Works by Barry S. Brook

I. Books

• La symphonie française dans la seconde moitié du XVIIIe siècle. Diss. Université de Paris, 1959, (Paris: Institut de Musicologie de l’Univeristé de Paris, 1962), 3 vols: I. Étude historique; II. Catalogue thématique et bibliographique; III. Publications.
• The Breitkopf Thematic Catalogue, 1762-1787 (New York: Dover Publications, 1966), xxxvii, 888, lxxi p.
• Musicology and the Computer: Musicology 1966-2000: A Practical Program (editor), Proceedings of meetings of the Greater New York Chapter of the American Musicological Society, 1965-66 (New York, City University of New York, 1970), 275 p.
• Perspectives in Musicology: The Inaugural Lectures of the Ph.D. Program in Music at the City University of New York (co-editor with Edward O.D. Downes and Sherman Van Solkema), (New York: W.W. Norton, 1972), xv, 363 p. Paperback edition, revised 1975; reprinted (Stuyvesant, N.Y. Pendragon Press, 1988).
• Thematic Catalogues in Music: An Annotated Bibliography (Stuyvesant: Pendragon Press, ¹1972), xxxvi, 347 p. Second edition revised with Richard J. Viano (Stuyvesant: Pendragon Press, 1997) 1602.
• The Symphony, 1720-1840: A Comprehensive Collection of Full Scores (general editor), (New York: Garland, 1979-85), 60 vols.
• The Symphony, 1720-1840: Reference Volume—Contents of the Set and Collected Thematic Indexes. (New York: Garland, 1986).
• François-Joseph Gossec: Eight Symphonic Works, in: The symphony 1720-1840, series D, volume III (New York: Dover, 1983).
• Simon Le Duc: Five Symphonic Works; Le Chevalier de Saint-Georges: Three Symphonic Works, in: The symphony 1720-1840, series D, volume IV (New York: Dover, 1983).
• Joseph Haydn: Streichtrios. I-II (co-editor Bruce MacIntyre), Joseph Haydn Werke, xi/1-2 (München: G. Henle Verlag, 1986-96).
• French Opera in the 17th and 18th Centuries (general editor), (Stuyvesant, Pendragon Press, 1984-97), 11 vols.
• Christian Ulrich Ringmacher, Catalogo de soli, duetti, trii. Berlin 1773 (Leipzig: Edition Peters; Stuyvesant: Pendragon Press, 1987).
• Giovanni Battista Pergolesi Complete Works/Opere Complete. Barry S. Brook, Francesco Degrada, Helmut Hucke (general editors). 18 volumes, co-sponsored by the Pergolesi Research Center, City University of New York and the city of Iesi (Stuyvesant: Pendragon Press; Milan: G. Ricordi).

II. Articles

A. Eighteenth-century music

• Fakaerti: Incognito Symphonist, or Cutting Down the Anhang, Fontes artis musicae II/3 (Dec 1955), 166-170.
• H. Leemans of Bruges and Paris, Revue belge de musicologie XV/1-4 (Dec 1961), 47-54.
• Simon Le Duc l’ainé: A French Symphonist at the Time of Mozart, The musical quarterly XLVIII/4 (Oct 1962), 498-513.
• Die Entwicklung der Symphonie im 18. Jahrhundert: Frankreich, Musikalische Gattungen in Einzeldarstellungen. Bd. I: Symphonische Musik (Kassel: Bärenreiter 1981), 126-134.

B. Symphonie concertante

• The Symphonie Concertante: An Interim Report, The musical quarterly XLVII/4 (Oct 1961), 493-516. Addenda: XLVII/1 (Jan 1962) 148.
• Koncertantna simfonija: Njezini glazbeni i sociološki temelji, Zvuk 2 (1974), 81-93.
• The Symphonie Concertante: Its Musical and Sociological Bases, International review of the aesthetics and sociology of music VI/1 (1975), 9-28; reprinted in: ibid. XXV/1-2 (1994), 131-148.
• The Symphonie Concertante: Introduction (co-author Mary Fusco). The Symphony 1820-1840, series D volume V (Davaux, Cambrini, Barrièval, Bertheaume), (New York, Garland, 1983).
• Symphonie Concertante, etc., Musikalische Gattungen in Einzeldarstellungen. Bd. I: Symphonische Musik (Kassel: Bärenreiter 1981), 40-44.

C. Giovanni Battista Pergolesi

• The Pergolesi Hand: A Calligraphic Study (co-author Marvin Paymer), Notes XXVIII/3 (March 1982), 550-578. German translation: Pergolesis Hand: Eine kalligraphische Studie, Die Musikforschung XXXV/1 (1982), 1-26. Italian translation: La mano di Pergolesi: Studio calligrafico, Nuova rivista musicale italiana XXIII/4 (1989), 487-514.
• Pergolesi Research, Publication, and Performance: A Perspective on Their Present Status, Studi pergolesiani I (1986), 3-10.
• La storia del genio in tre atti: Parigi, Europe, New York, in: Dario Della Porta, Barry S. Brook, & Marvin E. Paymer (editors), Il caso Pergolesi (Bergamo: Edizione Bolis, 1985), 51-62.
• Pergolesi: Vindication After 250 Years, Musical times CXXVII/1717 (March 1986), 141-145.
• Preface to Adriano in Siria: Dramma per musica. Dale Monson (editor). Giovanni Battista Pergolesi: Complete Works/Opere Complete, vol. 3 (Stuyvesant, N.Y., Pendragon Press; Milano: G. Ricordi, 1986), vii-xii.
• Recent Developments in Pergolesi Research, Performance, and Publication, Studi pergolesiani II (1988), 3-6.
• Stravinsky's "Pulcinella": The "Pergolesi" Sources, in: Joël-Marie Fauquet (editor), Musiques, signes, images: Liber amicorum François Lesure (Genève: Minkoff, 1988), 41-66.
• The Pergolesi Complete Works Edition and the General Problems of Using Internal Analysis for Determining Authenticity, in: Hanspeter Bennwitz, Gabriele Buschmeier, et al. (editors), Opera incerta: Echtheitsfragen als Problem musikwissenschaftlicher Gesamtausgaben, Kolloquium Mainz 1988 (Mainz: Akademie der Wissenschaften und der Literatur, 1991), 319-334.
• Neapolitan Speciality: Unearthing Pergolesi’s "Other" Operas, Opera news LV/2 (August 1990), 28-31, 54.

D. Joseph Haydn

• Round table: Performance Problems in Haydn’s Music. Historical Performance Conditions and Traditions, in: Jens Peter Larsen, Howard Serwer, and James Webster (editors), Haydn studies: Proceedings of the International Haydn Conference, Washington, D.C. 1975 (New York: W.W. Norton, 1981), 185-202.
• Workshop 5: Opera, Haydn studies, ibid., 253-266.
• Determining Authenticity Through Internal Analysis: A Multifaceted Approach (with special reference to Haydn’s string trios), in: Eva Badura-Skoda (editor), International Joseph Haydn Kongress, Wien 1982 (München: G. Henle, 1985), 551-566.
• Haydn's String Trios: A Misunderstood Genre, Current musicology (1983), 36, 61-77.

E. Eighteenth century miscellaneous

• Le tempo dans l’exécution de la musique instrumentale à la fin du XVIIIe siècle: Les contributions de C. Mason et William Crotch, Fontes artis musicae XII/2-3 (1965), 196-201.
• The Motets of François Martin, in: Jean Mongrédien (editor), Actes du colloque international de musicologie sur le grand motet français, 1663-1792 (Paris: Presses de l’Université de Paris-Sorbonne, 1986), 277-290.

F. Musicology as a discipline; Music historiography; Oral history

• On Graduate Study and Standards in Musicology, Current musicology 4 (fall-winter 1966), 156-160.
• Lionel de la Laurencie’s L’École française de violon, Notes XXVI/1 (September 1969), 9-14.
• Patterns in the Historiography of 19th-Century Music (with Leon Plantinga), Acta musicologica XLIII/3-4 (1971), 248-282.
• Musikwissenschaft in den Vereinigten Staaten, Österreichische Musikzeitschrift XXXI/10 (October 1976), 500-509. Original English version "Musicology and Musicological Training in the United States", printed in a special issue of the Österreichische Musikzeitschrift for the American bicentennial (October 1976), 36-43, reprinted in Miscellanea musicologica: Adelaide studies in musicology, X (1979), 158-165.
• Music, Musicology and Related Disciplines: On Perspective and Interconnectedness, Challenges in Music Education (Proceedings of the XI International Conference of the International Society for Music Education, held in Perth, Western Australia, 5 to 12 August 1974), (Perth: University of Western Australia, 1976), 294-301. Reprinted in: Claire Brook & Edward Clinkscale (editors), A Musical Offering: Essays in Honor of Martin Bernstein (New York, Pendragon Press, 1977), 68-76.
• Oral History and Music History in Our Time, College music symposium XIX/1 (1979), 233-238.
• The Role of Musicology, in: Music Study at the Graduate Level: Proceedings of the Symposium "The Study of Music, the Pursuit of Advanced Degrees, and the Future" (Calgary: Faculty of Fine Arts of the University of Calgary, 1982), 1-12.
• The IMC and Musicology, in: Trend and Perspectives in Musicology: Proceedings of the World Music Conference of the International Music Council, October 3-5, 1983. Publication of the Royal Swedish Academy of Music, XLVIII (1985), 7-11.

G. Musicologists of our time

• Noah Greenberg (1920-1966), Journal of the American Musicological Society XX/3 (fall 1967), 511.
• La comtesse Hubert de Chambure, RIdIM/RCMI newsletter I/2 (February 1976), 4.
• La comtesse Hubert de Chambure, née Genevieve Thibault, Notes XXXII/3 (March 1976), 523.
• In memoriam Gustave Reese, 1900-1977, RIdIM/RCMI newsletter III/2 (spring 1978), 13-14.
• Rita Benton, in memoriam, Fontes artis musicae XXVII/2 (1980), 65.
• Remembering O.E.D. [Otto Erich Deutsch]: An homage, The musical quarterly LXIX/4 (fall 1983), 959-598.
• Emanuel Winternitz, RIdIM/RCMI newsletter VIII/2 (spring 1983), 1-2.
• Harald Heckmann at 60, Musikdokumentation gestern, heute und morgen: Harald Heckmann Festschrift (Kassel: Bärenreiter, 1984).
• Emanuel Winternitz, American Musicological Society newsletter (1985).
• In memoriam Emanuel Winternitz: Leuname Ztinretniw at 85, Imago musicae I (1985), ix-xvii.
• Ingmar Bengtsson (1920-1989): UMH Coordinator for Europe, UMH newsletter 1 (July 1990), 2.
• Carleton Sprague Smith: Man of the Musicological World (an Affectionate Reminiscence), Israel Katz (editor), Libraries, History, Diplomacy, and the Performing Arts: Essays in Honor of Carleton Sprague Smith (Stuyvesant: Pendragon Press, 1991), 1-6. Also published in Fontes artis musicae XL/3 (1993).
• Hans Åstrand: Patriot, Cultural Catalyst, and Universe of Music Coordinator, in: Bertil van Boer, jr (editor), Gustav III and the Swedish stage: Essays in Honor of Hans Åstrand (Lewiston: Edwin Mellen Press, 1993), 253-256.

H. Sociology, Social history, Aesthetics

• Sturm und Drang and the Romantic Period in Music, Studies in Romanticism IX/4 (fall 1970), 269-284.
• A Seminar in 18th-Century Music and Sociology, International review of the aesthetics and sociology of music IX/2 (1973), 319-323.
• Piracy and Panacea in the Dissemination of Music in the Late Eighteenth Century, in: Proceedings of the Royal Musical Association 102 (1975-76), 13-36. German translation: Piraterie und Allheilmittel bei der Verbreitung von Musik im späten 18. Jahrhundert, Beiträge zur Musikwissenschaft XXII/3 (1980), 217-239.
• Hohenlohe-Langenburg, Kurt Dorfmüller, RISM, Musikalische Real-Zeitung und die Königin von Spanien, in: Horst Leuchtmann & Robert Münster (editors), Ars iocundissima: Festschrift für Kurt Dorfmüller zum 60. Geburtstag (Tutzing: Hans Schneider, 1984), 15-35.
• Exploration and Self-Discovery in Renaissance Music: Two Basic Issues, in: Carol Robertson (editor), Explorations, Encounters, and Identities: Musical Repercussions of 1492 (Washington, D.C.: Smithsonian Institution Press, 1992), 209-217.

I. Iconography

• RCMI/CUNY, the Research Center for Musical Iconography of the City University of New York (with Richard Leppert), College music symposium XIII (1973), 105-113.
• Research in Musical Iconography (with Jerzy Go»os), American Musicological Society newsletter (August 1974).
• A Preliminary Word, RIdIM/RCMI newsletter I/1 (August 1975), 1-2.
• Rembrant’s Portrait of a Musician (with Carol J. Oja), College music symposium XVII/1 (spring 1978), 132-135.
• The RCMI, RidIM, and the Exhibition of Eighteenth-century Musical Ensembles (with Carol J. Oja), College music symposium XVIII/2 (fall 1978), 196-203.
• Remarks on The Musical Ensemble, ca. 1730-1830, RIdIM/RCMI newsletter III/2 fall 1978), 10.
• Present State of Iconographical Research, in: Daniel Heartz & Bonnie Wade (editors), International Musicological Society. Report of the Twelfth Congress, Berkeley 1977 (Kassel: Bärenreiter, 1981), 801-843.
• Musical Iconography: Recent Strides, Future Goals, Imago musicae IV (1987), 357-359.

J. Music documentation, Data processing, Computer applications

• Notating Music With Ordinary Typewriter Characters: A Plaine and Easie Code System for Musick (co-author Murray Gould), Fontes artis musicae XI/3 (Sept-Dec 1964), 142-159. Also published as a separate pamphlet, Queens College, New York, 1964, 13 p.
• Utilization of Data Processing Techniques in Music Documentation, Fontes artis musicae XII/2 (1965), 112-122.
• The Simplified "Plaine and Easie Code System" for Notating Music: A Proposal for International Adoption, Fontes artis musicae XII/2-3 (1965), 156-160.
• Some New Paths for Music Bibliography, in: Edmund Bowles (editor), Computers in Humanistic Research (Englewood Cliffs, N.J.: Prentice-Hall, 1976), 204-211.
• Music Bibliography and the Computer, in: Gerald Lefkoff (editor), Papers from the West Virginia University Conference on Computer Application in Music (Morgantown: West Virginia University Library, 1967), 11-27.
• Style and Content Analysis in Music, in: George Gerbner et al. (editors), The Analysis of Communication Content (New York: John Wiley, 1969), 287-296.
• Music Literature and Modern Communication: Revolutionary Potential of the ACLS/CUNY/RILM project, College music symposium IX (1969), 48-59. Reprinted with emendations in: Acta musicologica XLII/3-4 (1970), 205-217. Also published in: Journal of the Indian Musicological Society II/1 (1971), 9-19. German translation: Musikliteratur und moderne Kommunikation: Zum Projekt RILM, in: Beiträge zur Musikwissenschaft XIII/1 (1971), 18-30. Condensed translation in: Musica IV (July-August 1970), 379-380.
• Music Documentation of the Future, in: Barry S. Brook (editor), Musicology and the Computer: Musicology 1966-2000 (New York, 1970), 28-36.
• The Plaine and Easie Code, in: Barry S. Brook (editor), Musicology and the Computer: Musicology 1966-2000 (New York, 1970), 53-56.
• World Music Documentation System: A Phantasy, Challenges in Music Education (Proceedings of the XI International Conference of the International Society for Music Education, held in Perth, Western Australia, 5 to 12 August 1974 (Perth: University of Western Australia, 1976), 302-312.
• New Directions in Music Documentation: Phantasy and Reality, Fontes artis musicae XXVII/1 (1981), 4-12.
• Composer sources and resources, Music reference services quarterly IV/1 (1995), 1-42.
• On Reprinting Music and Books About Music: Then and Now, Fontes artis musicae XXXIX/3-4 (1992), 248-254.

K. Thematic catalogues

• The Earliest Printed Thematic Catalogues, in: Nils Schiorring, et al. (editor), Festskrift Jens Peter Larsen: 1902 14/VI 1972 (Copenhagen: Wilhelm Hansen Musik-Forlag, 1972), 103-112.
• A Tale of Thematic Catalogues, Notes XXIX/3 (March 1973), 407-415.
• The Past, Present and Future of the Music Library Thematic Catalogue, in: O.W. Neighbour (editor), Music and Bibliography: E
• ssays in Honour of Alec Hyatt King (London:K.G. Saur, 1980), 215-242.
• Christian Ulrich Ringmacher (1743-1781): His Heritage, His Firm, and His Catalogue, in: Edmond Strainchamps and Maria Rika Maniates (editors), Music and Civilization: Essays in Honor of Paul Henry Lang (New York: W.W. Norton, 1984), 243-261.
• The Thematic Catalogue in Music: Further Reflections on its Past, Present, and Future, Music reference services quarterly II/1-2 (1993), 27-46.

M. Encyclopedia articles

• Friedrich Blume (editor), Die Musik in Geschichte und Gegenwart (1st edition)
• Alday, François XV (1972) 121-22 (with Jean Gribenski)
• Alexandre, Claude-Guillaume XV (1972) 141-42 (with Jean Gribenski)
• Azaïs, Hyacinthe XV (1972) 362-64 (with Jean Gribenski)
• Brook, Barry S. XV (1972) 1114-15
• Leemans, Hébert Philippe Adrien, VIII (1960) 460-61
• Lochon, Charles, VIII (1960) 1083-84
• Mangean, Étienne, VIII (1960) 1580-82
• Martin, François, VIII (1960) 1703-05
• Massoneau, Louis, VIII (1960) 1779-81 (with Wilfred Brennecke)
• Miroglio, Pierre and Jean-Baptiste, IX (1961) 366-67
• Navoigille, Guillaume l’ainé and Julien, IX (1961) 1300-02
• Papavoine, X (1962) 730-32
• Pierlot, Denis, X (1962) 1257
• Pinaire, X (1962) 1278-79
• Ragué, Louis-Charles, X (1962) 1868-70
• Rigel, Henri-Joseph, XI (1963) 507-15
• Roeser, Valentin, XI (1963) 616-19
• Ruge, Filippo, XI (1963) 1080-82
• Saint-Georges, Chevalier de, XI (1963) 1251-55
• Sohier, Charles-Joseph-Balthasar, XII (1965) 826
• Symphonie. B:IV: Frankreich, XII (1965) 1823-26
• Symphonie concertante, XII (1965) 1899-1908
• Talon, Pierre, XIII (1966) 76-77
• Tapray, François, XIII (1966) 113-16
• Touchemoulin, Jacques, XIII (1966) 583-585
• Vachon, Pierre, XIII (1966) 1199-1201
• Vandenbroek, Othon Joseph, XIII (1966) 1252-53 (with Albert Van Der Linden)
• Weisgall, Hugo, XIV (1968) 427-429
• Widerkehr, C.M., XIV (1968) 573-575

• François Lesure and Vladimir Fédorov (editors), Encyclopédie de la musique
• Fikerti, Georges, II (1959) 16
• Leemans, H., III (1961) 53
• Martin, F., III (1961) 157
• Lochon, Ch., III (1961) 94-95
• Mangean, III (1961) 144-45

• American People’s Encyclopedia
• Mozart, Wolfgang Amadeus, 171-72.

• Stanley Sadie (editor), The New Grove Dictionary of Music and Musicians
• Alday family, I, 231-233 (with Richard J. Viano)
• Alexandre, Claude-Guillaume, I, 247-248 (with Richard J. Viano)
• Azaïs, Hyacinthe, I, 757-758 (with Carl Moskovic)
• Bréval, Jean-Baptiste Sébastien, III, 267 (with Richard J. Viano)
• Bullant, Antoine, III, 448-449 (with Richard J. Viano)
• Davaux, Jean-Baptiste, V, 258-259 (with Joel Kolk)
• Gossec, François-Joseph, VII, 560-563 (with David Campbell & Monica Cohn)
• Leemans, Hébert Philippe Adrien, X, 602 (with Richard J. Viano)
• Lochon, Charles, XI, 107 (with Jaime Gonzalez)
• Massoneau, Louis, XI, 813-814
• Miroglio, Pierre and Jean-Baptiste, IX (1961) 366-67
• Papavoine, XIV, 169 (with Richard J. Viano)
• Pierlot, Denis, XIV, 736 (with Jaime Gonzalez)
• Pinaire, XIV, 751 (with Barbara S. Kafka)
• Ragué, Louis-Charles, XV, 540 (with Susan Kagan)
• Répertoire International de Littérature Musicale, XV, 747
• Répertoire International d’Iconographie Musicale, XV, 749
• Symphonie concertante, XVIII, 433-438
• Talon, Pierre, XVIII, 548-449 (with Richard J. Viano)
• Tapray, Jean-François, XVIII, 573-574 (with Richard J. Viano)
• Thematic catalogue, XVIII, 732-736
• Thomas, Christian Gottfried, XVIII, 777-779
• Widerkehr, Jacques (Christian-Michel), XX, 395 (with Barbara S. Kafka)

N. Répertoire International de Littérature Musicale (RILM)

• RILM Répertoire International de Littérature Musicale, Computers and the humanities: A newsletter I/3 (1967), 103-108.
• International Repertory of Music Literature (RILM), The world of music X (1968), 48-50.
• RILM, einige neuartige internationale Fachbibliographie der Musikwissenschaft, Die Musikforschung XXXI/4 (1968), 423-26.
• RILM Inaugural Report: Dijon, January 1967, Notes XXIII/3 (March 1967), 462-67.
• RILM Report no. 2: Salzburg and Ljubljana, September 1967, Fontes artis musicae XV (1968), 2-9; Notes XXXIV/3 (March 1968), 457-466.
• RILM Report no. 3: New York and Washington, September 1968, Fontes artis musicae XVI (1969), 24-27.
• RILM Report no. 4: Amsterdam, August 1969: Fontes artis musicae XVII (1970), 41-44 and College music symposium X (fall 1970), 134-139.
• RILM Report no. 5: Leipzig, June 1970, Fontes artis musicae XVIII (1971), 73-77.
• RILM Report no. 6: St. Gall, August 1971, Fontes artis musicae XIX (1972), 192-195.
• RILM Report no. 7: Bologna and Copenhagen, Summer 1972: Fontes artis musicae XX (1973), 15-18.
• RILM Report no. 8: London, August 1973, Fontes artis musicae XXI (1974), 19-22.
• RILM Report no. 9: Jerusalem, August 1974, Fontes artis musicae XXII (1975), 56-58.
• RILM Report no. 10: Montreal, August 1975, Fontes artis musicae XXIII (1976), 82-85.
• RILM Abstracts for Choral Specialists, Choral journal XIV (1976), 27-29.
• RILM Report no. 11: Bergen, August 1976, Fontes artis musicae XXIV (1977), 35-38.
• RILM Report no. 12: Mainz, August 1977, Fontes artis musicae XXV (1978), 100-101.
• RILM Report no. 13: Lisbon, August 1978, Fontes artis musicae XXVI (1979), 124-125.
• RILM Report no. 14: Salzburg, August 1979, Fontes artis musicae XXVII (1980), 111-112.
• RILM Report no. 15: Cambridge, August 1980, Fontes artis musicae XXVIII (1981), 107-108.
• RILM Report no. 16: Budapest 1981, Fontes artis musicae XXIX (1982), 68-69.
• RILM Report no. 17: Brussels, July 1982, Fontes artis musicae XXX (1983), 62-63.
• RILM Report no. 18: Washington, D.C., May 1983, Fontes artis musicae XXXI (1984), 86-87.
• RILM Report no. 19: Como, September 1984, Fontes artis musicae XXXII/1 (1985), 78-79.
• RILM Report no. 20: Berlin, September 1985, Fontes artis musicae XXXIII/1 (1986), 88-89.
• RILM Classification: Suggested Revisions, Fontes artis musicae XXXIII/1 (1986), 73-74.
• RILM Report no. 21: 1986, Fontes artis musicae XXXIV/1 (1987), 28-29.
• RILM Report no. 22: Amsterdam 1987, Fontes artis musicae XXXV/1 (1988), 38-39.
• RILM Five-Year Report 1983-87, Fontes artis musicae XXXV/1 (1988), 41-42.
• RILM Report no. 23: 1988, Fontes artis musicae XXXVI/1 (1989), 21-22.
• RILM Report no. 24: 1989, Fontes artis musicae XXXVII/1 (1990), 25-27.
• RILM Report no. 25: Prague, 1990, Fontes artis musicae XXXVIII/1 (1991), 24-25.
• The road to RILM, in: Alfred Mann (editor), Modern music librarianship: Essays in honor of Ruth Watanabe (Stuyvesant: Pendragon Press, 1989), 85-94.

O. Répertoire International d’Iconographie Musicale (RIdIM)

• RIdIM Inaugural Report, Fontes artis musicae XIX/3 (1972), 196-206.
• RIdIM: A New International Venture in Musical Iconography, Notes XXVIII/4 (1972), 652-663.
• RIdIM Report no. 2, Fontes artis musicae XX/3 (1973), 18-25.
• RIdIM Report no. 3, Fontes artis musicae XXI/1-2 (1974), 22-27.
• RIdIM Report no. 4, Fontes artis musicae XXII/1-2 (1975), 58-60.
• RIdIM Report no. 5, Fontes artis musicae XXIII/2 (1976), 85-88.
• RIdIM Report no. 6, Fontes artis musicae XXIV/1 (1977), 38-41.
• RIdIM Report no. 7, Fontes artis musicae XXV/1 (1978), 101-103.
• RIdIM Report no. 8, Fontes artis musicae XXVI/2 (1979), 125-127.
• RIdIM Report no. 9, Fontes artis musicae XXVII/1 (1980), 26-27.
• RIdIM Report no. 10 (with Monika Holl), Fontes artis musicae XXVIII/1 (1981), 108-110.
• RIdIM Report no. 11 (with Terry Ford), Fontes artis musicae XXIX/1-2 (1982), 69-71.
• RIdIM Report no. 12, Fontes artis musicae XXX/1 (1983), 64-65.
• RIdIM Report no. 13, Fontes artis musicae XXXI/3 (1984), 183-184.
• RIdIM Report no. 14, Fontes artis musicae XXXII/1 (1985), 80-81.
• RIdIM Report no. 15, Fontes artis musicae XXXIII/1 (1986), 91-92.
• RIdIM Report no. 16, Fontes artis musicae XXXIV/1 (1987), 32-33; International Musicological Society, Communiqué 55 (1987), 11-12.
• RIdIM Report no. 17, Fontes artis musicae XXXV/1 (1988), 43-44.
• RIdIM Report no. 18, Fontes artis musicae XXXVI/2 (1989), 144-145.
• RIdIM Report no. 19, Fontes artis musicae XXXVII/2 (1990), 120-121.
• RIdIM Report no. 20, Fontes artis musicae XL/2 (1993), 157.
• RIdIM Report no. 21, Fontes artis musicae XL/2 (1993), 157-158.
• RIdIM Report no. 22, Fontes artis musicae XLI/4 (1994), 387-388.

P. The Universe of Music: A history

• Unesco Project: Music as a Language of Man, a World History of Music-Feasibility Study (Paris: International Music Council, 1982), 11 p.
• Music in the Life of Man: A World History (MLM). Current status including report of the Stockholm meeting and revised guidelines. October 1983. Paris: International Music Council (UNESCO), 1984. 31 p.
• Music in the Life of Man: Theoretical and Practical Foundations for a World History (with David Bain), Fontes artis musicae XXXII/2 (1985), 153-156; reprinted in Yearbook for traditional music XVI (1984), 155-165; Acta musicologica LVII/1 (1985), 109-121. Translation into French: La musique dans la vie de l’homme: Bases théoretiques et pratiques d’une historie mondiale, The world of music XXVII/1 (1985), 109-123. Translation into German: Musik in Leben des Menschen: Theoretische und praktische Grundlagen für eine Weltgeschichte, The world of music XXVII/1 (1985), 94-108. Spanish translation Música del mundo, historia del mundo: Proyecto de La música en la vida del hombre, Heterofonía XVIII/1 (1985), 19-25.
• World Music, World History and the ‘Music in the Life of Man’ Project, The world of music XXVIII/2-3 (1984), 111-116. Also in Fontes artis musicae XXXII/3 (July-September 1985), 153-156.