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2. The Meyer Manuscript: An 18th-Century American Tunebook
3. The Symphony as Described by J. A. P. Schulz (1774): A Commentary and Translation
4. A Comparison of the Five Monochords of Guido of Arezzo
5. Key Structure and Tonal Allegory in the Passions of J. S. Bach: An Introduction
6. An Unpublished Cadenza By Gounod For Mozart's Piano Concerto KV 491
7. Brahms, Developing Variation, and the Schoenberg Critical Tradition
8. Keith W. Daniel. Francis Poulenc: His Artistic Development and Musical Style (Ann Arbor: UMI Research Press, 1982), 390 pp.
9. On the Identity of Some Musicians At The Brescian Court of Pandolfo III Malatesta
10. The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)
11. Alexander Johnson and the Tennessee Harmony
12. Brahms and Schubring: Musical Criticism and Politics at Mid-Century
13. Concerning the Liturgical Usage of Dufay's Fragmentary Masses
14. Felix Mendelssohn's Influence on Fanny Mendelssohn Hensel as a Professional Composer
15. Leoš Janáček. Kritische Gesamtausgabe, Reihe C, Band 1: Männerchöre I. Herausgaben von Leoš Faltus, Petr Oliva. Prague: Supraphon, and Kassel: Bärenreiter, 1983
16. Thomas Emmerig. Joseph Riepel (1709-1782): Hofkapellmeister des Fürsten von Thurn und Taxis
17. Transformational Analysis: An Essay Toward an Analytic Model
18. Otto Luening (1900-) and the Theories of Bernhard Ziehn (1845-1912)
19. Elliott Antokoletz. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music.
20. Evolution and Structure in Flamenco Harmony
21. From the Singer's Point of View: A Case Study in Hexachordal Solmization as a Guide to Musica Recta and Musica Ficta in Fifteenth-Century Vocal Music
22. Music and Jugendstil
23. Thematic Form and the Genesis of Schoenberg’s D-Minor Quartet, Op. 7
24. Aspects of Trope in the Earliest Motets for the Assumption of the Virgin
25. Cantilena and Antiphon: Music for Marian Services in Late Medieval England
26. Some Observations on the "Germanic" Plainchant Tradition
27. Subtiliter alternare: The Yoxford Motet o amicus / Precursaris
28. The "Arabian Influence" Thesis Revisited
29. The Song Sketches of Hugo Wolf
30. An American Precursor of Non-tonal Theory: Ernst Bacon (1898-1990)
31. James Kippen. The Tabla of Lucknow: A cultural analysis of a musical tradition. Cambridge: Cambridge University Press, 1988.
32. Review of Style and Music: Theory, History, and Ideology by Leonard B. Meyer
33. Does Music Theory Need Musicology?
34. 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.
35. In Defense of Close Reading and Close Listening
36. 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.
37. Luigi Boccherini and the Court of Prussia
38.
Martin Ruhnke, ed. Georg Philipp Telemann: Thematisch-Systematisches Verzeichnis seiner Werke:
Telemann-Werkverzeichnis: Instrumental Werke 2.
39. Nicholas Cook. Music, lmagination, and Culture. Oxford: Oxford University Press / Clarendon Press, 1990.265 pp.
40. Stephen Banfield. Sensibility and the English Song: Critical Studies of the Early 20th Century. Cambridge: Cambridge University Press, 1988. xvii, 619 pages.
41. The Rhythm of Text and Music in Ottocento Melody: An Empirical Reassessment in Light of Contemporary Treatises
42. Aesthetics and Ideology in the Fin-de-Siecle Mozart Revival
43. Cinderella; or Music and the Human Sciences. Unfootnoted Musings from the Margins
44. Critical Perception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach
45. Froberger in Rome: From Frescobaldi's Craftsmanship to Kircher's Compositional Secrets
46. Gender and the Field of Musicology
47. Musical and Intellectual Values: Interpreting the History of Tonal Theory
48. Musical Pasts and Postmodern Musicologies: A Response to Lawrence Kramer
49. Voice as Action: Towards a Model for Analyzing the Dynamic Construction of Racialized Voice
50. Anna Maria Busse Berger. Mensuration and Proportion Signs: Origins and Evolution. Clarendon Press, 1993. xiii, 271 pp.
51. Centers; Dissenters (Music, Religion, and Politics)
52. 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.
53. Performance and Social Meaning in the Lied: Schubert's Erster Verlust
54. Reading and Misreading: Schumann's Accompaniments to Bach's Sonatas and Partitas for Solo Violin
55. The Prelude from Bach's Suite No.4 for Violoncello Solo: The Submerged Urlinie
56. C.P.E. Bach's Instrumental "Recompositions": Revisions or Alternatives?
57. James Pritchett. The Music of John Cage. Cambridge: Cambridge University Press, 1993. 223pp.
58. Lieder, Listeners, and Ideology: Schubert's "Alinde" and Opus 81
59. Margot Fassler. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris.
60. Melodrama as a Compositional Resource in Early Hollywood Sound Cinema
61. Perspectives on Bruckner
62. 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.
63. Stephen Walsh. Stravinsky: Oedipus Rex. Cambridge: Cambridge University Press, 1993. 118pp.
64. The Turn from the Aesthetic
65. William Weber, The Rise of Musical Classics in Eighteenth- Century England: A Study in Canon, Ritual and Ideology. Oxford; Clarendon Press, 1992. 174 pp.
66. Hearing, Remembering, Cold Storage, Purism, Evidence, and Attitude Adjustment
67.
Mark DeBellis. Music and Conceptualization
"Hearing is Believing?"
68.
Plot and Tonal Design as Compositional Constraints
in Il trovatore
69.
Robert Samuels. Mahler's Sixth Symphony: A Study in Musical Semiotics
Semiotics and Mahler's Sixth Symphony: The Suicide of Music Analysis?
70. Robert S. Hatten. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation
71. Ruth Smith, Handel's Oratorios and Eighteenth-Century Thought
72. Tia DeNora, Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803
73. William Kinderman. Beethoven
74. Alain Frogley, ed. Vaughan Williams Studies.
75. Andrew Mead. An Introduction to the Music of Milton Babbitt
76. Competition in the Sundanese Performing Arts of West Java, Indonesia
77. James M. Baker, David W. Beach, and Jonathan Bernard, eds. Music Theory in Concept and Practice. University of Rochester Press, 1997.529 pp
78. Kofi Agawu. African Rhythm: A Northern Ewe Perspective. Cambridge: Cambridge University Press, 1995. xx, 217 pp., 19 plates; compact disc.
79. Martha Bayles. Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music
80. New Musicologies, Old Musicologies: Ethnomusicology and the Study of Western Music*
81. Paul Theberge. Any Sound You Can Imagine: Making Music/Consuming Technology. Hanover: Wesleyan University Press, 1997. xx, 293 pp.
82. Review of The Second Practice of Nineteenth-Century Tonality by William Kinderman and Harald Krebs
83. Spatial and Psychoacoustic Factors in Atonal Prolongation
84. "Telling a Story": Louis Armstrong and Coherence in Early Jazz
85.
Thomas Owens. Bebop: The Music and the Players. New
York: Oxford University Press, 1995. xvi, 323 pp.
86. Aesthetics, Authenticities, and Appeals to Authority: The Auditor as Author
87. A Welsh Collection of Mendelssohniana: Letters at Aberystwyth
88. Datable "Notre Dame" Conductus: New Historical Observations on Style and Technique
89. Ethnomusicology as Interdisciplinary Musicology: A Case Study
90. Introduction: The Ingredients of a Masterpiece
91. 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.
92. The Selection of Clausula Sources for Thirteenth- Century Motets: Some Practical Considerations and Aesthetic Implications
93. 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
94. Voice Function, Sonority, and Contrapuntal Procedure in Late Medieval Polyphony
95. A Nuyorican Son
96. Beyond Duality: Stasis, Silence, and Vertical Listening
97. Composing Notes
98. Leaving the Ivory Tower
99. My Attitude Problem
100. Recent Developments at the Columbia University Computer Music Center
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