Contributions to Books

‘Aotearoa, Middle Earth or No Man’s Land: Lilburn and the Search for Identity’ in Searches for Tradition: Essays on New Zealand Music, Past & Present eds. Michael Brown and Samantha Owens (Wellington: Victoria University Press, 2017), pp. 239-255

‘The Violin in Italy during the Baroque Period’, in The Violin ed. Robert Riggs (Rochester, NY: University of Rochester Press, 2016), pp. 63-94

‘Vincenzo Manfredini’s 1778 “Italian” Quartets’, in Vincenzo Manfredini: Regole Armoniche, ed. Massimiliano Sala (Turnhout: Brepols, 2013), pp. 73-101.

‘The Road to Emulation: Geminiani’s Elliptical Instructions’, in Geminiani Studies, ed. Christopher Hogwood (Bologna: Ut Orpheus, 2013)

‘Opus 1, take 2: Mozart’s Mannheim and Paris sonatas for keyboard and violin’, in Mozart’s Chamber Music with Keyboard ed. Martin Harlow (Cambridge: CUP, 2012), pp. 45-68.

‘Instrumental Performance in the “long eighteenth century’”, in The Cambridge History of Musical Performance ed. Colin Lawson and Robin Stowell (Cambridge: CUP, 2012), pp. 527-51.

‘ “Truth” in the Discours au vray: the printed record for Renaud’; ‘The instrumentalists: aspects of performance practice in the early ballet de cour’; ‘Sources for dance music in the ballet de cour’; all in Greer Garden (ed.), La Délivrance de Renaud: Ballet Dansé par Louis XIII en 1617 (Turnhout, Belgium: Brepols, 2010), pp. 3-6, 77-82, 149-55.

‘Lanier and the Courtly Masque’, in Mark Weiss (ed.), Nicholas Lanier 1588-1666: a Portrait Revealed (London: The Weiss Gallery, 2010)

‘Constructing the Archangel: Corelli in 18th-Century Editions of Opus V.’ Arcangelo Corelli: Fra Mito E Realtà Storica. 2 vols. Eds. Gregory Barnett, Antonella D’Ovidio and Stefano La Via. Vol. 1. Florence: Olschki, 2007. 233-52.

‘Historical Performance and the Modern Performer’, in Musical Performance: A Guide to Understanding, ed. John Rink (Cambridge: Cambridge University Press, 2002), pp. 17-34.

‘Geminiani and the Role of the Viola in the Concerto Grosso’, in Liber Amicorum John Steele: a Musicological Tribute, ed. Warren Drake (New York: Pendragon, 1997), 379-413.

‘Music in London 1603-1649’, in The Early Baroque Era, ed. Curtis Price & Nigel Fortune, Man and Music series (London, Macmillan, 1993), 270-304.

Comus : The court masque questioned’ in The Well Enchanting Skill (essays in honour of F.W. Sternfeld). Oxford: Clarendon Press, 1990, 107-113.

‘The Baroque Era: Strings’ in Performance Practice: Music after 1600 The New Grove Handbooks in Music, ed. Howard Mayer Brown & Stanley Sadie. London: Macmillan, 1989, pp.44-79 & 501-3.

‘Insubstantial Pageants Preserved: the Literary and Musical Sources for the Jonsonian Masque’, in Jonson and Shakespeare, ed. Ian Donaldson. London: Macmillan, 1983, 202-18.

Contributions to The New Grove Dictionary of Music and Musicians

2nd ed. (London: Macmillan, 2001; and

(a) New (major) articles: Violin [history c. 1600-1810];Ornamentation [Italian baroque section], Fingering [violin family section]

(b) Revisions of Longer Articles: Bow ii; Matteis, Nicola; Multiple Stopping; Performing Practice 5; Senaillé; Violin i, 1-2Revisions of Short Articles: Abstrich; Action; Aufstrich; Bariolage; Bridge; Chin rest; Col legno; Coup d’archet; Craquer; Encore; Jeté; Lireggiare; Lourer; Ondulé; Picquer; Pointer; Saccadé; Sautillé; Spiccato; Strappato; Stricciate

Also Simpson, Adrienne Marie (new article)