PUBLICATIONS

The Hebrew University of Jerusalem האוניברסיטה העברית בירושלים

Updated 3 March 2015 / מעודכן עד ה-3 מרץ 2015

In three parts

בשלושה חלקים

Part I: Chronological listing, listing by names of books,

by critical editions, by articles

חלק א: רישום כרונולוגי, רישום לפי שמות ספרים, לפי הוצאות ביקורתיות,

לפי מאמרים

Part II: Listing by subjects

חלק ב: רישום לפי נושאים

Part III: Listing by abstracts and keywords

חלק ג: רישום לפי תקצירים ומילות מפתח

part 1: chronological listing

חלק א: רישום כרונולוגי

1. In press בדפוס

2. In preparation בהכנה

3. Books ספרים

4. Critical editions הוצאות ביקורתיות

5. Articles מאמרים

6. Video lectures הרצאות וידאו

1. In press בדפוס

Fragmenta judaeorum polyphonica [שרידי יצירות רב-קוליות פרי עטם של מלחינים יהודיים מן המאות ה-16 וה-17 / Seridei yetzirot rav-koliyyot peri ‘etam shel malhinim yehudiyyim min ha-me’ot ha-16 ve-ha-17] (93 works, in 6 volumes) (to be published in 2015).

The fragmentary remains (in one or more voices) of polyphonic works by various late sixteenth- and early seventeenth-century Jewish composers, associated principally with Mantua and Venice: Davide Sacerdote (18 Italian works), Davit Civita (17), Allegro Porto (37, in three separate collections), and one or more composers connected with Rabbi Leon Modena (Cincinnati, Hebrew Union College, Birnbaum Collection, MS 101 [c. 1628], 21 Hebrew works). To be published, with full critical apparatus, by the American Institute of Musicology (Corpus Mensurabilis Musicae) in 2015. With this publication, and the critical edition of Salamone Rossi’s opera omnia (13 vols.; see below), not only will all known polyphonic works of Jewish composers before the mid-seventeenth-century have been made available for study and performance but it will now be possible to draw a new picture of the Jewish contribution to early art music.

Marco Uccellini: Six Solo Sonatas, Op. 4 (1645) (for violin and basso continuo). Bologna: Ut Orpheus, 2014 (in press).

“What Does Halakhah Say about Music? Two Early Rabbinical Writings on Music by Hai ben Sherira (d. 1038),” Hebrew Union College Annual 82 (2015) (in press).

2. In preparation בהכנה

‘Barucaba,’ a Tale of Jewish Woe as Told for its Impact on Music and Literature in the Eighteenth to Twentieth Centuries. Leiden, Boston: Brill (to be completed by June 2015).

3. Books ספרים

2014

Three Early Modern Hebrew Scholars on the Mysteries of Song (with an extended introduction on Hebrew music theory from its beginnings to the early seventeenth century). Studies in Jewish History and Culture. Leiden and Boston: Brill, 2014. viii + 396 pp.

2009

Sarra Copia Sulam, Jewish Poet and Intellectual in Seventeenth-Century Venice: The Works of Sarra Copia Sulam in Verse and Prose, along with Writings of her Contemporaries in her Praise, Condemnation, or Defense. Introduced, edited, and translated by Don Harrán. Chicago: The University of Chicago Press, 2009. xxxiii + 598 pp.

1999

Salamone Rossi, Jewish Musician in Late Renaissance Mantua. Oxford: Oxford University Press, 1999. x + 310 pp. Issued in paperback, 2003.

1989

In Defense of Music: The Case for Music as Argued by a Singer and Scholar of the Late Fifteenth Century. Lincoln: University of Nebraska Press, 1989. xiii + 175 pp.

1988

In Search of Harmony: Hebrew and Humanist Elements in Sixteenth-Century Musical Thought. Musicological Studies & Documents 42. Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1988. xx + 301 pp.

1986

Word-Tone Relations in Musical Thought: From Antiquity to the Seventeenth Century. Musicological Studies & Documents 40. Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1986. xviii + 517 pp.

1980

“Maniera” e il madrigale: una raccolta di poesie musicali del Cinquecento (with introduction on mannerism in madrigal poetry, followed by 100 madrigal texts as edited in Italian and translated into English). Biblioteca dell’“Archivum Romanicum,” series 1, vol. 158. Florence: Leo S. Olschki, 1980. 123 pp.

1975

Musikologyah: tehumim u-megamot (מוסיקולוגיה: תחומים ומגמות “Musicology: Areas and Aims”). Jerusalem: Bialik Institute, 1975. 240 pp.

1969

Das Atlantisbuch der Musik (9th ed., Zurich: Atlantis Verlag, 1959), revised and translated into Hebrew as Toledot ha-musikah ha-eropit (תולדות המוסיקה הארופית “The History of European Music”). Ramat-Gan: Massada, 1969. 318 pp.

1963

Verdelot and the Early Madrigal. Ph.D. dissertation. 2 vols., University of California, Berkeley, 1963. iv + 307 pp.; 170 pp. Available on microfilm or in a photocopy from University Microfilms International, Ann Arbor, Michigan (63–5513).

See “Verdelot and the Early Madrigal,” Dissertation Abstracts 24 (1964): 4223.

4. Critical editions הוצאות ביקורתיות

2014

The Laments of a Jewish Female Cannibal in Two Seventeenth-Century Cantatas for Soprano and Continuo: 1. Lettera d’Heleazaria heb.[re]a à Tito Vespasiano 2. La Madre Ebrea (by Antonio Cesti). Bologna: Ut Orpheus, 2014. xxx + 26 pp.

1995–2003

Salamone Rossi: Complete Works. Corpus Mensurabilis Musicae 100. Vols. 1–12, Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1995; vols. 13a and 13b, Middleton, Wis.: American Institute of Musicology, 2003.

Vol. 1: Madrigals for 5 voices, Book 1 (1600). lxxxvi + 94 pp.

Vol. 2: Madrigals for 5 voices, Book 2 (1602). xxxii + 68 pp.

Vol. 3: Madrigals for 5 voices, Book 3 (1603). xxxv + 67 pp.

Vol. 4: Madrigals for 5 voices, Book 4 (1610). xxxvi + 67 pp.

Vol. 5: Madrigals for 5 voices, Book 5 (1622). xxxiv + 23 pp.

Vol. 6: Canzonette for 3 voices (1589). xxxvi + 32 pp.

Vol. 7: Madrigals for 4 voices (1614). xxxiii + 59 pp.

Vol. 8: Madrigaletti for 2–3 voices (1628), plus three appendices. lix + 67 pp.

Vol. 9: Sinfonie, Gagliarde, etc., for 3–5 voices, Book 1 (1607). xxviii + 37 pp.

Vol. 10: Sinfonie, Gagliarde, etc., for 3–5 voices, Book 2 (1608). xx + 55 pp.

Vol. 11: Sonatas, Sinfonie, Gagliarde, etc., for 3 voices, Book 3 (1623). xxiii + 83 pp.

Vol. 12: Sonatas, Sinfonie, Gagliarde, etc., for 3 voices, Book 4 (1622). xxiv + 91 pp.

Vol. 13a: Ha-shirim asher li-shelomo (השירים אשר לשלמה “The Songs by Solomon”), for 3–8 voices (1623): General Introduction. xxx + 222 pp., 24 illustrations.

Vol. 13b: Ha-shirim asher li-shelomo (השירים אשר לשלמה “The Songs by Solomon”), for 3–8 voices (1623): Music (33 Hebrew works). x + 238 pp. (for six pitch corrigenda to this volume, see:

<www.corpusmusicae.com/cmm/cmm_cc100.htm> under Volume Update, August 2008).

1983

Hubert Naich: Collected Works. Corpus Mensurabilis Musicae 94. Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1983. lvii + 197 pp.

1978–81

The Anthologies of Black-Note Madrigals. Corpus Mensurabilis Musicae 73. 5 vols. in 6. Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1978–81.

Vol. 1, pt. 1 (1978): Il primo libro d’i madrigali . . . a misura di breve . . . quatuor vocum (1542). lvii + 79 pp.

Vol. 1, pt. 2 (1978): Il primo libro d’i madrigali . . . a misura di breve . . . quatuor vocum (1542). lviii–lxxxii + 153 pp.

Vol. 2 (1978): Il secondo libro de li madrigali . . . a misura di breve . . . a quatro voci (1543). xliii + 148 pp.

Vol. 3 (1980): Libro terzo . . . li madrigali a quatro voce a notte negre (1549). xxxv + 117 pp.

Vol. 4 (1980): Il vero terzo libro di madrigali . . . a note negre (1549). xliii + 131 pp.

Vol. 5 (1981): Black-Note Madrigals (3–4 v.) from the Earliest Printed Collections (1540, 1541, 1542). xxiv + 49 pp.

5. Articles מאמרים

2014

“A Jewish Cannibal in Two Seventeenth-Century Cantatas,” Journal of Musicology 31/4 (2014): 431–70.

“Dedication and Labelling Practices in Seventeenth-Century Instrumental Music: The Case of Marco Uccellini,” Research Chronicle of the Royal Musical Association 45 (2014): 1–25.

“The Jewish Nose in Early Modern Art and Music,” Renaissance Studies 28 (2014): 50–70.

“What Does Halakhah Say about Music? Two Early Rabbinical Writings on Music by Hai ben Sherira (d. 1038),” Hebrew Union College Annual 82 (2013–2014) (in press).

2013

“‘A New Thing in the Land’: Jacob Segre as a Poet in Salamone Rossi’s Songs by Solomon,” Revue des études juives 173/3–4 (2013): 373–405.

“Salamone Rossi’s ‘Songs by Solomon’ as a Song of Songs and Song of Ascents,” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Israëls and Louis Waldman, 2 vols. (Florence: Leo S. Olschki, 2013), 2:660–67.

“Sarra Copia Sulam, a Seventeenth-Century Jewish Poet in Search of Immortality,” Nashim: A Journal of Jewish Women’s Studies and Gender Issues, issue no. 25 on “Women, Jews, Venetians” 25 (2013): 30–50.

2012

“The Joseph Story as Told by Orlando di Lasso” (details below): reprinted in Sacred and Liturgical Renaissance Music, ed. Andrew Kirkman (Aldershot, Hampshire: Ashgate Publishing Company, 2012), 375–95.

“The Levi Dynasty: Three Generations of Jewish Musicians in Sixteenth-Century Mantua,” in Giuseppe Veltri and Gianfranco Miletto, eds., Rabbi Judah Moscato and the Jewish Intellectual World of Mantua in the Sixteenth- and Seventeenth Centuries (Leiden, Boston: Brill, 2012), 161–98.

For a short version presented at the 15th World Congress for Jewish Studies, Jerusalem 2009, see the website <www.jewish-studies.org> under Divrei ha-kongress ha-hamishah ‘asar or (in English) Proceedings of the 15th World Congress.

“Psalms as Songs: The ‘Psalms of David’ in Salamone Rossi’s ‘Songs of Solomon’” (details below): reprinted in Muzykalia XIII / Judaica 4 (electronic journal), ed. Michal Bristiger, Antoni Buchner, Halina Goldberg, and Michal Klubinski, May 2012, 1–10.

Review. Diana Matut, Dichtung und Musik im frühneuzeitlichen Aschkenas (Ms. opp. add. 4^o 136 der Bodleian Library, Oxford, und Ms. hebr. oct. 219 der Stadt- und Universitätsbibliothek, Frankfurt am Main), 2 vols. (Leiden, Boston: Brill, 2011): AJS Review (The Journal of the Association of Jewish Studies) 36/1 (2012): 168–70.

2011

“An Early Modern Hebrew Poem on Music in its Beginnings and at the End of Time,” Journal of the American Musicological Society 64/1 (2011): 3–50.

“Another Look at the Curious Fifteenth-Century Hebrew-Worded Motet ‘Cados cados,’” The Musical Quarterly 94 (2011): 481–517.

“David’s Lyre, Kabbalah, and the Power of Music,” in Linda Phyllis Austern, Kari Boyd McBride, and David L. Orvis, eds., Psalms in the Early Modern World (Aldershot, Hampshire: Ashgate Publishing Company, 2011), 257–95.

“Higgayon be-khinnor” (Sounds for Contemplation on a Lyre), Sermon 1 in Judah ben Joseph Moscato, Sefer nefutzot Yehudah [The Book of the Dispersed of Judah], Hebrew text (Venice 1589) and annotated English translation in Judah Moscato, Sermons: Volume One, ed. Giuseppe Veltri and Gianfranco Miletto in conjunction with Giacomo Corazzol, Regina Grundmann, Don Harrán (Sermon 1), Yonatan Meroz, Brian Ogren, and Adam Shear (Leiden, Boston: Brill, 2011), 63–123 (English), 11–25 (Hebrew).

“‘Kehi kinnor’ by Samuel Archivolti (d. 1611): A Wedding Ode with Hidden Messages,” AJS Review (The Journal of the Association for Jewish Studies) 35/2 (2011): 253–91.

“What to Make of ‘the Pickled Jewess’ (la Ebrea marinata) in a Sonata by Marco Uccellini (1645)?” Italia: studi e ricerche sulla storia, la cultura e la letteratura degli ebrei d’Italia, ed. Robert Bonfil (Jerusalem: The Magnes Press of Hebrew University) 21 (2011): 42–78.

2010

“In Search of the ‘Song of Zion’: Abraham Portaleone on Music in the Ancient Temple,” European Journal of Jewish Studies 4/2 (2010): 215–39.

2009

Liner notes for five works by Salamone Rossi on the compact disc Passion and Lament: Choral Masterworks of the Seventeenth Century (Rossi, Carissimi, Biber). The Bach Sinfonia (Washington, D.C.) conducted by Daniel Abraham. Appeared under the label “Dorian” in October 2009. Pages 4–5, 14–17.

“A Tale as Yet Untold: Salamone Rossi in Venice, 1622,” Sixteenth Century Journal 40 (2009): 1,091–1,107.

2008

“‘Adonai con voi’ (1569), a Simple Popular Song with a Complicated Semantic about (what seems to be) Circumcision,” in Maria Diemling and Giuseppe Veltri, eds., The Jewish Body: Corporeality, Society, and Identity in the Renaissance and Early Modern Period (Leiden: Brill, 2008), 427–63.

“‘Barucaba’ as an Emblem for Jewishness in Early Italian Art Music,” The Jewish Quarterly Review 98 (2008): 328–54.

“Between Exclusion and Inclusion: Jews as Portrayed in Italian Music from the Late Fifteenth to the Early Seventeenth Centuries,” in David N. Myers, Massimo Ciavolella, Peter H. Reill, and Geoffrey Symcox, eds., Acculturation and its Discontents: The Italian Jewish Experience between Exclusion and Inclusion (Toronto: University of Toronto Press, 2008), 72–98.

“Madonna Bellina, ‘Astounding’ Jewish Musician in Mid-Sixteenth-Century Venice,” Renaissance Studies 22 (2008): 16–40.

“Notes on a Jewish Musical Renaissance,” Daedalus: Journal of the American Academy of Arts and Sciences 137 (2008): 96–100.

Review. Warren and Ursula Kirkendale, Music and Meaning: Studies in Music History and the Neighbouring Disciplines (Florence: Leo S. Olschki, 2007): Notes, the Quarterly Journal of the Music Library Association 65 (2008): 60–62.

“Rosa Levi,” entry in Italian Women Writers (electronic database, The University of Chicago, 2008; 1,565 words): <www.lib.uchicago.edu/efts/IWW/BIOS/A0448.html>

2007

“The Subject of Decision-Making in Music as the Choice between Virtue and Pleasure,” Acta musicologica 79 (2007): 107–43.

2006

“Nomina numina: Final Thoughts of Rabbi Leon Modena on the Essence of Sacred Music,” Italia: studi e ricerche sulla storia, la cultura e la letteratura degli ebrei d’Italia, ed. Robert Bonfil (Jerusalem: The Magnes Press of Hebrew University) 17 (2006): 7–63.

2004

“As Framed, So Perceived: Salamone Rossi ebreo, Late Renaissance Musician,” in David B. Ruderman and Giuseppe Veltri, eds., Cultural Intermediaries: Jewish Intellectuals in Early Modern Italy (Philadelphia: University of Pennsylvania, 2004), 178–215.

“From Mantua to Vienna: A New Approach to the Origins of the Dance Suite,” Journal of the Royal Musical Association 129 (2004): 181–219.

“Marriage and Music as Metaphor: The Wedding Odes of Leon Modena and Salamone Rossi,” Musica judaica 17 (5764/2003–4): 1–31.

“Review Essay: In Search of the Italian Sephardi Tradition,” Musica judaica 17 (5764/2003–4): 165–95.

“The Seventeenth-Century Barabano, a Study in Affinities,” in Colleen Reardon and Susan Parisi, eds., Music Observed: Studies in Memory of William C. Holmes (Warren, Mich.: Harmonie Park Press, 2004), 163–93.

2003

“Salamone Rossi, the Mystery Man of Jewish Art Music Composers,” Notes from Zamir 2 (Spring 2003): 5–7.

“Was Rabbi Leon Modena a Composer?” in David Malkiel, ed., “The Lion Shall Roar”: Leon Modena and his World (Jerusalem: Magnes Press, Hebrew University, 2003), 195–248.

2002

“The Hebrew Exemplum as a Force of Renewal in Eighteenth-Century Musical Thought: The Case of Benedetto Marcello and his Hebrew Psalms,” in Andreas Giger and Thomas J. Mathiesen, eds., Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-First Century (Lincoln: University of Nebraska Press, 2002), 143–94.

“Salamone Rossi as a Composer of ‘Hebrew’ Music,” in Eliyahu Schleifer and Edwin Seroussi, eds., Studies in Honour of Israel Adler (Yuval: Studies of the Jewish Music Research Centre, vol. 7; Jerusalem: The Hebrew University Magnes Press, 2002), 171–200.

2001

“Abrabanel, Isaac ben Judah,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 1:27–28.

“Abramino dall’Arpa,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 1:31–32.

“Abramo dall’Arpa,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 1:32.

“Alemanno, Johanan,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 1:349.

“Arama, Isaac ben Moses,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 1:836.

“Archivolti, Samuel,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 1:860.

“Barzelletta,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 2:831.

“Capitolo,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 5:92.

“Charles d’Argentille,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 4:158, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 5:499.

“Civita, Davit [da],” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 5:888.

“Copio, Sara,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 6:397.

“David ben Judah,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 7:55.

“Delmedigo, Joseph,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 7:181.

“Duran, Profiat,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 7:736.

“Duran, Simeon,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 7:736.

“Ebraica,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 7:854.

“Fabrianese, Tiberio,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 6:347, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 8:493.

“Ferro, Vincenzo,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 6:499, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 8:726.

Forty-two entries for Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001): Abrabanel, Isaac ben Judah, 1:27–28; Abramino dall’Arpa, 1:31–32; Abramo dall’Arpa, 1:32; Alemanno, Johanan, 1:349; Arama, Isaac ben Moses, 1:836; Archivolti, Samuel, 1:860; Barzelletta, 2:831; Capitolo, 5:92; Charles d’Argentille, 5:499; Civita, Davit [da], 5:888; Copio, Sara, 6:397; David ben Judah, 7:55; Delmedigo, Joseph, 7:181; Duran, Profiat, 7:736; Duran, Simeon, 7:736; Ebraica, 7:854; Fabrianese, Tiberio, 8:493; Ferro, Vincenzo, 8:726; Frottola, 9:294–300 (bibliography together with James Chater); Ignannino, Angelo, 12:79–80; Jewish Music (Western Art Music: Up to Eighteenth Century, V.2.ii), 13:91–92; La Martoretta, Giandominico, 14:157; Le Munerat, Jean, 14:544; Massarano, Isacchino, 16:87; Modena, Leon, 16:865–66; Moscato, Judah, 17:162–63; Nollet, 18:18; Oda, 18:328; Ottava rima, 18:802; Palazzo, Paolo Jacomo, 18:928; Portaleone, Abraham ben David, 20:182; Porto, Allegro, 20:190–91 (together with Colin Timms); Reulx, Anselmo de, 21:232; Rieti, Moses, 21:373; Rispetto, 21:441; Rossetti, Biagio, 21:717 (together with Peter Bergquist); Schaffen, Henri, 22:434; Solomon ben Judah Lunel, 23:655–56; Sommi, Leone de’, 23:670–71; Stoquerus, Gaspar, 24:440–41; Text underlay, 25:320–23; Ugolinus, Blasius, 26:46–47 (together with Eric Werner).

“Frottola,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 6:867–73, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 9:294–300 (bibliography together with James Chater).

“Guido Casoni (d. 1642) on Love as Music: A Theme ‘for All Ages and Studies,’” Renaissance Quarterly 54 (2001): 883–913.

“Jewish Music (Western Art Music: Up to Eighteenth Century, V.2.ii),” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 13:91–92.

“Jewish Musical Culture: Leon Modena,” in Robert C. Davis and Benjamin Ravid, eds., The Jews of Early Modern Venice (Baltimore, Md.: The Johns Hopkins University Press, 2001), 211–30, 289–95.

“La Martoretta, Giandominico,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 10:391, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 14:157.

“Massarano, Isacchino,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 16:87.

“Modena, Leon,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 16:865–66.

“Moscato, Judah,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 17:162–63.

“Le Munerat, Jean,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 14:544.

“Nollet, ”in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 13:264, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 18:18.

“Oda,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 18:328.

“Ottava rima,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 18:802.

“Palazzo, Paolo Jacomo,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 14:113–14, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 18:928.

“Portaleone, Abraham ben David,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 20:182.

“Porto, Allegro,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 20:190–91 (together with Colin Timms).

“Reulx, Anselmo de,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 15:770, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 21:232.

“Rieti, Moses,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 21:373.

“Rispetto,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 21:441.

“Rossetti, Biagio,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 21:717 (together with Peter Berquist).

“Schaffen, Henri,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 16:590, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 22:434.

“Solomon ben Judah Lunel,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 23:655–56.

“Sommi, Leone de’,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 23:670–71.

“Stoquerus, Gaspar,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 18:179, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 24:440–41.

“Text Underlay,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 25:320–23.

“Toward a Rhetorical Code of Early Music Performance” (details below): reprinted in Arta: The Recorder Education Journal no. 7 (2001): 32–47.

“Ugolinus, Blasius,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 26:46–47 (together with Eric Werner).

1999

“Domenico Galli e gli eroici esordi della musica per violoncello solo non accompagnato,” Rivista italiana di musicologia 34 (1999): 231–307.

“Jews and Music,” in Paul F. Grendler, ed., Encyclopedia of the Renaissance, 6 vols. (New York: Charles Scribner’s Sons in association with the Renaissance Society of America, 1999), 3:342–44.

“Praising Music via Poetry: The Poetic Encomium,” in Piotr Poźniak, ed., Affetti musicologici: Book of Essays in Honour of Zygmunt Marian Szweykowski on his Seventieth Birthday (Kraków: Katedra Historii i Teorii Muzyki, Uniwersytetu Jagiellónskiego / Musica Iagellonica, 1999), 57–65.

Review. Frank A. D’Accone, The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance (Chicago & London: The University of Chicago Press, 1997): Renaissance Quarterly 52 (1999): 860–61.

1998

“‘Dum recordaremur Sion’: Music in the Life and Thought of the Venetian Rabbi Leon Modena (1571–1648),” Association for Jewish Studies Review 23 (1998): 17–61.

“Historical Musicology and Musical Culture: Redefining Terms as a Means of Redefining Goals.” See 1989 under “Musicologia storica e cultura musicale: ridefinire i termini per ridefinire gli scopi.”

“New Variations on O rosa bella, Now with a Jewish Ricercare,” Studi musicali 27 (1998): 241–86.

For a shorter version in French, see “Nouvelles variations sur O rosa bella, cette fois avec un ricercare juif,” in Philippe Vendrix, ed., Johannes Ockeghem: Actes du XLe Colloque international d’études humanistes (Tours, 1997) (Paris: Éditions Klincksieck, 1998), 365–79.

“Nouvelles variations sur O rosa bella, cette fois avec un ricercare juif.” See 1998 under “New Variations on O rosa bella, Now with a Jewish Ricercare.”

1997

“The Fixed and the Changeable in the Problematic of Stylistic Definition,” in Axel Beer, Kristina Pfarr, and Wolfgang Ruf, eds., Festschrift für Christoph-Hellmut Mahling zum 65. Geburtstag, 2 vols. (Mainzer Studien zur Musikwissenschaft 37; Tutzing: Hans Schneider, 1997), 2:489–500.

“How to ‘Lay’ the ‘Lay’: New Thoughts on Text Underlay,” Musica disciplina 51 (1997): 231–62.

“Jewish Dramatists and Musicians in the Renaissance: Separate Activities, Common Aspirations” (details below): reprinted in Ahuva Belkin, ed., Leone de’ Sommi and the Performing Arts (Tel Aviv: Tel Aviv University Press, 1997), 27–47.

“Psalms as Songs: The ‘Psalms of David’ in Salamone Rossi’s ‘Songs of Solomon,’” Eleonora Harendarska, Irena Poniatowska, and Cezary Nelkowski, eds., Musica antiqua Europae orientalis (Bydgoszcz 1994), vol. 10, part 1 (Bydgoszcz: Filharmonia Pomorska im. Ignacego Paderewskiego, 1997), 47–55.

Reprinted in Muzykalia XIII / Judaica 4 (electronic journal), ed. Michal Bristiger, Antoni Buchner, Halina Goldberg, and Michal Klubinski, May 2012, 1–10.

“Toward a Rhetorical Code of Early Music Performance,” Journal of Musicology 15 (1997): 19–42.

Reprinted in Arta: The Recorder Education Journal no. 7 (2001): 32–47.

1996

“Doubly Tainted, Doubly Talented: The Jewish Poet Sara Copio (d. 1641) as a Heroic Singer,” in Irene Alm, Alyson McLamore, and Colleen Reardon, eds., Musica franca: Essays in Honor of Frank A. D’Accone (Stuyvesant, N.Y.: Pendragon Press, 1996), 367–422.

“Research into Music of the Renaissance: New Perspectives, New Objectives,” Israel Studies in Musicology 6 (1996): 81–98.

1995

“En inversant le processus historique: la ‘Renaissance’ de la musique instrumentale au Moyen Âge,” in Jean-Michel Vaccaro, ed., Le Concert des voix et des instruments à la Renaissance (Paris: Éditions du Centre National de la Recherche Scientifique, 1995), 33–38.

“Investigation through Interrogation: The Case of Female Poets and Feminist Poetry in the Sixteenth-Century Madrigal,” Recercare 7 (1995): 5–46.

“The Joseph Story as Told by Orlando di Lasso,” in Ignace Bossuyt, Eugeen Schreurs, and Annelies Wouters, eds., Orlandus Lassus and his Time (Yearbook of the Alamire Foundation 1; Peer, Belgium: Alamire Foundation, 1995), 249–69.

Reprinted in Sacred and Liturgical Renaissance Music, ed. Andrew Kirkman (Aldershot, Hampshire: Ashgate Publishing Company, 2012), 375–95.

“Madama Europa, Jewish Singer in Late Renaissance Mantua,” in Thomas J. Mathiesen and Benito V. Rivera, eds., Festa musicologica: Essays in Honor of George J. Buelow (Stuyvesant, N.Y.: Pendragon Press, 1995), 197–231.

1994

“Jewish Dramatists and Musicians in the Renaissance: Separate Activities, Common Aspirations,” in Siegfried Gmeinwieser, David Hiley, and Jörg Riedlbauer, eds., Musicologia humana: Studies in Honour of Warren and Ursula Kirkendale (Florence: Leo S. Olschki, 1994), 291–304.

Reprinted in Ahuva Belkin, ed., Leone de’ Sommi and the Performing Arts (Tel Aviv: Tel Aviv University Press, 1997), 27–47.

1993

“Allegro Porto, an Early Jewish Composer on the Verge of Christianity,” Italia: studi e ricerche sulla storia, la cultura e la letteratura degli ebrei d’Italia, ed. Robert Bonfil (Jerusalem: The Magnes Press of Hebrew University) 10 (1993): 19–57.

“The Musical Encomium: Its Origins, Components, and Implications,” in Mediterranean Musical Cultures and their Ramifications (Proceedings of the Fifteenth International Congress of the International Musicological Society, Madrid 1992), 3 vols. (Madrid: Sociedad Española de Musicología, 1993–95). Printed in Revista de musicología 16 (1993): 7–17.

1992

“Tradition and Innovation in Jewish Music of the Later Renaissance” (details below): reprinted in David B. Ruderman, ed., Essential Papers on Jewish Culture in Renaissance and Baroque Italy (New York: New York University Press, 1992), 474–501.

1991

“From Orpheus to Hercules: Differing Conceptions of Power in Music of the Baroque,” in Yosihiko Tokumaru and six others, eds., Tradition and its Future in Music: Report of the Fourth Symposium of the International Musicological Society, Osaka 1990 (Tokyo: Mita Press, 1991), 211–15.

“Musicology in Israel 1980–1990,” in coauthorship with Edwin Seroussi, Acta musicologica 63 (1991): 238–68.

1990

“Orpheus as Poet, Musician, and Educator,” in Richard Charteris, ed., Altro polo: Essays on Italian Music in the Cinquecento (Sydney, Australia: Frederick May Foundation, 1990), 265–76.

Review. Karol Berger, “Musica Ficta”: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino (Cambridge: Cambridge University, 1987): Performance Practice Review 3 (1990): 73–77.

1989

“Cultural Fusions in Jewish Musical Thought of the Later Renaissance,” in Fabrizio della Seta and Franco Piperno, eds., In cantu et in sermone: For Nino Pirrotta on his Eightieth Birthday (Florence: Leo S. Olschki, 1989), 141–54.

“Musicologia storica e cultura musicale: ridefinire i termini per ridefinire gli scopi,” Musica/Realtà 10 (1989): 43–52.

For an English version, see “Historical Musicology and Musical Culture: Redefining Terms as a Means of Redefining Goals,” in Joachim Braun and Uri Sharvit, eds., Studies in Socio-Musical Sciences (Ramat-Gan: Bar-Ilan University Press, 1998), 99–108.

“Tradition and Innovation in Jewish Music of the Later Renaissance,” Journal of Musicology 7 (1989): 107–30.

Reprinted in David B. Ruderman, ed., Essential Papers on Jewish Culture in Renaissance and Baroque Italy (New York: New York University Press, 1992), 474–501.

1988

“Elegance as a Concept in Sixteenth-Century Music Criticism,” Renaissance Quarterly 41 (1988): 413–38.

“Tipologie metriche e formali del madrigale ai suoi esordi.” See 1969 under “Verse Types in the Early Madrigal.”

1987

“The Concept of Battle in Music of the Renaissance,” The Journal of Medieval and Renaissance Studies 17 (1987): 175–94.

“Directions to Singers in Writings of the Early Renaissance,” Revue belge de musicologie 41 (1987): 45–61.

“L’insegnamento della storia della musica nelle università di Israele: problemi e prospettive,” in Sergio Miceli and Mario Sperenzi, eds., Didattica della storia della musica (Florence: Leo S. Olschki, 1987), 113–20.

Review. Greek and Latin Music Theory, series under general editorship of Thomas J. Mathiesen, first three volumes (Prosdocimus de’ Beldemandi: Contrapunctus; The Berkeley Manuscript; Sextus Empiricus; Lincoln: University of Nebraska, 1984–86): Music Library Association Notes 43 (1987): 48–50.

“Salamone Rossi as a Composer of Theater Music,” Studi musicali 16 (1987): 95–131.

“Salamone Rossi, Jewish Musician in Renaissance Italy,” Acta musicologica 59 (1987): 46–64.

“Sulla genesi della famosa disputa fra Zarlino e Galilei: un nuovo profilo,” Nuova rivista musicale italiana 21 (1987): 467–75.

1986

“Moses as Poet and Musician in the Ancient Theology,” in Marc Honegger and Christian Meyer, eds., La musique et le rite sacré et profane (Report of the Thirteenth Congress of the International Musicological Society, Strasbourg 1982), 2 vols. (Strasbourg: Association des Publications près les Universités de Strasbourg, 1986), 2:233–51.

Review. Fabritio Caroso, Nobiltà di dame (1600), translated and edited by Julia Sutton (music transcribed and edited by F. Marian Walker; Oxford; Clarendon Press, 1986): Early Music 14 (1986): 587–89.

1985

“Verse Types in the Early Madrigal” (details below): reprinted in Ellen Rosand, ed., The Garland Library of the History of Western Music, 14 vols. (New York: Garland, 1985), 3:287–313; and in an Italian translation as “Tipologie metriche e formali del madrigale ai suoi esordi,” in Paolo Fabbri, ed., Il madrigale tra Cinque e Seicento (Bologna: Società editrice Il Mulino, 1988), 95–122.

1984

“On the Question of Word-Tone Relations in Early Music,” in Ursula Günther and Ludwig Finscher, eds., Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts (Kassel: Bärenreiter, 1984), 269–89.

1983

“Stories from the Hebrew Bible in the Music of the Renaissance,” Musica disciplina 37 (1983): 235–88.

1982

“Note on the Influence of Hebrew Accents on Renaissance Music Theory” (contribution to the panel “The Impact of the Major Cultures in Contact with Judaism on Jewish Music”), in Judith Cohen, ed., Proceedings of the World Congress on Jewish Music, Jerusalem 1978 (Tel Aviv: The Institute for the Translation of Hebrew Literature, 1982), 36–40.

1981

Contribution to the panel “Humanism and Music,” in Daniel Heartz and Bonnie Wade, eds., Report of the Twelfth Congress of the International Musicological Society, Berkeley 1977 (Kassel: Bärenreiter, 1981), 870–93, esp. 881–82, 889–90.

“Hubert Naich, musicien, académicien: notice bio-bibliographique,” Fontes artis musicae 28 (1981): 177–94.

Review. Anthony A. Newcomb, The Madrigal at Ferrara, 1579–97, 2 vols. (Princeton: Princeton University Press, 1980): Fontes artis musicae 28 (1981): 251–52.

Winning solution to puzzle canon in contest sponsored by Cum notis variorum (The Newsletter of the Music Library, University of California, Berkeley), no. 53 (June 1981): 4.

1980

“Contino, Giovanni,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians 20 vols. (London: Macmillan, 1980), 4:684–85.

“Ignannino, Angelo,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 9:23, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 12:79–80.

“Israel: Art music,” Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians 20 vols. (London: Macmillan, 1980), 9:356–58.

“Libraries (Israel),” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians 20 vols. (London: Macmillan, 1980), 10:819–20.

Twelve entries and two articles for Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians 20 vols. (London: Macmillan, 1980). Biographical entries: Charles d’Argentille, 4:158; Contino, Giovanni, 4:684–85; Fabrianese, Tiberio, 6:347; Ferro, Vincenzo, 6:499; Frottola, 6:867–73; Ignannino, Angelo, 9:23; Israel: Art Music, 9:356–58; La Martoretta, Giandominico, 10:391; Libraries (Israel), 10:819–20; Nollet, 13:264; Palazzo, Paolo Jacomo, 14:113–14; Reulx, Anselmo de, 15:770; Schaffen, Henri, 16:590; Stoquerus, Gaspar, 18:179.

1979

An essay entitled “An Open Letter to our Readers,” Journal of Synagogue Music 9 (1979): 35–36.

“Intorno a un codice veneziano quattrocentesco,” Studi musicali 8 (1979): 41–60.

“Report from Jerusalem: World Congress on Jewish Music,” Current Musicology 27 (1979): 20–23.

Review. Emil Vogel, Alfred Einstein, François Lesure, Claudio Sartori, eds., Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700, 3 vols. (Pomezia: Staderini - Minkoff, 1977): Fontes artis musicae 26 (1979): 67–69.

1978

An essay in defense of my views on cautionary signs, under “Comments and Issues,” Journal of the American Musicological Society 31 (1978): 385–95.

“In Pursuit of Origins: The Earliest Writing on Text Underlay (c. 1440),” Acta musicologica 50 (1978): 217–40.

“More Evidence for Cautionary Signs,” Journal of the American Musicological Society 31 (1978): 490–94.

“On the Question of Mannerism in Early Music,” Israel Studies in Musicology 1 (1978): 92–98.

1976

“Burney and Ambros as Editors of Josquin’s Music,” in Edward E. Lowinsky, ed., Josquin des Prez (Proceedings of the International Josquin Festival Conference, New York 1971) (London: Oxford University, 1976), 148–77.

“Critical Edition of Italian Madrigals from the Mid-Sixteenth Century” (report on project), in American Philosophical Society Year Book 1975 (Philadelphia: American Philosophical Society, 1976), 549–50.

“New Evidence for Musica ficta: The Cautionary Sign,” Journal of the American Musicological Society 29 (1976): 77–98.

“A World Première: Josef Tal’s Opera Masada 967,” Orbis musicae 5 (1975–76): 103–8.

1975

“Report from Israel,” Current Musicology 19 (1975): 23–31.

1974

Review. Jerome Roche, The Madrigal (London: Hutchinson University Library, 1972): Music Library Association Notes 30 (1974): 526–28.

“Testimonium No. 2, 1971” (details below): reprinted in Orbis musicae 2 (1973–74): 139–43.

“The Theory and Practice of Text Underlay in Music of the Renaissance” (outline of project), American Council of Learned Societies Newsletter 25/3–4 (1974): 22–25.

1973

“Cyclical Processes in Beethoven’s Early Quartets,” in Internationaler Musikwissenschaftlicher Kongreß Bonn 1970: Kongreß-Bericht (Kassel: Bärenreiter, 1973), 426–31.

“New Light on the Question of Text Underlay Prior to Zarlino,” Acta musicologica 45 (1973): 24–56.

“Rore and the Madrigale cromatico,” The Music Review 34 (1973): 66–81.

“A Survey on the Relationship between Musicology and Performance: Hebrew University, Jerusalem, Israel,” Current Musicology 15 (1973): 26.

“Testimonium No. 2, 1971,” Current Musicology 15 (1973): 38–43.

Reprinted in Orbis musicae 2 (1973–74): 139–43.

“The Theorist Giovanni del Lago: A New View of the Man and his Writings,” Musica disciplina 27 (1973): 107–51.

For a shorter version, see “The Theorist Giovanni del Lago: A New View of his Writings,” in Henrik Glahn, Søren Sørensen, and Peter Ryom, eds., Report of the Eleventh International Congress of Musicology, Copenhagen 1972, 2 vols. (Copenhagen: Edition Wilhelm Hansen, 1974), 1:432–36.

“Vicentino and his Rules of Text Underlay,” The Musical Quarterly 59 (1973): 620–32.

1971

“The Israel Composer’s Workshop, 1970,” Orbis musicae 1 (1971): 91–99.

“Report from Israel: The Composer’s Workshop, 1969,” Current Musicology 11 (1971): 66–75.

Review. Avraham Soltes, Off the Willows: The Rebirth of Modern Jewish Music (New York: Bloch, 1970): Music Library Association Notes 28 (1971): 234–35.

Review. [Bronislaw Huberman], An Orchestra is Born: The Founding of the Palestine Orchestra as Reflected in Bronislaw Huberman’s Letters, Speeches, and Articles (Tel Aviv: Yachdav, 1969): Music Library Association Notes 28 (1971): 235.

1970

“Musicology in Israel: Its Resources and Institutions,” Ariel 27 (1970): 59–66.

“Report from Israel: Highlights of the Year 1968–69,” Current Musicology 10 (1970): 40–44.

“The ‘Sack of Rome’ Set to Music,” Renaissance Quarterly 23 (1970): 412–21.

“Towards a Definition of the Early Secular Dialogue,” Music & Letters 51 (1970): 37–50.

Translation. Ernst Krenek, “Amerikas Einfluß auf eingewanderte Komponisten” (Musica 13 [1959]: 757–61): “America’s Influence on its Émigré Composers,” Perspectives of New Music 8 (1970): 112–17.

1969

“‘Mannerism’ in the Cinquecento Madrigal?” The Musical Quarterly 55 (1969): 521–44.

“Some Early Examples of the Madrigale cromatico,” Acta musicologica 41 (1969): 240–46.

“Verse Types in the Early Madrigal,” Journal of the American Musicological Society 22 (1969): 27–53.

Reprinted in Ellen Rosand, ed., The Garland Library of the History of Western Music, 14 vols. (New York: Garland, 1985), 3:287–313; and in an Italian translation as “Tipologie metriche e formali del madrigale ai suoi esordi,” in Paolo Fabbri, ed., Il madrigale tra Cinque e Seicento (Bologna: Società editrice Il Mulino, 1988), 95–122.

1968

“Chi bussa? or The Case of the Anti-Madrigal,” Journal of the American Musicological Society 21 (1968): 85–93.

“Musical Research in Israel: Its History, Resources, and Institutions,” Current Musicology 7 (1968): 120–27.

“Yevanit, lashon ve-tarbut: musikah” (יוונית, לשון ותרבות: מוסיקה “Greek language and culture: music”; in part), in Ha-entzikelopedyah ha-‘ivrit (האנציקלופדיה העברית “Encyclopedia Hebraica”), 33 vols. (Jerusalem, Tel Aviv: Encyclopedia Publishing Company, 1959–67), 19 (1968): 588.

6. Video lectures הרצאות וידאו

Three lectures delivered in Moscow on May 12, 13, 14, 2014 / שלוש הרצאות שנתנו במוסקבה במאי

12 (2014), מאי 13 (2014), מאי 14 (2014).

Salamone Rossi, Jewish Musician in Renaissance Mantua

http://youtu.be/afwWhruLuvo

plus concert of works by Rossi following the lecture: https://www.youtube.com/watch?v=Hp0tq31Q1gc

Sarra Copia Sulam, a Seventeenth-Century Jewish Poet in Search of Immortality

https://www.youtube.com/watch?v=ldkSP8KqBp8

A Jewish Female Cannibal in Two Seventeenth-Century Cantatas

https://www.youtube.com/watch?v=ybU9CDNtf6Q

Part 2: LISTING BY SubjectS

חלק ב: רישום לפי נושאים

1. General studies on music מחקרים כלליים במוסיקה

2. Words and music מילה וצליל

3. Italian madrigal מדריגל איטלקי

4. Mannerism in the Italian madrigal מנייריזם במדריגל האיטלקי

5. Jewish art music מוסיקה יהודית אומנותית

6. Salamone Rossi שלמה רוסי (שלמה מן האדומים)

7. Leon Modena לאונה מודנה (יהודה אריה ממודינא)

8. Women’s studies לימודי נשים

9. Musicology מוסיקולוגיה

10. Israel: music, libraries ישראל: מוסיקה, ספריות

11. Reviews of books ביקורות ספרים

12. Translations תרגומים

13. Video lectures הרצאות וידאו

1. General studies on music מחקרים כלליים במוסיקה

(particularly in the sixteenth and seventeenth centuriesביחוד במאות השש-עשרה והשבע-עשרה )

‘Barucaba,’ a Tale of Jewish Woe as Told for its Impact on Music and Literature in the Eighteenth to Twentieth Centuries. See under Jewish Art Music.

“Burney and Ambros as Editors of Josquin’s Music,” in Edward E. Lowinsky, ed., Josquin des Prez (Proceedings of the International Josquin Festival-Conference, New York 1971) (London: Oxford University, 1976), 148–77.

“The Concept of Battle in Music of the Renaissance,” The Journal of Medieval and Renaissance Studies 17 (1987): 175–94.

“Cyclical Processes in Beethoven’s Early Quartets,” in Internationaler Musikwissenschaftlicher Kongreß Bonn 1970: Kongreß-Bericht (Kassel: Bärenreiter, 1973), 426–31.

“David’s Lyre, Kabbalah, and the Power of Music.” See under Jewish Art Music

“Dedication and Labelling Practices in Seventeenth-Century Instrumental Music: The Case of Marco Uccellini,” Research Chronicle of the Royal Musical Association 45 (2014): 1–25.

“Directions to Singers in Writings of the Early Renaissance.” See under Words and Music.

“Domenico Galli e gli eroici esordi della musica per violoncello solo non accompagnato,” Rivista italiana di musicologia 34 (1999): 231–307.

“An Early Modern Hebrew Poem on Music in its Beginnings and at the End of Time.” See under Jewish Art Music.

“Elegance as a Concept in Sixteenth-Century Music Criticism,” Renaissance Quarterly 41 (1988): 413–38.

“En inversant le processus historique: la ‘Renaissance’ de la musique instrumentale au Moyen Âge,” in Jean-Michel Vaccaro, ed., Le concert des voix et des instruments à la Renaissance (Paris: Éditions du Centre National de la Recherche Scientifique, 1995), 33–38.

“Guido Casoni (d. 1642) on Love as Music: A Theme ‘for All Ages and Studies,’” Renaissance Quarterly 54 (2001): 883–913.

“A Jewish Cannibal in Two Seventeenth-Century Cantatas.” See under Jewish Art Music.

“The Jewish Nose in Early Modern Art and Music.” See under Jewish Art Music.

In Search of Harmony: Hebrew and Humanist Elements in Sixteenth-Century Musical Thought. See under Words and Music.

Marco Uccellini: Six Solo Sonatas, Op. 4 (1645) (for violin and basso continuo). Bologna: Ut Orpheus, 2014 (in press).

“New Variations on O rosa bella, Now with a Jewish Ricercare,” Studi musicali 27 (1998): 241–86.

For a shorter version in French, see “Nouvelles variations sur O rosa bella, cette fois avec un ricercare juif.”

“Note on the Influence of Hebrew Accents on Renaissance Music Theory.” See under Jewish Art Music.

“Nouvelles variations sur O rosa bella, cette fois avec un ricercare juif,” in Philippe Vendrix, ed., Johannes Ockeghem: Actes du XL^e Colloque international d’études humanistes (Tours, 1997) (Paris: Éditions Klincksieck, 1998), 365–79.

“Orpheus as Poet, Musician, and Educator,” in Richard Charteris, ed., Altro polo: Essays on Italian Music in the Cinquecento (Sydney, Australia: Frederick May Foundation, 1990), 265–76.

“Research into Music of the Renaissance: New Perspectives, New Objectives,” Israel Studies in Musicology 6 (1996): 81–98.

“The ‘Sack of Rome’ Set to Music,” Renaissance Quarterly 23 (1970): 412–21.

“Stories from the Hebrew Bible in the Music of the Renaissance.” See under Jewish Art Music.

“The Subject of Decision-Making in Music as the Choice between Virtue and Pleasure,” Acta musicologica 79 (2007): 107–43.

“Sulla genesi della famosa disputa fra Zarlino e Galilei: un nuovo profilo,” Nuova rivista musicale italiana 21 (1987): 467–75.

“The Theorist Giovanni del Lago: A New View of the Man and his Writings,” Musica disciplina 27 (1973): 107–51.

“Toward a Rhetorical Code of Early Music Performance.” See under Words and Music.

Three Early Modern Hebrew Scholars on the Mysteries of Song. See under Jewish art music.

Winning solution to puzzle canon in contest sponsored by Cum notis variorum (The Newsletter of the Music Library, University of California, Berkeley), no. 53 (June 1981): 4.

2. Words and music מילה וצליל

“Directions to Singers in Writings of the Early Renaissance,” Revue belge de musicologie 41 (1987): 45–61.

“How to ‘Lay’ the ‘Lay’: New Thoughts on Text Underlay,” Musica disciplina 51 (1997): 231–62.

In Defense of Music: The Case for Music as Argued by a Singer and Scholar of the Late Fifteenth Century. Lincoln: University of Nebraska Press, 1989. xiii + 175 pp.

“In Pursuit of Origins: The Earliest Writing on Text Underlay (c. 1440),” Acta musicologica 50 (1978): 217–40.

“Intorno a un codice veneziano quattrocentesco,” Studi musicali 8 (1979): 41–60.

“Le Munerat, Jean,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 14:544.

“New Light on the Question of Text Underlay Prior to Zarlino,” Acta musicologica 45 (1973): 24–56.

“Text Underlay, ” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 25:320–23.

“The Theory and Practice of Text Underlay in Music of the Renaissance” (outline of project), American Council of Learned Societies Newsletter 25/3–4 (1974): 22–25.

“Toward a Rhetorical Code of Early Music Performance,” Journal of Musicology 15 (1997): 19–42.

Reprinted in Arta: The Recorder Education Journal no. 7 (2001): 32–47.

“Vicentino and his Rules of Text Underlay,” The Musical Quarterly 59 (1973): 620–32.

3. Italian madrigal מדריגל איטלקי

“Barzelletta, ” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 2:831.

“Capitolo,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 5:92.

“Chi bussa? or The Case of the Anti-Madrigal,” Journal of the American Musicological Society 21 (1968): 85–93.

“Contino, Giovanni,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 4:684–85.

An essay in defense of my views on cautionary signs, under “Comments and Issues,” Journal of the American Musicological Society 31 (1978): 385–95.

Hubert Naich: Collected Works. Corpus Mensurabilis Musicae 94. Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1983. lvii + 197 pp.

“Hubert Naich, musicien, académicien: notice bio-bibliographique,” Fontes artis musicae 28 (1981): 177–94.

“Investigation through Interrogation: The Case of Female Poets and Feminist Poetry in the Sixteenth-Century Madrigal.” See under Women’s Studies.