Honorary Professor Samantha Owens
Honorary Professor
School of Music
Researcher biography
Samantha's research and postgraduate supervision centres on historical performance practices and performance cultures. Her published output comprises two main strands. First: the influence and reception of German music and musicians in Australasia, 1850–1950 (including itinerant German bands, and the music of J. S. Bach) and the history of listening cultures in Australasia during the first half of the 20th century (including the impact of the gramophone and radio broadcasting). And, second: early modern German court music (in particular the Württemberg Hofkapelle); professional women musicians in the 17th and 18th centuries; the early history of the orchestra and oboe bands (Hautboistenbande); and John Sigismond Cousser (Kusser) and the musical life of early 18th-century Dublin.
She is a Fellow of the Australian Academy of the Humanities (from 2012), and has also held visiting fellowships at the Herzog August Bibliothek in Wolfenbüttel, Germany (2004); Clare Hall, University of Cambridge (2007–2008); and, as an Alexander von Humboldt Foundation Research Fellow, at the Institut für Musik, Martin-Luther-Universität Halle-Wittenberg (2009–2010) and the Bach-Archiv in Leipzig, Germany (2018).
In 2011–2017, Samantha was an Associate and (from 2015) International Investigator with the Australian Research Council's Centre of Excellence for the History of Emotions: Europe 1100–1800. Her monograph, The Well-Travelled Musician: John Sigismond Cousser and Musical Exchange in Baroque Europe (Boydell Press, 2017), was funded by an Australian Research Council Discovery Project grant (2013– 2015). Most recently, she received funding from the Lilburn Trust for hosting a scholarly symposium on Music in Colonial New Zealand Cities (November 2022); an edited volume of the papers is currently in preparation.
From 1994 until 2023, Samantha taught papers on historical performance practice, the history of Western European music of the 17th and 18th centuries, and the history of Western art music in New Zealand, 1850–1950 (including jazz, classical and popular music). She was employed full time at the University of Queensland from 2001 until 2015 (Lecturer–Associate Professor). In 2015 she returned to New Zealand, where she held the positions of Associate Professor (2015–2018) and Professor of Musicology (2019–2024) at the New Zealand School of Music – Te Kōkī.
Samantha has been the editor of numerous scholarly books and works as a freelance indexer; her index for Music at German Courts: Changing Artistic Priorities (Boydell Press, 2011) won the 2012 medal of the Australian and New Zealand Society of Indexers.
Publications
Books
Owens, Samantha (2017). The well-travelled musician: John Sigismond Cousser and musical exchange in Baroque Europe. Woodbridge, Suffolk, United Kingdom: Boydell Press.
Owens, Samantha (2009). Johann Sigismund Kusser, Adonis. Middleton, WI, United States: A-R Editions.
Book Chapters
Owens, Samantha (2020). 'Seven young men on Hautboys': the oboe band in England, c. 1680–1740. Musical exchange between Britain and Europe, 1500–1800: essays in honour of Peter Holman. (pp. 257-268) edited by John Cunnginham and Bryan White. Woodbridge, Suffolk: Boydell Press.
Owens, Samantha (2018). "A gothic cathedral in music": the performance and reception of Bach's Mass in B minor in 1920s Australia. J.S. Bach in Australia: studies in reception and performance. (pp. 101-116) edited by Denis Collins, Kerry Murphy and Samantha Owens. Melbourne, VIC, Australia: Lyrebird Press.
Collins, Denis, Murphy, Kerry and Owens, Samantha (2018). Introduction. J.S. Bach in Australia: studies in Reception and performance. (pp. 1-7) edited by Denis Collins, Kerry Murphy and Samantha Owens. Melbourne, Australia: Lyrebird Press.
Collins, Denis, Murphy, Kerry and Owens, Samantha (2018). Appendix 1. J.S. Bach in Australia: studies in Reception and performance. (pp. 218-221) edited by Denis Collins, Kerry Murphy and Samantha Owens. Melbourne, Australia: Lyrebird Press.
Owens, Samantha (2017). ‘Er kan zum Muster dienen’: Kapellmeister Johann Sigismund Kusser and the performance materials for the opera Adonis. Transformationen und Metamorphosen. Bericht über die Symposien der Internationalen Händel-Akademie Karlsruhe 2011 bis 2013. (pp. 53-69) edited by Thomas Seedorf and Christian Schaper.. Laaber, Germany: Laaber-Verlag.
Owens, Samantha (2017). London, Leipzig or Local? – German Musical Influence and the Establishment of a New Zealand Conservatorium of Music, 1906–8. Searches for tradition: Essays on New Zealand music, past and present. (pp. 46-58) edited by Michael Brown and Samantha Owens. Wellington, New Zealand: Victoria University Press.
Owens, Samantha (2017). ‘Schott aus Hamburg mit seinen Leuthen’: Connections between the public opera houses in Braunschweig and Hamburg, 1690–1738. Telemann und die urbanen milieus der aufklärung. (pp. 41-52) Munich, Germany: + Kritik.
Owens, Samantha (2017). Theatre and stage. Early modern emotions: an introduction. (pp. 228-230) edited by Susan Broomhall. London, United Kingdom: Routledge. doi: 10.4324/9781315441368
McCredie, Andrew D. and Owens, Samantha (2015). Tunley, David. Grove Music Online. (pp. x-xx) New York, NY United States: Oxford Univerisity Press.
McCredie, Andrew D. and Owens, Samantha (2015). Dalley-Scarlett, Robert. Grove Music Online. (pp. x-xx) New York, NY United States: Oxford University Press.
Owens, Samantha (2015). 'Serious Music': the Brisbane reception of Grainger's historical chamber music recitals (1934). Grainger the Modernist. (pp. 181-199) edited by Suzanne Robinson and Kay Dreyfus. Farnham, Surrey, United Kingdom: Ashgate.
Owens, Samantha (2014). 'Just as Great as Noverre’: the ballet composer Florian Johann Deller (1729–73) and music at the Wuerttemberg Court. The Works of Monsieur Noverre translated from the French: Noverre, his Circle and the English 'Lettres sur la Danse'. (pp. 21-36) edited by Michael Burden and Jennifer Thorpe. Hillsdale, NY, United States: Pendragon Press.
Owens, Samantha (2014). An historical perspective on creative collaboration: the composition of theatrical dance music at the early modern German Court. Collaborative creative thought and practice in music. (pp. 143-155) edited by Margaret S. Barrett. Burlington, VT, United States: Ashgate. doi: 10.4324/9781315572635-19
Owens, Samantha and Stockigt, Janice B. (2013). Haydn's Creation 'Shamelessly Mangled' in Melbourne: Joseph Summers and a musical libel action against the Age (1893). A Musicological Gift: Libro Homenaje for Jane Morlet Hardie. (pp. 255-282) edited by Kathleen Nelson and Mariacarmen Gómez. Lions Bay, BC, Canada: Institute of Mediaeval Music.
Owens, Samantha (2012). Early modern German perspectives on 'moving the affections'. Grief and joy: emotions in the music of the 18th century. (pp. 23-25) edited by Rebekah Prince. Crawley, W.A., Australia: The University of Western Australia, ARC Centre of Excellence for the History of Emotions.
Owens, Samantha (2011). The court of Wurttemberg-Stuttgart. Music at German Courts, 1715–1760: Changing Artistic Priorities. (pp. 165-196) edited by Samantha Owens, Barbara M. Reul and Janice B. Stockigt. Woodbridge, U.K.: The Boydell Press.
Owens, Samantha and Reul, Barbara M. (2011). 'Das gantze Corpus derer musicirenden Personen': An Introduction to German 'Hofkapellen'. Music at German Courts, 1715–1760: Changing Artistic Priorities. (pp. 1-14) edited by Samantha Owens, Barbara M. Reul and Janice B. Stockigt. Woodbridge, U.K.: The Boydell Press.
Owens, Samantha K. (2007). On the concept of the "Kleine Cammer-Music" in early eighteenth-century German court music. Johann Friedrich Fasch als Instrumentalkomponist. (pp. 95-108) edited by Konstanze Musketa. Beeskow, Germany: Ortus Verlag.
Owens, Samantha K. (2007). "....nicht so leicht in einer Protestantischen Hoff Cappell einen Catholischen Cappell Meister..." Notes on the early career of Giuseppe Antonio Brescianello (c. 1690-1758). Musik in Baden-Württemberg Jahrbuch. (pp. 199-214) edited by Gabriele Busch-Salmen, Walter Salmen and Markus Zepf. Munich: Strube Verlag.
Owens, Samantha (2006). The rise and decline of opera at the Württemberg Court, 1698-1733. Italian Opera in Central Europe. (pp. 99-114) edited by Melania Bucciarelli, Norbert Dubowy and Reinhard Strohm. Berlin: Berliner Wissenschafts-Verlag.
Owens, Samantha (2005). Upgrading from consort to orchestra at the Württemberg court. From Renaissance to Baroque : Change in instruments and instrumental music in the seventeenth century : Proceedings of the National Early Music Association Conference held, in association with the Department of Music, University of York and the York Early Music Festival, at the University College of Ripon and York St. John, York, 2-4 July 1999. (pp. 227-240) edited by Peter Holman and Jonathan Wainright. Aldershot, England: Ashgate.
Owens, Samantha (2003). Und mancher grosser Fürst kan ein Apollo seyn: Erbprinz Friedrich Ludwig von Württemberg (1698–1731). Musik in Baden-Wuerttemberg Jahrbuch. (pp. 177-189) edited by G. Gunther. Stuttgart , Germany: Metzler.
Owens, Samantha (2003). The provenance of the J. F. Fasch concertos in Crown Prince Friedrich Ludwig of Württemberg’s music collection: Contextual remarks on the ‘Sammlung Ziegesar’. Johann Friedrich Fasch und der italienische Stil. (pp. 77-90) edited by Konstanze Musketa. Dessau, Germany: Internationale Fasch-Gesellschaft e. V. Zerbst.
Buelow, George J. and Owens, Samantha (2001). Kusser, Johann Sigismund. Grove Music Online. Oxford University Press. doi: 10.1093/gmo/9781561592630.article.15709
Owens, Samantha (2001). Schwartzkopff, Theodor (1659–1732). The New Grove Dictionary of Music and Musicians. (pp. 869-869) edited by Stanley Sadie and John Tyrell. London, United Kingdom: Macmillan.
Journal Articles
Owens, Samantha (2023). Helen J. English. Music and World-Building in the Colonial City: Newcastle, NSW, and its Townships, 1860–1880 (review). Context (48), 109-112. doi: 10.46580/cx89103
Owens, Samantha (2019). Fourth-class wine from Bietigheim? Employment conditions for Lutenist Maria Dorothea St. Pierre and Waldhornist Franz Anton Spurni at the Württemberg Court, c.1719–1736. Musicology Australia, 41 (2), 76-90. doi: 10.1080/08145857.2019.1696163
Owens, Samantha (2019). Pictorial depictions of musicians, musical instruments and music-making in the Stammbücher of Paul Jenisch and Johann Michael Weckherlin. De Musica Disserenda, 15 (1–2), 159-177. doi: 10.3986/dmd15.1-2.08
Owens, Samantha (2018). The Music Collection of Johann (Ján) Kusser (1626–1695): A Hungarian Émigré in Seventeenth-Century Stuttgart. Musicologica Brunensia, 53 (2), 61-85. doi: 10.5817/MB2018-2-4
Owens, Samantha (2017). ‘The above mentioned aliens’: Rudolf Mersy’s German band in New Zealand, 1913–19. Musicology Australia, 39 (1), 1-14. doi: 10.1080/08145857.2017.1332971
Owens, Samantha (2017). ‘Unmistakeable Sauerkrauts’: local perceptions of itinerant German musicians in New Zealand, 1850–1920. Nineteenth-Century Music Review, 15 (01), 1-13. doi: 10.1017/S1479409817000076
Owens, Samantha (2016). Music via correspondence: a list of the music collection of Dresden Kreuzorganist Emanuel Benisch. Understanding Bach, 11, 39-56.
Owens, Samantha (2014). "Won't sing in German": responses to German music in war-time New Zealand. Crescendo, 1 (95), 16-21.
Owens, Samantha (2014). 'The Greatest Choral Work that has ever been written': Wellington performances of J. S. Bach's St Matthew Passion, 1899–1941. Understanding Bach, 9, 75-86.
Owens, Samantha (2013). Theodor Schwartzkopff and French music at the Court of Wuerttemberg-Stuttgart in the 1680s. Musik in Baden-Wuerttemberg, 20, 31-43.
Owens, Samantha (2012). Robert Dalley-Scarlett (1887-1959) and Handel Reception in Australia between the World Wars. Musicology Australia, 34 (2), 165-183. doi: 10.1080/08145857.2012.734963
Owens, Samantha (2010). 'Not always the same minuets': Dance at the Wuerttemberg Court, 1662-1711. The Court Historian, 15 (2), 133-144. doi: 10.1179/cou.2010.15.2.002
Owens, Samantha (2010). Johann Sigismund Cousser (Kusser): A 'European' in early Eighteenth-century England and Ireland. Haendel-Jahrbuch, 56, 445-467.
Owens, Samantha (2009). Johann Sigismund Cousser, William III and the Serenata in Early Eighteenth-Century Dublin. Eighteenth-Century Music, 6 (1), 7-39. doi: 10.1017/S1478570609001717
Owens, Samantha and Clark, Brian (2009). Internationale Wissenschaftliche Konferenz Im Rahmen Der 10. Internationalen Fasch-festtage: Musik An Der Zerbster Residenz, Zerbst. Eighteenth-Century Music, 6 (1), 143-146. doi: 10.1017/S1478570609001882
Owens, Samantha K. (2008). "eine liebliche/von vielen Violen bestehende Music" Ballet instrumentation at German Protestant courts, 1650-1700: a study of libretti in Wolfenbuettel and Stuttgart. The Royal Musical Association Research Chronicle, 41, 25-67.
Owens, Samantha (2006). The Stuttgart Adonis: A recently rediscovered opera by Johann Sigismund Cousser?. Musical Times, 147 (1896), 67-80. doi: 10.2307/25434405
Owens, Samantha (2005). Censorship of the goût moderne in 1730s Ludwigsburg and the music of Giuseppe Antonio Brescianello. Eighteenth Century Music, 2 (2), 299-310. doi: 10.1017/S1478570605000394
Owens, Samantha (2002). The viol at the Württemberg court c. 1717: identification of the Hand Gamba. Chelys, 30, 47-59.
Owens, Samantha (2002). 'The Ducal Musicians in the Clouds:' The Role of Music in Seventeenth-century German Singballett. Context : Journal of Music Research, 24 (Spring), 63-67.
Owens, Samantha (2001). Professional women musicians in early eighteenth-century Württemberg. Music & Letters, 82 (1), 32-50. doi: 10.1093/ml/82.1.32
Conference Papers
Owens, Samantha (2024). Lessons by Correspondence: Nathalie Dolmetsch, Mona Castle and the Viola da Gamba in 1940s New Zealand. The Spirit of Gambo: The State of Viol Research, Berkeley, CA United States, 15-17 March 2024.
Owens, Samantha (2019). "Eine schöne Stimm”: Kapellknaben at German Lutheran Courts, 1680–1730. International Fasch Festival, Zerbst, Germany, 12–13 April 2019. Beeskow, Germany: Ortus Verlag.
Owens, Samantha (2016). ‘Here No Rank is to be Observed’: The Role(s) of Dancing Masters and Dancing Nobility in German Courtly Ballets, 1650–170. 18th Annual Oxford Dance Symposium, New College Oxford, 19-20 April 2016.
Owens, Samantha (2016). The “Hunting Song” in eighteenth-century england: a copy of James Hook’s "Ye sluggards who murder your lifetime in sleep" from the Zerbster musikstub. International Scientific Conference during the 13th International Fasch Festival, Zerbst, Anhalt, Germany, 17-18 April 2015. Beeskow, Germany: Ortus Musikverlag.
Owens, Samantha (2016). J. S. Cousser and the Irish State Musick at Dublin Castle. Pre-concert talk (45 minutes), Wigmore Hall, London, 24 April 2016.
Owens, Samantha (2015). ‘The Above Mentioned Aliens’: The Internment of Rudolf Mersy’s German Band on Wellington’s Somes Island, 1914–1918. Musical Dialogues, 38th National Conference of the Musicological Society of Australia, Sydney, NSW, Australia, 1-4 October 2015.
Owens, Samantha (2015). The ‘Hunting Song’ in Eighteenth-Century England: A Copy of James Hook’s Ye Sluggards Who Murder Your Lifetime in Sleep from the Zerbster Musikstube (B 9). Wissenschaftliche Konferenz zu den 13. Internationalen Fasch-Festtagen, Zerbst, Germany, 15-19 April 2015.
Owens, Samantha (2015). Music via Correspondence: A List of the Music Collection of Kreuzorganist Emanuel Benisch. 7th Bach Network UK Dialogue Meeting, Madingley Hall, University of Cambridge, United Kingdom, 8–10 July 2015.
Owens, Samantha (2015). Duplex Genius: The French and Italian Musical Styles in the Instrumental Works of Johann Christoph Pez (1664–1716). Music in Transition: Changing Styles and Approaches in the Mid-Baroque (1650–1710), Birmingham Conservatoire, Birmingham City University, United Kingdom, 2-3 July 2015.
Owens, Samantha (2015). "Miss Buckland in Dresden": the role of German-trained musicians in New Zealand, 1850–1914. Searches for Tradition: Annual Meeting of the New Zealand Musicological Society, Wellington, New Zealand, 31 October–1 November 2015.
Owens, Samantha (2014). "A Hoarse and Impure Voice": Vocal Training at the Württemberg Court, 1680-1730. The Voice and Histories of Emotion, 1500-1800. Performance Collaboratory, University of Sydney, Camperdown Campus, NSW, 29 September-1 October 2014.
Owens, Samantha (2014). "A gothic cathedral in music": the reception of Australian performances of Bach's B-minor Mass in the 1920s. Melbourne Bach Forum, Melbourne, Australia, 25-27 July 2014.
Owens, Samantha (2014). "Won't Sing in German": responses to German music in war-time New Zealand. Recovering Forbidden Voices 2014: Responding to the Suppression of Music in World War Two, Wellington, NZ, 22-25 August, 2014.
Owens, Samantha (2014). "The Incomparable Director": J.S. Cousser at Hamburg's Hamburg's Gänsemarkt Theatre, 1694–96. 16th Biennial International Conference on Baroque Music, Salzburg, Austria, 9-13 July, 2014.
Owens, Samantha (2013). "Bach the Sublime": Australasian reception of the St Matthew Passion (BWV 244), 1875–1950. Brisbane and Wellington. The Sixth J. S. Bach Dialogue Meeting: Bach Looking East, Warsaw, Poland, 3-7 July, 2013.
Owens, Samantha (2013). 'Mr Viner's Divisions on Corelli's Solos': the dissemination of Italian music in early eighteenth-century Dublin. Global Corelli: Fame and Music in the Early Modern World, Canberra, ACT, Australia, 4-5 November, 2013. Canberra, ACT, Australia: Australian National University.
Owens, Samantha (2013). 'A clock of Mr Sale's worck': a musician at home in early eighteenth-century Dublin. ANZAMEMS 2013: Australian and New Zealand Association of Medieval and Early Modern Studies Ninth Biennial Conference, Melbourne, VIC, Australia, 12-16 February, 2013. Clayton, VIC, Australia: Monash University.
Owens, Samantha (2012). 'The most modern methods of propaganda’: Robert Dalley-Scarlett and the Halle Handel Medal(1940). Conference of the New Zealand Musicological Society, Auckland, New Zealand, 30 November - 2 December 2012.
Owens, Samantha (2012). 'A work of the first importance’ – J. S. Bach’s St Matthew Passion in Brisbane, 1874–1950. 'Bach in Australia' Symposium, Melbourne, Australia, 15 September 2012.
Owens, Samantha (2012). ‘The Most Elaborate and Difficult of All Choral Works’: Wellington Performances of J. S. Bach’s St Matthew Passion, 1899–1945. Past Tensions: Reflections on Making History, 2011 New Zealand Historical Association Conference, University of Waikato, Hamilton, New Zealand, 16-18 November 2011.
Owens, Samantha (2012). Passports, packet-boats, and parcels: Johann Sigismund Cousser as a collector and disseminator of music in early eighteenth-century Europe. Fifteenth Biennial International Conference on Baroque Music, Southampton, United Kingdom, 11-15 July 2012.
Owens, Samantha (2011). Text, Rhythm, Gesture: Emotional Meaning and Communication in Sacred and Theatrical European Music, 1600–1750 – German Music. ARC Centre for Excellence for the History of Emotions Collaboratory, Musicological Society of Australia Conference, University of Western Austalia, Perth, 30 November - 3 December 2011.
Owens, Samantha (2011). ‘Er kan zum Muster dienen’: issues of performance practice in the music of J. S. Kusser. Johann Sigismund Kusser: Ein europäischer Musiker am Stuttgarter Hof, 26. Internationale Händel-Akademie, Karlsruhe, Germany, 27 February 2011.
Owens, Samantha (2010). Johann Sigismund Cousser’s ‘Collection of Fine Musick’: Evidence of a Pan-European Repertory in London and Dublin, 1704–1727. 14th Biennial International Conference on Baroque Music, Queen's University Belfast, Northern Ireland, 30 June - 4 July 2010.
Owens, Samantha and Clark, Brian (2009). International Musicological Conference in the framework of the 10th International Fasch Festival: Music at the Zerbst Residence - Zerbst, April 10-12, 2008 Internationale Wissenschaftliche Konferenz im rahmen der 10. Internationalen Fasch-Festtage: Musik an der Zerbster Residenz - Zerbst 10-12 April 2008. doi: 10.1017/S1478570609001882
Owens, Samantha (2009). Handel and Johann Sigismund Cousser: ‘European’ in Early Eighteenth-Century Britain. Händel – Der Europäer, Händel-Haus, Halle (Saale), Germany, 7 - 10 June 2009.
Owens, Samantha (2009). Johann Sigismund Cousser (Kusser) and the Dissemination of Musical Style, 1680–1727. 2009 Network Meeting of the Alexander von Humboldt-Stiftung, Carl von Ossietzky Universität Oldenburg, Germany, 8 - 9 October 2009.
Owens, Samantha (2008). ‘zum Fürstl: Hoff Staat gehörige Musicalien’: The ownership and dissemination of German court music, 1665-c. 1750. Wissenschaftliche Konferenz zu den 10. Internationalen Fasch-Festtagen, Anhalt-Zerbst, Germany, 10-12 April 2008. Beeskow, Germany: Ortus-Musikverl.
Owens, Samantha (2008). ‘The Newly Introduced and Generally More Favoured French Method’: The Transmission of French Musical Style at the Württemberg Court, 1665–1715. 13th Biennial International Conference on Baroque Music, University of Leeds, United Kingdom, 2 - 6 July 2008.
Owens, Samantha (2008). ‘Not Always the Same Menuetts’: Dance at the Württemberg Court, 1662–1711. Intriguing places: Dancing in Royal Palaces 1600-1800, Tenth Annual Oxford Dance Symposium, New College, University of Oxford, United Kingdom, 3 May 2008.
Owens, Samantha (2007). "A science too refined for bleak Ireland": Philip Percival, J. S. Cousser and music-making beyond Dublin Castel, 1707-27. Islands 2007: Combined conference of the Australian and New Zealand Musicological Societies, South Bank, QLD, Australia, 22-25 November, 2007.
Owens, Samantha (2006). 'Employ Your Muse on Kings Alive': a newly discovered serenata for William III in Hamburg. 15th New Zealand Musicological Society Conference 2006, Victoria University of Wellington, Wellington, NZ, November, 2006.
Owens, Samantha (2006). ‘A better market crier than librettist’: J. S. Cousser, F. C. Bressand, and Italian opera at the Braunschweig-Wolfenbüttel court in the early 1690s. Twelfth Biennial International Conference on Baroque Music, University of Warsaw, Poland, 26-30 July 2006.
Owens, Samantha (2006). Roundtable: The changing artistic priorities of German Hofkapellen, 1715-1760: a comparative panel. Twelfth Biennial International Conference on Baroque Music, University of Warsaw, Poland, 26-30 July 2006.
Owens, Samantha (2005). On the concept of the "Kleine Cammer-Music" in early eighteenth-century German court music. Wissenschaftliche Konferenz zu den 9. Internationalen Fasch-Festtagen, Anhalt-Zerbst, Germany, 8-9 April, 2005. Beeskow, Germany: Ortus.
Owens, Samantha (2004). 'Eine gelinde Music von ferne gehoeret' (Serene Music Heard from a Distance): The Place of Musicians in German Courtly Ballets and Singballette, 1650–1700. 13th New Zealand Musicological Society Conference 2004, University of Otago, Dunedin, New Zealand, November 2004.
Owens, Samantha (2004). Censorship of the gout moderne in 1730s Ludwigsburg and the Music of Giuseppe Antonio Brescianello. Eleventh Biennial International Conference on Baroque Music, Manchester, United Kingdom, 14-18 July, 2004.
Owens, Samantha (2003). The provenance of the J. F. Fasch concertos in Crown Prince Friedrich Ludwig of Wuerttemberg's music collection: contextual remarks on the "Sammlung Ziegesar". Wissenschaftliche Konferenz zu den 8. Internationalen Fasch-Festtagen, Anhalt-Zerbst, Germany, 4-5 April, 2003. Dessau, Germany: Anhalt Edition.
Seminar Papers
Owens, Samantha (2021). Matthew Dubourg, Redmond Simpson and the accumulation of wealth by professional musicians in eighteenth-century Ireland and England. RIAM Online Guest Lecture Series 2020/21. Royal Irish Academy of Music, Dublin.
Owens, Samantha (2014). "Listen to the German Band, the Music's Grand": local perceptions of itinerant German musicians in New Zealand, 1850-1920. Stout Research Centre Seminar Series. Victoria University of Wellington.
Owens, Samantha (2013). Editing Adonis: issues of performance practice in the music of J. S. Cousser (1660–1727). 2013 Music Forum. New Zealand School of Music, Victoria University of Wellington/Massey University, Wellington.
Owens, Samantha (2011). ‘Mount Parnassus, in which a lovely music is hidden’: the use of instrumentation to move the passions in early modern European theatrical music. Public Seminer Series 2011: Reason and the Passions. Centre for the History of European Discourses and the ARC Centre for Excellence for the History of the Emotions, The University of Queensland.
Owens, Samantha (2009). ‘Segue il ballo’: Johann Sigismund Cousser (1660–1727) and the Continental Serenata at Dublin Castle. Research Colloquia. Institut für Musik, Martin-Luther-Universität Halle-Wittenberg, Germany.
Owens, Samantha (2006). 'The Devil’s Grasshoppers': J. S. Cousser and the transmission of French musical style, c. 1680–1727. Colloquia. Faculty of Music, University of Cambridge, United Kingdom.
Creative Works
Owens, Samantha (2014). Agostino Steffani (1654-1728). Radio New Zealand: Radio New Zealand.
Owens, Samantha and Wilkinson, Shelley (2014). Classical musicians. Radio New Zealand: Radio New Zealand.
Owens, Samantha and Wilkinson, Shelley (2014). The jolly German band. Radio New Zealand: Radio New Zealand.
Owens, Samantha (2013). Johann Friedrich Fasch (1688–1758). Wellington, NZ: Radio New Zealand.
Owens, Samantha (2012). Music at the court of Frederick the Great. Wellington, Aotearoa, NZ: Radio New Zealand.
Les Hautboistes de Prusse, Corall, Georg and Owens, Samantha (2012). The Sonsfeld collection: baroque music for Hautboisten. Perth, WA, Australia: The University of Western Australia.
Owens, Samantha (2009). George Frideric Handel. Radio New Zealand.
Owens, Samantha (2007). Antonio Vivaldi as an Opera Composer. Radio New Zealand.
Owens, Samantha (2007). Giovanni Battista Pergolesi (1710–1736). Radio New Zealand.
Owens, Samantha (2006). Handel at Hamburg's Goosemarket Theatre. Wellington, NZ: Radio New Zealand.
Owens, Samantha (2005). Heinrich Schutz. Wellington, NZ: Radio New Zealand.
Owens, Samantha (2004). Music at the Dresden Court. Wellington, NZ: Radio New Zealand.
Owens, Samantha (2003). Baroque programme music. Wellington, NZ: Radio New Zealand.
Owens, Samantha (2003). Dieterich Buxtehude (1637–1707). Wellington, NZ: Radio New Zealand.
Owens, Samantha (2002). Johann Adolf Hasse (1699–1783). Wellington, NZ: Radio New Zealand.