Leeds University Library

MUSS2420
Notation and Editing Reading List

Notation and Editing, 2017/18, Semester 1, 2
Dr Bryan White
b.white@leeds.ac.uk
Tutor information is taken from the Module Catalogue

W. Apel, The Notation of Polyphonic Music 900-1600 (Cambridge, Mass., 5/1953)

F. T. Arnold, The Art of Accompaniment from a Thorough-bass, as Practised in the XVIIth & XVIIIth Centuries  (Oxford, 1931)

A. W. Atlas , Renaissance Music: Music in Western Europe, 1400-1600 , Norton Introduction to Music History (New York, London, 1998)

E. Badura-Skoda, ‘Textual Problems in Masterpieces of the 18th and 19th Centuries’, trans. Piero Weiss, The Musical Quarterly. 51 (1965), 301-317.

Ian D. Bent, et al., ‘Notation’, Oxford Music Online

M. Bent: ‘Editing Music: the Dilemma of Translation’, Early Music. 22 (1994), 373–92

P. Brett: ‘Text, Context, and the Early Music Editor’, Authenticity and Early Music: A Symposium, ed. N. Kenyon (Oxford and New York, 1988), 83–114

C. Brown, Classical and Romantic Performing Practice 1750-1900 (Oxford, 1999)

J. Caldwell, Editing Early Music (Oxford, 2/1995)

H. Cole, Sounds and Signs: Aspects of Musical Notation (London, 1974)

C. Eisen, ‘The Old and New Mozart Editions’, Early Music. 19 (1991), 513-532.

P. Gaskell, A New Introduction to Bibliography (Oxford, 1985)

E. Gould, Behind Bars: the Definitive Guide to Music Notation  (London, 2011)

J. Grier, The Critical Editing of Music: Theory, Method, and Practice (Cambridge, 1996)

J. Grier, ‘Editing’, Oxford Music Online

G. F. Handel, Continuo Playing According to Handel: his Figured Bass Exercises , with a Commentary by David Ledbetter (Oxford, 1990)

R. Herissone, Music Theory in Seventeenth-century England  (Oxford, 2000)

P. Holman, Dowland: Lachrimae, (Cambridge, 1999)

A. H. Hyatt King, Four Hundred Years of Music Printing (London, 1964)

M. Locke, Melothesia, or, Certain general rules for playing upon a continued-bass [microform] : with a choice collection of lessons for the harpsichord and organ of all sorts : never before published (London, 1673)

A Performer's Guide to Music of the Baroque Period. (Associated Board of the Royal Schools of Music, 2002)  

A Performer's Guide to Music of the Classical Period. (Associated Board of the Royal Schools of Music, 2002)

A Performer's Guide to Music of the Romantic Period. (Associated Board of the Royal Schools of Music, 2002)

T. Morley, A plaine and easie introduction to practicall musicke set downe in forme of a dialogue: deuided into three partes, the first teacheth to sing with all things necessary for the knowledge of pricktsong. The second treateth of descante and to sing two parts in one vpon a plainsong or ground, with other things necessary for a descanter. The third and last part entreateth of composition of three, foure, fiue or more parts with many profitable rules to that effect. With new songs of 2. 3. 4. and .5 [sic] parts. By Thomas Morley, Batcheler of musick, & of the gent. of hir Maiesties Royall Chapell.  (London, 1597)

T. Morley, A Plain and Easy Introduction to Practical Music , ed. R. Alec Harman (London, 1952)

C. Parrish, The Notation of Medieval Music (London, 1958)

R. Rastall, The Notation of Western Music: An Introduction (Leeds, 2/1998) Available as an Online Course Reading in Minerva


This list was last updated on 08/07/2016