I have published the following on the Texas ScholarWorks platform:
Ascending Cadence Gestures, A New Historical Survey, Part 3a: 1650-1700
Part 3a of a multi-part essay gathers compositions with ascending lines and upper-register cadence gestures in European music from 1650 to 1700. Composers in Part 3a1 are Cazzati, Falconieri, Legrenzi, Marini, Merula, and Uccellini; in Part 3a2, Thomas Cross, John Gamble, John Jenkins, Henry Lawes, and Christopher Simpson; in Part 3a3, Aux-Cousteaux, Berthod, Cazzati, Legrenzi, Lully, and Macé; and in Part 3a4, Boyvin, Louis Couperin, Kusser, LeBègue, Mayr, Nivers, and Vitali.
Ascending Cadence Gestures, A New Historical Survey, Part 3b: 1700-1780
This is Part 3b of a multi-part essay gathering compositions with ascending lines and cadence gestures in European and European-influenced music. Composers include, among others, Archimbaud, J. S. Bach, Boismortier, Fux, Kirnberger, Le Roux, Mouret, Mozart, Schulz, Tartini, and Telemann. A publisher included is Gerhard Fredrik Witvogel.
Part 5b1 is a supplement to Part 5b of the New Historical Survey. Where Part 5b offered examples from Shaker and Mormon hymnals published between 1893 and 1909, Part 5b1 covers six earlier hymnals compiled and partly written by the Fillmores and published in Cincinnati between 1847 and 1893. The earliest of them, The Christian Psalmist, was co-authored by Silas W. Leonard and Augustus D. Fillmore; it combined standard notation with two other formats and was one of the commercially most successful American hymnals of the 19th century.
