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Allan W. Atlas
Position: Distinguished Professor, Brooklyn College and the Graduate Center
Campus Affiliation: Brooklyn College|CUNY Graduate Center
Phone: 212-817-8590
Degrees/Diplomas: Ph.D., New York University

Allan Atlas is Distinguished Professor of Music at the Graduate Center, where he is Director of The Center for the Study of Free-Reed Instruments; his interests range from music of the fifteenth and early sixteenth centuries to Puccini, free-reed instruments (especially the English concertina, which he plays), music as represented in Victorian literature, and Astor Piazzolla. His book Renaissance Music has become the standard textbook on the subject.  He is currently working on Ralph Vaughan Williams.


"Ladies in the Wheatstone Ledgers: The Gendered Concertina in Victorian England, 1835-1870," Royal Musical Association Research Chronicle, 39 (2006). 

"The Victorian Concertina: Some Issues Relating to Performance Practice," Nineteenth-Century Music Review,  III/2 (2006).

Jean Japart: The Collected Works
. Monuments and Masters of Renaissance Music (New York: The Broude Trust, [in press]).

"A 41-Cent Emendation: A Textual Problem in Wheatstone's Publication of Giulio Regondi's Serenade for English Concertina and Piano," Early Music, 33/4 (2005).

"Stealing a Kiss at the Golden Section: Pacing and Proportion in the Act I Love Duet of La Bohème," Acta musicologica 85 (2003).

Contemplating the Concertina: An Historically-Informed Tutor for the English Concertina (Amherst, MA: The Button Box, 2003).

“Wilkie Collins, Mr. Vanstone, and the Case of Beethoven’s ‘No Name’ Symphony,” Dickens Studies Annual, 33 (2003).

"George Gissing on Music: Italian Impressions," The Musical Times 142 (2001); reprinted in The Gissing Journal, 38 (2002).]

"Giulio Regondi:  Two Newly Discovered Letters," The Free-Reed Journal, 4 (2002).

"Astor Piazzolla: Tangos, Funerals, and 'Blue Notes'," in Essays on Music and Culture in Honor of Herbert Kellman, ed. Barbara Haggh (Paris: Minerve, 2001).

"Busnoys and Japart: Teacher and Student?" in Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, ed. Paula Higgins (Oxford: Oxford University Press, 1999).

"Wilkie Collins on Music and Musicians," Journal of the Royal Musical Association 124 (1999).

"Who Bought Concertinas in the Winter of 1851? A Glimpse at the Sales Accounts of Wheatstone & Co.," in Nineteenth-Century British Music Studies, I, ed. Bennett Zon. Music in 19th-Century Britain (Aldershot: Ashgate, 1999).

"On the Date of Pergolesi's Mass in F," in Studi Pergolesiani 3 (Florence: La Nuova Italia Editrice, 1999).

Renaissance Music: Musical Style and Musical Life, 1400-1600, in The Norton Introduction to Music History (New York: W.W. Norton, 1998); translated into Spanish as La Música del Renacimiento: La Música Occidental, 1400-1600, (Madrid: AKAL, 2002).

"Some Thoughts on One-Line Refrains in Ockeghem's Rondeaux," in Johannes Ockeghem: Actes du Xle Colloque international d'études humanistes, Tours, 3-8 février 1997, ed. Philippe Vendrix (Paris: Klincksieck, 1998).

The Wheatstone English Concertina in Victorian England (Oxford: Clarendon Press, 1996).

"Mimì's Death: Mourning in Puccini and Leoncavallo," Journal of Musicology, 14 (1996).

Salve Regina: Giovanni Battista Pergolesi--Complete Works/Opere complete 15 (New York/Milan: Pendragon Press/G. Ricordi, 1995).


Music for the Concertina, 1830-2000 (Free Reed Music, forthcoming).