JOURNAL OF THE ROYAL MUSICAL ASSOCIATION

JOURNAL OF THE ROYAL MUSICAL ASSOCIATION
PER. GB. 4

-ADLINGTON (R.), Moving Beyond Motion: Metaphors for Changing Sounds, Vol. 128 part 2 (2003), pp. 297-319
-ALLIS (M.), Bax’s Elgar: Musical Quotation, Allusion and Compositional Identity in the First String Quartet in G, Vol. 136 part. 2 (2011), pp. 305-353
-ARNOLD (D.), A Salve for Signora Buonafede, Vol. 113 part. 2 (1988), pp. 168-172
-ASPDEN (S.), Ballads and Britons: Imagined Community and the Continuity of ‘English’ Opera, Vol. 122 part. 1(1997), pp. 24-52
-ATLAS (A. W.), On the Structure and Proportions of Vaughan William’s Fantasia on a Theme by Thomas Tallis, Vol. 135 part 1 (2010), pp. 115-145
-ATLAS (A. W.), Wilkie Collins on Music and Musicians, Vol. 124 part. 1 (1999), pp. 255-271
-AUDLEY (B.), The Provenance of the Londonderry Air, Vol. 125 part 1 (2000), pp. 205-248
-AUNER (J.), ‘Sing it for Me’: Posthuman Ventriloquism in Recent Popular Music, Vol. 128 part 1 (2003), pp. 98-123
-BAILEY (K.), Rhythm and Metre in Webern’s Late Works, Vol. 120 part. 2 (1995), pp. 251-281
-BALTZER (R. A.), Another Look at a Composite Office and its History: The Feast of Susceptio Reliquiarum in Medieval Paris, Vol. 113 part. 1 (1988), pp. 1-27
-BASINI (L.), Masks, Minuets and Murder: Images of Italy in Leoncavallo’s Pagliacci, Vol. 133 part 1 (2008), pp. 32-69
-BAXENDALE (C.), The Finale of Mahler’s Fifth Symphony: Long-range Musical Thought, Vol. 112 part. 2 (1986-1987), pp. 257-280
-BIDDLE (I.), Policing Masculinity: Schumann, Berlioz and the Gendering of the Music-Critical Idiom, Vol. 124 part. 2(1999), pp. 196-221
-BIDDLECOMBE (G.), Secret Letters and a Missing Memorandum: New Light on the Personal Relationship Between Felix Mendelssohn and Jenny Lind, Vol. 138 part 1 (2012), pp. 47-85
-BLACKBURN (B. J.), The Virgin in the Sun: Music and Image for a Prayer Attributed to Sixtus IV, Vol. 124 part. 2 (1999), pp. 157-196
-BORIO (G.), Schenker versus Schoenberg versus Schenker: The Difficulties of a Reconciliation, Vol. 126 part. 2 (2001), pp. 250-275
-BORN 8G.), For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn, Vol. 135 part 2 (2010), pp. 205-245
-BOWAN (K.), Living Between Worlds Ancient and Modern: The Musical Collaboration of Kathleen Schleisinger and Elsie Hamilton, Vol. 137 part 2 (2012), pp. 197-143
-BOWERS (R.), The Vocal Scoring, Choral Balance and Performing Pitch of Latin Church Polyphony in England, c. 1500-58, Vol. 112 part. 1 (1986-1987), pp. 38-76
-BRODBECK (D.), Hanslick’s Smetana and Hanslick’s Prague, Vol. 134 part 1 (2009), pp. 1-37
-BROOKS (J.), Italy, in the Ancient Word and the French Musical Inheritance in the Sixteenth Century: Arcadelt and Clereau in the Service of the Guises, Vol. 121 part. 2 (1996), pp. 147-191
-BROWN (C.), Bowing Styles, Vibrato and Portamento in Nineteenth-Century Violin Playing, Vol. 113 part. 1 (1988), pp. 97-128
-BROWN (J.), Ally McBeal’s Postmodern Soundtrack, Vol. 126 part. 2(2001), pp. 275-304
-BUCH (D. J.), On Mozart’s Partial Autograph of the Suet ‘Nun, liebes Weibchen’, K. 625/592a, Vol. 124 part. 1 (1999), pp. 53-86
-CADDY (D.), On Ballet at the Opéra, 1909-14, and La fête chez Thérèse, Vol. 133 part 2 (2008), pp. 220-270
-CARTER (T.), Caccini’s Amarella, mia bella: Some Questions (and a Few Answers), Vol. 113 part. 2 (1988), pp. 250-274
-CARTER (T.), Monteverdi, Early Opera and a Question of Genre: The Case of Andromeda (1620), Vol. 137 part 1 (2012), pp. 1.35
-CARTER (T.), Re-Reading Poppea: Some Thoughts on Music and Meaning in Monteverdi’s Last Opera, Vol. 122 part. 2(1997), pp. 173-205
-CAVETT-DUNSBY (E.), Mozart’s ‘Haydn’ Quartets: Composing Up and Down without Rules, Vol. 113 part. 1 (1988), pp. 57-81
-CENCIARELLI (C.), Dr Lecter’s Taste for ‘Goldberg’, or: The Horror of Bach in the Hannibal Franchise, Vol. 137 part 1 (2012), pp. 107-135
-CHARLTON (D.), HIBBERD (S.), ‘My father was a poor Parisian musician’: A Memoir (1756), concerning Rameau, Handel’s Library and Sallé, Vol. 128 part 2 (2003), pp. 161-200
-CHRISSOCHOIDIS (I.), Reforming Handel: John Brown and The Cure of Saul (1763), Vol. 136 part. 2 (2011), pp. 207-247
-CLARKE (D.), The Meaning of ‘Lateness’: Mediations of Work, Self and Society in Tippett’s Triple Concerto, Vol. 125 part 1 (2000), pp. 62-93
-CLARKE (D.), The Significance of the Concept ‘Image’ in Tippett’s Musical Thought: A Perspective from Jung, Vol. 121 part. 1 (1996), pp. 82-105
-CLAYTON (M.), A. H. Fox Strangways and The Music of Hindostan: Revisiting Historical Field Recordings, Vol. 124 part. 1 (1999), pp. 86-119
-CODE (D. J.), Don Juan in Nadstat : Kubrick’s Music for A Clockwork Orange, Vol. 139 part 2 (2014), pp. 339-387
-COHEN (S.), Bubbles, Tracks, Borders and Lines : Mapping Music and Urban Landscape, Vol. 137 part 1 (2012), pp. 135-171
-COLLINS (C.), Manuel de Falla, L’acoustique nouvelle and NATURAL Resonance: A Myth Exposed, Vol. 128 part 1 (2003), pp. 71-98
-COLLINS (S.), Practices of Aesthetic Self-Cultivation : British Composer-Critics of the ‘Doomed Generation’, Vol. 138 part 1 (2012), pp. 85-129
-COLTON (L.), The Articulation of Virginity in the Medieval Chanson de nonne, Vol. 133 part 2 (2008), pp. 159-189
-COOPER (B.), Beethoven’s Portfolio of Bagatelles, Vol. 112 part. 2 (1986-1987), pp. 208-229
-CORP (E. T.), The Exile Court of James II and James III: A Centre of Italian Music in France, 1689-1712, Vol. 120 part. 2 (1995), pp. 216-232
-COWGILL (R.), The London Apollonicon Recitals 1827-32: A Case-Study in Bach, Mozart and Haydn Reception, Vol. 123 part. 2 (1998), pp. 190-229
-D’OVIDIO (A.), Patronage, Sacrality and Power at the Court of Vittoria della Rovere: Antonio Veracini’s Op. 1 Trio Sonatas, Vol. 135 part 1 (2010), pp. 281-315
-DALE (C.), The ‘Skeleton in Schoenberg’s Musical Closet’: The Chequered Compositional History of Schoenberg’s Second Chamber Symphony, Vol. 123 part. 1 (1998), pp. 68-105
-DAVIES (J.), Julia’s Gift: The Social Life of Scores, c. 1830, Vol. 131 part 2 (2006), pp. 287-310
-DEEMING (H.), Music and Contemplation in the Twelfth-Century Dulcis Jesu memoria, Vol. 139 part 1 (2014), pp. 1-41
-DIBBEN (N.), Pulp, Pornography and Spectatorship: Subject Matter and Subject Position in Pulp’s This is Hardcore, Vol. 126 part. 1 (2001), pp. 83-107
-DILL (C.), Eighteenth-Century Models of French Recitative, Vol. 120 part. 2 (1995), pp. 232-251
-DOSSENA (P.), À la recherché du vrai Socrate, Vol. 133 part 1 (2008), pp. 1-32
-DOWNES (S.), Eros in the Metropolis: Bartók’s The Miraculous Mandarin, Vol. 125 part 1 (2000), pp. 41-62
-DOWNESS (S.), Szymanowski and Narcissism, Vol. 121 part. 1 (1996), pp. 58-82
-DREISZIGER (N. F.), A Hungarian Patriot in American Exile: Béla Bartók and Émigré Politics, Vol. 130 part 2 (2005), pp. 283-302
-DUNSBY (J.), Roland Barthes and the Grain of Panzéra’s Voice, Vol. 134 part 1 (2009), pp. 113-133
-DUNSBY (J.), The Formal Repeat, Vol. 112 part. 2 (1986-19 Vol. 113 part. 1 (1988), pp. 87), pp. 196-208
-EISEN (C.), Wintle (c.), Mozart’s C minor Fantasy, K. 475: An Editorial ‘Problem’ and its Analytical and Critical Consequences, Vol. 124 part. 1 (1999), pp. 26-53
-EISEN (C.), New Light on Mozart’s ‘Linz’ Symphony, K.425, Vol. 113 part. 1 (1988), pp. 81-97
-ELLIS (K.), Rewriting Don Giovanni, or ‘The Thieving Magpies’, Vol. 119 part. 2 (1994), pp. 212-251
-ELLIS (K.), The Fair Sax: Woman, Brass-Playing and the Instrument Trade in 1860s Paris, Vol. 124 part. 2 (1999), pp. 221-255
-EVERIST (M.), Reception and Recomposition in the Polyphonic Conductus cum caudis: The Metz Fragment, Vol. 125 part 1 (2000), pp. 135-164
-FANNING (D.), Berg’s Sketches for Wozzeck: A Comentary, Vol. 112 part. 2 (1986-1987), pp. 280-323
-FAUSER (A.), Lili Boulanger’s La princesse Maleine: A Composer and her Heroine as Literary Icons, Vol. 122 part. 1(1997), pp. 68-109
-FAUSER (A.), The Scholar behind the Medal: Edward J. Dent (1876-1957), and the Politics of Music History, Vol. 139 part 2 (2014), pp. 235-261
-FENLON (I.), Cardinal Scipione Gonzaga (1542-93), ‘Quel padrone confidentissimo’, Vol. 113 part. 2 (1988), pp. 223-250
-FISHER (A. J.), ‘Per mia particolare devotione’: Orlando di Lasso’s Lagrime di San Pietro and Catholic Spirituality in Counter-Reformation Munich, Vol. 132 part. 2 (2007), pp. 167-221
-FRANDSEN (M. E.), Allies in the Cause of Italian Music: Schütz, Prinz Johann Georg II and Musical Politics in Dresden, Vol. 125 part 1 (2000), pp. 1-41
-FULLER (S.), ‘Putting the BBC and T. Beecham to Shame’: The Macnaghten-Lemare Concerts, 1931-7, Vol. 138 part 2 (2012), pp. 377-415
-GARRATT (J.), Prophets Looking Backwards: German Romantic Historicism and the Representation of Renaissance Music, Vol. 125 part 1 (2000), pp. 164-205
-GELBART (M.), Persona and Voice in the Kink’s Songs of the Late 1960s, Vol. 128 part 2 (2003), pp. 200-242
-GESSELE (C. M.), Base d’harmonie: A Scene from Eighteenth-Century French Music Theory, Vol. 119 part. 1 (1994), pp. 60-91
-GETZ (C.), Simon Boyleau and the Church of the ‘Madonna of Miracles’: Educating and Cultivating the Aristocratic Audience in Post-Tridentine Milan, Vol. 126 part. 2(2001), pp. 145-169
-GIANTURCO (C.), Evidence of Lay Patronage in Sacred Music in a Recently Discovered Document of 1631, Vol. 113 part. 2 (1988), pp. 306-3114
-GIANTURCO (C.), Il trionfo del Tempo e del Disinganno: Four Case-Studies in Determining Italian Poetic-Musical Genres, Vol. 119 part. 1 (1994), pp. 43-60
-GIBSON (K.), ‘So to the Wood Went I’: Politicizing the Greenwood in Two Songs by John Dowland, Vol. 132 part. 2 (2007), pp. 221-252
-GLAUERT S.), ‘Ich singe, wie der Vogel singt’: Reflection on Nature and Genre in Wolf’s Setting of Goethe’s Der Sänger, Vol. 125 part 1 (2000), pp. 271-287
-GOOSE (B.), Opera for Sale: Folksong Sentimentality and the Market, Vol. 133 part 2 (2008), pp. 189-220
-GRAYDON (P.), ‘Between Moscow and New York’: Richard Strauss’s Die ägyptische Helena in Cultural-Historical Context, Vol. 135 part 1 (2010), pp. 357-405
-GREEN (H.), Defining the City ‘Trumpeter’: German Civic Identity and the Employment of Brass Instrumentalists, c. 1500 , Vol. 136 part. 1 (2011), pp. 1-33
-GUSTAR (A. J.), The Closest Thing to Crazy: The Shocking Scarcity of Septuple Time in Western Music, Vol. 137 part 2 (2012), pp. 351-401
-GUTHRIE (K.), Propaganda Music in Second World War Britain: John Ireland’s Epic March, Vol. 139 part 1 (2014), pp. 137-177
-HAAR (J.), Palestrina as Historicist: The two L’homme armé Masses, Vol. 121 part. 2 (1996), pp. 191-206
-HAGGH (B.), The Archives of the Order of the Golden Fleece and Music, Vol. 120 part. 1 (1995), pp. 1-44
-HARRÁN (D.), From Mantua to Vienna: A New Look at Early Seventeenth-Century Dance Suite, Vol. 129 part. 2 (2004), pp. 181-220
-HEAD (M.), Bridsong and the Origins of Music, Vol. 122 part. 1(1997), pp. 1-24
-HEARTZ (D.), Constructing Le nozze di Figaro, Vol. 112 part. 1 (1986-1987), pp. 77-98
-HERISSONE (R.), The revision Process in William Turner’s Anthem O Praise the Lord, Vol. 123 part. 1 (1998), pp. 1-39
-HOWARD (A.), Composition as an Act of Performance: Artifice and Expression in Purcell’s Sacred Partsong Since God so tender a regard, Vol. 132 part. 1 (2007), pp. 32-60
-HOWAT (R.), KILPATRICK (E.), Gabriel Fauré’s Middle-Period Songs, Editorial Quandaries and the Chimera of the ‘Original Key’, Vol. 139 part 2 (2014), pp. 303-339
-JAN (S.), The Evolution of ‘Memeplex’ in Late Mozart: Replicated Structures in Pamina’s “Ach ich fühl’s’, Vol. 128 part 1 (2003), pp. 30-71
-JOHNSTONE (H. D.), Claver Morris, an Early Eighteenth-Century English Physician and Amateur Musician Extraordinaire, 93-128
-JONCUS (B.), Handel at Drury Lane: Ballad Opera and the Production of Kitty Clive, Vol. 131 part 2 (2006), pp. 179-227
-KARNES (K. C.), A Garland of Songs for a Nation of Singers: An Episode in the History of Russia, the Herderian Tradition and the Rise of Baltic Nationalism, Vol. 130 part 2 (2005), pp. 197-236
-KEEFE (S. P.), ‘We hardly knew what should we pay attention to first’: Mozart the Performer-Composer at Work on the Viennese Piano Concertos, Vol. 134 part 2 (2009), pp. 185-243
-KELLY (B. L.), Milhaud’s Alissa Manuscripts, Vol. 121 part. 2 (1996), pp. 229-246
-KELLY (T. F.), Beneventan and Milanese Chant, Vol. 112 part. 2 (1986-1987), pp. 173-196
-KING (J.), Texting Practices in Manuscript Sources of Early Fifteenth-Century Polyphony, Vol. 124 part. 1 (1999), pp. 1-26
-KLEIBERG (S.), Grieg’s Slåtter, Op. 72: Change of Musical Style or New Concept of Nationality?, Vol. 121 part. 1 (1996), pp. 46-58
-KNYT (E. E.), Feruccio Busoni and the Absolute in Music Form, Nature and Idee, Vol. 137 part 1 (2012), pp. 35-71
-KOEGEL (J.), Spanish and French Mission Music in Colonial North Africa, Vol. 126 part. 1 (2001), pp. 1-54
-KOUDAL (J. H.), TALBOT (M.), Pastor Iver Brink’s Sacred and Secular Music: A Private Collection of Music from Copenhagen at the Beginning of the Eighteenth Century, Vol. 135 part 1 (2010), pp. 1-41
-KRAVITT (E. F.), Mahler, Victim of the ‘New’ Anti-Semitism, Vol. 127 part. 1 (2002), pp. 72-95
-KREITNER (K.), Ave festiva ferculis and Josquin’s Spanish Reputation, Vol. 128 part. 1 (2003), pp. 1-30
-KREITNER (K.), Spain Discovers the Mass, Vol. 139 part 2 (2014), pp. 261-303
-LAM (J. S. C.), ‘There is No Music in Chinese Music History’: Five Court Tunes from the Yuan Dynasty ( AD 1271-1368), Vol. 119 part. 2 (1994), pp. 165-189
-LANG (Z.), The Regime’s ‘Musical Weapon’ Transformed: The Reception of Johann Strauss Sr’s Radetzky March Before and after the First World War, Vol. 134 part 2 (2009), pp. 243-271
-LANGLEY (L.), Agency and Change: Berlioz in Britian, 1870-1920, Vol. 132 part. 2 (2007), pp. 306-349
-LINK (D.), The Fandango Scene in Mozart’s Le nozze di Figaro, Vol. 133 part 1 (2008), pp. 32-69
-LINK (D.), Vienna’s Private Theatrical and Musical Life, 1783-92, as Reported by Count Karl Zinzerdof, Vol. 122 part.2(1997), pp. 205-258
-LLANO (S.), Hispanic Traditions in a Cross-Cultural Perspective: Raoul Lapara’s La habanera (1908) and French Critics, Vol. 136 part. 1 (2011), pp. 73-97
-LOTT (M. S.), At the Intersection of Public and Private Musical Life: Brahms’s Op. 51 String Quartets, Vol. 137 part 2 (2012), pp. 243-307
-MACKLIN 8C.), Cross-Cultural Perspectives on Secular Vocal Performance in Early Wales, Vol. 134 part 2 (2009), pp. 167-185
-MACE (N. A.), Charles rennet and the London Music-Sellers in the 1780s: Testing the Ownership of Revisionary Copyrights, Vol. 129 part. 1 (2004), pp. 1-24
-MACNEIL (A.), The Divine Madness of Isabella Andreini, Vol. 120 part. 2 (1995), pp. 195-216
-MALAWEY (V.), Musical Emergence in Björk’s Medùlla, Vol. 136 part. 1 (2011), pp. 97-141
-MARK (C.), Britten and the circle of Fifhts, Vol. 119 part. 2 (1994), pp. 268-298
-MARSTON (N.), In the ‘Twilight Zone’: Beethoven’s Unfinished Piano Trio in F Minor, Vol. 131 part 2 (2006), pp. 227.287
-MARSTON (N.), Schubert’s Homecoming, Vol. 125 part 1 (2000), pp. 248-271
-MARTIN (C.), The Music Collection of Thomas Baker of Farnham, Surrey, Vol. 44 (2013), pp. 10-55
-MARTIN (S.), The Case of Compensating Rubato, Vol. 127 part. 1 (2002), pp. 95-130
-MAWER (D.), ‘Parisomania’? Jack Hylton and the French Connection, Vol. 133 part 2 (2008), pp. 270-318
-McGEARY (T.), Handel and Homosexuality:Burlington House and Cannons Revisited, Vol. 136 part. 1 (2011), pp. 33-73
-McKELLAR (S.), Re-Visioning the ‘Missing’ Scene: Critical and Tonal Trajectories in Britten’s Billy Budd, Vol. 122 part. 2(1997), pp. 258-281
-McVEIGH (S.), The London Symphony Orchestra: The First Decade Revisited, Vol. 138 part 2 (2012), pp. 313-377
-MECONI (H.), Art-Song Reworkings: An Overview , Vol. 119 part. 1 (1994), pp. 1.42
-METZER (D.), Musical Decay: Luciano Berio’s Rendering and John Cage’s Europera 5, Vol. 125 part 1 (2000), pp. 93-115
-MICZNIK (V.), Music and Narrative Revisited: Degrees of Narrativity in Beethoven and Mahler, Vol. 126 part. 2(2001), pp. 193-250
-MILHOUS (J.), HUME (R. D.), Librettist versus Composer: The Property Rights to Arne’s Henry and Emma and Don Saverio, Vol. 122 part. 1(1997), pp. 52-68
-MILSOM (J.), Caustun’s Contrafacta, Vol. 132 part. 1 (2007), pp. 1-32
-MILSOM (J.), Tallis’s First and Second thoughts, Vol. 113 part. 2 (1988), pp. 203-223
-MOORE (A. F.), Where is Here? An Issue of Deictic Projection in Recorded Song, Vol. 135 part 1 (2010), pp. 145-183
-MORRIS (C.), ‘Alienated from his Own Being’: Nietzsche, Bayreuth and the Problem of Identity, Vol. 127 part. 1 (2002), pp. 44-72
-MOSELEY (R.9, Reforming Johannes: Brahms, Kreisler Junior and the Piano Trio, Vol. 132 part. 2 (2007), pp. 252-306
-NEGUS (K.), Musicians on Television: Visible, Audible and Ignored, Vol. 131 part 2 (2006), pp. 310-331
-NEWARK (C.), Metaphors for Meyerbeer, Vol. 127 part. 1 (2002), pp. 23-44
-NICHOLLS (D.), Virtual Opera, or Opera between the Ears, Vol. 129 part. 1 (2004), pp. 100-143
-NIELINGER (C.), ‘The Song Unsung’: Luigi Nono’s Il canto sospeso, Vol. 131 part 1 (2006), pp. 83-151
-OCKELFORD (A.), Relating Musical Structure and Contents to Aesthetic Response: A Model and Analysis of Beethoven’s Piano Sonata Op. 110, Vol. 130 part 1 (2005), pp. 74-119
-OLLESON (P.), PALMER (F. M.), Publishing Music from the Fitzwilliam Museum, Cambridge: The Work of Vincent novella and Samuel Wesley in the 1820s, Vol. 130 part 1 (2005), pp. 38-74
-OLREDGE (R.), Erik Satie’s Ballet Mercure (1924): From Mount Etna to Montmartre, Vol. 123 part. 2 (1998), pp. 229-250
-OLWAGE (G.), John Knox Bokwe, Colonial Composer: Tales about Race and Music, Vol. 131 part 1 (2006), pp. 1-38
-PAGE (C.), The Spanish Guitar in the Newspapers, Novels, Drama and Verse of Eighteenth-Century England, Vol. 44 (2013), pp. 1-19
-PASCALL (R.), Denis Midgley Arnold: An Appreciation, Vol. 113 part. 2 (1988), pp. 149-156
-PASLER (J.), The Utility of Musical Instruments in the Racial and Colonial Agendas of Late Nineteenth-Century France, Vol. 129 part. 1 (2004), pp. 24-77
-PEATTIE (Y.), The Expansion of Symphonic Space In Mahler’s First Symphony, Vol. 136 part. 1 (2011), pp. 73-97
-PETTY (J. C.), Hanslick, Wagner, Chomsky: Mapping the Linguistic Parameters of Music, , Vol. 123 part. 1 (1998), pp. 39-68
-PINTO (D.), RING (L.), Willaim Lawes, ‘Treasurer at Warr’, Vol. 44 (2013), pp. 8797
-PITTS (S. E.), ‘Everybody wants to be Pavarotti’: The Experience of Music for Performers and Audience at a Gilbert and Sullivan Festival, Vol. 129 part. 1 (2004), pp. 143-161
-PRICE (C.), Newly Discovered Autograph Keyboard Music of Purcell and Draghi, Vol. 120 part. 1 (1995), pp. 77-112
-PRITCHARD (M.), ‘A Heap of Broken Images?’ Reviving Austro-German Debates over Musical Meaning, 1900-36, Vol. 138 part 1 (2012), pp. 129-175
-RABIN (R. J.), ZOHN (S.), Arne, Handel, Walsh, and Music as Intellectual Property: Two Eighteenth-Century Lawsuits, Vol. 120 part. 1 (1995), pp. 112-146
-REESE (O.), Mille regretz as Model: Possible Allusions to ‘The Emperor’s Song’ in the Chanson Repertory’, Vol. 120 part. 1 (1995), pp. 44-77
-RIDGEWELL (R.), Biographical Myth and the Publication of Mozart’s Piano Quartets, Vol. 135 part 1 (2010), pp. 41-115
-RILEY (M.), Civilizing the Savage: Johann Georg Sulzer and the ‘Aesthetic Force of Music’, Vol. 127 part. 1 (2002), pp. 1-23
-ROCHE (J.), Alessandro Grandi: A Case Study in the Choice of Texts for Motes, Vol. 113 part. 2 (1988), pp. 274-306
-ROGERS (H.), Fitzcarraldo’s Search for Aguirre: Music and Text in the Amazonian Films of Warner Herzog, Vol. 129 part. 1 (2004), pp. 77-100
-ROGERS (H.), The Unification of the Senses: Intermediality in Video Art-Music, Vol. 136 part. 2 (2011), pp. 399-429
-ROGERS 8L.), A Serial Passage of Diatonic Ancestry in Stavinsky’s The Flood, Vol. 129 part. 2 (2004), pp. 220-240
-ROSE (S.), The Mechanisms of the Music Trade in Central Germany, 1600-40, Vol. 130 part 1 (2005), pp. 1-38
-RUMPH (S.), Mozart’s Archaic Endings: A Linguistic Critique, Vol. 130 part 2 (2005), pp. 159-197
-RUSS (M.), Bartók, Beethoven and the Sonata for Two Pianos and Percussion, Vol. 137 part 2 (2012), pp. 307-351
-SADLER (G.), Patrons and Pasquinades: Rameau in the 1730s, Vol. 113 part. 2 (1988), pp. 306-314
-SALOMAN (O. F.), Continental and English Foundations of J. S. Dwight’s Early American Criticism of Beethoven’s Ninth Symphony, Vol. 119 part. 2 (1994), pp. 251-268
-SALTZSEIN (J.), Relocating the Thirteenth-Century Refrain: Intertextuality, Authority and Origins, Vol. 135 part 2 (2010), pp. 245-281
-SANTINI (A.), Multiplicity-Fragmentation-Simultaneity: Sound-Space as a Conveyor of Meaning, and Theatrical Roots in Luigi Nono’s Early Spatial Practice, Vol. 137 part 1 (2012), pp. 71-107
-SAYLOR (E.), Dramatic Applications of Folksong in Vaughan William’s Operas Hugh the Drover and Sir John in Love, Vol. 134 part 1 (2009), pp. 37-85
-SHEINBAUM (J. J.), Adorno’s Mahrel and the Timbral Outsider, Vol. 131 part 1 (2006), pp. 38-83
-SCOTT (D. B.), The Sexual Politics of Victiorian Musical Aesthetics, Vol. 119 part. 1 (1994), pp. 91-115
-SMITH (K. M.), The Tonic Chord and Lacan’s Object a in Selected Songs by Charles Ives, Vol. 136 part. 2 (2011), pp. 353-399
-SPITZER (M.), The Retransition as Sign: Orientated Approaches to Tonal Closure in Haydn’s Sonata-Form Movements, Vol. 121 part. 1 (1996), pp. 11-46
-STERNFELD (F. W.), Orpheus, Ovid and Opera, Vol. 113 part. 2 (1988), pp. 172-203
-STROHM (R.), The ‘Rise of European Music’ and the Rights of Others, Vol. 121 part. 1 (1996), pp. 1-11
-SUTCLIFFE (W. D.), The Shapes of Sociability in the Instrumental Music of the Later Eighteen Century, Vol. 138 part 1 (2012), pp. 1-47
-TALBOT (M.), How Recitatives End and Arias Begin in the Solo Cantatas of Antonio Vivaldi, Vol. 126 part. 2 (2001), pp. 169-193
-TALBOT (M.), Vivaldi and Rome: Observations and Hypotheses, Vol. 113 part. 1 (1988), pp. 28-46
-TAYLOR (B.), Schubert and the Construction of Memory: Th String Quartet in A minor, D.804 (‘Rosamunde’), Vol. 139 part 1 (2014), pp. 41-89
-TAYLOR-JAY (C.), The Composer’s Voice? Compositional Style and Criteria of Value in Weill, Krenek and Stravinsky, Vol. 134 part 1 (2009), pp. 85-113
-THOMPSON (B. C.), Henri Dayton, English Opera and Anglo-American Relations, 1850-72, Vol. 136 part. 2 (2011), pp. 247-305
-THOMSON (A. J.), ‘Profiscere, anima Christiana’: Gerontius and German Mysticism, Vol. 138 part 2 (2012), pp. 275-313
-TORRENTE (A.), RODRĺGUEZ (P. L.), The ‘guerra Manuscript’ (c. 1680) and the Rise of Solo Song in Spain, Vol. 123 part. 2 (1998), pp. 147-190
-TYSON (A.), Some Problems in the text of Le nozze di Figaro: Did Mozart Have a Hand in Them? Vol. 112 part. 1 (1986-1987), pp. 99-131
-VARWIG (B.), Death and Life in J, S. Bach’s Cantata Ich habe genung (BWV 82), Vol. 135 part 1 (2010), pp. 315-357
-WAEBER (J.), Searching for the Plot: Charles-Valentin Alkan’s Souvenirs: Trois Marceaux dans le genre pathétique, Op. 15, Vol. 132 part. 1 (2007), pp. 60-115
-WAGSTAFF (G.),Franciscan Mission Music in California, c. 1770-1830: Chant, Liturgical and Polyphonic Traditions, Vol. 126 part. 1 (2001), pp. 54-83
-WAI-LING (C.), Scriabin’s Octatonic Sonata, Vol. 121 part. 2 (1996), pp. 206-229
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