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2. The Symphony as Described by J. A. P. Schulz (1774): A Commentary and Translation
3. An Unpublished Cadenza By Gounod For Mozart's Piano Concerto KV 491
4. Keith W. Daniel. Francis Poulenc: His Artistic Development and Musical Style (Ann Arbor: UMI Research Press, 1982), 390 pp.
5. The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)
6. Leoš Janáček. Kritische Gesamtausgabe, Reihe C, Band 1: Männerchöre I. Herausgaben von Leoš Faltus, Petr Oliva. Prague: Supraphon, and Kassel: Bärenreiter, 1983
7. Thomas Emmerig. Joseph Riepel (1709-1782): Hofkapellmeister des Fürsten von Thurn und Taxis
8. Elliott Antokoletz. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music.
9. James Kippen. The Tabla of Lucknow: A cultural analysis of a musical tradition. Cambridge: Cambridge University Press, 1988.
10. Does Music Theory Need Musicology?
11. 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.
12.
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.
13. 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.
14. Luigi Boccherini and the Court of Prussia
15. Nicholas Cook. Music, lmagination, and Culture. Oxford: Oxford University Press / Clarendon Press, 1990.265 pp.
16. Stephen Banfield. Sensibility and the English Song: Critical Studies of the Early 20th Century. Cambridge: Cambridge University Press, 1988. xvii, 619 pages.
17. Aesthetics and Ideology in the Fin-de-Siecle Mozart Revival
18. Critical Perception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach
19. Anna Maria Busse Berger. Mensuration and Proportion Signs: Origins and Evolution. Clarendon Press, 1993. xiii, 271 pp.
20. 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.
21. James Pritchett. The Music of John Cage. Cambridge: Cambridge University Press, 1993. 223pp.
22. Margot Fassler. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris.
23. Margot Fassler. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris.Cambridge: Cambridge University Press, 1993. xxi, 487 pp.
24. Review: Friederich Erhardt Niedt. The Musical Guide: Parts 1 (1700/10), 2 (1721), and 3 (1717) and The Musical Dilettante: A Treatise on Composition by J. F. Daube.
25. Stephen Walsh. Stravinsky: Oedipus Rex. Cambridge: Cambridge University Press, 1993. 118pp.
26. William Weber, The Rise of Musical Classics in Eighteenth- Century England: A Study in Canon, Ritual and Ideology. Oxford; Clarendon Press, 1992. 174 pp.
27. Hearing, Remembering, Cold Storage, Purism, Evidence, and Attitude Adjustment
28.
Mark DeBellis. Music and Conceptualization
"Hearing is Believing?"
29.
Robert Samuels. Mahler's Sixth Symphony: A Study in Musical Semiotics
Semiotics and Mahler's Sixth Symphony: The Suicide of Music Analysis?
30. Robert S. Hatten. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation
31. Ruth Smith, Handel's Oratorios and Eighteenth-Century Thought
32. William Kinderman. Beethoven
33. Alain Frogley, ed. Vaughan Williams Studies.
34. Andrew Mead. An Introduction to the Music of Milton Babbitt
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. Martha Bayles. Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music
37. Paul Theberge. Any Sound You Can Imagine: Making Music/Consuming Technology. Hanover: Wesleyan University Press, 1997. xx, 293 pp.
38.
Thomas Owens. Bebop: The Music and the Players. New
York: Oxford University Press, 1995. xvi, 323 pp.
39. Aesthetics, Authenticities, and Appeals to Authority: The Auditor as Author
40. A Welsh Collection of Mendelssohniana: Letters at Aberystwyth
41. 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.
42. Timothy McGee, editor, with A. G. Rigg and David N. Klausner. Singing Early Music: The Pronunciation of European Languages in the Late Middle Ages and Renaissance
43. Beyond Duality: Stasis, Silence, and Vertical Listening
44.
Bryan R. Simms. The Atonal Music of Arnold Schoenberg,
1908-1923. Oxford University Press, 2000. ix, 265 pp.
45. Derek B. Scott, ed. Music, Culture, and Society: A Reader. Oxford University Press, 2000. x, 238 pp.
46. Far Out: Intentionality and Image Schema in the Reception of Early Works by Ornette Coleman
47. James Buhler, Caryl Flinn, and David Neumeyer, eds. Music and Cinema. Wesleyan University Press, 2000. vi, 397 pp.
48. Mary Hunter. The Culture of Opera Buffa in Mozart's Vienna: A Poetics of Entertainment.
49.
Peter Wade. Music, Race, and Nation: Musica Tropical
in Colombia
50. Review of Eric Chafe. Analyzing Bach Cantatas. Oxford University Press, 2000. xvii, 286 pp.
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