* Gregory Barnett ( teaches music history and leads a collegium musicum at the Shepherd School of Music, Rice University. He is the author of a book on Baroque-era Italian instrumental music and has also published articles on the history of music theory and historical string instruments. His research has been supported by the American Council of Learned Societies, the Bellagio Center of the Rockefeller Foundation, the National Endowment for the Humanities, the Fulbright Program, and the American Musicological Society.

[1] William Klenz, Giovanni Maria Bononcini of Modena (Durham, N.C.: Duke University Press, 1962), 45.

[2] Willi Apel, Die italienische Violinmusik im 17. Jahrhundert (Wiesbaden: Steiner, 1983), rev. and trans. by Thomas Binckley as Italian Violin Music of the Seventeenth Century (Bloomington, Ind.: Indiana University Press, 1990); Arthur Hutchings, The Baroque Concerto, rev. ed. (New York: Scribner’s, 1979); Michael Talbot, “The Italian Concerto in the Late Seventeenth and Early Eighteenth Centuries,” in The Cambridge Companion to the Concerto, ed. Simon Keefe (Cambridge: Cambridge University Press, 2005), 35–52.

[3] Sandra Mangsen, “The ‘Sonata da Camera’ Before Corelli: A Renewed Search,” Music & Letters 76, no. 1 (February 1995): 19–31, which is a response to John Daverio, “In Search of the Sonata da Camera Before Corelli,” Acta musicologica 57, no. 2 (July-December 1985): 195–214.

[4] Howard Smither, A History of the Oratorio, vol. 1, The Oratorio in the Baroque Era: Italy, Vienna, Paris (Chapel Hill, N.C.: University of North Carolina Press, 1977); Victor Crowther, The Oratorio in Bologna (16501730) (Oxford: Oxford University Press, 1995).

[5] Stephen Bonta, “The Use of Instruments in Sacred Music in Italy, 1560–1700,” Early Music 18, no.4 (November 1990): 519–35.  Relevant chapters from Tim Carter and John Butt, eds., Seventeenth-Century Music (Cambridge: Cambridge University Press, 2005) are Noel O’Regan, “The Church Triumphant: Music in the Liturgy,” 283–323; Robert L. Kendrick, “Devotion, Piety and Commemoration: Sacred Songs and Oratorios,” 324–77; Margaret Murata, “Image and Eloquence: Secular Song,” 378–425; and my “Form and Gesture: Canzona, Sonata and Concerto,” 479–532.