| 2017 | Samantha Owens: The Well-Travelled Musician: John Sigismond Cousser & Musical Exchange in Baroque Europe. Boydell Press, 2017 |
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| 2017 | Samantha Owens: Theatre and Stage. In: Susan Broomhall Early Modern Emotions: An Introduction. Routledge, 2017. 228-230 |
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| 2017 | Samantha Owens: Er kan zum Muster dienen: Kapellmeister Johann Sigismund Kusser and the Performance Materials for the Opera Adonis. In: Thomas Seedorf Transformationen und Metamorphosen. Bericht über die Symposien der Internationalen Händel-Akademie Karlsruhe 2011 bis 2013. Laaber Verlag, 2017. 53-69 |
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| 2017 | Samantha Owens: The Above Mentioned Aliens: Rudolf Mersys German Band in New Zealand, 191319. In: Musicology Australia , 2017, 1-14 |
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| 2016 | Samantha Owens: Music via Correspondence: A List of the Music Collection of Dresden Kreuzorganist Emanuel Benisch. In: Understanding Bach , 2016, 39-56 |
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| 2016 | Samantha Owens: The Hunting Song in Eighteenth-Century England: A Copy of James Hooks Ye Sluggards Who Murder Your Lifetime in Sleep from the Zerbster Musikstube. In: Bert Siegmund, Barbara M. Reul, Zerbst zur Zeit Faschs ein anhaltinischer Musenhof. Ortus Verlag, 2016. 219-228 |
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| 2015 | Samantha Owens: Serious Music: The Brisbane Reception of Percy Graingers Historical Chamber Music Recitals (1934). In: Suzanne Robinson, Kay Dreyfus, Grainger the Modernist. Ashgate, 2015. |
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| 2014 | Samantha Owens: Just as Great as Noverre: The Ballet Composer Florian Johann Deller (172973) and Music at the Württemberg Court. In: Michael Burden, Jennifer Thorpe, Jean-Georges Noverre 17271810: Lettres sur la Danse, and Beyond,. Pendragon Press, 2014. 21-36 |
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| 2014 | Samantha Owens: The Greatest Choral Work That Has Ever Been Written: Wellington Performances of J. S. Bachs St Matthew Passion, 18991945. In: Understanding Bach, 2014, 75-86 |
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| 2013 | Samantha Owens, Janice B. Stockigt: Haydns Creation Shamelessly Mangled in Melbourne: Joseph Summers and a Musical Libel Action against the Age (1893). In: Kathleen Nelson, Maricarmen Gómez, A Musicological Gift: Libro Homenaje for Jane Morlet Hardie. Institute of Mediaeval Music, 2013. 255-282 |
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| 2013 | Samantha Owens: Theodor Schwartzkopff and French Music at the Court of Württemberg-Stuttgart in the 1680s. In: Musik in Baden-Württemberg Jahrbuch, 2013, 31-43 |
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| 2012 | Samantha Owens: Robert Dalley-Scarlett (18871959) and Handel Reception in Australia between the World Wars. In: Musicology Australia, 2012, 165-183 |
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| 2011 | Samantha Owens, Janice B. Stockigt, and Barbara M. Reul: Music at German Courts, 17151760: Changing Artistic Priorities. The Boydell Press, 2011 |
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| 2011 | Samantha Owens: The Court of Württemberg-Stuttgart. In: Samantha Owens, Janice B. Stockigt, and Barbara M. Reul, Music at German Courts, 17151760: Changing Artistic Priorities. The Boydell Press, 2011. 165-196 |
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| 2011 | Samantha Owens and Barbara M. Reul: Das gantze Corpus derer musicirenden Personen: An Introduction to German Hofkapellen. In: Samantha Owens, Janice B. Stockigt, and Barbara M. Reul, Music at German Courts, 17151760: Changing Artistic Priorities. The Boydell Press, 2011. 1-14 |
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| 2010 | Samantha Owens: Johann Sigismund Cousser (Kusser): a European in early eighteenth-century England and Ireland. In: Händel-Jahrbuch, 2010, 445-467 |
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| 2010 | Samantha Owens: Not always the same minuets: Dance at the Württemberg court, 16621711. In: The court historian, 2010, 133-144 |
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| 2009 | Samantha Owens: Johann Sigismund Cousser, William III and the Serenata in Early Eighteenth-Century Dublin. In: Eighteenth-century music, 2009, 7-39 |
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| 2009 | Samantha Owens: Johann Sigismund Kusser, Adonis. A-R Editions, 2009 |
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