Publications

Books

2018 Augusta Campagne Simone Verovio: Music printing, intabulations and basso continuo in Rome around 1600 Wien, Köln, Weimar: Böhlau (open access).

2022 Augusta Campagne and Elam Rotem Keyboard Accompaniment in Italy around 1600: Intabulations, Scores and Basso Continuo for the Schola Cantorum Basiliensis (open access).

2022 Augusta Campagne, Markus Grassl (eds) Anklänge 2020/21 "Cantare nel gravicembalo" Ensemble- und Begleitpraxis in der italienischen Musikkultur um 1600 - Practices of ensemble playing and accompaniment in Italian musical culture c. 1600 Wien: Hollitzer.

2024 Augusta Campagne, Markus Grassl (eds) ›Universum rei harmonicae concentum absolvunt.‹ The Harpsichord in the Sixteenth Century Wien: mdw Press

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Articles

1995 Die Anfänge des Generalbasses oder: die Praxis des Begleitens im Italienischen Früh-Barock in Basler Jahrbuch für historische Musikpraxis 19 (1995): 9–31 (open access).
2017 Simone Verovio: Intaglio Techniques Reveal Different Makers and Audiences in Sources of Identity: Makers, Owners and Users of Music Sources before 1600 Tim Shephard and Lisa Coulton (eds) Turnhout: Brepols, 2017: 279–298.
2021 Universum rei harmonici concentuum absolvunt: the harpsichord in the 16th century. (A conference report) in Sounding Board 17 2021:42–45 (open access).
2022 Can we Use Lute Intabulations as an Inspiration for Harpsichord Continuo? A Comparison of the Lute and Harpsichord Intabulation in the Verovio Canzonette in Anklänge 2020/21 "Cantare nel gravicembalo" Ensemble- und Begleitpraxis in der italienischen Musikkultur um 1600 - Practices of ensemble playing and accompaniment in Italian musical culture c. 1600 Augusta Campagne und Markus Grassl (eds) Wien: Hollitzer, 2022: 113–134.
2023 "Basso Continuo: the Beginnings in Italy" (in Basso Continuo in Italy: Sources, Pedagogy and Performance, ed. Marcello Mazzetti, Brepols, 2023)

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Conference papers (unpublished)

2014-Sonare sopra il basso, Amsterdam: 'sonare sopra'l basso!: how new was this invention?
2015-Studientag Generalbass, Basel: Simone Verovio – Intabulations and basso continuo.
2015-MedRen Brussels: Characteristic and Implications of Printing Music with Intaglio Techniques: The Case of Simone Verovio.
2016-Music for Liturgy and devotion Manchester: The Concept of 'Amateur' in Music for Liturgy and Devotion.
2016-MedRen Sheffield: Lute and harpsichord together? - Evidence from the intabulations in the prints of Simone Verovio.
2018-Baroque Conference, Cremona: Simone Verovio: on the border between intabulations and basso continuo.
2018- IMS Tablature Studygroup, Basel: Simone Verovio: Canzonetta prints including intabulations for lute and harpsichord: a Comparison.
2018-Lasting Impressions, Salzburg: Ceci n’est pas un livre imprimé: The Case of Engraved Music in Rome Around 1600.
2019-MedRen Basel: Keyboard Accompaniment in Italian Music in the Second Half of the 16th Century.
2019-HKSNA Houston: Keyboard Accompaniment in Italian Music around 1600.
2020-'Journées de la Basse Continue' CNSMD Paris: Keyboard Accompaniment in Italian Music in the Second Half of the Sixteenth Century.
2021-The Figured Bass Accompaniment in Europe, on-line conference: Keyboard Accompaniment in Italian Music around 1600 Notated in Score.
2022-Alamire, Leuven: Musical Typoglycemia: Filling in missing gaps in Italian keyboard parts meant for accompanying.
2023-Studientag Generalbass, Basel with Elam Rotem: Keyboard Accompaniment in Italy around 1600: Intabulations, Scores and Basso Continuo.
2023-Baroque Conference Geneva: The Art of "Not Leaving the Instrument Empty" revisited.
2023-MUK, Vienna Impulstage: Begleiten am Tasteninstrument in Italien um 1600.
2023-mdw, Vienna: Die Kunst "das Instrument nicht leer klingen zu lassen".
2024-KVNM Utrecht (NL): Music Printing innovations in Rome around 1600:
Simone Verovio and his network of co-immigrants from the Low Countries.

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In preparation

Anker 1

2025 ›Per aures ad animum‹ the harpsichord in the 16th century II (as co-editor with Markus Grassl for mdwPress)

Musical Typoglycemia: Filling in missing gaps in Italian keyboard parts meant for accompanying (in New Perspectives in Fifteenth- and Sixteenth-Century Music Notations, ed. Paul Kolb)