Annotated Bibliographies by Topic (ML 120-128 and VARIOUS)


Baron, John H. Baroque Music: A Research and Information Guide.

Coover, James. Musical Instrument Collections: Catalogues and Cognate Literature.

Cowden, Robert H. Instrumenti Virtuosi: A Bibliography of Biographical Materials.

Cron, Diane V. "A Bibliography of More Than You Would Ever Want to Know About Reeds."

Gilliam, Laura E., and William Lichtenwanger, comp. The Dayton C. Miller Flute Collection: A Checklist of the Instruments.

Hughes, Andrew.  Medieval Music: The Sixth Liberal Art, revised ed.

Lincoln, Harry B. The Italian Madrigal and Related Repertories: Indexes to Printed Collections 1500-1600.

Lincoln, Harry B. The Latin Motet: Indexes to Printed Collections, 1500-1600.

McLoskey, Lansing D. Twentieth Century Danish Music: An Annotated Bibliography and Research Directory.

McTyre, Ruthann. Library Resources for Singers, Coaches, and Accompanists: An Annotated Bibliography, 1970-1997.

Miller, Philip L. The Ring of Words: An Anthology of Song Texts.

Siegmeister, Elie, ed. The New Music Lover’s Handbook, 2d ed.

Steinzor, Curt Ephraim, comp. American Musicologists, c. 1890-1945.

Switten, Margaret L. Music and Poetry in the Middle Ages: A Guide to Research on French and Occitan Song, 1100-1400.

Tischer, Alice. A Descriptive Bibliography of Art Music by Israeli Composers.

University of Hartford. Mildred P. Allen Memorial Library: Music Guides: Conducting.

Walther, Hermann. Bibliographie der Musikbuchreihen 1886-1990.

Wick, Robert L. Electronic and Computer Music: an Annotated Bibliography.

Winick, Steven D.  Rhythm: An Annotated Bibliography.

Yeats-Edwards, Paul. English Church Music: a Bibliography.

Baron, John H. Baroque Music: A Research and Information Guide. Music Research and Information Guides, vol. 16. Garland Reference Library of the Humanities, vol. 871. New York and London: Garland Publishing Company, 1993. Mus Ref ML 116 .B37 1993

Use: This annotated bibliography is a “guide for music lovers, amateur and professional performers, music critics, and musicologists who seek information on the so-called ‘baroque’ period in music.” It provides an idea of what each source it lists contains. It would be especially useful for someone looking for a source on a very specialized aspect of the baroque period.

Coverage: The bibliography includes books, dissertations, essays in anthologies, and some articles. Most of the sources were written between 1960 and 1991. There are a few studies from before 1960. The editor has selected “a few representative and recent studies whose bibliographies and footnotes can lead the reader to the other studies.” The sources listed appear to be limited to Western Europe and United States, and list sources in European languages. The book concentrates on music of Europe from 1600 to 1720.

Organization: The book is divided into the following chapters: General Baroque Studies, General Music Reference, Musicians, National Studies, Theoretical Studies, Instrumental Music, Non-operatic Vocal Music, Opera, Incidental Music, Modern Revival, Music Patronage, Music Pedagogy, Music Printing, and Music Iconography. Each of these chapters has subcategories, which are listed in the Table of Contents at the beginning of the book. There are three indexes: Authors, Names, and Subjects. The entries are each given a number, but do not appear to be in any type of order within each chapter. Each entry contains, in this order, bibliographic citation, including author, title, and publication information, number of pages, Library of Congress number, ISBN number, and a brief description of the source, including type of source and general contents.

Pros: The bibliography covers every type of research, making the book useful to a wide range of people. The indexes are also very useful, especially author and subject indexes. The sources listed can be used as a starting point, and have been selected partly because they include good bibliographies. Another advantage is that it is not a multi-volume work, and keeps the research more simple.

Cons: The Names index seems a bit unclear. There is no definition in the introduction about what names are being indexed. Another disadvantage to this bibliography is that it does not include very many periodicals, which is a huge category of research to overlook. It also only lists sources until 1991, making it out-of-date.


Coover, James. Musical Instrument Collections: Catalogues and Cognate Literature. Detroit Studies in Music Bibliography, 47. Detroit, Mich.: Information Coordinators, 1981. Mus Ref ML 155 .C63

Use: Specialized annotated bibliography which lists catalogs of musical instrument collections and related literature. Useful in the historical research of instruments.

Coverage: International coverage of collections. Contains wide scope of literature surrounding instrument collections (such as museum guides or journal articles).

Organization: Divided into two sections. First, Institutions and Expositions-arranged alphabetically by place. These citations include catalogs, literature, and general descriptions dealing with musical instruments. Second, Private Collections, and corresponding literature. Also contains appendixes which cover early inventories, expositions, and exhibitions, along with two indexes: General; Auctioneers, Antiquarians, Firms

Pros: Provides directory information for each institution such as institution address and hours. Brief historical notes under certain entries.     


Cowden, Robert H. Instrumenti Virtuosi: A Bibliography of Biographical Materials. Music Reference Collection, No. 18. New York; Westport, Connecticut; London: Greenwood Press, 1989. Mus Ref ML 128 .B3 C73 1989

Use: For those interested in biographical information about virtuosic performers on standard instruments. Can be used as a starting point for research, but also gives basic information about each artist.

Coverage: Each artist had to be cited in at least one of the standard music biographical dictionaries or encyclopedias, had to have written an autobiography or contribution to interpretation or style, and/or had to be the subject of a biographical study. Artists from the Renaissance were excluded, as well as those known primarily as chamber musicians. Composers who excelled on an instrument were also excluded, with some exceptions (such as Chopin, Liszt, and Rostropovich). 98 percent of all books listed were inspected by the compiler, therefore each list is not comprehensive. Titles chosen were those dealing directly with performance issues.

Organization: Divided into three main sections: Collective Works: Books on Virtuosi, Collective Works: Related Books, and Individual Virtuosi, A-Z. The first section is a bibliography that first lists books on all performers in alphabetical order by author, then by instrument. Some entries have annotations. The second section is also in alphabetical order by author. The last section lists each artist in alphabetical order by last name, and lists sources underneath in bibliographic form.

Pros: Good list of performers.

Cons: Out-of-date.


Hughes, Andrew.  Medieval Music: The Sixth Liberal Art, revised ed.  Toronto Medieval Bibliographies, John Leyerle, general editor, 4.  Toronto: University of Toronto Press, 1980. Mus Ref ML 114 .H8 1979

Use:  A guide for students and researchers concerning topics in medieval music.

Coverage: Various medieval music topics considered.  An attempt at a comprensive look at the issues and topics of medieval music study.  Facsimiles and catalogues included.  Only sources high in quality of scholarship and presentation considered for inclusion.

Organization:  Information organized in a complex, sometimes arbitrary arrangement of topics. The “General Index” serves as a comprehensive guide to the work.   

Pros: Entries include brief summary of the contents and objectives of each study.

Cons: Format confusing without consulting “Key to the bibliography.”


Lincoln, Harry B. The Italian Madrigal and Related Repertories: Indexes to Printed Collections 1500-1600. New Haven, Conn.: Yale University Press, 1988. Mus Ref ML 128 .M3 L56x 1988

Use: Identifying and locating original manuscripts for Italian madrigals and related genres. Useful for ascertaining if a given melody is borrowed from another source. Designed to complement the Vogel catalogs (more bibliographic) and supplement RISM.

Coverage: Thematic index to several 16th century music repertories. Includes many genres, such as the madrigal, frottola, and lauda. Over 9,000 pieces indexed, with 38,000 melodic incipits.

Organization: Four parts. 1) Composer index with incipits. Includes first line of text , page/folio number from original manuscript, RISM source number, genre, and some commentary. 2) Alphabetical index to first lines. 3) Thematic locator (listing of melodies by melodic contour) 4) Index to sources. Listed in RISM order.

Pros: Some illustrations. Incipits and RISM numbers for every piece.


Lincoln, Harry B. The Latin Motet: Indexes to Printed Collections, 1500-1600. Wissenschafliche Abhandlungen, band 59. Ottawa Canada: Institute of Mediaeval Music: 1993. Mus Ref ML 128 .S2 L56 1993

Use: Guides user to Latin motets based on composer, first line, thematic material, source, or modern edition.

Coverage: Comprehensive coverage of motets in collections (volumes which include the work of more than one composer). Some inclusion of non-motet species when they appear in collections labeled “Motets,” or are listed under “Motet” in The New Grove Dictionary of Music and Musicians.

Organization: Divided into five indexes listing motets by: composer (music incipits provided), first line, initial interval sequence, original source, and modern edition. For each motet in each index, the composer, initial interval sequence, original source, and modern edition are listed

Pros: Includes a “how to use this book” section designed to aid navigation. Modern editions cited when available (including in dissertations).


McLoskey, Lansing D. Twentieth Century Danish Music: An Annotated Bibliography and Research Directory. Music Reference Collection, no. 65. London and Westport, Conn.: Greenwood Press, 1998. Mus Ref ML 120 .D3 M35 1998

Use: A comprehensive bibliography and research directory for people attempting to conduct research in the field of Danish music or for those who are interested in programming Danish music.

Coverage: Encompasses all sources pertaining to Danish music, composers and musical life since 1900 with an emphasis on the era 1931-present (not including Carl Nielsen). Covering music in the Danish mainland as well as the Faroe Islands. The criteria for composer choice is as follows: level of international recognition, importance in development of a particular style or movement, notable contribution to Danish repertoire, important regional figure, important figure within a generation, significant pedagogical roe, or a pioneer in a particular style or genre regardless of widespread acceptance or popularity.

Organization: Organized in two parts: a bibliography and a research directory, each with titled subsections. Bibliography is annotated. Contains brief overview of twentieth century Danish Music. Two appendices are located at the end that include the chronology of Danish composers by year of birth as well as an alphabetical listing of each composer within each year. Provides a Guidelines and Abbreviations page to help the user find what they are looking for more efficiently.

Pros: User friendly. Subsections of the different parts help the researcher find specific source information faster. Comprehensive. Includes a citation for a bibliography specifically on sources for Carl Nielsen’s work. Languages of sources not limited to Scandinavian languages.

Cons: Short annotations.


McTyre, Ruthann. Library Resources for Singers, Coaches, and Accompanists: An Annotated Bibliography, 1970-1997. Music Reference Collection, No. 71. Westport, Connecticut: Greenwood Press, 1998. Mus Ref ML 128 .V7 M47 1997

Use: A research guide for singers and their accompanists and coaches. Its stated purpose is to be a “practical guide to library materials that aid and enhance the study of voice,” to be used as a “doorway,” not a comprehensive look at all available research relating to the voice.

Coverage: Deals with materials related to repertoire, bibliographic guides, plot synopses, translations, guides to diction, pedagogy, and stage resources for opera, musical theater, and the solo voice. Choral music is not covered. Includes only materials published after 1970, though some earlier materials may have mention in annotations. Only English-language publications covered. Journal articles not included. Omits books titled “The Operas of...” and “The Songs of....” Maximum number of entries for each section set at 40.

Organization: Divided into ten chapters. These are:
Dictionaries, Encyclopedia, Related Resources
Pedagogical Resources
Repertoire and Research
Stage Resources
Synopses, Translation, and Diction
Travel and Education
Preparation, Accompanying, Coaching
Internet and Electronic Resources
Discographies and Videographies
Each chapter is further divided into subsections. Numbers of entries consist of chapter number and chapter sequence number (1.26 for the 26th entry in chapter one). Entries within each subsection are arranged alphabetically. Each entry contains bibliographic information and an annotation. Includes separate title and subject indexes.

Pros: A good start for someone wanting to learn more about the vocal performance related aspects.

Cons: Other guides need to be consulted for works published prior to 1970. No coverage of journal articles.


Miller, Philip L. The Ring of Words: An Anthology of Song Texts. New York: W.W. Norton and Company Inc., 1973. Mus Ref ML 154.6 .M5 R5 1973

Use: English translations of poems often set to music by art song composers. Poetry of German, French, Italian, Russian, Scandinavian, and Spanish authors. Very useful to performers and voice teachers.

Coverage: Limited to text set by German, French, Italian, Russian, Norwegian and Swedish solo art song composers.

Organization: Poets’ names and dates are listed first, followed by composers, text, and translation. Listed with the composer are textual changes made to fit the song, opus number, and/or alternate titles of the songs.

Pros: Good source of word-for-word translations.

Cons: Includes only more well-known songs of major art song composers.


Siegmeister, Elie, ed. The New Music Lover’s Handbook, 2d ed. Irvington-on-Hudson, New York: Harvey House, 1973. Mus Ref ML 55. S62

Use: Intended for the use of those who love music but are not necessarily well-educated in it. Author desires to give them a broader view of all types of music, their origins, and how they fit into our life, thus providing them with an enhanced listening experience. The author states that it is hoped that this material will be read after the listening is done. Attempts this through brief examinations of major composers, genres and historical periods of music, and the place of music in our society.

Coverage: Includes sections on all major forms and composers of high musical art, from the masses of Palestrina to the operas of Wagner, from symphonies of Beethoven to the jazz music for the concert hall of Gershwin. Popular and folk idioms, especially those of America and Europe, are also covered. Contains a chapter on music throughout the world, including Bali, Japan, India, and Africa.

Organization: Writings from various composers, musicologists, and others associated closely with music are grouped into the following sections:
Folk music
Composers and historical periods
Materials, structure, and process of musical composition
World music
Music in dance, theater, and film
Contemporary composers
American folk, jazz, and rock
American composers.
Writings vary in length from one to many pages. Includes an appendix of notable composers not covered extensively in the work.

Pros: Layout and typeface of book make easy to browse and read about subjects of interest. Good overviews of various elements and figures in music in language geared to the general public.Musical examples are in unusually large type and made simple to understand.

Cons: Published in 1973, so somewhat outdated, although most major composers, even of the last fifty years are profiled.


Steinzor, Curt Ephraim, comp. American Musicologists, c. 1890-1945. Music Reference Collection, No. 17. New York; Westport, Connecticut; London: Greenwood Press, 1989. Mus Ref ML 128 .M8 S73 1989

Use: A bio-bibliography with the intention of bringing into awareness the history of musicology and listing significant musicologists and their writings. Especially useful for musicologists, who can use it as a learning tool by studying what has been significant in musicology.

Coverage: Musicologists were selected by their mention in existing literature on the history of musicology and their contributions in early publications of the American Musicological Society. Their professional career and influence as a teacher were also considered. There are 19 native-born Americans and 16 European emigres mentioned.

Organization: The main section of the book is a bio-bibliography organized into three sections: a biographical resume, writings, and sources. The biographical resume section includes dates and places of birth and death, education, music teachers, and professional positions. The writings portion includes books and articles, musical editions, and reviews. The sources are published sources, followed by other sources. There is an appendix of Selected Literature on the Early History of Musicology in the United States, and a Classified Subject Listing of Musicological Writings.

Pros: Extensive information on each musicologist. Lists of writings are very useful for anyone doing a paper.

Cons: Updated typography would give the book a more accessible appearance.


Switten, Margaret L. Music and Poetry in the Middle Ages: A Guide to Research on French and Occitan Song, 1100-1400. Garland Medieval Bibliographies. New York: Garland Publishing, Inc., 1995. Mus Ref ML 128 .M3 S9 1995

Use: A resource for those pursuing a detailed study of the different forms of secular poetry and music in France during the late Middle Ages. Its purpose is encourage musicologists and poetry scholars to engage in interdisciplinary research to elucidate this subject more fully than separate studies in these fields have done. Also includes an introduction explaining French song and how this music worked in society of this era and a discography.

Coverage: Focuses on secular music and poetry in the French and Occitan languages from the years 1100-1400. The bibliography and discography is limited, with rare exceptions, to research published and recordings made after 1980 because other compilations cover previous years.

Organization: Introduction gives a detailed history of the subject, a review of new focuses of research since 1980, and a study of the sources of knowledge about the subject and the problems encountered in using these sources. Main body is an annotated bibliography. Its sections cover:
General research, language references, and conference papers
Research on manuscripts and writings about music by contemporaries of this period
Modern anthologies and editions
Overarching aspects of analysis of this subject
Specific studies on the music and poetry itself, as well as the performers, composers, and poets
Also includes a discography as well as reviews of and reference works about the various recordings. Contains index of the Medieval poets, composers, theorists, songs, and works; and an index listing later scholars and performers. Includes abbreviations used and the journals and periodicals searched. Entries dealing with research on specific music and composers appear chronologically; divisions within each time period are made into separate genres, poets or composers and are organized alphabetically. Bibliography entries includes bibliographic information and annotation. Discography entries contain recording information, a list of performers and pieces and an annotation.

Pros: Very comprehensive in its coverage of research about and recordings of secular Medieval French song. The introduction, with its overview of secular French song and its place in French society, is valuable for a performer and historian. Discography of an obscure genre is a great resource for both an scholars and performers.

Cons: Only lists research and recordings done between 1980 and 1995.


Tischer, Alice. A Descriptive Bibliography of Art Music by Israeli Composers. Detroit Studies in Music Bibliography, No. 62. Edited by J. Bunker Clark. Detroit, Mich.: Harmonie Park Press, 1988. Mus Ref ML 120 .I75 T57 1988

Use: Useful for identifying Israeli composers and compositions from the first half of the 20th century. Gives locations of recordings and music in the U.S.

Coverage: Starting date of 1910. Covers recognized Israeli composers with works that were performed and/or published. Does not include composers born after 1947.

Organization: Entries given alphabetically by author. Entries include a brief biographical sketch followed by a detailed listing of compositions. Give instrumentation, language of text, duration, date of first performance, location of recordings and/or music in the U.S., and awards or distinctions of the composition. Contained at the end of the publication are a classification index, author index, transliterated Hebrew title index, and a multilingual title index.

Pros: Only reference tool of its kind.

Cons: Covers a very limited time span.


University of Hartford. Mildred P. Allen Memorial Library: Music Guides: Conducting. Database online at: Accessed July 26, 2001.

Use: Online resource and index of the music collection located in the Mildred P. Allen Memorial Library. Useful website for locating available bibliographies relating to conducting and orchestral music.

Coverage: Index to the music collection in the University of Hartford, Mildren P. Allen Memorial Library.

Organization: Organized by Subject Headings, Call Numbers, and Literature in the Allen Library, and Periodicals and Web Sites associated with conducting and orchestral music. Literature section dived into: Printed Music and Recorded Music.

Pros: Helpful bibliographies. Offers some links to other web pages.

Cons: Limited to Mildred P. Allen library. No search capabilities offered online. Not extensive, lists only call numbers not specific books on conducting. Also, does not list periodical articles, only periodicals that have some connection to conducting.

Note: Other subject guides available. See


Walther, Hermann. Bibliographie der Musikbuchreihen 1886-1990. Catalogus Musicus, vol. 12. Kassel: Barenreiter, 1991. Mus Ref ML 113 .C35 Vol. 12

Use: Bibliography of music related monographic series published between 1886-1990 in German speaking countries. Particularly useful for studying the various genres of music published in Germany.

Coverage: Includes special documents and monographs from 1886-1990. A fairly large range of subjects, from German music to jazz.

Organization: Alphabetical by genre. Each entry includes composer, title of composition, and publishing information.

Cons: Strictly bibliography. Does not include incipits.

Review: Schreiber, Klaus. Zeitschrift fur Bibliothekswesen und Bibliographie, (1993): 287-289; Meerwein, Georg. Tibia: Magazin fur Freunde alter und neuer Blasermusik, (1992): 225-226; Haberkamp, Gertraut. Die Musikforschung, (1992): 376-377.


Wick, Robert L. Electronic and Computer Music: an Annotated Bibliography. Music Reference Collection, No. 56. Westport, Conn. and London: Greenwood Press, 1997. Mus Ref ML 128 .E4 W53 1997

Use: References research done on electronic and computer music.

Coverage: Includes only general books about the composition and performance of electronic and computer music since its beginnings to 1997. Sources about sound recording, studio engineering, electronic engineering, and computer programming excluded. All books in English or translated into English.

Organization: Chapters divided by subject: books about synthesis and synthesizers, instruments and devices, MIDI, composition, composers, etc. Citations are listed alphabetically by author. Appendices include theses and dissertations, system manuals, on-line sources, and periodicals. An index integrates authors and subjects.

Pros: clear layout

Cons: only includes general books, not specific articles.


Winick, Steven D.  Rhythm: An Annotated Bibliography.  Metuchen, N.J.: The Scarecrow Press, Inc., 1974. Mus Ref ML 128 .L3 W53

Use:  A bibliography to the body of literature about rhythm intended for music teachers. 

Coverage:  Theses, dissertations, books, journal articles included, without much discrimination due to quality or content to allow for individual judgment of reader. 

Organization:  Divided into three categories:  1) “General Background”, 2) “Psychology of Rhythm”, and 3) “Pedagogy of Rhythm.”  Each category contains subcategories.  Entries listed alphabetically by author under the various subcategories.

Pros: Includes theses and dissertations.  Relatively long summaries of coverage of materials indexed.

Cons: Relatively outdated.


Yeats-Edwards, Paul. English Church Music: a Bibliography. London, New York, Sydney and Toronto: White Lion Publishers Limited, 1975. Mus Ref ML 128 .C54 Y4

Use: Attempted comprehensive listing of research on English church music.

Coverage: Includes citations for reference books, biographies, histories, pamphlets, tracts, sermons, dissertations, published and unpublished theses, fiction, and conference reports from 1500-1973. Periodical articles are excluded. Focuses only on sacred music - no oratorios. Includes a brief history of English church music and a list of choir schools. All sources are in English and have been published in England.

Organization: Chapters divide sources by publication type and research methodology. Most listings are done alphabetically by author’s last name - exceptions: reference books alphabetically by title, historical books listed chronologically, and reports by name of corporation. Bibliographic citations may include background reading or notes from the compiler. Integrated index of titles and authors.

Pros: very comprehensive.

Cons: too many different categories and orders of listing, so the organization is confusing. At the beginning of each chapter, the compiler has to explain his method or organization.