in Hyperreality Croydon: Vintage.

    Eden, B.L. 2010. Middle-Earth Minstrel: Essays on Music in Tolkien. North Carolina: McFarland & Company.

    Elkins, C. 1985. Approach to the Social Functions of Science Fiction and Fantasy. In R. A. Collins and H. D. Pearce eds. The Scope of the Fantastic – Culture, Biography, Themes, Children’s Literature: Selected Essays from the First International Conference on the Fantastic in Literature and Film. Westport, Conn., Greenwood Press.

    Elliott, A. 2015. Our minds are in the gutter, but some of us are watching Starz…: Sex, Violence and Dirty Medievalism. In H. Young ed. Fantasy and Science Fiction Medievalisms: From Isaac Asimov to A Game of Thrones. New York, Cambria Press.

    Eskenazi, M. 2009. Glyndebourne Festival Opera: The Fairy Queen [online]. Available at: www.classicalsource.com.

    Esty, J. 2003. A Shrinking Island: Modernism and National Culture in England. Princeton: Princeton University Press.

    Eubanks Winkler, A. 2006. O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage. Bloomington & Indianapolis: Indiana University Press.

    Ewalt, D.M. 2013. Of Dice and Men: The Story of Dungeons & Dragons and The People Who Play It. New York: Scribner.

    Fabris, D. 2015. The visionary from Venosa. Bärenreiter publishes a new Gesualdo Complete Edition. Das Bärenreiter-Magazin. Online, Bärenreiter.

    Feld, R. 2007. Stephen Frears: Love for Sale. Directors Guild of America.

    Feld, S. 2001. A Sweet Lullaby for World Music. In A. Appadurai ed. Globalisation. Durham and London, Duke University Press. pp. 189-216.

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    Finke, L.A. and Shichtman, M.B. 2009. Cinematic Illuminations: The Middle Ages on Film. Baltimore: John Hopkins University Press.

    Finke, L.A. and Shichtman, M.B. 2009. Cinematic Illuminations: The Middle Ages on Film. Baltimore: John Hopkins University Press.

    Fisher, N. 2016. Purcell. The Indian Queen. [online]. Available at: https://www.gramophone.co.uk/review/purcell-the-indian-queen-2 [Accessed 18 January 2017.

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    Francis, B. 1996. Christopher Hampton: Dramatic Ironist. Charlebury: Amber Lane Press.

    Franke, L. 2006. The Godfather Part III: Film, Opera, and the Generation of Meaning. In P. Powrie and R. Stilwell eds. Changing Tunes: The Use of Pre-existing Music in Film. Aldershot, Ashgate. pp. 31-46.

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    Galvez, M. 2012. Songbook: How Lyrics Became Poetry in Medieval Europe. Chicago and London: University of Chicago Press.

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    Harker, D. 1985. Fakesong: The Manufacture of British ‘Folksong’ 1700 to the Present Day. Milton Keynes: Open University Press.

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    Hatch, D.A. 2016. The Carnival Mirror: Ideological Twists on The Feast of Fools in Disney’s Adaptation of The Hunchback of Notre Dame. Response: The Digital Journal of Popular Culture Scholarship(1).

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    Haynes, B. 2007. The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century. Oxford and New York: Oxford University Press.

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    Hersey, G.L. 2000. Architecture and Geometry in the Age of the Baroque. Chicago and London: University of Chicago Press.

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