Dr Robert Philip
Publications

Books

Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1920-1950 (Cambridge University Press 1992), ISBN 0-521-23528-6

Performing Music in the Age of Recording (Yale University Press 2004), ISBN 0-300-10246-1

Book Chapters

‘1900-1940’ in Howard Mayer Brown and Stanley Sadie (eds.) Performance Practice: Music after 1600 (Macmillan 1989), pp.461-482. ISBN 0-333-47404-X

‘Traditional habits of performance in early-twentieth-century recordings of Beethoven’ in Robin Stowell (ed.) Performing Beethoven (Cambridge University Press 1994), pp.195-204. ISBN 0-521-416444-2

‘Pianists on record in the early twentieth century’ in David Rowland (ed.) The Cambridge Companion to the Piano (Cambridge University Press 1998), pp.75-95. ISBN 0-521-47470-1

‘Historical recordings of orchestras’ in C. Lawson (ed.) The Cambridge Companion to the Orchestra (Cambridge University Press 2003), pp. 203-217. ISBN 0 521 80658 5

‘Brahms’s musical world: balancing the evidence’ in B. Sherman and M. Musgrave, Performing Brahms (Cambridge University Press 2003), pp.349-372. ISBN 0 521 65273 1

‘Early recordings of Mozart', in D. Link and J. Nagley (eds.) Words about Mozart: Essays in Honour of Stanley Sadie, Boydell and Brewer, 2005 ISBN 0 851 15794 7

‘Brass playing before globalization'in S. Carter (ed.), Brass Scholarship in Review, Pendragon Press 2006: ISBN 978 1 57647 105 0

Articles

‘The recordings of Edward Elgar’, in Early Music Nov.1984

Articles on conductors, string quartets, pianists and the gramophone in The New Grove Dictionary of Music and Musicians (Macmillan 1980)

Articles on conductors, string quartets, pianists, and performance practice in New Grove II (Macmillan 2001)

Conference Papers

‘Thoughts on early twentieth-century piano playing’. The Authority of Interpretation: Piano Performance and the Recording Industry (University of Calgary 1996)

‘The old-fashioned and the historical’. Record Time (Jerusalem Music Centre 1998)

‘’The Romantic and the old-fashioned’. Keynote paper for Symposium on The Interpretation of Romantic and Late Romantic Music (Royal Swedish Academy of Music, Stockholm, 1998)

‘Brass-playing before globalisation’. Historic Brass Society (Paris 1999)

‘What is ensemble?’, Performance 2000, Royal Musical Association (University of Southampton 2000)

‘Recording Berlioz’, Interpreting Berlioz, Royal Holloway and Royal College of Music, (RCM London, 2002)

‘Why are we listening and what do we hear?' CHARM Symposium Comparative perspectives in the study of recordings (Royal Holloway, University of London, 2005)

‘Early recordings and modern consciousness'. Reactions to the Record: Perspectives on Historical Performance (Stanford University, 2007)

Broadcasting

Radio programmes and series for BBC Radio 3:

More than 100 contributions to 'Record Review' (1973-1998)
‘Changing orchestral style’ (2 programmes 1971)
‘Changing quartet style’ (2 programmes 1973)
‘The long-playing era’ (13 programmes 1975)
‘The developing musician’ (12 programmes 1976)
‘Vintage Years’ (18 programmes 1991-3)
‘Mining the archives’ (12 programmes 1992-4)
‘Wartime at the National Gallery’ (5 programmes 1995)
Contributions to ‘Music Weekly’, ‘Kaleidoscope’ and ‘Music Matters’

For BBC World Service:

‘Composer and interpreter’ (24 programmes 1984-6)
‘Musical yearbook’ (18 programmes 1984-6)

Forthcoming publications

Book

Listening to Orchestral Music (working title, Yale University Press)

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