Type | List | Author | Title [further info] | Series | Vol | No | Year | Pages | Status |
| 1. | Chapin, Keith Moore | From tone system to personal inspiration: The metaphysics of counterpoint in 18th and early 19th- century Germany. |
diss. |
| | 2002 |
322p |
|
| 2. | Chapin, Keith | Human Work with Divine Material: A Work Concept in the Theory of Christoph Bernhard. |
[p]SSCM_Winston-Salem |
| | Apr 2003 |
|
|
| 3. | Chapin, Keith | Classicist Terms of Sublimity: Christian Friedrich Michaelis, Fugue, and Fantasy. |
AdParnassum |
4 | 8 | Oct 2006 |
115-139 |
|
| 4. | Chapin, Keith | Scheibe's Mistake: Sublime Simplicity and the Criteria of Classicism. |
18cM |
5 | 2 | Sep 2008 |
165-178 |
|
| 5. | Chapin, Keith | The Rhythms of Counterpoint and the Representation of Time: Bach, Haydn, and the Et vitam venturi Fugue in the Missa in tempore belli. |
[p]AMS_Nashville |
| | Nov 2008 |
|
|
| 6. | Chapin, Keith M. | Bach's silence, Mattheson's words: Professional and humanist ways of speaking of music. |
|
| | 2013 |
49-69 |
|
| 7. | Chapin, Keith | Temporal Modes and Symbolic Stakes: Strict Composition in Early Nineteenth-Century Europe. |
Musurgia |
21 | 1-2-3 | Oct 2014 |
29-41 |
|
| 8. | Chapin, Keith M. | C.P.E. Bach and the neoclassical sublime: Revisions of a concept. |
[ce]MSonorousSublime |
| | 2020 |
91-119 |
|