INTERNATIONAL JOURNAL OF MUSICOLOGY

INTERNATIONAL JOURNAL OF MUSICOLOGY

PER. DE. 23

  • von Albrecht M., Musik und Dichtung in der Odyssee, Vol.1, 1992, pp. 9-27
    • Id, Musik und Befreing – Augustinus De musica, Vol. 3, 1994, pp. 89-114
    • , Some Types of Mirroring in Literature and Music, Vol. 4, 1995, pp. 45-69
  • Allaire G., Two Hidden Canons in the Theoretical Notions of Notation in the Polyphony of the Renaissance, Vol. 8, 1999, pp. 93-114
  • Andraschke P., Über die Gestaltung von Smetanas Vyŝehrad, Vol.1, 1992, pp. 127-137
    • , Neue Musik als Festival-Ereignis: Die Donaueschinger Kammermusiktage der 1920er Jahre, Vol. 2, 1993, pp. 309-319
  • Antokoletz E., Modal and Structural Variation in Piano Works of Georg von Albrecht, Vol.1, 1992, pp. 301-340
    • Id, Musical Integration and Poetic Correspondences in Two Twelve-Tone Songs by Georg von Albrecht, On Poems by Georg von der Vring, Vol. 2, 1993, pp. 349-377
    • , Hybrid Modes and Interval Sets as Formal Determinants in Piano Sonatas of Albrecht, Scriabin, and Prokofiev, Vol. 3, 1994, pp. 309-338
    • , George Perle’s The Listening Composer, Vol. 4, 1995, pp. 13-23
  • Archibald B., Three, Vol. 4, 1995, pp. 71-109
  • Ardito L., The Lyre and the Staff : Symbols of Magico-Medicinal Sound, Vol. 8, 1999, pp. 77-91
  • Autexier P. A., Cinq Lieder inconnus de W. A. Mozart, Vol.1, 1992, pp. 67-79
  • Azzi M. S., Multicultural Tango: The Impact and the Contribution of the Italian Immigration to the Tango in Argentina, Vol. 5, 1996, pp. 437-453
  • Baker P. E., Jewish Motives in an Early 20th- Century Work: Leo Zeitlin’s Eli Zion, Vol. 6, 1997, pp. 231-279
  • Baron C. C., At the Cutting Edge: Three American Theorists at the End oft he Nineteenth Century, Vol. 2, 1993, pp. 193-247
  • Beimel T., Die Frische der Illusion. Betrachtungen zu Janáčeks Zweitem Streichquartett, Vol. 8, 1999, pp. 215-237
  • Bialik M., Der Komponist Sergej Slonimskij, Vol. 6, 1997, pp. 395-412
  • Bizzarini M., Una ‘neo-madrigalistica’ meditazione sul tempo: il Nocturnall (1990) di Luca Tessadrelli, Vol. 6, 1997, pp. 429-445
  • Blažeković Z., Anonymous vs Onymous, or, When will Croatian Musicology Remember an Unknown Composer? , Vol. 6, 1997, pp. 207-219
  • Burnett H., A New Theory of Hexachord Modulation in the Late Sixteenth and Early Seventeeth Centuries, Vol. 8, 1999, pp. 115-17
  • Carr J. H.B, George and the Computer: An Uneasy Alliance, Vol. 4, 1995, pp. 207-215
  • Carrabré T. P., Music as Linguistic Analog, Vol. 4, 1995, pp. 231-239
  • Cicora M. , Language as Tragedy: Tristan in Malina, Vol. 3, 1994, pp. 373-384
  • Dallmann W., Johann Nepomuk Davids Kirchenmusik und Symphonien, Vol.1, 1992, pp. 273-300
    • Id, Georg von Albrecht, Passacaglia und Tripelfuge op. 71 – ein Beispiel für Fugenkomposition mit mehreren Themen, Vol. 2, 1993, pp. 379-396
    • , Helmut Bonefeld – Ein deutscher Komponist zwischen Tradition und Avantgarde, Vol. 5, 1996, pp. 207-238
  • Deahl L., Robert Schumann’s Kreisleriana and Double Novel Structure, Vol. 5, 1996, pp. 131-145
  • DeVoto M., The Strategic Half-Dimished Seventh Chord and The Emblematic Tristan Chord: A Survey from Beethoven to Berg, Vol. 4, 1995, pp. 139-153
  • Dietz H. B., Instrumental Music at the Court of Ferdinando IV of Naples and Sicily and the Works of Vincenzo Ortigiano, Vol.1, 1992, pp. 99-126
    • Id, The Dresden-Naples Connection, 1737-1763. Charles of Bourbon, Maria Amalia of Saxony, and Johann Adolf Hasse, Vol. 5, 1996, pp. 95-130
  • Dutilleux H., Quelques feuillets, Vol. 4, 1995, pp. 335-338
  • Federhofer H., Der Freitsbegriff in der Neuen Musik, Vol. 8, 1999, pp. 289-299
  • Frigyesi J., Organicism as a Theory of Modernism in the Writings of Schoenberg, Webern, and Bartók, Vol. 6, 1997, pp. 319-358
  • Gillies M., Stylistic Integrity and Influence in Bartók’s Works: The Case of Szymanowski, Vol.1, 1992, pp. 139-160
  • Goldberg C., How to Compose the White of a Page. Reflections on Boulez’ Cummings ist der Dichter, Vol.1, 1992, pp. 341-364
    • , Text and Music as ‘Spiel’ – Humour in Ockeghem’s Chanson “L’aultre d’antan”, Vol. 2, 1993, pp. 61-83
    • , Going into the Woods – Space, Time, and Movement in Schumann’s Waldszenen op. 82, Vol. 3, 1994, pp. 151-174
    • , Text und Liturgie bei Arvo Pärt, Vol. 5, 1996, pp. 419-436
  • Göncz Z., Reconstruction of the Final Contrapunctus of The Art of Fugue, Vol. 5, 1996, pp. 25-93
    • , Reconstruction of the Final Contrapunctus of The Art of the Fugue, Vol. 6, 1997, pp. 103-119
  • Grebe S., Die Musiktheorie des Martianus Capella. Eine Betrachtung der in 9,921-935 benutzen Quellen, Vol. 2, 1993, pp. 23-60
  • Haeadlam D., Tonality and Twelve-Tone-Tonality: The Recent Music of George Perle, Vol. 4, 1995, pp. 301-354
  • Hall P., Two Sketches for Alban Berg’s Lulu in the Bayerische Staatsbibliotek, Vol. 5, 1996, pp. 206-268
  • Harley M. A., At Home with Phenomenology: Ingarden’s ‘Work of Music’ Revisited, Vol. 6, 1997, pp. 9-24
  • Hukemöller J., Boris Blacher – Eigenanalysen und Werkkommentare, Vol. 8, 1999, pp. 347-382
  • Jackson T. L., ‘Your Songs Proclaim God’s Return’ – Arnold Schoenberg, the Composer and His Jewish Faith, Vol. 6, 1997, pp. 281-317
  • Jan S., The Selfish Meme: Particularly, Replication, and Evolution in Musical Style, Vol. 8, 1999, pp. 9-76
  • Jarman D., “Correcting„ Berg: Some Observations on Analysis and Editorial Responsibility, , Vol. 4, 1995, pp. 155-167
  • Jung H., Ein vollendeter Torso. Zur Rezeption von Mozart Missa in c, KV 427, Vol. 2, 1993, pp. 113-152
  • Kárpáti J., Amaterasu and Demeter. About a Japanese – Greek Mythological Analogy, Vol. 2, 1993, pp. 9-21
    • , Greek Music Theory in the IVth Century B. C., Vol. 3, 1994, pp. 57-88
  • Karpinski G. S., Structural Functions of the Interval Cycles in Early Twentieth-Century Music, Vol. 4, 1995, pp. 183-206
  • Katz R., Symmetrical Balancing of Local Axes of Symmetry in Bartók’s Divided Arpeggios, Vol. 2, 1993, pp. 333-347
  • Kautny O., Norm und Willkür. Zur Hermeneutik in Bach-studien, Vol. 8, 1999, pp. 177-197
  • Keden H. J., “Kommst du auch zum Kaffeeklatsch?„ Ein Betrag zur “Arbeitersängerbewegung „ im Nationalsozialismus, , Vol. 8, 1999, pp. 301-320
  • Kholodova E., Die Kraft der Metapher in der Musik – Bachs Figuralsprache und modern Metapher-Forschung, Vol. 3, 1994, pp.115-132
  • Komma K. M., “Gib Deine Hand”. Zu Franz Schuberts Musik vom Tode, Vol. 3, 1994, pp. 133-149
  • Kovnatskaya L. G., Russian Funeral through Russian Ears, Vol. 2, 1993, pp. 321-332
  • Knussen O., Self-observation, Vol. 4, 1995, pp. 363-365
  • Krämer J., Zur Frügescichte der musikalischen Rhetorik: Joachim Burmeister, Vol. 2, 1993, pp. 101-112
  • Kühl C. E., Formal Structures in Palestrina’s Vocal Music, Vol. 6, 1997, pp. 51-101
  • Laki P. G., Musical References in the Poetic Works of Giambattista Marino, Vol. 2, 1993, pp. 85-100
  • Lansky P., being and Going, Vol. 4, 1995, pp. 241-252
  • Leikin A., Chopin’s A- Minor Prelude and its Symbolic Language, Vol. 6, 1997, pp. 149-162
  • Leleu J-L.G, La notion de “Background Structure” chez George Perle: de l’étude du langage musical au déchiffrement des œuvres, Vol. 4, 1995, pp. 253-290
    • , The Concept of ‘Background Structure’ in the Writings of George Perle : froma the Study of the Musical Language to the Analysis of the Musical Work, Vol. 5, 1996, pp. 287-322
  • Levarie S., Musical Polarity: Major and Minor, Vol.1, 1992, pp. 29-45
  • Lukomsky V., Russian Postmodernism on Absurdities and Realities of Soviet Life: Alfred Schnittke’s Opera Life with an Idiot, Vol. 8, 1999, pp. 425-448
  • Maes F., Modern Historiography of Russian Music: When Will Two Schools of Thought Meet? , Vol. 6, 1997, pp. 377-394
  • Mathis M., Arnold Schoenberg’s Grundgestalt and Gustav Mahlers Urlicht, Vol. 5, 1996, pp. 239-260
  • Mazo M., The Present and the Unpredictable Past: Music and Musical Life of St. Petersburg and Moscow Since the 1960s, Vol. 5, 1996, pp. 371-400
  • Mc Clain E., The ‘Star of David’ as Jewish Harmonical Metaphor, Vol. 6, 1997, pp. 25-49
  • McClain E. G. – Lewarie S., Temple Tuning Systems, Vol. 3, 1994, pp. 23-30
  • McCrickard E. F., ‘Baroque Music’ in Later Centuries: ‘Re-Creations’ of Henry Eccels’ Forgery, Vol. 6, 1997, pp. 121-148
  • McFarland A. S., A Deconstruction of William Blake’s Vision: Vaughan Williams and Job
  • McFarland M., Leit-harmony, or Stravinsky’s Musical Characterization in The Firebird, Vol. 3, 1994, pp. 203-233
  • Michailow A., “… Architektura ist erstarrte Musika… „ Nochamls zu den Ursprüngen eines Wortes über die Musik, Vol.1, 1992, pp. 47-65
  • Naudé J., Alban Berg’s Four Songs Op.2: An Exposition, Vol. 5, 1996, pp. 269-286
  • Neff S., Schoenerg and Analysis: Reworking a Coda of Brahms, Vol. 3, 1994, pp. 187-201
  • Novak J. K., What’s Folk about Janáčeks?: The Trasformation of Folk Music Concept in Janáček’sMature Orchestral Works, Vol. 8, 1999, pp. 239-274
  • Osthoff W., Gerhard Frommel und ‘France dulce terre’. Ein deutscher Komponist während der Kriegsjahre, Vol. 3, 1994, pp. 291-308
  • Pasler J., Concert Programs and their Narratives as Emblems of Ideology, Vol. 2, 1993, pp. 249-308
  • Pitt D., Whati is Tonality? , Vol. 4, 1995, pp. 291-300
  • Pöhlmann E., Möglichkeiten und Grenzen der Interpretation antiker Musikfragmente, Vol. 3, 1994, pp. 31-42
  • Porter C., Five to Four Complexities in George Perle’s Nocturne, Vol. 4, 1995, pp. 217-229
  • Rehm L., Walzer und Winterreis. Lyric und Gesellschaft bei Wilhelm Müller und Franz Schubert, Vol. 6, 1997, pp. 163-206
  • Rogers L., Dissociation in Stravinsky’s Russian and Neoclassical Music, Vol.1, 1992, pp. 201-228
  • Rosteck J., Umrisse einer Theorie der Polytonalität bei Darius Milhaud, Vol. 3, 1994, pp. 235-290
    • , “ Évocation dramatique „ oder “Théâtre corrompu„?Das experimentelle Musiktheater der « Groupe des Six » als Versuch einer Orientierung zwischen Nationalismus und Avantgarde, Vol. 5, 1996, pp. 147-205
  • Scheithauer A., Die Rolle der Querflöte im Musikleben der Griechen und Römer, Vol. 5, 1996, pp. 9-23
  • Schipperges T., Jaques Offenbachs Galop infernal aus Orphée aux enfers. Eine musikalische Analyse, Vol. 8, 1999, pp. 199-214
  • Schmidt M., Neuheit, die niemals vergeht. Anmerkungen zum “Klassiker„ Schönberg, Vol. 8, 1999, pp. 275-288
  • Schubert W., Die lateinische Sprache in der Musik des 20. Jahrhunderts am Beispiel von Luigi  Dallapiccolas Canti di Prigionia, Vol. 2, 1993, pp. 397-423
    • , Die lateinische Sprache in der Musik des 20. Jahrhunderts II: Krzystof Pendereckis Dies Irae, Vol. 5, 1996, pp. 401-418
    • , Die lateinische Sprache in der Musik des 20. Jahrhunderts III: Arvo Pärt, Vol. 6, 1997, pp. 413-427
  • Schuller G., The Composer on His Own Music, Vol. 4, 1995, pp. 339-354
  • Slawek S. M., The Study of Performance Practice as a Research Method: A South Asian Example, Vol. 3, 1994, pp. 9-22
  • Slonimskaja R., Musikschaffen und Literaturrezeption in Rußland: Parallelen und Phasenverschiebungen, Vol. 5, 1996, pp. 359-370
  • Smith J. A., George and the Dragon: Reflections from a Chopin Etude, Vol. 4, 1995, pp. 25-43
  • Stanić I., Folk Influences on the Contemporary Piano Compositions of Two Yugoslav Composers: Vojin Komadina and ivan Jevtić, Vol. 6, 1997, pp. 221-230
  • Stöckl E., Das Wirken böhmischer und mährischer Musiker in Rußland von 1720 bis 1914, Vol.1, 1992, pp. 81-98
  • Swift R., Schoenberg’s Second Chamber Symphony, Op.38, 4, 1995, pp. 169-181
  • Tacka P., Apalachian Spring. The Role of Horald Spivacke in the Evolution of an American Classic, Vol. 8, 1999, pp. 321-346
  • Taruskin R., Busnoys and Chaikovsky, Vol. 4, 1995, pp. 111-137
  • Tcherkashina M., Gogol and Leskov in Shostakovich’s Interpretation, Vol.1, 1992, pp. 229-244
    • Id, Tchaikovsky – The Maid of Orléans – The Problem of the genre and the Specfic Treatment of the Subject, Vol. 3, 1994, pp. 175-185
  • Thomas W., “Trionfo” oder Konsum? Werkidee und Rezeptionspraxis von Carl Orffs “Carmina Burana„, Vol.1, 1992, pp. 245-272
  • van den Toorn P.C. , Stravinsky: Reflections on Context and Analytical Method,Vol.1, 1992, pp. 161-200
  • Treutlen F., ‘Humane Musik’ – Zum Klavierwerk Karl Michael Kommas, Vol. 6, 1997, pp. 359-376
  • Tusa M. C., Some Factors for Cyclic Integration in Beethoven’s Early Music, Vol. 2, 1993, pp. 153-192
  • Vieru A., A Short 1994 Comentary on a 1959 Work, Vol. 4, 1995, pp. 355-361
  • Walter H., Logos und Aisthesis. Zum Methodenstreit der antiken Musiktheorie, Vol. 3, 1994, pp. 43-55

 

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