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<title>Articles archive</title>
<link href="https://hdl.handle.net/1721.1/114174" rel="alternate"/>
<subtitle/>
<id>https://hdl.handle.net/1721.1/114174</id>
<updated>2026-04-13T12:10:00Z</updated>
<dc:date>2026-04-13T12:10:00Z</dc:date>
<entry>
<title>Homosexual Context and Identity: Reflections on the Reception of Handel as Orpheus</title>
<link href="https://hdl.handle.net/1721.1/115897" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/115897</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>2007-01-01T00:00:00Z</published>
<summary type="text">Homosexual Context and Identity: Reflections on the Reception of Handel as Orpheus
Harris, Ellen T.
</summary>
<dc:date>2007-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Viardot sings Handel (with thanks to George Sand, Chopin, Meyerbeer, Gounod, and Julius Rietz)</title>
<link href="https://hdl.handle.net/1721.1/115895" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/115895</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>2010-01-01T00:00:00Z</published>
<summary type="text">Viardot sings Handel (with thanks to George Sand, Chopin, Meyerbeer, Gounod, and Julius Rietz)
Harris, Ellen T.
</summary>
<dc:date>2010-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>King Arthur's journey into the eighteenth century</title>
<link href="https://hdl.handle.net/1721.1/115893" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/115893</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>1995-01-01T00:00:00Z</published>
<summary type="text">King Arthur's journey into the eighteenth century
Harris, Ellen T.
</summary>
<dc:date>1995-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Harmonic Patterns in Handel's Operas</title>
<link href="https://hdl.handle.net/1721.1/114924" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/114924</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>1994-01-01T00:00:00Z</published>
<summary type="text">Harmonic Patterns in Handel's Operas
Harris, Ellen T.
</summary>
<dc:date>1994-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Paper, Performing Practice, and Patronage: Handel's Alto Cantatas the Bodleian Library Ms Mus. d. 61-62</title>
<link href="https://hdl.handle.net/1721.1/114923" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/114923</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>1995-01-01T00:00:00Z</published>
<summary type="text">Paper, Performing Practice, and Patronage: Handel's Alto Cantatas the Bodleian Library Ms Mus. d. 61-62
Harris, Ellen T.
</summary>
<dc:date>1995-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Silence as Sound: Handel's Sublime Pauses</title>
<link href="https://hdl.handle.net/1721.1/114920" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/114920</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>2005-01-01T00:00:00Z</published>
<summary type="text">Silence as Sound: Handel's Sublime Pauses
Harris, Ellen T.
</summary>
<dc:date>2005-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Handel and his Will</title>
<link href="https://hdl.handle.net/1721.1/114918" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/114918</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>2008-01-01T00:00:00Z</published>
<summary type="text">Handel and his Will
Harris, Ellen T.
</summary>
<dc:date>2008-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Handel's Ghost: The Composer's Posthumous Reputation in the Eighteenth Century</title>
<link href="https://hdl.handle.net/1721.1/114916" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/114916</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>1992-01-01T00:00:00Z</published>
<summary type="text">Handel's Ghost: The Composer's Posthumous Reputation in the Eighteenth Century
Harris, Ellen T.
</summary>
<dc:date>1992-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Pamphilj as Phoenix: Themes of Resurrection in Handel’s Italian Works</title>
<link href="https://hdl.handle.net/1721.1/114188" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/114188</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>2011-01-01T00:00:00Z</published>
<summary type="text">Pamphilj as Phoenix: Themes of Resurrection in Handel’s Italian Works
Harris, Ellen T.
</summary>
<dc:date>2011-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Integrity and Improvisation in the Music of Handel</title>
<link href="https://hdl.handle.net/1721.1/114185" rel="alternate"/>
<author>
<name>Harris, Ellen T.</name>
</author>
<id>https://hdl.handle.net/1721.1/114185</id>
<updated>2025-02-06T20:26:00Z</updated>
<published>1990-01-01T00:00:00Z</published>
<summary type="text">Integrity and Improvisation in the Music of Handel
Harris, Ellen T.
</summary>
<dc:date>1990-01-01T00:00:00Z</dc:date>
</entry>
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