Associate Professor Denis Collins

Deputy Head of School

School of Music
Faculty of Humanities and Social Sciences
denis.collins@uq.edu.au
+61 7 336 53512

Overview

Denis Collins is a world authority on the history of compositional techniques, especially counterpoint, in Western art music from the late Middle Ages to the time of J.S. Bach. He has been Lead Chief Investigator on two Discovery Projects awarded by the Australian Research Council: "Canonic techniques and musical change from c.1330 to c.1530" (2015-17) and "The art and science of canon in the music of early 17th-century Rome" (2018-20). He was an Associate Investigator at the ARC's Centre for the History of Emotions in Europe, 1100-1800. He has published extensively in Australian and international music journals and he presents the results of his research regularly at international conferences and symposia.

Research Interests

  • Musicology, Renaissance and Baroque Counterpoint, History of Music Theory, Music and Emotion

Qualifications

  • Master of Arts (Music), Stanford University
  • PhD, Stanford University
  • Bachelor of Music, NUI
  • Bachelor of Arts, NUI

Publications

View all Publications

Supervision

  • Doctor Philosophy

  • Doctor Philosophy

  • (2017) Doctor Philosophy

View all Supervision

Publications

Featured Publications

Book

Book Chapter

  • Collins, Denis and Nevile, Jennifer (2019). Music and dance. In Andrew Lynch and Susan Broomhall (Ed.), A Cultural History of the Emotions in the Late Medieval, Reformation and Renaissance Age (pp. 49-67) London, United Kingdom: Bloomsbury Academic.

  • Collins, Denis, Murphy, Kerry and Owens, Samantha (2018). Appendix 1. In Denis Collins, Kerry Murphy and Samantha Owens (Ed.), J.S. Bach in Australia: studies in Reception and performance (pp. 218-221) Melbourne, Australia: Lyrebird Press.

  • Collins, Denis (2018). Canon in Baroque Italy: Paolo Agostini's collections of masses, motets and counterpoints from 1627. In Lorraine Byrne Bodley (Ed.), Music preferred: Essays in musicology, cultural history and analysis in honour of Harry White (pp. 117-140) Vienna, Austria: Hollitzer Wissenschaftsverlag.

  • Collins, Denis, Murphy, Kerry and Owens, Samantha (2018). Introduction. In Denis Collins, Kerry Murphy and Samantha Owens (Ed.), J.S. Bach in Australia: studies in Reception and performance (pp. 1-7) Melbourne, Australia: Lyrebird Press.

  • Collins, Denis and Stoessel, Jason (2018). Music as symbolic image: Christological narratives in the Agnus Dei sections of renaissance masses. In Mirjana Veselinovic-Hofman, Vesna Mikic, Tijana Popovic-Mladjenovic and Ivana Perkovic (Ed.), Music/image: transpositions, translations, transformations (pp. 60-71) Belgrade: Faculty of Music, University of Arts in Belgrade.

  • Collins, Denis (2016). Continuity and discontinuity in contrapuntal techniques ca. 1500. In Mirjana Veselinovic-Hofman, Vesna Mikic, Tijana Popovic Mladenovic and Ivana Perkovic (Ed.), Music: transitions/continuities (pp. 120-132) Belgrade, Serbia: Faculty of Music, University of Arts in Belgrade.

  • Collins, Denis (2014). Creative collaborative thought and puzzle canons in renaissance music. In Margaret Barrett (Ed.), Collaborative creative thought and practice in music (pp. 111-126) Farnham, Surrey, United Kingdom: Ashgate.

  • Collins, Denis (2013). John Bull's "Art of Canon" and plainsong-based counterpoint in the late renaissance. In Denis Collins (Ed.), Music Theory and its Methods: Structures, Challenges, Directions (pp. 99-127) Frankfurt Am Main, Germany: Peter Lang.

  • Collins, Denis (2013). Palestrina's Missa Sacerdotes Domini and analytical approaches to renaissance counterpoint. In Miloš Zatkalik, Milena Medić and Denis Collins (Ed.), Histories and Narratives of Music Analysis (pp. 120-134) Newcastle upon Tyne, United Kingdom: Cambridge Scholars Publishing.

  • Collins, D. B. (2004). Approaches to invertible canonic composition in late sixteenth-century theory and practice.. In M. Ewans, R. Halton and J. Phillips (Ed.), Music Research: New Directions for a New Century 1 ed. (pp. 368-375) London: Cambridge Scholars Press.

  • Collins, D. B. (2003). The vocal canons of Fernando Sor. In Luis Gasser (Ed.), Estudios Sobre Fernando Sor/Sor Studies 1st ed. (pp. 305-312) Madrid, Spain: Instituto Complutense de Ciencias Musicales.

  • Collins, Denis (1993). Fugue, Canon and Double Counterpoint in Nicola Vicentino's L'antica musica. In Harry White and Gerard Gillen (Ed.), Music and the Church (pp. 276-301) Dublin, Ireland: Four Courts Press.

Journal Article

Conference Publication

  • Schubert, Emery, MacKinnon, Dolly, Collins, Denis and Garrido, Sandra (2017). Panel Discussion:'What’s missing in music and emotion research?'. In: The 3rd Conference of the Australian Music & Psychology Society (AMPS) including the 5th International Conference on Music and Emotion (ICME)., School of Music, The University of Queensland, Brisbane, (). 7-9 December 2017..

  • Collins, Denis (2010). Henry Purcell's Three Parts Upon a Ground and the traditions of English counterpoint. In: Milos Zatkalik, Music Theory and Analysis 2010: Refereed Proceedings of the Seventh International Conference Music Theory and Analysis 2009. Seventh International Conference on Music Theory and Analysis, Belgrade, Serbia-Montenegro, (172-182). May 15-17 2009.

  • Collins, D. (2007). 'Sufficient to quench the thirst of the most insaciate scholler whatsoeuer': George Waterhouse's 1,163 canons on the plainsong Miserere. In: Katelijne Schiltz and Bonnie J. Blackburn, Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History: Proceedings of the International Conference. Canons and Canonic Techniques, 14th-16th Centuries, Katholieke Universiteit, Leuven, (407-420). 4-6 October, 2005.

  • Collins, Denis (2004). Compositional strategies in sixteenth-century three- and four-part canons. In: Musicological Society of Japan, Musicology and Globalization: Proceedings of the International Congress in Shizuoka 2002 in Celebration of the 50th Anniversary of the Musicological Society of Japan. International Congress of the Musicological Society of Japan (IMJ 2002): Musicology and Globalisation, Shizuoka, Japan, (272-276). 2-5 November 2002.

  • Collins, D. B. and Pavlovic, B. (2002). Metric space as a cognitive-structural model of musical pitch. In: C.Stevens, D. Burnham, G.McPherson, E.Schubert and J. Renwick, Proceedings of the 7th International Conference on Music Perception and Cognition. 7th International Conference on Music Perception and Cognition, Sydney, (662-665). 17-21 July 2002.

Other Outputs

  • Collins, Denis (2013) Counterpoint in Bruce Gustafson (eds.) Oxford Bibliographies in Music. Oxford, UK: Oxford University Press

Grants (Administered at UQ)

PhD and MPhil Supervision

Current Supervision

  • Doctor Philosophy — Principal Advisor

    Other advisors:

  • Doctor Philosophy — Principal Advisor

    Other advisors:

  • Master Philosophy — Associate Advisor

    Other advisors:

  • Doctor Philosophy — Associate Advisor

  • Doctor Philosophy — Associate Advisor

    Other advisors:

  • Doctor Philosophy — Associate Advisor

    Other advisors:

  • Doctor Philosophy — Associate Advisor

    Other advisors:

  • Doctor Philosophy — Associate Advisor

    Other advisors:

Completed Supervision