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Number of items: 26.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2022. 'Heinrich Christoph Koch: Musikalisches Lexikon'. Wörner, Felix and Wald-Fuhrmann, Melanie, eds. Lexikon Schriften über Musik. Band 2: Musikästhetik in Europa und Nordamerika, Kassel and Berlin: Bärenreiter/Metzler, pp. 444-447.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2021. The emergence of musical romanticism. Taylor, Benedict, ed. The Cambridge Companion to Music and Romanticism, Cambridge Companions to Music, Cambridge University Press, pp. 17-34. (10.1017/9781108647342.004)

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2020. Beethoven's nature: idealism and sovereignty from an ecocritical perspective. Chapin, Keith and Jones, David Wyn, eds. Beethoven Studies 4, Cambridge Composer Studies, Cambridge: Cambridge University Press, pp. 103-120.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2019. Nid darbwyllo ond llesmeirio: Yr aruchel yn ei gyd-destun Cymreig. O'r Pedwar Gwynt
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Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2017. The visual traces of a discourse of ineffability: late Eighteenth-Century German published writings on music. Eisen, Cliff and Davison, Alan, eds. Late Eighteenth-Century Music and Visual Culture, Music and Visual Cultures, Turnhout: Brepols, pp. 123-153.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2016. The Secular Commedia: Comic Mimesis in Late Eighteenth-Century Music.By Wye Jamison Allanbrook [Book Review]. Music and Letters 97 (1) , pp. 165-167. 10.1093/ml/gcv111

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2015. Sublime néoclassique et sublime rhétorique: La réception musicale des Odes et mélodies spirituelles (1757) de Christian Fürchtegott Gellert. Hachie, Sophie and Favier, Thierry, eds. À la croisée des arts: Sublime et musique religieuse en Europe (XVIIe-XVIIIe siècles), Paris: Classiques Garnier, pp. 165-185.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2015. Antoine Reicha and the three identities of the learned musician. Raymond, Louise Bernard de, Bartoli, Jean-Pierre and Schneider, Herbert, eds. Antoine Reicha, compositeur et theoricien: Actes du colloque international tenu à Paris du 18 au 20 avril 2013, George Olms Verlag, pp. 109-118.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2014. Learned style and learned styles. Mirka, Danuta, ed. The Oxford Handbook of Topic Theory, Oxford Handbooks Online, Oxford University Press, (10.1093/oxfordhb/9780199841578.013.0012)

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2014. Classicism/neo-classicism. Downes, Stephen, ed. Aesthetics of Music: Musicological Perspectives, Abingdon and New York: Routledge, pp. 144-169.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2014. Temporal modes and symbolic stakes: strict composition in early Nineteenth-Century Europe. Musurgia 21 (1) , pp. 29-41. 10.3917/musur.141.0029

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2013. Bach's silence, Mattheson's words: professional and humanist ways of speaking of music. Chapin, Keith and Clark, Andrew H., eds. Speaking of Music: Addressing the Sonorous, New York: Fordham University Press, pp. 74-111.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 and Clark, Andrew H. 2013. Speaking of music: a view across disciplines and a lexicon of topoi. Chapin, Keith and Clark, Andrew H., eds. Speaking of Music: Addressing the Sonorous, New York: Fordham University Press,

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 and Clark, Andrew H., eds. 2013. Speaking of music: addressing the sonorous. Bronx, NY: Fordham University Press.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2013. Le contrepoint et ses logiques tonales au tournant du dix-neuvième siècle. Gonnard, Henri, ed. Regards sur la tonalité / Perspectives on Tonality, Sampzon: Editions Delatour, pp. 197-210.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2011. 'A harmony or concord of several and diverse voices': Autonomy in 17th-Century German music theory and practice. International Review of the Aesthetics and Sociology of Music (IRASM) 42 (2) , pp. 219-255.
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Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2011. Counterpoint: From the bees or for the birds? Telemann and early eighteenth-century quarrels with tradition. Music and Letters 92 (3) , pp. 377-409. 10.1093/ml/gcr036

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2010. John T. Hamilton, Music, madness and the unworking of language. New York: Columbia University Press, 2008 pp. xviii + 252, ISBN 978023142205 [Book Review]. Eighteenth-Century Music 7 (01) , pp. 114-117. 10.1017/S1478570609990510
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Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2010. Time and the keyboard fugue. 19th-Century Music 34 (2) , pp. 186-207. 10.1525/ncm.2010.34.2.186
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Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2009. Sublime experience and ironic action: E. T. A. Hoffmann and the use of music for life. Chapin, Keith and Kramer, Lawrence, eds. Musical Meaning and Human Values, New York: Fordham University Press, pp. 32-58.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2009. Alexandre Pierre François Boëly (1785-1858), ses contemporains et le style sévère, conservatoire à rayonnement régional de Paris, 4-5 décembre 2008 [Conference report]. Eighteenth-Century Music 6 (2) , pp. 306-309. 10.1017/S1478570609990340
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Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2008. Scheibe’s mistake: sublime simplicity and the criteria of classicism. Eighteenth-Century Music 5 (2) , pp. 165-177. 10.1017/S1478570608001474
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Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2006. Labor and metaphysics in Hindemith's and Adorno's statements on counterpoint. Hoeckner, B., ed. Apparitions: New Perspectives on Adorno and Twentieth-Century Music, Studies in Contemporary Music and Culture, London: Routledge, pp. 19-40.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2006. Lost in quotation: the nuances behind E. T. A. Hoffmann's programmatic statements. 19th-Century Music 30 (1) , pp. 44-64. 10.1525/ncm.2006.30.1.044
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Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2006. Classicist terms of sublimity: Christian Friedrich Michaelis, fugue, and fantasy. Ad Parnassum 4 (8) , pp. 115-139.

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2006. Strict and free reversed: the law of counterpoint in Koch's Musikalisches Lexikon and Mozart's Zauberflöte. Eighteenth-Century Music 3 (1) , pp. 91-107. 10.1017/S1478570606000509
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