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2010 Conference Publication Henry Purcell's Three Parts Upon a Ground and the traditions of English counterpointCollins, Denis (2010). Henry Purcell's Three Parts Upon a Ground and the traditions of English counterpoint. Seventh International Conference on Music Theory and Analysis, Belgrade, Serbia-Montenegro, May 15-17 2009. Belgrade, Serbia: University of Arts, Belgrade. |
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2009 Journal Article William Bathe's tabular method and late Renaissance theories of Canon compositionCollins, Denis B. (2009). William Bathe's tabular method and late Renaissance theories of Canon composition. Music Theory and Analysis, 1, 87-95. |
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2008 Journal Article William Byrd's motets and canonic writing in EnglandCollins, Denis (2008). William Byrd's motets and canonic writing in England. Context: Journal of Music Research, 1 (33), 45-65. |
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2008 Journal Article "So you want to write a canon?" An historically-informed new approach for the modern theory classCollins, Denis (2008). "So you want to write a canon?" An historically-informed new approach for the modern theory class. College Music Symposium, 48, 108-123. doi: 10.2307/25664812 |
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2007 Journal Article From Bull to Bach: In search of precedents for the "Complete" version of the Canon by augmentation and contrary motion in J.S. Bach's Musical OfferingCollins, Denis B. (2007). From Bull to Bach: In search of precedents for the "Complete" version of the Canon by augmentation and contrary motion in J.S. Bach's Musical Offering. BACH: The Journal of the Riemenschneider Bach Institute, 38 (2), 39-63. |
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2007 Conference Publication 'Sufficient to quench the thirst of the most insaciate scholler whatsoeuer': George Waterhouse's 1,163 canons on the plainsong MiserereCollins, D. (2007). 'Sufficient to quench the thirst of the most insaciate scholler whatsoeuer': George Waterhouse's 1,163 canons on the plainsong Miserere. Canons and Canonic Techniques, 14th-16th Centuries, Katholieke Universiteit, Leuven, 4-6 October, 2005. Leuven, Belgium: Peeters. |
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2007 Book A briefe and short instruction of the art of musicke by Elway BevinCollins, Denis B. and Bevin, Elway (2007). A briefe and short instruction of the art of musicke by Elway Bevin. Aldershot, U.K.: Ashgate. |
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2005 Journal Article The art of fugue: Bach fugues for keyboard, 1715-1750Collins, Denis (2005). The art of fugue: Bach fugues for keyboard, 1715-1750. Musicology Australia, 28 (1), 143-146. doi: 10.1080/08145857.2005.10415287 |
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2004 Conference Publication Compositional strategies in sixteenth-century three- and four-part canonsCollins, Denis (2004). Compositional strategies in sixteenth-century three- and four-part canons. International Congress of the Musicological Society of Japan (IMJ 2002): Musicology and Globalisation, Shizuoka, Japan, 2-5 November 2002. Tokyo, Japan: Musicological Society of Japan. |
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2004 Journal Article Review of Peter Williams, Bach: The Goldberg VariationsCollins, D. B. (2004). Review of Peter Williams, Bach: The Goldberg Variations. Eighteenth-Century Music, 1 (2), 318-319. |
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2004 Book Chapter Approaches to invertible canonic composition in late sixteenth-century theory and practice.Collins, D. B. (2004). Approaches to invertible canonic composition in late sixteenth-century theory and practice.. Music Research: New Directions for a New Century. (pp. 368-375) edited by M. Ewans, R. Halton and J. Phillips. London: Cambridge Scholars Press. |
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2003 Journal Article The transmission of Zarlino's canonic theory in seventeenth-century organ chorale settingsCollins, Denis (2003). The transmission of Zarlino's canonic theory in seventeenth-century organ chorale settings. Musicology Australia, 26 (1), 38-64. doi: 10.1080/08145857.2003.10416508 |
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2003 Book Chapter The vocal canons of Fernando SorCollins, D. B. (2003). The vocal canons of Fernando Sor. Estudios Sobre Fernando Sor/Sor Studies. (pp. 305-312) edited by Luis Gasser. Madrid, Spain: Instituto Complutense de Ciencias Musicales. |
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2002 Journal Article Bach's occasional canon BWV 1073 and 'stacked' canonic procedure in the eighteenth centuryCollins, Denis (2002). Bach's occasional canon BWV 1073 and 'stacked' canonic procedure in the eighteenth century. BACH: The Journal of the Riemenschneider Bach Institute, 33 (2), 15-34. |
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2002 Conference Publication Metric space as a cognitive-structural model of musical pitchCollins, D. B. and Pavlovic, B. (2002). Metric space as a cognitive-structural model of musical pitch. 7th International Conference on Music Perception and Cognition, Sydney, 17-21 July 2002. Adelaide: Causal Productions. |
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2001 Journal Article An Unusual Effect in the Canon Per Tonos from J. S. Bach's Musical OfferingCollins, Denis and Schloss, W. Andrew (2001). An Unusual Effect in the Canon Per Tonos from J. S. Bach's Musical Offering. Music Perception, 19 (2), 141-154. doi: 10.1525/mp.2001.19.2.141 |
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1999 Journal Article Voice leading in cantus firmus-based composition: a comparison between theory and practice in Renaissance and Baroque music using computer-assisted inferential measuresCollins, Denis and Huron, David (1999). Voice leading in cantus firmus-based composition: a comparison between theory and practice in Renaissance and Baroque music using computer-assisted inferential measures. Computers in Music Research, 6 (Spring), 53-95. |
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1999 Journal Article Bach and approaches to canonic composition in early eighteenth-century theoretical and chamber music sourcesCollins, Denis (1999). Bach and approaches to canonic composition in early eighteenth-century theoretical and chamber music sources. BACH: The Journal of the Riemenschneider Bach Institute, 30 (2), 27-48. |
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1996 Journal Article Spiegel-Kontrapunkt in Theorie und Praxis: Vorlaufer fur Contrapunctus 12 und 13 aus Bachs Kunst der FugeCollins, Denis (1996). Spiegel-Kontrapunkt in Theorie und Praxis: Vorlaufer fur Contrapunctus 12 und 13 aus Bachs Kunst der Fuge. Bach-Jahrbuch, 82, 77-92. |
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1995 Journal Article Musical terminology in the canonic works of Bach: an historical contextCollins, Denis (1995). Musical terminology in the canonic works of Bach: an historical context. BACH: The Journal of the Riemenschneider Bach Institute, 26 (1/2), 91-101. |
