BA (Hons), MMus, MSc, PhD, PGCE, FHEA

Honorary Research Fellow


Contact Details

The University of Aberdeen Department of Music
MacRobert Building
King's College
University of Aberdeen
AB24 5UA
Scotland, United Kingdom


Dr Jasmin Cameron BA (Hons), MMus, MSc, PhD initially read music at the University College of Wales, Aberystwyth, before moving to the University of Liverpool where she studied for the degrees of MMus and PhD, completing her doctoral thesis under the supervision of Professor Michael Talbot in December 2001. Her thesis was published as a book (The Crucifixion in Music) by Scarecrow Press in 2006 while her MMus edition of Giovanni Maria Ruggieri’s two settings of the Gloria was published by A-R Editions in 2008 as part of their series Recent Researches in Music of the Baroque Era. She also holds an MSc in Information Systems.

She worked for the University of Portsmouth from 1999 to 2003 as Senior Lecturer in Music, where she was Faculty Subject Leader for Music and also worked closely with the Royal Marines School of Music as representative for the University. She took up the position of Lecturer at the University of Aberdeen in 2003 and was promoted to Senior Lecturer in Music in 2011, becoming Honorary Research Fellow in February 2016.





Research Interests


Jasmin's research interests lie with sacred Italian and German music of the late Baroque and Classical periods, analysis (particularly of texted music and the issues that arise thereof), rhetoric and music, development and transmission of musical conventions, and editing.


Select Publications

Book and Editions

  • Francesco Maria Barsanti: Sacred Vocal Music (Middleton, WI: A-R Editions, forthcoming). Series: Recent Researches in Music of the Baroque Era
  • Giovanni Maria Ruggieri: Suonate da Chiesa, op. 4 (Middleton, WI: A-R Editions, 2013).  Series: Recent Researches in Music of the Baroque Era
  • Giovanni Maria Ruggieri: Cantate con violini, e senza, op. 5 (Middleton, WI: A-R Editions, 2012). Series: Recent Researches in Music of the Baroque Era. 
  • Giovanni Maria Ruggieri: Two Settings of the Gloria, RV Anh.23 and RV Anh. 24 (Middleton, WI: A-R Editions, 2008). Series: Recent Researches in Music of the Baroque Era.
  • The Crucifixion in Music: An Analytical Survey of Setting of the Crucifixus between 1680 and 1800 (Lanham, MD: Scarecrow Press, 2006).
  • Vivaldi: Gloria RV 589 (London: Novello, 2002).

Papers and Chapters

  • Co-author Michael Talbot, ‘Francesco Barsanti (c.1690-1775): A Life Revisited’, Recercare, 15 (2013), pp. 95-154.
  • ‘In Search of Giovanni Maria Ruggieri: Recent Archival Research’, Studi Vivaldiani 11 (2011), pp. 13-32.
  • ‘Vivaldi’s Crucifixus in its Descriptive and Rhetorical Context’, in Michael Talbot (ed.) The Baroque Composers: Vivaldi (Farnham and Burlington: Ashgate, 2010), pp. 345-64.
  • ‘An Acknowledgment of Sacred Music Conventions: Vivaldi’s Et incarnatus and Crucifixus (RV 591)’ in Francesco Fanna and Michael Talbot (eds.) Antonio Vivaldi: Past and Future (Venice: Istituto Antonio Vivaldi, Fondazione Giorgio Cini, 2009). On-line publication: http:www.cini.it/uploads/assets//ATTI_VIVALDI_marzo_2010/14-Cameron.pdf, ISBN 978-88-96445-006, pp. 217-230.
  • ‘Placing the Et incarnatus and Crucifixus in Context: Bach and the Panorama of the Baroque Mass Tradition’ in Yo Tomita (ed.) Understanding Bach’s B Minor Mass (Belfast: Queen’s University, 2007), pp.11-26.
  • ‘Rhetoric and Music: the Influence of a Linguistic Art’, in John G. Williamson (ed.) Words and Music (Liverpool: Liverpool University Press, 2005), pp. 28-72. 
  • ‘Vivaldi’s Crucifixus in its Descriptive and Rhetorical Context’, Studi Vivaldiani 3 (2003), pp. 133-53.

Editorial Work

  • Co-editor Alessandro Borin, Fulgeat Sol Frontis Decorae: Studi in onore di Michael Talbot (Venice: Fondazione Cini, 2016).


Further Info

The Crucifixion in Music

Scarecrow Press, 2006

“Unique and diverse in its approach, The Crucifixion in Music examines how text is set in music through the musicological period from 1680 to 1800. The treatise focuses specifically on the text of the Crucifixus from the Credo of the Ordinary of the Roman Catholic Mass. Combining analytical theory and method to address musical rhetoric, semiotics, and theory, author Jasmin Cameron follows the Crucifixion through many settings in Baroque and Classical music. In this first title in Scarecrow Press's new series, Contextual Bach Studies, Cameron studies musical representations of the text, first through a discussion that establishes a theoretical framework, then by applying the framework to individual case studies, such as Johann Sebastian Bach's Crucifixus from the B Minor Mass. By studying the musical representation of the text, and the concepts and contexts to which the words refer, Cameron examines the way the treatment of a literary text fuses into a recognizable musical tradition that composers can follow, develop, modify, or ignore. With equal time given to the settings of the Crucifixus by composers before and after Bach's time, the reader is provided with a fuller historical context for Bach's genius. Cameron also combines the beliefs of past theorists with those of today, reaching a common ground among them, and providing a basis and analytical framework for further study.

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