Publications 3: Articles in Refereed Journals and Chapters in Edited Works

‘Music and Theory in Late Thirteenth-Century Paris: The Codex Paris, Bibliothèque Nationale f. lat. 11266’. Royal Musical Association Research Chronicle 17 (1981), 42-64

‘New Sources of English Fourteenth-Century Polyphony [with Margaret Bent]’. Early Music History 2 (1981), 306-321

‘A Reconstructed Source for the Thirteenth-Century Conductus’. In Luther Dittmer (ed.), Gordon Athol Anderson (1921-1981) In memoriam von seinen Studenten, Freunden und Kollegen, 2 vols, Musicological Studies 39. Henryville, Ottawa, and Binningen: Institute of Mediaeval Music, 1984, 1:94-116

(Translation and Introduction) Nicolas Ruwet, ‘Methods of Analysis in Musicology’. Music Analysis 6 (1987), 1-34

‘The Rondeau-Motet: Paris and Artois in the Thirteenth Century’. Music & Letters 69 (1988), 1-22; R in Edward H. Roesner (ed.), Ars Antiqua: Organum, Conductus, Motet, Music in Medieval Europe, Farnham: Ashgate, 2009, unpaginated

‘The Refrain Cento: Myth or Motet?’ Journal of the Royal Musical Association 114 (1989), 164-188

‘From Paris to St. Andrews: The Origins of W₁’. Journal of the American Musicological Society 43 (1990), 1-42

‘Lindoro in Lyon: Rossini’s Le Barbier de Séville’. Acta musicologica 44 (1992), 50-85

‘Anglo-French Interaction in Music, c1170-c1300’. Revue belge de musicologie 46 (1992) 5-22

‘Giacomo Meyerbeer and Music Drama at the Paris Odéon during the Bourbon Restoration’. 19^th-Century Music 17 (1993), 124-148

‘The Miller’s Mule: Writing the History of Medieval Music’. Music & Letters 74 (1993), 44-53

“Madame Dorothea Wendling is arcicontentissima’: Singers and Voices in Mozart’s Idomeneo’. In Julian Rushton (ed.), Mozart: Idomeneo, Cambridge Opera Guide. Cambridge: Cambridge University Press, (1993), 48-61 and 166-168

‘The Name of the Rose: Meyerbeer’s opéra comique, Robert le Diable’. Revue de Musicologie 80 (1994), 211-249

‘A New Source for the Polyphonic Conductus’. Plainsong and Medieval Music 3 (1994), 149-168

‘The Polyphonic Rondeau c1300: Repertory and Context’. Early Music History 15 (1996), 59-96

‘Meyerbeer’s Il crociato in Egitto: Mélodrame, Opera, Orientalism’. Cambridge Opera Journal 8 (1996), 215-250

‘Reception Theories, Canonic Discourses and Musical Value’. In Nicholas Cook and Mark Everist (eds), Rethinking Music, Oxford: Oxford University Press, 1999, 378-402

‘Reception and Recomposition in the Polyphonic Conductus cum caudis: The Metz Fragment’. Journal of the Royal Musical Association 125 (2000), 135-163

‘Gluck, Berlioz and Castil-Blaze’. In Mary Ann Smart and Roger Parker (eds), Reading Critics Reading: French Music Criticism, 1789-1848. Oxford: Oxford University Press, 2001, 86-108

‘Enshrining Mozart: Don Giovanni and the Viardot Circle’. 19^th-Century Music 25 (2001), 165-189

‘Translating Weber’s Euryanthe: German Romanticism at the Dawn of French Grand Opéra’. Revue de Musicologie 87 (2001), 67-105

‘Presentazione’ / ‘Presentation’.  In Massimo Masani Ricci, Codice Pluteo 29.1 della Biblioteca Laurenziana di Firenze: storia e catalogo comparato, Studi musicali Toscani 8.  Turin: Edizioni ETS, 2002, 9-15

‘Speaking with the Supernatural: E.T.A. Hoffmann, George Bernard Shaw and Die Oper aller Opern’. Mozart-Jahrbuch 2002 des Zentralinstitutes für Mozartforschung der Internationalen Stiftung Mozarteum Salzburg, Kassel, Basel and London: Bärenreiter, 2002, 115-134

‘Communication’.  Journal of the American Musicological Society 55 (2002), 195-196

‘Giacomo Meyerbeer’s Les Huguenots: Staging the History of the French Renaissance [with Jeanice Brooks]’.  In Yannick Portebois and Nicholas Terpstra (eds), The Renaissance in the Nineteenth Century – Le XIX^e siècle renaissant, Publications of the Centre for Reformation and Renaissance Studies: Essays and Studies 2. Toronto, Centre for Reformation and Renaissance Studies, 2003, 121-142

‘Margherita d’Anjou’.  In Giacomo Meyerbeer: Margherita d’Anjou.  Opera Rara: ORC25, 2003, 10-43 and 51-3

‘Fromental Halévy: de l’opéra comique au grand opéra’. In Francis Claudon, Gilles de Van and Karl Leich-Galland (eds), Actes du colloque Fromental Halévy, Paris, Novembre 2000, Études sur l’opéra français du xix siècle 5. Weinsberg: Galland, 2003, 93-116, and in English in Giacomo Meyerbeer and 19^th-Century Parisian Music Drama (see above)

‘Pauline Viardot-Garcia’.  In James Briscoe (ed.), New Historical Anthology of Music by Women.  Bloomington and Indianapolis: Indiana University Press, 2004, 188-197

‘Theatres of Litigation: Stage Music at the Théâtre de la Renaissance, 1838-1840’.  Cambridge Opera Journal 16 (2004), 133-161

‘‘Der Lieblingswunsch meines Lebens’: Contexts and Continuity in Meyerbeer’s Opéras Comiques’. In Arnold Jacobshagen and Milan Pospíšil (eds), Meyerbeer und die Opéra Comique, Thurnauer Schriften zum Musiktheater 20. Laaber: Laaber, 2004, 123-151

‘Translating Weber’s Euryanthe: German Romanticism at the Dawn of French Grand Opéra’ [abridged version].  In Gottfried R. Marschall (ed.), La traduction des livrets: aspects théoriques, historiques et pragmatiques, Collection Musiques/Écritures. Paris: Presses de l’Université de Paris IV (Sorbonne), 2004, 269-293

‘Struttura sociale e contesti artistici nell’opera francese (1806-64)’. In Jean-Jacques Nattiez (ed.), L’enciclopedia della musica Einaudi, 4 vols, ed., Turin: Einaudi, 2004, 4:956-975

‘Le fonti della musica polifonica, ca. 1170-1330’.  In Carlo Fiore (ed.), Il libro di musica: per una storia delle fonti musicali in Europa, De charta 7.  Palermo: L’Epos, 2004, 43-64

‘‘Tutti i francesi erano diventati matti’: Bellini and the Duet for Two Basses’.  Giacomo Meyerbeer and 19^th-Century Parisian Music Drama, Variorum Collected Studies Series CS805. Aldershot: Ashgate, 2005, 281-307.  In French in Maria Rosa De Luca, Salvatore Enrico Failla, Giuseppe Montemagno (eds), Vincenzo Bellini e la Francia, atti del convegno internazionale (Paris, Sorbonne, 5-7 novembre 2001).  Lucca, Libreria Musicale Italiana, 2007, 272-98

‘Donizetti and Wagner: opéra de genre at the Théâtre de la Renaissance’.  Giacomo Meyerbeer and 19^th-Century Parisian Music Drama, Variorum Collected Studies Series CS805. Aldershot: Ashgate, 2005, 309-341

‘The Horse, the Clerk and the Lyric: The Musicography of the Thirteenth and Fourteenth Centuries’.  Journal of the Royal Musical Association 130 (2005), 213-229

‘‘Killing a Bull’ and the Pleasures of History’.  In Giuseppe Verdi: Les Vêpres siciliennes.  Opera Rara ORCV303, 2005, 11-30

‘Mozart and L’impresario’. In Rainer Schmusch and Michelle Biget-Mainfroy (eds), ‘L’esprit français’ und die Musik Europas – Entstehung, Einfluß und Grenzen einer ästhetischen Doktrin, Studien und Materialen zur Musikwissenschaft 40. Hildesheim: Olms, 2006, 398-411

‘Vincenzo Bellini I Puritani: Dossier de Presse’ [with Sarah Hibberd and Walter Zidaric].  In Maria Rosa De Luca, Salvatore Enrico Failla, Giuseppe Montemagno (eds), Vincenzo Bellini e la Francia, atti del convegno internazionale (Paris, Sorbonne, 5-7 novembre 2001).  Lucca, Libreria Musicale Italiana, 2007, 352-416

‘‘Souspirant en terre estrainge’: The Polyphonic Rondeau from Adam de la Halle to Guillaume de Machaut’.  Early Music History 26 (2007), 1-42

‘Motets, French Tenors and the Polyphonic Chanson ca. 1300’. Journal of Musicology 24 (2007), 365-406

‘A New Source for the Polyphony of the Ars subtilior: Paris, Bibliothèque nationale de France, nouvelles acquisitions françaises 22069’ .  In Yolanda Plumley and Anne Stone (eds), A Late Medieval Songbook and its Context: New Perspectives on Codex Bibliothèquedu Château de Chantilly, 564.  Tours: Centre d’Études Superieures de la Renaissance, 2009, 287-303

‘Jacques Offenbach: The Music of the Past and the Image of the Present’. In Mark Everist and Annegret Fauser (eds), Music, Theater and Cultural Transfer: Paris, 1830-1914. Chicago: Chicago University Press, 2009, 72-98

‘Rossini at the Paris Opéra, 1843-1847: Translation, Arrangement, Pasticcio’. In Herbert Schneider and Rainer Schmusch (eds), Librettoübersetzung: Interkulturalität im europäischen Musiktheater, Musikwissenschaftliche Publikationen 32. Hildesheim: Olms, 2009, 131-163

‘‘Il n’y a qu’un Paris au monde, et j’y reviendrai planter mon drapeau!’: Rossini’s Second grand opéra’.  Music & Letters 90 (2009), 636-672

‘A Transalpine Comedy: L’elisir d’amore and Cultural Transfer’.  In Damien Colas and Alessandro di Profio (eds), D’une scène à l’autre: l’opéra italien en Europe II: la musique à l’épreuve du théâtre, Musique-musicologie 2.  Wavre: Mardaga, 2009, 279-298

‘In Search of the Waters of Oblivion’, Journal of the American Musicological Society 62 (2009), 699-720

‘Partners in Rhyme: Alphonse Royer, Gustave Vaëz, and Foreign Opera in Paris during the July Monarchy’. In Roberta Montemarra Marvin and Hilary Poriss (eds),  Fashions and Legacies of Nineteenth-Century Italian Opera.  Cambridge: Cambridge University Press, 2010, 30-52

‘Grand Opéra – Petit Opéra: Parisian Opera and Ballet from the Restoration to the Second Empire’. 19^th-Century Music 33 (2010), 195-231

‘The Operas of François-Auguste Gevaert: The Tour d’horizon’.  In Marie Cornaz, Valérie Dufour and Henri Vanhulst (eds), François-Auguste Gevaert (1828-1908): actes du colloque, Revue belge de musicologie 64 (2010), 17-48

‘Gevaert, ‘Musicology’ and La musique ancienne’. In Marie Cornaz, Valérie Dufour and Henri Vanhulst (eds), François-Auguste Gevaert (1828-1908): actes du colloque, Revue belge de musicologie 64 (2010), 99-102

‘Introduction’ and ‘The Thirteenth Century’.  In Mark Everist (ed.), The Cambridge Companion to Medieval Music.  Cambridge: Cambridge University Press, 2011, 1-5 and 67-86

‘Tails of the Unexpected: The Punctus organi and the Conductus cum caudis’.  In Rainer Kleinertz and Wolf Frobenius (eds), Musik des Mittelalters und der Renaissance. Festschrift Klaus-Jürgen Sachs zum 80. Geburtstag, Veröffentlichungen des Staatlichen Instituts für Musikforschung Berlin.  Hildesheim: Olms, 2010, 161-195

‘Between Opéra-Comique and Opéra-National: Scribe, Vaëz and Boisselot c1850’.  In Lorenzo Frassà (ed.), The Opéra-Comique in the XVIII- and XIX-Centuries, Speculum musicæ 15. Turnhout: Brepols, 2011, 101-152

‘Machaut’s Musical Heritage’.  In Jennifer Bain and Deborah McGrady (eds), A Companion to Guillaume de Machaut, Brill’s Companions to the Christian Tradition 33.  Leiden: Brill, 2012, 143-158

‘Beethoven et Rossini: opéra et concert à la fin de la Restauration’. In Olivier Bara and Alban Ramaut (eds), Le romantisme musical français et ses généalogies européennes. Paris: Librairie Philosophique J. Vrin, 2012, 126-137

‘Rienzi à Paris: Théâtre-Lyrique, 1869’.  In Richard Wagner: Rienzi, L’avant-scène opéra. Paris; Editions Premièrs Loges, 2012, 102-107

‘Singers, Scholars, and the Performance of Medieval Polyphony’.  Early Music 41 (2013) 44-48

‘Master and Disciple: Teaching the Composition of Polyphony in the Thirteenth Century’. In Proceedings of Conference: The Gothic Revolution in Music, 1100-1300, Musica disciplina 58 (2013), 51-71

‘The Music of Power: Parisian Opera and the Politics of Genre, 1806-1864’.  Journal of the American Musicological Society 67 (2014), 685-734

‘Rehearsing Opera: Conditions and Contexts, Paris 1780-1850’.  In Helen Greenwald (ed.), The Oxford Handbook of Opera.  New York: Oxford University Press, 2014, 419-441

‘Castil-Blaze et la réception de Weber, 1824-1857’.  In Etienne Jardin (ed.), Actes des colloques “Transferts culturels”,  Paris, Opéra Comique les 5 et 6 avril 2011 et 19 et 20 janvier 2012, 1-32.  https://www.bruzanemediabase.com/recherche?titre=&items_per_page=18&sort_bef_combine=score_DESC&keys=everist (32 pages; August 2015)

‘Rossini, Giovanni Tadolini e le opere degli anni dieci dell’Ottocento’.  In Philip Gossett (ed.), ‘Alle più care imagini’: studi rossiniani in memoria di Arrigo Quattrocchi.  Rome: Il Saggiatore musicale, 2016, 181-196

‘Vernacular Contexts for the Monophonic Motet’.  In David Rothenberg and Benjamin Brand (eds), Situating Sacred Polyphony in the Middle Ages and Renaissance: Liturgy and Symbolism, Institutions and Archival Research: Written in Honor of Professor Craig Milton Wright.  Cambridge: Cambridge University Press, 2016, 142-157

‘Meyerbeer and the Hound of the Baskervilles’.  In Mark Everist (ed.),  Meyerbeer and Grand Opéra: From the July Monarchy to the Present, Speculum musicae.  Turnhout: Brepols, 2016, 395-430

‘Guns and Roses: Meyerbeer Then and Now’. In Mark Everist (ed.),  Meyerbeer and Grand Opéra: From the July Monarchy to the Present, Speculum musicae.  Turnhout: Brepols, 2016, ix-xxiii

‘Wagner and Paris: The Case of Rienzi (1869)’.  19^th-Century Music 41 (2017) 3-30

‘Le conduit à nombre de voix variable (1150-1250)’. In Christelle Cazeaux-Kowalski, Christelle Chaillou-Amadieu, Anne-Zoë Rillon-Marne and Fabio Zinelli (eds), Les noces de philologie et musicologie: texte et musique au moyen âge, Rencontres-Civilisation médiévale.  Paris: Classiques Garnier, 2018, 329–344

‘Anatomy of …’.  In Catherine Bradley and Karen Desmond (eds), The Montpellier Codex: The Final Fascicle.  Woodbridge: Boydell and Brewer, 2018, 13-31

‘Gluck, la politique, et la presse du Second Empire’.  In Olivier Bara, Christophe Cave et Marie-Ève Thérenty (eds), Presse et opéra aux XVIII^e et XIX^e siècles: croisements, échanges, représentations.  http://www.medias19.org/index.php?id=23905 (19 pages; March 2018)

‘The Emergence of Polyphonic Song, c1300’.  In Mark Everist and Thomas Forrest Kelly (eds), The Cambridge History of Medieval Music, 2 vols paginated consecutively.  Cambridge: Cambridge University Press, 2018, 2:907-936

‘Gluck, Politics and the Second Empire Press’.  In Thomas Betzwieser, Michele Calella and Klaus Pietschmann (eds), Christoph Willibald Gluck (1714-2014): Bilder Mythen Diskurse, Wiener Veröffentlichungen zur Musikwissenschaft 47. Vienna: Hollitzer, 2018, 163-178

‘Cosmopolitanism and Music for the Theatre: Europe and Beyond, 1800–1870’.  In Anastasia Belina, Kaarina Kilpio and Derek Scott (eds), Music History and Cosmopolitanism.  London: Routledge, 2019, 13-32

‘Opera, Soft Power, and Anglo-French Relations in the Crimea (1855-1856)’.  In Cristina Scuderi and Ingeborg Zechner, eds, Opera as Institution: Networks and Professions (1700–1914).  Berlin, etc.: LIT-Verlag, 2019, 95-118

‘Friends and Foals: The Polyphonic Music of Adam de la Halle’.  In Jennifer Saltzstein (ed.), Musical Culture in the World of Adam de la Halle, Brill’s Companions to the Musical Culture of Medieval and Early Modern Europe 3.  Leiden: Brill, 2019, 311-351

‘Introduction: Trading in the Unthinkable’.  In Mark Everist, ed. Perspectives on the French Musical Press in the Long Nineteenth Century special issue of Journal of Music Criticism 3 (2019) i-xvi

‘The Variable-Voice Conductus’.  In David Skinner and Tess Knighton (eds), Music and Instruments in the Middle Ages: Essays in Honour of Christopher Page, Studies in Medieval and Renaissance Music 22.  Woodbridge: Boydell, 2020, 195-219

‘L’Opéra-Comique sous le Second Empire’.  In Hervé Lacombe (ed.), Histoire de l’opéra français, 3 vols.  Paris: Fayard, 2020, 2:425-434

‘‘Der mächtigste Tanzmeister des Kaiserreiches’? Offenbach at 200’.  Journal of the Royal Musical Association, 145 (2020) 485-494

‘Music, Theatre and Diplomacy: The Paris Opéra during the Second Empire’.  The Diplomat’s Soundworld, special issue of Diplomatica 3 (2021) 244-267

‘Reconstructing the Creative Process: Music in the Nineteenth-Century Theater’.  In Nicolas Donin (ed.), The Oxford Handbook of the Creative Process in Music, online edn, Oxford Academic, 2022).  https://doi.org/10.1093/oxfordhb/9780190636197.013.23

‘Offenbach et le concert-spectacle à la salle Herz’. In Jean-Claude Yon, Arnold Jacobshagen and Ralf-Olivier Schwarz (eds), Offenbach: musicien européen.  Arles: Actes Sud, 2022, 55-68

‘Opera in the Bathroom: Power, Personality and Opéra de salon during the Second Empire‘.  In Fabrizio Della Seta and Massimiliano Locanto (eds),  Music and Power in the Long Nineteenth Century, special issue of Chigiana: Journal of Musicological Studies 52 (2022) 61-78

‘Rhythm and Reception in the Age of Dante’.  In Albert Rizzuti and Daniele Sabaino (eds), Musica e letteratura al tempo di Dante, special issue of Philomusica on-line 22 (2023), 9r-120.  http://riviste.paviauniversitypress.it/index.php/phi/issue/view/195/showToc

‘JUPITER: Reading the ‘Viennese Classics’ in 19^th-Century Britain’.  Musical Quarterly 106 (2023) 1-24

‘Facere, componere, invenire: Reassembling the Composer in the Long Thirteenth Century’.  In Anne-Zoé Rillon-Marne and Gaël Saint-Cricq (eds), Composers in the Middle Ages, Studies in Medieval and Renaissance Music 25.  Woodbridge: Boydell and Brewer, 2024, 172-192

‘The ‘Benedicamus Domino’ and the Parisian Conductus: Distribution, History and Structure’.  In Catherine Bradley (ed.), Benedicamus Domino, Epitome musical. Turnhout: Brepols, 2024, 53–65

‘‘Opera’ off the Stage: Gender and Genre in opéra de salon’. In Mark Everist and Jennifer Walker (eds), Genre and the Production of Gendered Identity on the Lyric Stage, Speculum musicae 55.  Turnhout: Brepols, 2025, 223-254

‘Aetas aurea: The Parisian Conductus and the Legacy of Classical Antiquity’.  In Mary Caldwell and Anne-Zoé Rillon-Marne (eds), Latin Song in the Medieval West. Woodbridge: Boydell, forthcoming

‘Musique, journalisme et justice sociale : Paris entre les révolutions’. In Presse et musique, special issue of Tangence 137 (2025) 13-42

‘Resonances from Beyond the Grave: Music and the Occult in Nineteenth-Century Paris’.  Journal of the American Musicological Society 78 (2025), forthcoming

‘Publicity, Morality and Gender: Advertising the Parisian Lyric Stage, 1789-1918’.  In Alessandra Padilla and Shaena Weitz, Cultural Intermediaries in the Nineteenth-Century Music Market.  Cambridge, Cambridge University Press, forthcoming

‘’Un caractère tout à fait classique’: Parisian Practices of Arrangement and the Domestic Debt to the Past’.  In Nancy November and Imogen Morris (eds), Musical Amateurs in the 19th Century’ , forthcoming