– Monograph:

  • Emergence of Modality in Late Medieval Song: The Cases of Du Fay and Binchois (Salzburger Stier, 8): Würzburg: Königshausen & Neumann (2013).

– Articles and Reviews:

  • “Il natal di Amore by Giulio Strozzi: Interactions and Echoes with the Early Modern Operatic World and Monteverdi”, submitted to Studî Secenteschi;
  • “Melodic and Formal Peculiarities of Monophonic chansons around 1500 and Related Polyphonic Settings”, submitted to Polifonie;
  • “Early Venetian Opera and Contemporary Narrative: Parallels, Discrepancies and a Case Study”, accepted for Journal of Seventeenth-Century Music;
  • “Zwischen vitio privato und pubblica virtù. Parallele zwischen den Novellen und den drammi per musica von Maiolino Bisaccioni (1582-1663)”, accepted for the congress report Musikwissenschaft nach Beethoven;
  • “Französische chansons in frühen deutschen Musikdrucken (1500-1550): Eine codicologische und kulturelle Kontextualisierung”, in Geselliger Sang: Poetik und Praxis des deutschen Liebeslieds im 15. und 16. Jahrhundert, forthcoming for de Gruyter;
  • “Les manuscrits BnF fr. 12744 (A) et 9346 (Manuscrit de Bayeux) (B) : deux chansonniers monodiques entre moyen âge et Renaissance”, in: Poésie et Musique au temps de Louis XII , ed. by Adéline Desbois-Ientile and Alice Tacaille, (« Colloques, congrès et conférences sur la Renaissance européenne » ; « Rencontres »), Paris: Classiques Garnier (2023), pp. 67-103;
  • “L’amour de moy si est enclose: Pierre de la Rue’s Isolated Credo in the Context of the Song’s Transmission”, forthcoming for Brepols;
  • “Opere veneziane per scene non veneziane: tra censura e assimilazione”, in: Kreativität im Schnittpunkt der Observanzen / Creatività e osservanza. Italienische Literatur um 1600 zwischen Gegenreformation und Regelpoetik / Letteratura italiana del Seicenti tra Controriforma e normatività poetica, ed. Maddalena Fingerle and Florian Mehltretter (Vigilanzkulturen / Cultures of Vigilance, 7), Berlin: de Gruyter (2023), pp. 207-35;
  • “Giulio Strozzi (1583-1652): drammaturgo, poeta, librettista e… libertino”, Lettere Italiane, 75/1 (2023), pp. 10-26;
  • “Intra quaternarii limites musicam intelligent omnem consonantiam (De monade, numero et figura, 1591): la musica nel pensiero di Giordano Bruno”, in: Music and Science from Leonardo to Galileo, ed. by Rudolf Rasch (Music, Science and Technology, 5), Turnhout: Brepols (2022) pp. 73-87;
  • “Three Libri missarum of Early Lutheran Germany: Some Reflections on their Repertory”, in: Early Printed Music and Material Culture in Central and Western Europe, ed. by Andrea Lindmayr-Brandl and Grantley McDonald (Music and Material Culture), London & New York: Routledge (2021), pp. 133-48;
  • “Espérance or: New Insights into the Origins of the Chansonnier de Bayeux“, Musicologica Austriaca (2021);
  • “Sänger-Komponisten rücken in repräsentative Staatsämter auf – Johannes Ockeghem und die Hofkapellen des 15. Jahrhunderts“, in: Musik und Gesellschaft. Marktplätze · Kampfzonen · Elysium, ed. by Frieder Reininghaus, Judith Kemp and Alexandra Ziane, 2 vols., Würzburg: Königshausen & Neumann (2020), I, pp. 171-73;
  • “Caught in the Web of Texts: The Chanson Family Bon vin/Bon temps and the Disputed Identity of ‘Gaspart’”, in: Gaspar van Weerbeke: New Perspectives on his Life and Music, ed. by Andrea Lindmayr-Brandl & Paul L. Kolb, Turnhout: Brepols (2019), pp. 255-80;
  • “Ferrante Pallavicino’s Venetian Years and Opera: A Thwarted Connection?”, The Seventeenth Century (2019), pp. 1-17;
  • “La fille qui n’a point d’amy: Secular and Ecclesiastical Friends of an Abandoned Girl”, Journal of the Alamire Foundation, 10/2 (2018), pp. 207-35;
  • “Caspar Glanners Liedersammlungen (1578 & 1580): Ein retrospektives Repertoire?”, Die Musikforschung 3 (2018), pp. 221-41;
  • “Zu Stil und Form einstimmiger Melodien um 1500 – Einige Fälle in den Pariser monophonen Chansonniers”, in: Creatio ex unisono: Einstimmige Musik im 15. und 16. Jahrhundert, ed. by Nicole Schwindt (troja, Jahrbuch für Renaissancemusik, 13), 2017 for 2014, pp. 81-103;
  • Review of Astrid Opitz, Modus in den Chansons von Binchois (Saarbrücker Studien zur Musikwissenschaft 18), Sinzig: Studio Verlag (2015), Zeitschrift der Gesellschaft für Musiktheorie, 13/1 (2016), pp. 151-5;
  • “Gentilz gallans de France: The Vicissitudes of a French War Song between Brittany and Rome”, Musica Disciplina, 59, (2016 for 2014), pp. 7-51;
  • “Oper, Politik und Philosophie in der Serenissima des 17. Jahrhunderts und ihre internationalen Vernetzungen”, in: Von Venedig nach Salzburg. Spurenlese eines vielschichtigen Transfers (Veröffentlichungen der Forschungsplattform „Salzburger Musikgeschichte“ 3), ed. by Gerhard Ammerer, Ingonda Hannesschläger & Thomas Hochradner, Vienna: Hollitzer (2015), pp. 184-200;
  • “Musik in den Werken Giordano Brunos: Eine erste Erkundung”, Archiv für Musikwissenschaft, 72/2 (2015), pp. 77-98;
  • “Mal mariées, Adulterers and Lovers in Late Fifteenth-Century Song: A Cultural and Social Perspective”, Revue Belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap, 68 (2014), pp. 43-74;
  • “Johannes Brassart und Kaiser Sigismund: Versuch nach einer historischen Kontextualisierung anhand der Introiten”, in: Music and Culture in the Age of the Council of Basel (Collection „Épitome musical“), ed. by Matteo Nanni, Turnhout: Brepols (2013), pp. 269-84;
  • Report on the symposium “Arbeit am musikalischen Werk. Zur Dynamik künstlerischen Handelns”, Österreichische Musikzeitschrift, 66/3 (2011), pp. 69-70;
  • “Musica ficta Usage: Old Questions and a Reappraisal”, Studi Musicali, 2010/1, pp. 53-78;
  • “Analisi modale, polifonia e teoria musicale tardo-medievale: un approccio storico critico”, Rivista Italiana di Musicologia, 42/1 (2007), pp. 3-39;
  • Critical review of Daniel Leech-Wilkinson, The Modern Invention of Medieval Music: Scholarship, Ideology, Performance, Il Saggiatore Musicale, 14/2 (2007) pp. 405-12;
  • “Modal Usage in Fifteenth-Century Secular Polyphony”, in: Music and the Arts: Proceedings from ICMS 7, (Acta Semiotica Fennica, 23; Approaches to Musical Semiotics, 10), 2 vols., ed. by Eero Tarasti et al. Helsinki (2006), 2, pp. 899-914;
  • “Tant que mon/nostre argent dura: Die Überlieferung und Bearbeitung einer ‘populären’ Melodie in fünf mehrstimmigen Sätzen”, Acta musicologica 77/2 (2005), pp. 205-29;
  • “Modal Usage in the Secular Works of Du Fay”, Revue Belge de Musicologie, 59 (2005), pp. 5-42;
  • “Modalità e Polifonia: una discussione critica dei più recenti approcci di ricerca”, Rivista Italiana di Musicologia, 34/1 (2004), pp. 173-98;
  • “Strutture matematiche nei mottetti isoritmici di Dufay”, Musica & Storia, 7/1 (1999), pp. 59-76.

– Translations:

  • Andrea Lindmayr-Brandl & Agnese Pavanello, Introduction to the Critical Edition of Gaspar van Weerbeke’s Complete Works, published by the American Institute of Musicology (translated from the Italian);
  • Oliver Huck & Julia Gehring, “La notazione ‘italiana’ del Trecento”, Rivista Italiana di Musicologia, 34/2 (2004), pp. 235-70 (translated from the German).

– Others:

  • Regular contributor to Medioevo Musicale / Music in the Middle Ages. Bollettino bibliografico della musica medievale / Mediaeval Music Bibliographical Bulletin, dir. Maria Sofia Lannutti, Florence: Edizioni del Galluzzo per la Fondazione Ezio Franceschini (2007- )

– Websites:

  •  https://chansonmelodies-sbg-ac.eu/db/welcome.php: in connection to the FWF projects “Borrowing and Citation of Monophonic Secular Tunes in Late 15th-Century Song”, P 22365-G18 and “Borrowing and Citation of Monophonic Melodies in Secular and Sacred Polyphony around 1500”, P 27257-G18;
  •  https://operaincogniti.org/: in connection to the FWF project “Early Venetian Opera and Incogniti Literature”, P 31859-G

– Articles and Essays in Preparation:

  • “Il germanico Marte by Antonio Caldara: An ‘Arminio’ Opera and Its Tradition”;
  • “Music and Esoteric Culture between Fifteenth and Sixteenth Century: A New Interpretation of Josquin’s Missa Hercules Dux Ferrariae“.

– Monographs in Preparation:

  • Frühe venezianische Oper und Literatur der „Accademia degli Incogniti“: Thematische und strukturelle Überschneidungen im Schatten ‚libertinen‘ Denkens, for Peter Lang –> Habilitation;
  • The Chansonnier de Bayeux: An Early 16th-Century Monophonic Source and Its Polyphonic Relatives, for Brepols