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2. Across a Divide: Mediations of Popular Music in Contemporary Morocco and Spain
3. A Cross–Cultural Grammar for Temporal Harmony in Afro–Latin Musics: Clave, Partido– Alto and Other Timelines
4. “A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing
5. Adolphe Appia, Les maîtres chanteurs de Nuremberg: An Introduction and Translation
6. Aesthetics and Ideology in the Fin-de-Siecle Mozart Revival
7. Aesthetics, Authenticities, and Appeals to Authority: The Auditor as Author
8. A Great Desire: Autobiography in Louise Talma's Three Madrigals
9. Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge)
10. A Knife All Blade: Deciding the Side Not to Take
11. Alain Frogley, ed. Vaughan Williams Studies.
12. Alexander Johnson and the Tennessee Harmony
13. Alexander Rehding. 2009. Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany. Oxford and New York: Oxford University Press.
14. Ambient Drone and Apocalypse
15. American Opera, Jazz, and Historical Consciousness, 1924-1994
16. A Message for Peace or a Tool for Oppression? Israeli Jewish-Arab duo Achinoam Nini and Mira Awad's Representation of Israel at Eurovision 2009
17. A Multiphonic Reappraisal and the Alto Saxophone Concerto Radial
18. A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950's
19. An Account of Emotional Specificity in Classic-Romantic Music
20. Analysis, Performance, and Images of Musical Sound: Surfaces, Cyclical Relationships and the Musical Work
21. An American Precursor of Non-tonal Theory: Ernst Bacon (1898-1990)
22. Andrew Mead. An Introduction to the Music of Milton Babbitt
23. Anna Maria Busse Berger. Mensuration and Proportion Signs: Origins and Evolution. Clarendon Press, 1993. xiii, 271 pp.
24. An Unpublished Cadenza By Gounod For Mozart's Piano Concerto KV 491
25. A Nuyorican Son
26. A Paper Trail: Missa Jouyssance vous donneray, Uncertain Identity, and the National Institutes of Health's "Bathtub Collection"
27. A Picture is Worth a Thousand Words: Road Maps as Analytical Tools
28. Approaches to handwritten conductor annotation extraction in musical scores
29. A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition
30. Arnold Schering, "Die Eroica, eine Homer-Symphonie Beethovens?": Translated with an Introduction and Commentary
31. 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
32. Aspects of Trope in the Earliest Motets for the Assumption of the Virgin
33. A Time for Everything, for chorus: Analysis of a Musical Meditation
34. A Timely Musical Discourse, or a Music Treatise from Lost Times, Part I
35. A View From Death: Ariadne auf Naxos as Failed Totality
36. A Voice Like Thunder: Corsican Women's Lament as Cultural Work
37. A Welsh Collection of Mendelssohniana: Letters at Aberystwyth
38. Bach: Luther's Musical Prophet?
39. Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaÿe's "Obsession" for Solo Violin
40. Beethoven’s Catholicism: A Reconsideration
41. Bethany Klein. As Heard on TV: Popular Music in Advertising
42. Better the Puppet?*
43. Between Imagination and Realization: Composers and Metaphysical Spaces
44. Beyond Duality: Stasis, Silence, and Vertical Listening
45. Beyond Sonata Deformation: Liszt's Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form
46. Beyond the Beethoven Model: Sentence Types and Limits
47. Brahms and Schubring: Musical Criticism and Politics at Mid-Century
48. Brahms, Developing Variation, and the Schoenberg Critical Tradition
49. Breathtails: a Song Cycle in 13 Breaths Written for Anne LeBaron
50. Building and Becoming: DIY Music Technology in New York and Berlin
51. Building Mobile Instruments for Improvised Musical Performance
52. Cantilena and Antiphon: Music for Marian Services in Late Medieval England
53. Carol Vernallis. 2013. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press. Reviewed
54. Centers; Dissenters (Music, Religion, and Politics)
55. Children's Music, MP3 Players, and Expressive Practices at a Vermont Elementary School: Media Consumption as Social Organization among Schoolchildren
56. "Cien por Ciento Nacional!" Panamanian Música Típica and the Quest for National and Territorial Sovereignty
57. Cinderella; or Music and the Human Sciences. Unfootnoted Musings from the Margins
58. Come Out to Show the Split Subject: Steve Reich, Whiteness, and the Avant-Garde
59. Competition in the Sundanese Performing Arts of West Java, Indonesia
60. Composing Breathtails (a Song Cycle in 21 Breaths)
61. Composing Notes
62. Composition in Relative Intonation Sadhana (2015) and k. tracing (2015)
63. Concerning the Liturgical Usage of Dufay's Fragmentary Masses
64. Confusion in the Karnatic Capital: Fusion in Chennai, India
65. Contemporary Composers Web Archive (CCWA): A Borrow Direct Composers Project
66. Contextualizing Hip Hop Sonic Cool Pose in Late Twentieth– and Twenty–first–century Rap Music
67. Convergence Lines: A Musical Distillation of Thomas Pynchon’s V.
68. Correspondences
69. Cover To Cover
70. C.P.E. Bach's Instrumental "Recompositions": Revisions or Alternatives?
71. Critical Perception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach
72. Curious Intersections, Uncommon Magic: Steve Reich's It's Gonna Rain
73.
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
74. Dangerous Tenors, Heroic Basses, and Non-Ingénues: Singers and the Envoicing of Social Values in Russian Opera, 1836-1905
75. Datable "Notre Dame" Conductus: New Historical Observations on Style and Technique
76. David Novak. 2013. Japanoise: Music at the Edge of Circulation. Durham, NC: Duke University Press.
77. Debussy as Storyteller: Narrative Expansion in the Trois Chansons de Bilitis
78. Der Tod und die Forelle: New Thoughts on Schubert's Quintet
79. Disciplinary Movements, the Civil Rights Movement, and Charles Keil's Urban Blues
80. Discontinuity in the Music of Django Reinhardt
81. Disruptive Spatiality and the Experience of Recordings of Bach's Solo Cello Suites
82. Do as Some Said, or as Most Did?-A Foucauldian Experiment with Nineteenth-Century HIP
83. Does Music Theory Need Musicology?
84. Doing Sound: An Ethnography of Fidelity, Temporality, and Labor Among Live Sound Engineers
85. Dvořak's Armida and the Czech Oriental "Self"
86. Earl Hines and "Rosetta"
87. Editor’s Note
88. Editor's Note
89. Editor's Note
90. Editor’s Note to Gesprochene Musik, 1. “O–a” and 2. “Ta–tam”
91. Eisler's Notes on Hollywood and the Film Music Project, 1935-42
92. Elements of a Style
93. Eleven Theses on Sound and Transcendence
94. Elliott Antokoletz. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music.
95. Ethnography, Sound Studies and the Black Atlantic
96. Ethnomusicology as Interdisciplinary Musicology: A Case Study
97. European Echoes: Jazz Experimentalism in Germany, 1950-1975
98. Evolution and Structure in Flamenco Harmony
99. Excerpted from The Days and Nights of the Lotus Trio
100. Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic
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