Search Results
2. Aesthetics, Authenticities, and Appeals to Authority: The Auditor as Author
3. Alain Frogley, ed. Vaughan Williams Studies.
4. Alexander Rehding. 2009. Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany. Oxford and New York: Oxford University Press.
5. Andrew F. Jones. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham, N.C.: Duke University Press, 2001. xi, 213 pp.
6. Andrew Mead. An Introduction to the Music of Milton Babbitt
7. Anna Maria Busse Berger. Mensuration and Proportion Signs: Origins and Evolution. Clarendon Press, 1993. xiii, 271 pp.
8. An Unpublished Cadenza By Gounod For Mozart's Piano Concerto KV 491
9. Arnold Schoenberg. The Musical Idea and the Logic, Technique, and Art of Its Presentation. Edited, translated, and with a commentary by Patricia Carpenter and Severine Neff
10. A Welsh Collection of Mendelssohniana: Letters at Aberystwyth
11. Being Home: Jazz Authority and the Politics of Place
12. Beyond Duality: Stasis, Silence, and Vertical Listening
13.
Bryan R. Simms. The Atonal Music of Arnold Schoenberg,
1908-1923. Oxford University Press, 2000. ix, 265 pp.
14. Carol Vernallis. 2013. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press. Reviewed
15. Charles M. Joseph. 2011. Stravinsky’s Ballets
16. Critical Perception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach
17.
Curtis Roads, ed. The Computer Music Tutorial. MIT
Press, 1996. 1,234 pp
Joel Chadabe. Electric Sound: The Past and Promise of
Electronic Music. Prentice Hall, 1997.370 pp
18. David Levin. 2007. Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky. Chicago and London: University of Chicago Press.
19. David Novak. 2013. Japanoise: Music at the Edge of Circulation. Durham, NC: Duke University Press.
20. Derek B. Scott, ed. Music, Culture, and Society: A Reader. Oxford University Press, 2000. x, 238 pp.
21. Does Music Theory Need Musicology?
22. Editor's Note
23. Elliott Antokoletz. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music.
24. Eva Rieger. 2011. Richard Wagner’s Women. Translated by Chris Walton. Laurence Dreyfus. 2010. Wagner and the Erotic Impulse
25. Explorations in Music, The Am, and Ideas: Essays in Honor of Leonard B. Meyer. Edited by Eugene N annour and Ruth A. Solie. Stuyvesant: Pendragon Press, 1988. xiii, 473 pages.
26. Far Out: Intentionality and Image Schema in the Reception of Early Works by Ornette Coleman
27.
Friederich Erhardt Niedt. The Musical Guide: Parts 1 (1700/10), 2 (1721), and 3 (1717).;
Susan P. Snook-Luther. The Musical Dilettante: A Treatise on Composition by J. F. Daube.
28. Giuseppe Gerbino. 2009. Music and the Myth of Arcadia in Renaissance Italy. New Perspectives in Music History and Criticism. Cambridge and New York: Cambridge University Press.
29. Gregory Butler. Bach's Clavier-Ubung III: The Making of a Print. With a Companion Study of the Canonic Variations on "Vom Himmel Hoch," BWV 769.
30. Hearing, Remembering, Cold Storage, Purism, Evidence, and Attitude Adjustment
31. Heather Wiebe. 2012. Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction
32. Hilary Poriss. 2009. Changing the Score: Arias, Prima Donnas, and the Authority of Performance. Oxford: Oxford University Press.
33. James Buhler, Caryl Flinn, and David Neumeyer, eds. Music and Cinema. Wesleyan University Press, 2000. vi, 397 pp.
34. James Kippen. The Tabla of Lucknow: A cultural analysis of a musical tradition. Cambridge: Cambridge University Press, 1988.
35. James M. Baker, David W. Beach, and Jonathan Bernard, eds. Music Theory in Concept and Practice. University of Rochester Press, 1997.529 pp
36. James Pritchett. The Music of John Cage. Cambridge: Cambridge University Press, 1993. 223pp.
37. Jann Pasler. 2009. Composing the Citizen: Music as Public Utility in Third Republic France. Berkeley and Los Angeles: University of California Press.
38. Judging Performance, Performing Judgments: Race and Performance in Weimar Germany
39. Karin Bijsterveld and Jose van Dijck, eds. 2009. Sound Souvenirs: Audio Technologies, Memory and Cultural Practices. Amsterdam: Amsterdam University Press.
40. Keith W. Daniel. Francis Poulenc: His Artistic Development and Musical Style (Ann Arbor: UMI Research Press, 1982), 390 pp.
41. Leoš Janáček. Kritische Gesamtausgabe, Reihe C, Band 1: Männerchöre I. Herausgaben von Leoš Faltus, Petr Oliva. Prague: Supraphon, and Kassel: Bärenreiter, 1983
42. Leonard Meyer. Style and Music: Theory, History and Ideology. Philadelphia: University of Pennsylvania Press, 1989. xi, 376 pages. Studies in the Criticism and Theory of Music.
43. Levon Hakobian. Music of the Soviet Age.; Allan B. Ho and Dmitry Feofanov, eds. Shostakovich Reconsidered.; David Haas. Leningrad's Modernists: Studies in Composition and Musical Thought.
44. Luigi Boccherini and the Court of Prussia
45. Margot Fassler. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris.
46. Margot Fassler. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris.Cambridge: Cambridge University Press, 1993. xxi, 487 pp.
47.
Mark DeBellis. Music and Conceptualization
"Hearing is Believing?"
48. Martha Bayles. Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music
49. Mary Hunter. The Culture of Opera Buffa in Mozart's Vienna: A Poetics of Entertainment.
50. Meintjes, Louise. 2003. Sound of Africa!: Making Music Zulu in a South African Studio.
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