MUSIC & LETTERS

MUSIC & LETTERS

PER.GB.6

 

-ABERT (H.), Mozart and Gluck, Vol. X (1929), n. 3, pp. 256-265

-ABRAHAM (G. E. H.)

  • An Outline of Mahler, XIII (1932), n. 4, pp. 391-400
  • Arab Melodies in Rimsky-Korsakov and Borodin, Vol. LVI (1975), n. 3, pp. 313-318
  • Balakirev’s Symphonies, Vol. XIV (1933), n. 4, pp. 355-363
  • Borodin as a Symphonist, Vol. XI (1930), n. 4, pp. 352-359
  • Burns and the Scottish Folk Song, IV (1923), n. 1, pp. 71-84
  • Delius and his Literary Sources, Vol. X (1929), n. 2, pp.182-188
  • Glinka and His Achievements, Vol. IX (1928), n. 3, pp. 255-264
  • Handel’s Clavier Music, Vol. XVI (1935), n. 4, pp. 278-285
  • Mussorgsky’s ‘Boris’ and Pushkin’s, Vol. XXVI (1945), n. 1, pp. 31-38
  • Nietzsche’s Attitude to Wagner, Vol. XIII (1932), n. 1, pp. 64-74
  • Rimsky-Korsakov’s Gogol Operas, Vol. XII (1931), n. 3, pp. 242-252
  • Satire and Symbolism in “The Golden Cockerel”, Vol. LII (1971), n. 1, pp. 46-54
  • Tchaikovsky: Some Centennial Reflections, Vol. XXI (1940), n. 2, pp. 110-119
  • The Best of Spontini, Vol. XXIII (1942), n. 2, pp. 163-171
  • The Elements of Russian Music, Vol. IX (1928), n. 1, pp. 51-58
  • ‘The Flying Dutchman’: Original Version, Vol. XX (1939), n. 4, pp. 412-419
  • The Foundation-Stone of Russian Music, Vol. XVIII (1937), n. 1, pp. 50-62
  • The Genesis of ‘the Bartered Bride’, Vol. XXVIII (1947), n. 1, pp. 36-49
  • The History of “Prince Igor”, Vol. XVI (1935), n. 2, pp. 85-95
  • The Influence of Berlioz on Richard Wagner, Vol. V (1924), n. 3, pp. 239-246
  • The Leit-Motif since Wagner, Vol. VI (1925), n. 2, pp. 175-190
  • Tolstoy and Moussorgsky, Vol. XII (1931), n. 1, pp. 54-59

-ADAMS (B.), High Tea at Merlinford: Remembering Lord Berners, Vol. 91 (2010), n. 3, pp. 406-411

-ADAMS (C.S.), Erik Satie and Golden Section Analysis, Vol. 77 (1996), n. 2

-ADAMS (E. W.), Modern Music: An Indictment, Vol. XIII (1932), n. 1, pp. 59-63

-ADAMS (H. M.), Passion Music before 1724, Vol. VII (1926), n. 3, pp. 258-264

-ADELSON (D.), The Vinteuil Sonata, Vol. XXIII (1942), n. 3, pp. 228-233

-ADELSON (R.), Beethoven’s String Quartet in E flat Op. 127: a Study of the First Performances, Vol. 79 (1998), n. 2

-ADLINGTON (R.), Tuning in and Dropping Out: The Disturbance of the Dutch Premiere of Stockhausen’s Stimmung, Vol. 90 (2009), n. 1, pp. 94-112

-ADORNO (T.W.), On the Score of “Parsifal” Translated, with Commentary, by Anthony Barone, Vol. 76 (1995), n. 3

-ALDEN (J. H.), The League of Audiences, Vol. XIX (1938), n. 1, pp. 79-83

-ALDRICH (R.), At the Back of Some Dedications, Vol. VII (1926), n. 3, pp. 240-245

-AIMER (P.), Dance and Music, Vol. XV (1934), N. 1, pp. 21-25

-ALLANBROOK (W.J.), Pro Marcellina: the Shape of “Figaro”, Act IV, Vol. 63 (1982), n. 1-2

-ALEXANDER (G.), The Elizabethan Lyric as Contrafactum: Robert Sidney’s “French Tune” Identified, Vol. 84 (2003), n. 3, pp. 378-402

-ALEXANDER (P.F.),

  • A Study of the Origins of Britten’s “Curlew River”, Vol. 69 (1988), n. 2
  • The Process of Composition of the Libretto of Britten’s “Gloriana”, Vol. 67 (1986), n. 2

-ALFORD (V.), French Basques, Vol. X (1929), n. 2, pp. 141-151

-ALLENSON (S.), The Inverness Fragments: Music from a Pre-Reformation Scottish Parish Church and School, Vol. 70 (1989), n. 1, pp. 1-45

-ALLIS (M.), Elgar, Lytton, and the Piano Quintet, Op. 84, Vol. 85 (2004), n. 2, pp. 198-238

-ANDERSON (E.)

  • A Note on Mozart’s Bassa Selim, Vol. XXXV (1954), n. 2, pp. 120-124
  • An Unpublished Letter of Mozart, Vol. XVIII (1937), n. 2, pp. 128-133
  • The Text of Beethoven’s Letters, Vol. XXXIV (1953), n. 3, pp. 212-223

-ANDERSON (G.A.),

  • A New Look at an Old Motet, Vol. XLIX (1968), n. 1, pp. 18-20
  • A Unique Notre – Dame Motet Tenor Relation-ship, Vol. LV (1974), n. 4, pp. 398-409
  • Newly Identified Tenor Chants in the Notre Dame Repertory, Vol. L (1969), n. 1, pp. 158-171

-ANDREWS (H.K.),

  • Printed Sources of William Byrd’s “Psalmes, Sonets and Songs”, Vol. XLIV (1963), n. 1, pp. 5-20
  • Transposition of Byrd’s in London, Vol. XLIII (1962), n. 1

-ANDREWS (R.), From Beaumarchais to Da Ponte: a New View of the Sexual Politics of “Figaro”, Vol. 82 (2001), n. 2, pp. 214-233

-ANTCLIFFE (H.)

  • Music as a Social Science, Vol. XIII (1932), n. 4, pp. 406-417
  • Problems of Music and History, Vol. IX (1928), n. 3, pp. 265-275
  • What Music Meant to the Romans, Vol. XXX (1949), n. 4, pp. 337-344

-APLIN (J.),

  • Aldous Huxley and Music in 1920’s, Vol. 64 (1983), n. 1-2
  • Sir Henry Fanshawe and Two Sets of early Seventeenth-Cetury Part-books at Christ Church, Oxford, Vol. LVII (1976), n. 1, pp. 11-24
  • “The Fourth Kind of Faburden”: the Identity of an English Four-part Style, Vol. 61 (1980), n. 3-4, pp. 245-265
  • The Origins of John Day’s “Certain Notes”, Vol. 62 (1981), n. 3-4, pp. 295-300

-d’ARANYI (J.), Violin Sonatas, Vol. VIII (1927), n. 2, pp. 191-197

-ARCHER (J. S.), On Carillon Music, Vol. XVIII (1937), n. 2, pp. 176-179

-ARDRAN (G.M.) & WULSTAN (D.), The Alto or Countertenor Voice, Vol. XLVIII (1967), n. 1, pp. 17-22

-ARKWRIGHT (G. E. P.), A Note on Purcell’s Music, Vol. II (1921), n. 1, pp. 149-162

-ARMITAGE-SMITH (J.N.A.), The Plot of “The Magic Flute”, Vol. XXXV (1954), n.1, pp. 36-39

-ARMSTRONG (T.)

  • Influence of Organists upon English Music, Vol. XII (1931), n. 1, pp. 1-11
  • “The Messiah” Accompaniments, Vol. IX (1928), n. 1, PP. 18-28

-ARNOLD (C.), Early Seventeenth-Century Keyboard Parts, Vol. XXXIII (1952), n. 2, pp. 151-153

-ARNOLD (D.)

  • Croce and the English Madrigal, Vol. XXXV (1954), n. 4, pp. 308-318
  • Francesco Cavalli: Some Recently Discovered Documents, Vol. XLVI (1965), n. 1, pp. 50-55
  • Music at the Mendicanti in the Eighteenth Century, Vol. 65 (1984), n. 4
  • Music at the Scuola di San Rocco, Vol. XL (1959), n. 3, pp. 229-241
  • “Seconda Pratica”: a Background to Monteverdi’s Madrigals, Vol. XXXVIII (1957), n. 4, pp. 341-352
  • The Monteverdian Succession at St. Mark’s, Vol. XLII (1960), n. 3, pp. 205-211
  • The Significance of “Cori Spezzati”, Vol. XL (1959), n. 1, pp. 4-14
  • Thomas Weelkes and the Madrigal, Vol. XXXI (1950), n. 1, pp. 1-12

-ARNOLD (F. T.), J. S. Bach and Consecutives in Accompaniment, Vol. XIV (1933), n. 4, pp. 318-325

-ASHBEE (A.),

  • Genealogy and John Jenkins, Vol. XLVI (1965), n. 3, pp. 225-230
  • Instrumental Music from the Library of John Browne (1608-1691), Vol. LVIII (1977), n. 1, pp. 43-59
  • Towards the Chronology and Grouping of some Airs by John Jenkins, Vol. LV (1974), n. 1, pp. 30-44

-ASHBY (A. B.), Schweitzer on Bach, Vol. XXVI (1945), n. 2, pp. 102-111

-ASHLEY (J.), Medieval Christmas Carols, Vol. V (1924), n. 1, pp.65-71

-ASHWORTH (A. H.)

  • Common Ground or No-Man’s-Land?, Vol. XXII (1941), n. 4
  • Twentieth-Century Painting: the Approach through Music, Vol. XX (1939), n. 2, pp. 115-129

-ASPDEN (S.), Desiring Handel: Biography and the Strategies of Possession, Vol. 85 (2004), n. 1, pp. 62-82

-ATLAS (A.W.), The “Respectable” Concertina, Vol. 80 (1999), n. 2, pp. 241-253

-ATTWATER (D.), English Folk-Song, Vol. IX (1928), n. 2, pp. 129-139

-AUSTERN (L.P.),

  • “Alluring the Auditorie to Effeminacie”: Music and the Idea of the Feminine in Early Modern England, Vol. 74 (1993), n. 3, pp. 343-354
  • Musical Parody in the Jacobean City Comedy, Vol. 66 (1985), n. 4

-AUSTIN (C.)

  • Cinema Music, Vol. V (1924), n. 2, pp. 177-192
  • Jazz, Vol. VI (1925), n. 3, pp. 256-268

-AVERY (K.)

  • The Chronology of Warlock’s Songs, Vol. XXIX (1948), n. 4, pp. 398-406
  • William Walton, Vol. XXVIII (1947), n. 1, pp. 1-11

-BABCOCK (R. W.), Francis Colman’s ‘Register of Operas’, 1712-1734, Vol. XXIV (1943), n. 3, pp. 155-158

-BABITZ (S.), On Using J.S. Bach’s Keyboard Fingerings, Vol. XLIII (1962), n. 2, pp. 123-128

-BAGENAL (H.)

  • An Acoustic Questionnaire for Organists, Vol. VII (1926), n. 3, pp. 236-239
  • Influence of Building on Musical Tone, Vol. VIII (1927), n. 4, pp. 437-447
  • The Acoustics of Leipzig Thomas-kirche, Vol. XI (1930), n. 2

-BAILEY (C.), Blurring the Lines: “Elizabeth Rogers hir Virginall Book” in Context, Vol. 89 (2008), n. 4, pp. 510-546

-BAILLE (H.). A London Church in Early Tudor Times, Vol. XXXVI (1955), n. 1, pp. 55-65

-BAILLE (H.) and OBOUSSIER (P.), The York Masses, Vol. XXXV (1954), n. 1, pp. 19-30

-BAIRSTOW (E. C.), Music in Yorkshire, Vol. I (1920), n. 4, pp. 343-347

-BAKER (F. E.), Popular Music, Vol. XIV (1933), n. 3, pp. 252-257

-BALDWIN (O) & WILSON (T.), Alfred Deller, John Freeman and Mr. Pate, Vol. L (1969), n. 1, pp. 103-110

-BALOGH (J.), Saint Gerard of Csanad and the ‘Symphonia Ungarorum’, Vol. XXIX (1948), n. 4, pp. 356-365

-BANCROFT (D.),

  • Claudel on Wagner, Vol. L (1969), n. 4, pp. 439-452
  • Stravinsky and the “NRF” (1910-20), Vol. LIII (1972), n. 3, pp. 274-283
  • Stravinsky and the “NRF” (1920-29), Vol. LV (1974), n. 3, pp.261-271
  • Two Pleas for a French, French Music, I, Vol. XLVIII (1967), n. 2, pp.109-119
  • Two Pleas for a French, French Music, II, Vol. XLVIII (1967), n. 3, pp.251-258

-BANNARD (Y.)

  • Composer-Critics, Vol. V (1924), n. 3, pp. 264-269
  • Music of the Commonwealth, Vol. III (1922), n. 4, pp. 394-401

-BARAGWANATH (N.), Musicology and Critical Theory: The Case of Wagner, Adorno and Horkheimer, Vol. 87 (2006), n. 1, pp. 52-71

-BARBEAU (M.)

  • Folk-Songs of French Canada, Vol. XIII (1932), n. 2, pp. 169-182
  • How Folk-Songs Travelled, Vol. XV (1934), n. 4, pp. 306-323

-BARBER (C.), Enigma Variations, Vol. XVI (1935), n. 2, pp. 137-138

-BARBOUR (J. M.), Just Intonation Confuted, Vol. XIX (1938), n. 1, pp. 48-60

-BARDER (R. S.), Music in “The Tempest”, Vol. VI (1925), n. 4, pp. 351-353

-BARFORD (P.T.)

  • Beethoven’s Last Sonata, Vol. XXXV (1954), n. 4, pp. 319-330
  • Minds, Hands and Keyboard, Vol. XXXVI (1955), n. 3, pp. 226-232
  • Musical Experience, Vol. XXXVIII (1957), n. 3, pp. 226-231

-BARKER (E. P.), Master Thoinot’s Fancy, Vol. XI (1930), n. 4, pp. 383-393

-BARNETT (H.), John Case – An Elizabethan Music Scholar, Vol. L (1969), n. 2, pp. 252-266

-BARLETT (I.) & BRUCE (R.), William Boyce’s “Solomon”, Vol. 61 (1980), n. 1, pp. 28-49

-BASHFORD (C.), Perrin and Cambert’s “Ariane, ou Le Mariage de Bacchus” Re-Examined, Vol. 72 (1991), n. 1, pp. 1-26

-BATES (F. S.), National Characteristics, Vol. XI (1930), n. 3, pp. 277-282

-BATLEY (E.M.), Emanuel Schikaneder: The Librettist of “Die Zauberflote”,  Vol. XLVI (1965), n. 3, pp. 231-236

-BAX (A.)

  • Arnold Bax: 1883-1953, Vol. XXXV (1954), n. 1, pp. 1-14
  • E. J. Moeran: 1894-1950, Vol. XXXII (1951), n. 2, pp. 125-127

-BAX (C.), Recollections of Gustav Holst, Vol. XX (1939), n. 1, pp. 1-6

-BAYLISS (S. A.), Music for Shakespeare, Vol. XV (1934), N. 1, pp. 61-65

-BAYLISS (S.), Elgar in his Letters, Vol. XXXVIII (1957), n. 2, pp. 124-128

-BEARMAN (C.J.), Percy Grainger, the Phonograph, and the Folk Song Society, Vol. LXXXIV (2003), n. 3, pp. 434-455

-BECKETT (L.), “Parsifal” as Drama, Vol. LII (1971), n. 3, pp. 259-271

-BEDBROOK (G. S.), The Nature of Medieval Music, Vol. XXVI (1945), n. 2, pp. 78-87

-BEDFORD (H.)

  • Song in a Single Line, Vol. V (1924), n. 2, pp. 109-120
  • Unaccompanied Song, Vol. III (1922), n. 3, pp. 262-267

-BEECHEY (G.),

  • A New Source of Seventeenth-Century Keyboard Music, Vol. L (1969), n. 2, pp. 278-289
  • Carl Friedrich Abel’s Six Symphonies, Op. 14, Vol. LI (1970), n. 3, pp. 279-285
  • Thomas Chilcot and his Music, Vol. LIV (1973), n. 2, pp. 179-196

-BEEKS (G.), Handel’s Chandos Anthems: more “Extra” Movements, Vol. 62 (1981), n. 2, pp. 155-161

-BELL (R.)

  • The B. B. C. and the Family, Vol. XIV (1933), n. 1, pp. 44-50
  • The Half-Hearing Habit, Vol. XX (1939), n. 3, pp. 304-308

-BELLER-McKENNA (D.), Beatle-John’s “Alter Ego”, Vol. 80 (1999), n. 2, pp. 254-268

-BENHAM (E.)

  • A Musical Monopolist, Vol. IX (1928), n. 3, pp. 249-254
  • Pan in Vestments, Vol. XI (1930), n. 2, pp. 156-162
  • “Salve Regina” (Power or Dunstable): a Simplified Version, , Vol. 59 (1978) n. 1, pp. 28-32

-BENJAMIN (A.)

  • A Student in Kensington, Vol. XXXI (1950), n. 3, pp. 196-207
  • ‘The Consul’, Vol. XXXII (1951), n. 3, pp. 247-251

-BENNETT (R.S.), Three Abridged Versions of Bach’s St. Matthew Passion, Vol. XXXVII (1956), n. 4, pp. 336-339

-BENNETT (V.)

  • The Dowry of Silence, Vol. XIX (1938), n. 1, pp. 61-66
  • The Recognition of the Sublime, Vol. XXXVI (1955), n. 3, pp. 259-265
  • The Sickness of Tradition, Vol. XVII (1936), n. 4, pp. 297-308
  • The Theory of Musical Expression, Vol. XVII (1936), n. 2, pp. 106-117

-BENSON (W. A. S.), Style and Form in Art, Vol. I (1920), n. 4, pp. 302-304

-BENT (I.D.), A New Polyphonic “Verbum bonum et suave”, Vol. LI (1970), n. 3, pp. 227-241

-BENT (M.), Initial Letters in the Old Hall Manuscript, Vol. XLVII (1966), n. 3, pp. 225-238

-BENTON (R.), London Music in 1815, as Seen by Camille Pleyel, Vol. XLVII (1966), n. 1, pp. 34-47

-BERGER (A. V.), The Beggar’s Opera, The Burlesque, and Italian Opera, Vol. XVII (1936), n. 1, pp. 402-406

-BERGSAGEL (J.D.), The Date and Provenance of the Forrest-Heyther Collection of Tudor Masses, Vol. XLIV (1963), n. 3, pp. 240-248

-BERJELEY (L.), Britten’s Spring Symphony, Vol. XXXI (1950), n. 3, pp. 216-219

-BERRY (M.), Arnold Schoenberg’s “Biblical Way”: From Die Jakobsleiter to Moses und Aron, Vol. 89 (2008), n. 1, pp. 84-108

-BEST (T.), Handel’s Solo Sonatas, Vol. LVIII (1977), n. 4, pp. 430-438

-BETTI (A.), Of Quartet-Playing, Vol. IV (1923), n. 1, pp. 1-5

-BETTLEY (J.), “L’ultima hora canonica del giorno”: Music for the Office of Compline in Northern Italy in the Second Half of the Sixteenth Century, Vol. 74 (1993), n. 2, pp. 163-214

-BEVERIDGE (J.), Two Scottish Thirteenth-Century Songs, Vol. XX (1939), n. 4, pp. 352-364

-BIADENE (L.), The Madrigal, Vol. XXIX (1948), n. 2

-BIANCOROSSO (G.), Whose Phenomenology of Music? David Huron’s Theory of Expectation, Vol. 89 (2008), n. 3, pp. 396-405

-BINNS (J.W.), John Case and “The Praise of Musicke”, Vol. LV (1974), n. 4, pp. 444-453

-BIRKIN (K.W.), Strauss, Zweig and Gregor: Unpublished Letters, Vol. LVI (1975), n. 2

-BLAKEMAN (E.), The Correspondence of Camille Saint-Saens and Paul Taffanel 1880-1906, Vol. 63 (1982), n. 1-2

-BLAZIN (D.), The Two Versions of Mozart’s Divertimento K. 113, Vol. 73 (1992), n. 1, pp. 32-47

-BLISSETT (W.), Ernest Newman and English Wagnerism, Vol. XL (1959), n. 4, pp. 311-323

-BLOM (E.)

  • His Favourite Device, Vol. IX (1928), n. 4
  • M. D. Calvocoressi, Vol. XXV (1944), n. 2, pp. 109-126
  • Mozart’s Death, Vol. XXXVIII (1957), n. 4, pp. 320-326
  • The Minor Composers, Vol. VIII (1927), n. 2, pp. 306-316
  • The Minuet-Trio, Vol. XXII (1941), n. 2, pp. 162-180
  • The Problem of “Don Giovanni”, Vol. XIII (1932), n. 4, pp. 382-390
  • The Truly Modern in Music, Vol. IV (1923), n. 3, pp. 231-235
  • Verdi as Musician, Vol. XII (1931), n. 4, pp. 329-344

-BLUME (F.), Outlines of a New Picture of Bach, Vol. XLIV (1963), n. 3, pp. 214-227

-BONAVIA (F.)

  • “At the Boar’s Head”, Vol. VI (1925), n. 3, pp. 269-275
  • Chamber Music, Vol. IX (1928), n. 4, pp. 317-321
  • Competitive Festivals, Vol. V (1924), n. 1, pp. 72-75
  • For Lovers of Chamber Music, Vol. XV (1934), n. 2, pp. 153-156
  • Verdi and his Contemporaries, Vol. IV (1923), n. 2, pp. 178-183
  • The Violin Concerto, Vol. VIII (1927), n. 2, pp. 198-200

-BONDS (M.E.), Replacing Haydn: Mozart’s “Pleyel” Quartets, Vol. 88 (2007), n. 2, pp. 201-225

-BOORMAN (S.), What Bibliography Can Do: Music Printing and the Early Madrigal, Vol. 72 (1991), n. 2, pp. 236-258

-BOROME’ (J.A.), Bellini and “Beatrice di Tenda”, Vol. XLII (1961), n. 4, pp. 319-335

-BORROWS (D.), Sources for Oxford Handel Performances in the First Half of the Eighteenth Century, Vol. 61 (1980), n. 2, pp. 176-185

-BORTHWICK (E.K.),

  • Beethoven and Plutarch, Vol. 79 (1997), n. 2
  • Haydn’s Latin Quotations: a Postscript, Vol. 75 (1994), n. 4
  • The Latin Quotations in Haydn’s London Notebooks, Vol. 71 (1990), n. 4
  • The Riddle of the Tortoise and the Lyre, Vol. LI (1970), n. 4, pp. 373-387

-BORWICK (L.), Rhythm as Proportion, Vol. VI (1925), n. 1, pp. 11-18

-BOSE (M.), Humanism, English Music and the Rhetoric of Criticism, Vol. 77 (1996), n. 1

-BOSTON (J.L.), Priscilla Bunbury’s Virginal Book, Vol. XXXVI (1955), n. 4, pp. 365-373

-BOULT (A. C.)

  • Casals as Conductors, Vol. IV (1923), n. 2, pp. 149-152
  • Rosé and the Vienna Philharmonic, Vol. XXXII (1951), n. 3, pp. 256-257

-BOURKE (J.), Frederick the Great as Music-lover and Musician, Vol. XXVIII (1947), n. 1, pp. 63-77

-BOWERS (R.),

  • Claudio Monteverdi and Sacred Music in the Household of the Gonzaga Dukes of Mantua, 1590-1612, Vol. 90 (2009), n. 3, pp. 331-371
  • Fixed Points in the Chronology of English Fourtheenth-Century Polyphony: a Postscript, Vol. 80 (1999), n. 2, pp. 269-270
  • Proportional Notations in Monteverdi’s “Orfeo”, Vol. 76 (1995), n. 2
  • Some Reflection upon Notation and Proportions in Monteverdi’s Mass and Vespers of 1610, Vol. 73 (1992), n. 3, pp. 347-398

-BOYD (M.),

  • “Dies irae”: Some Recent Manifestation, Vol. XLIX (1968), n. 4, pp. 347-356
  • John Hughes on Opera, Vol. LII (1971), n. 4, pp. 383-386
  • Music Manuscripts in the Mackworth Collection at Cardiff, Vol. LIV (1973), n. 2, pp. 133-141
  • The Songs of Nicolas Medtner, Vol. XLVI (1965), n. 1, pp. 16-22

-BOYER (S.), The Manchester Altus Partbook MS 340 Cr 71, Vol. 72 (1991), n. 2, pp. 197-213

-BRAY (R.),

  • Dryden and Draghi in Harmony in the 1687 “Ode for St Cecilia’s Day”, Vol. 78 (1997), n. 3
  • John Baldwin, Vol. LVI (1975), n. 1, pp. 55-59
  • The “Cantiones Sacrae” of Heinrich Schutz Re-examined, Vol. LII (1971), n. 3, pp. 299-305

-BRANDEBURG (S.), The First Version of Beethoven’s G major Quartet, Op. 18 No. 2, Vol. LVIII (1977), n. 2, pp. 127-152

-BRENNAN (M.G.), Sir Charles Somerset’s Music Books (1622), Vol. 74 (1993), n. 4, pp. 501-518

-BRENNECKE (E.)

  • A Day at Christ Church, Vol. XIX (1938), n. 1, pp. 22-35
  • A Singing Man of Windsor, Vol. XXXIII (1952), n. 1, pp. 33-40

-BRETHERTON (D.T.), The Shadow of midnight in Schubert’s “Gondelfahrer” Settings, Vol. 92 (2011), n. 1, pp. 1-42

-BRETT (P.), The Two Musical personalities of Thomas Weelkes, Vol. LIII (1972), n. 4, pp. 369-376

-BRETT (P.) & HAGGERTY (G.), Handel and the Sentimental: the Case of “Athalia”, , Vol. 68 (1987), n. 2

-BREWERTON (E.), Rachmaninov’s Songs, Vol. XV (1934), n. 1, pp. 32-36

-BROCK (A. C.), On Listening to Music, Vol. I (1920), pp. 12-18

-BROCKLEHURST (J.B.), The Studies of J.B. Cramer and his Predecessor, Vol. XXXIX (1958), n. 3, pp. 256-261

-BROCKT (J.)

  • Grillparzer and Music, Vol. XXVIII (1947), n. 3, pp. 242-248
  • Verdi’s Operatic Choruses, Vol. XX (1939), n. 3, pp. 309-312

-BROOKS (J.), Musical Monuments for the Country House: Music, Collection and Display at Tatton Park, Vol. 91 (2010), n. 4, pp. 513-535

-BROPHY (B.), “Figaro” and the Limitations of Music, Vol. LI (1970), n. 1, pp. 26-36

-BROWERS (R.), Fixed Points in the Chronology of English Fourteenth-Century polyphony, Vol. 71 (1990), n. 3

-BROWN (D.),

  • Balakirev, Tchaikovsky and Nationalism, Vol. XLII (1961), n. 3, pp. 227-241
  • How Did Tchaikovsky Come to Die-and Does it Really Matter?, Vol. 78 (1997), n. 4
  • Schubert and some Folksongs, Vol. LIII (1972), n. 2, pp. 173-178
  • Stimulus and Form in Britten’s Work, Vol. XXXIX (1958), n. 3, pp. 218-226
  • The Styles and Chronology of Thomas Morley’s Motets, Vol. XLI (1960), n. 3, pp. 216-222
  • William Byrd’s 1588 Volume, Vol. XXXVIII (1957), n. 4, pp. 371-377

-BROWN (M. J. E.),

  • Chopin and his English Publisher, Vol. XXXIX (1958), n. 4, pp. 363-371
  • Mozart’s Recapitulations, Op. 80: a Point of Style, XXX. (1949), n. 2, pp. 109-117
  • New, Old and Rediscovered Schubert Manuscripts, Vol. XXXVIII (1957), n. 4, pp. 359-367
  • Recent Schubert Discoveries, XXXII (1951), n. 4, pp. 349-361
  • Schubert: Instrumental Derivatives in the Songs. Introduction to an English Viola (With a Diagram), Vol. XXVIII (1946), n. 3, pp. 207-213
  • Schubert’s Settings of the “Salve Regina”, Vol. XXXVII (1956), n. 3, pp. 234-249
  • Schubert’s Unfinished Symphony in D, Vol. XXXI (1950), n. 2, pp. 101-109
  • The Therese Grob Collection of Songs by Schubert, Vol. XLIX (1968), n. 2, pp. 122-134

-BROWNE (A. G.)

  • Arthur Honneger, Vol. X (1929), n. 4, pp. 372-377
  • Bela Bartok, Vol. XII (1931), n. 1, pp. 35-45
  • Kaikhosru Sorabji, Vol. XI (1930), n. 1, pp. 6-16
  • Paul Hindemith and Neo-Classic Music, Vol. XIII (1932), n. 1, pp. 42-58

-BROWNE (A. H.), Aspects of Stravinsky’s Work, Vol. XI (1930), n. 4, pp. 360-366

-BROWNE (P. A.), The Orchestral Treatment of the Timpani, Vol. IV (1923), n. 4, pp. 334-339

-BRUCE (R.J.), William Boyce; some Manuscript Recoveries, Vol. LV (1974), n. 4, pp. 437-443

-BUDASZ (R.), Of Cannibals and the Recycling of Otherness, Vol. 87 (2006), n. 1, pp. 1-15

-BUESST (A.), Albert Coates: 1882-1953, Vol. XXXV (1954), n. 2, pp. 136-139

-BUKOFZER (M.)

  • The First English Chanson on the Continent, Vol. XIX (1938), n. 2, pp. 119-131
  • The First Motet with English Words, Vol. XVII (1936), n. 3, pp. 225-233
  • The Gymel, the Earliest Form of English Polyphony, Vol. XVI (1935), n. 2, pp. 77-84

-BULLIVANT (J.), Modernism, Politics, and individuality in 1930s Britain: The Case of Alan Bush, Vol. 90 (2009), n. 3, pp. 432-452

-BURDEN (M.),

  • Casting Issues in the Original Production of Purcell’s Opera “The Fairy-Queen”, Vol. 84 (2003), n. 4, pp. 596-607
  • “He had the Honour to be Your Master”: Lady Rhoda Cavendish’s Music Lessons with Henry Purcell, Vol. 76 (1995), n. 4

-BURLING (W.J.), Four More “Lost” Restoration Plays “Found” in Musical Sources, Vol. 65 (1984), n. 1, pp. 294-303

-BURRA (F. E.), Carols, Vol. XIV (1933), n. 3, pp. 247-251

-BURROWS (D.),

  • Handel and the Foundling Hospital, Vol. LVIII (1977), n. 3, pp. 269-284
  • “Mr Harris’s Score”: A New Look at the “Mathews” Manuscript of Handel’s “Messiah”, Vol. 86 (2005), n. 4, pp. 560-572
  • The Autographs and Early Copies of “Messiah”: Some Further Thoughts, Vol. 66 (1985), n. 3
  • The Composition and First Performance of Hendel’s “Alexander Feast”, Vol. 64 (1983), n. 3-4

-BURROWS (D.) & SHAW (W.), Handel’s “Messiah”: Supplementary Notes on Sources, Vol. 76 (1995), n. 3

-BURROWS (F.), Handel’s Performances of “Messiah”: the evidence of the conducting score, Vol. LVI (1975), n. 3, pp. 319-334

-BURTON (A.), Robert Schumann and Clara Wieck: a Creative Partnership, Vol. 69 (1988), n. 2

-BURTON (H.), French Provincial Academies, Vol. XXXVII (1956), n. 3, pp. 260-274

-BUTCHART (D.), A Musical Journey of 1567: Alessandro Striggio in Vienna, Munich, Paris and London, Vol. 63 (1982), n.1-2

-BUTCHER (V.)

  • A. E. Housman and the English Composer, Vol. XXIX (1948), n. 4, pp. 329-339
  • School Songs, Vol. XXXII (1951), n. 3, pp. 258-266
  • Thomas Roseingrave, Vol. XIX (1938), n. 3, pp. 280-294
  • Walt Whitman and the English Composer, Vol. XXVIII (1947), n. 2, pp. 154-167

-BUTTREY (J.), William Smith of Durham, Vol. XLIII (1962), n. 3, pp. 248-254

-BYARD (H.), Roger Bridges: Church Musician, Vol. LIII (1972), n. 1, pp. 44-55

-CALDWELL (J.), The Pitch of Early Tudor Organ Music, Vol. LI (1970), n. 2, pp. 156-163

-CALMEYER (J.H.), The Count of Saint Germain or Giovannini: A Case of Mistaken Identity, Vol. XLVIII (1967), n. 1, pp. 4-16

-CALVOCORESSI (M. D.)

  • A Note on Folk-Song in Modern Music, Vol. XII (1931), n. 1, pp. 66-70
  • On Being Taught Singing, Vol. V (1924), n. 4, pp. 365-367
  • Song-Translation, Vol. II (1921), n. 1, pp. 190-224
  • The Practice of Song-Translation (1921), n. 4, pp. 314-322
  • The Unknown Mussorgsky, Vol. III (1922), n. 3, pp. 237-244
  • When Ravel Composed to Order, Vol. XXII (1941), n. 1, pp. 54-59

-CAMPBELL (S.), The “Mavras” of Pushkin, Kochno and Stravinsky, Vol. LVIII (1977), n. 3, pp. 304-317

-CANTRICK (R.), “Hammersmith” and the Two World of Gustav Holst, Vol. XXXVII (1956), n. 3, pp. 211-220

-CAPELL (R.)

  • Beethoven: Two French Centenaries, Vol. XIX (1938), n. 4, pp. 391-404
  • Between Dune and Desert, Vol. XXVII (1946), n. 3, pp.134-140
  • Nocturn (for Schubert’s Setting of Goethe’s ‘Nachtgesang’), XXX. (1949), n. 2, p. 120
  • Richard Capell, March 23rd 1885-June 21st 1954, Vol. XXXV (1954), n. 4, pp. 277-285
  • The Eager Heart (for Schubert’s Setting of Goethe’s ‘Sehnsucht’), Vol. XXX (1949), n. 3, p. 230
  • The Man and his Time, Vol. VIII (1927), n. 2
  • The Time and the Place, Vol. VII (1926), n. 2, pp. 150-156

-CARDUCCI (E.), The Tenor Voice, Vol. XI (1930), n. 4, pp. 318-323

-CARERI (E.), The Correspondence between Burney and Twining about Corelli and Geminiani, Vol. 72 (1991), n. 1, pp. 38-47

-CAREY (C.)

  • Some Recent Operas, Vol. IV (1923), n. 1
  • The Problem of ‘Don Giovanni’ Again, Vol. XIV (1933), n. 1, pp. 30-35

-CARLEY (L.), Hans Haym: Delius’s Prophet and Pioneer, Vol. LIV (1973), n. 1, pp. 1-24

-CARNER (M.)

  • A Beethoven Movement and its Successors, Vol. XX (1939), n. 3, pp. 281-291
  • Alban Berg in his Letters to his Wife, Vol. L (1969), n. 3, pp. 365-375
  • Problems of Modern Harmonic Evolution, Vol. XXII (1941), n. 2, pp. 123-134
  • Puccini’s Early Operas, Vol. XIX (1938), n. 3, pp. 295-307
  • Simone Mayr and his “L’amor coniugale”, Vol. LII (1971), n. 3, pp. 239-258
  • The Music of Phyllis Tate, Vol. XXXV (1954), n. 2, pp. 128-133

-CARROLL (C.M.), The History of “Berthe”-A Comedy of Errors, Vol. XLIV (1963), n. 3, pp. 228-239

-CARROLL (M.), “It Is”: Reflections on the Role of Music in Sartre’s “La Nausée”, Vol. 87 (2006), n. 3, pp. 398-407

-CARSE (A.)

  • 17th Century Instrumentation, Vol. I (1920)
  • Brass Instruments in the Orchestra, Vol. III (1922), n. 4, pp. 378-382
  • Text-Books on Orchestration before Berlioz, Vol. XXII (1941), n. 1, pp. 26-31
  • The Choral Symphony in London, Vol. XXXII (1951), n. 1, pp. 47-58
  • The Prince Regent’s Band, Vol. XXVII (1946), n. 3, pp. 147-155
  • The Sources of Beethoven’s Fifth Symphony, Vol. XXIX (1948), n. 3, pp. 249-262

-CARTER (T.),

  • An American in …?, Vol. 83 (2002), n. 2, pp. 274-278
  • Jacopo Peri, Vol. 61 (1980), n. 2, pp. 121-135
  • Music-Selling in Late Sixteenth-Century Florence: the Bookshop of Piero di Giuliano Morosi, Vol. 70 (1989), n. 4, pp. 483-504
  • Some Notes on the First Edition of Monteverdi’s Orfeo (1609), Vol. 91 (2010), n. 4, pp. 498-512

-CARTHERIS (R.), Autographs of John Coprario, Vol. LVI (1975), n. 1, pp. 41-46

-CARVER (A.F.), Bruckner and the Phrygian Mode, Vol. 86 (2005), n. 1, pp. 74-99

-CASELLA (A.), Giovanni Sgambati, Vol. VI (1925), n. 4, pp. 304-313

-CASKEN (J.), Nigel Fortune – A Personal Tribute, Vol. 91 (2010), n. 4, pp. 481-483

-CAZDEN (N.), Realism in Abstract Music, Vol. XXXVI (1955), n. 1, pp. 17-38

-CELLIER (A.), Acoustic Experiences with Comments, Vol. VII (1926), n. 2, pp. 165-176

-CHADWICK (N.), Berg’s Unpublished Songs in the Oesterreichische Nationalbibliothek, Vol. LII (1971), n. 2, pp. 123-140

-CHAN (M.),

  • Edward Lowe’s Manuscript British Library Add. MS 29396: the Case for Redating, Vol. 59 (1978), n. 4, pp. 440-454
  • John Hilton’s Manuscript British Library Add. MS 11608, Vol. 60 (1979), n. 4, pp. 440-449

-CHANNON (M.), Handel’s Early Performances of “Judas Maccabeus”: Some New Evidence and Interpretations, Vol. 77 (1996), n. 4

-CHAPIN (K.), Counterpoint: From the Bees or for the Birds? Telemann and early Eighteenth-Century Quarrels with Tradition, Vol. 92 (2011), n. 3, pp. 377-409

-CHAPLIN (N.), The Harpsichord, Vol. III (1922), n. 3, pp. 269-273

-CHARLES (S.R.), Hillary-Hyllayre: how many Composers?, Vol. LV (1974), n. 1, pp.61-69

-CHARLTON (D.),

  • A Berlioz Footnote, Vol. LII (1971), n. 2, pp. 157-158
  • “King Arthur”: Dramatik Opera, Vol. 64 (1983), n. 3-4
  • Motive and Motif: Méhul before 1791, Vol. LVII (1976), n. 4, pp. 362-369

-CHARTERIS (R.),

  • A Neglected Anthology of Sacred Vocal Music Dating from the Sixteenth Century, Vol. 90 (2009), n. 1, pp. 1-34
  • A New Keyboard Work by Giovanni Gabrieli and the Relevance of its Compositional Technique, Vol. 85 (2004), n. 1, pp. 1-21
  • A Rediscovered Collection of Music Purchased for St Anna, Augsburg, in June 1618, Vol. 78 (1997), n. 4
  • Four Caroline Part-Books, , Vol. 59 (1978) n. 1, pp. 49-51
  • John Coprario’s Five- and Six-part Pieces: Instrumental or Vocal?, Vol. LVII (1976), n. 4, pp. 370-378
  • Newly Discovered Sources of Music by Henry Purcell, Vol. 75 (1994), n. 1, pp. 16-32
  • Newly Discovered Works by Giovanni Gabrieli, , Vol. 68 (1987), n. 4
  • Music Manuscripts and Books missing from Archbishop Marsh’s Library, Dublin, Vol. 61 (1980), n. 3-4, pp. 310-317
  • Newly Identified Italian Madrigals Englished, Vol. 63 (1982), n. 3-4
  • The Performance of Giovanni Gabrieli’s Vocal Works: Indications in the Early Sources, Vol. 71 (1990), n. 3, pp. 336-351

-CHASE (G.)

  • Barbieri and the Spanish Zarzuela, Vol. XX (1939), n. 1, pp. 32-39
  • Delacroix and Music, Vol. XV (1934), n. 3, pp. 239-243
  • Juan del Encina: Poet and Musician, Vol. XX (1939), n. 4, pp. 420-430

-CHATER (J.), Luca Merenzio: New Documents, New Observation, Vol. 64 (1983), n. 1-2

-CHELTENHAM, of (A.), A Lesson from the Middle Ages, Vol. II (1921), n. 4, pp. 294-301

-CHERNIAVSKY (D.), The Use of Germ Motives by Sibelius, Vol. XXIII (1942), n. 1, pp. 1-9

-CHEW (G.),

  • The Early Cyclic Mass as an Expression of Royal and Papal Supremacy, Vol. LIII (1972), n. 3, pp. 254-269
  • The Provenance and Date of the Caius and Lambeth Choir-Books, Vol. LI (1970), n. 2, pp. 107-117

-CHILD (H.), Some Thoughts on Opera Libretto, Vol. II (1921), n. 1, pp. 244-253

-CHRISTENSEN (J.), The Spiritual and the Material in Schoenberg’s Thinking, Vol. 65 (1984), n. 4

-CHISSEL (J.), Style in Bloch’s Chamber Music, Vol. XXIV (1943), n. 1, pp. 30-34

-CHUNG (D.), Revisiting “Le bon gout”: Observations on the Irregularities and Inconsistencies in French Harpsichord Music 1650-1730, Vol. 92 (2011), n. 2, pp. 183-201

-CITRON (M.J.),

  • “An honest contrivance”: Opera and Desire in Moonstruck, Vol. 89 (2008), n. 1, pp. 56-83
  • Corona Schröter: Singer, Composer, Actress, Vol. 61 (1980), n.1, pp. 15-27

-CLAPHAM (J.),

  • Dvorak and the Philarmonic Society, Vol. XXXIX (1958), n. 2, pp. 123-134
  • Dvorak’s First Cello Concerto, Vol. XXXVII (1956), n. 4, pp. 350-355
  • Dvorak’s Musical Directorship in New York: a Postscript, , Vol. 59 (1978) n. 1, pp.40-51
  • Dvorak’s Symphony in D Minor-the Creative Process, Vol. XLII (1961), n. 2, pp. 103-116
  • Dovrak’s Unknown Letters on his Symphonic Poems, Vol. LVI (1975), n. 3, pp.277-287
  • Smetana’s Sketches for “Dalibor” and “The Secret”, Vol. 61 (1980), n. 2, pp. 136-146
  • The Smetana-Pivoda Controversy, Vol. LII (1971), n. 4, pp.353-364

-CLARK (D.), Tippett in and out of “Those Twentieth Century Blues”: the Context and Significance of an Autobiography, Vol. 74 (1993), n. 3, pp. 399-411

-CLARK (J.B.), A Re-Emerged Seventeenth-Century Organ Accompaniment Book, Vol. XLVII (1966), n. 2, pp. 149-152

-CLARKE (R.)

  • The History of the Viola in Quartet Writing, Vol. IV (1923), n. 1, pp. 6-17
  • The Quartets as the a player sees them, Vol. VIII (1927), n. 2, pp. 178-190

-CLAYDON (H.), Three String Quartets attributed to Pergolesi, Vol. XIX (1938), n. 4, pp. 453-459

-CLIVE (G.), The Demoniac in Mozart, Vol. XXXVII (1956), n. 1, pp. 1-13

-CLOSSON (E.), English musical Instruments at Brussels, Vol. VII (1926), n. 2, pp. 157-164

-CLUDWORTH (C.) and ZIMMERMAN (F.B.), The Trumpet Voluntary, Vol. XLI (1960), n. 4, pp. 342-348

-CLUDWORTH (C.L.),  An Essay by John Marsh, Vol. XXXVI (1955), n. 2, pp. 155-164

-CLULOW (P.), Publication Dates for Byrd’s Latin Masses, Vol. XLVII (1966), n. 1, pp. 1-9

-CLYNE (A.), Spanish Music, Vol. VII (1926), n. 3, pp. 265-270

-COATES (W.), English Two-Part Viol. Music, 1590-1640, Vol. XXXIII (1952), n. 2, pp. 150

-COCKSHOTT (G.), Some Notes on the Songs of Peter Warlock, Vol. XXI (1940), n. 3, pp. 246-258

-COGHILL (N.), Thomas Wood (1892-1950), Vol. XXXII (1951), n. 2, pp. 128-130

-COHEN (A.)

  • Debussy’s Poets Translated, Vol. XVIII (1937), n. 2, pp. 158-161
  • Ernest Bloch’s ‘Macbeth’, Vol. XIX (1938), n. 2, pp. 143-148
  • The Ouvrard-Nicaise Correspondence (1663-93), Vol. LVI (1975), n. 3, pp. 356-363

-COHEN (J.), Thomas Weelkes’s Borrowings from Salamone Rossi, Vol. 66 (1985), n. 2

-COLE (E.),

  • In Search of Francis Tregian, Vol. XXXIII (1952), n. 1, pp. 28-32
  • Stafford Smith’s Burney, Vol. XL (1959), n. 1, pp. 35-38

-COLE (H.), Some Modern Tendencies in Notation, Vol. XXXIII (1952), n.3, pp. 243-249

-COLE (M.S.), Rondos, Proper and Improper, Vol. LI (1970), n. 4, pp. 388-399

-COLE (R.), Beethoven Plans the Tenth, Vol. XIII (1932), n. 4, p. 359

-COLE (S.), Who is the Father ? Changing Perceptions of Tallis and Byrd in Late Ninteenth-Century England, Vol. 89 (2008), n. 2, pp. 212-226

-COLLES (H. C.)

  • A Century of Beethoven, Vol. VIII (1927), n. 2, pp. 104-108
  • Categories, Vol. IX (1928), n. 4, pp. 336-340
  • Philip Napier Miles-Composer, Vol. XVII (1936), n. 4, pp. 357-367
  • Walford Davies, Vol. XXII (1941), n. 3, pp. 199-207

-COLLINS (A.), Bartok, Schönberg, and some Songs, Vol. X (1929), n. 2, pp. 177-181

-COLLINS (D.), Thomas Tomkins’s Canonic Addiotions to Thomas Morley’s “A Plaine and Easie Introduction to Practicall Musicke”, Vol. 76 (1995), n. 3

-COLLINS (H. B.)

  • John Taverner’s Masses, , Vol. V (1924), n. 4, pp. 322-334
  • John Traverner Part II, Vol. VI (1925), n. 4
  • Thomas Tallis, Vol. X (1929), n. 2, pp. 152-166

-COLLINS (H. D.), Byrd’s Latin Church Music, Vol. IV (1923), n. 3, pp. 254-260

-COLLINS (M.), A Reconsideration of French Over-dotting, Vol. L (1969), n. 1, pp. 111-123

-COLLINS (W.S.),

  • A New Tool for Musicology, Vol. XLVI (1965), n. 2, pp. 122-125
  • Recent Discoveries concerning the Biography of Thomas Weelkes, Vol. XLIV (1963), n. 2, pp. 123-131

-COLTON (L.), A Unique Source of English Tablature from Seventeenth-Century Huddersfield, Vol. 91 (2010), n. 1, pp. 39-50

-COMMONS (J.), “Emilia di Liverpool”, Vol. XL (1959), n. 3, pp. 207-228

-CONSTABLE (M.V.), The Venetian “Figlie del Coro”: their Environment and Achievement, Vol. 63 (1982), n. 3-4

-CONSTANTINIDES (T.), The Question of the Cathedral Tradition, Vol. XXVI (1945), n. 1, pp. 39-42

-COOKE (M.), Britten and Shakespeare: Dramatic and Musical Cohesion in “A Midsummer Night’s Dream”, Vol. 74 (1993), n. 2, pp. 246-268

-COOPER (B.),

  • Beethoven and the Double Bar, Vol. 88 (2007), n. 3, pp. 458-483
  • Beethoven’s “Abendlied” and the “Wiener Zeitschrift”, Vol. 82 (2001), n. 2, pp. 234-250
  • Newly Identified Sketches for Beethoven’s Tenth Symphony, Vol. 66 (1985), n. 1
  • Problems in the Transmission of Blow’s Organ Music, Vol. 75 (1994), n. 3
  • The Evolution of the First Movement of Beethoven’s “Waldstein” Sonata, Vol. LVIII (1977), n. 2, pp. 170-191
  • The Ink in Beethoven’s “Kafka” Sketch Miscellany, , Vol. 68 (1987), n. 4
  • The Organ Parts to Handel’s “Alexander’s Feast”, , Vol. 59 (1978) n. 2, pp. 159-179
  • The Origins of Beethoven’s D minor Sonata Op. 31 No. 2, Vol. 62 (1981), n. 3-4, pp. 261-280

-COOPER (B.A.R.), The Keyboard Suite in England before the Restoration, Vol. LIII (1972), n. 3, pp. 309-319

-COOPER (M.)

  • Charles Gounod and his Influence on French Music, Vol. XXI (1940), n. 1, pp. 50-59
  • Liszt as a Song Writer, Vol. XIX (1938), n. 2, pp. 171-181
  • On the Making of Programmes: A Personal View, Vol. XXIV (1943), n. 4, p. 236-
  • Scriabin’s Mystical Beliefs, Vol. XVI (1935), n. 2, pp. 110-115

-COOPERSMITH (J. M.)

  • An Unpublished Drawing of Georg Frederich Handel, Vol. XVI (1935), n. 3, pp. 172-173
  • List of Portraits of Georg Friedrich Handel, Vol. XIII (1932), n. 2, pp. 156-168
  • The Libretto of Handel’s ‘Jupiter in Argos’, Vol. XVII (1936), n. 4, pp. 289-296

-COPLEY (I.A.),

  • A Delius Miniature and Some Memories, Vol. XLIII (1962), n. 1, pp. 4-6
  • Peter Warlock’s Choral Music, Vol. XLV (1964), n. 4, pp. 318-336
  • Peter Warlock’s Vocal Chamber Music, Vol. XLIV (1963), n. 4, pp. 358-370
  • Warlock and Delius – a Catalogue, Vol. XLIX (1968), n. 3, pp. 213-218

-CORBET (A.)

  • Anton Moors: a Flemish Organ-Builder, Vol. XXVIII (1947), n. 3, pp. 262-267
  • Musical Relations between England and Flanders, Vol. XXI (1940), n. 3, pp. 259-265
  • Paul Gilson: Flemish Composer, Vol. XXVII (1946), n. 2, pp. 71-72

-CORP (E.), Handel, Scarlatti and the Stuarts: a Response to David Hunter, Vol. 82 (2001), n. 4, pp. 556-558

-CORP (E.T.), Further Light on the Career of “Captain” Francois de Prendcourt, Vol. 78 (1997), n. 1

-CORRODI (H.)

  • Othmar Schoeck’s ‘Massimilla Doni’, Vol. XVIII (1937), n. 4, pp. 391-397
  • Othmar Schoeck’s Song, Vol. XXIX (1948), n. 2, pp. 129-139

-CORTOT (A.), Do Infant Prodigies Become Great Musicians?, Vol. XVI (1935), n. 2, pp. 124-127

-COURT (G.), Hector Berlioz and Alfred De Vigny, Vol. XXXVII (1956), n. 2, pp. 118-127

-COX (J.), “le Théâtre forain”: Historical and Stylistic Connections between « Parade » and « Historie du soldat », Vol. 76 (1995), n. 4

-CRICKMORE (L.), C.P.E. Bach’s Harpsichord Concertos Topicality and the Universal: the Strange Case of Weill’s “Die Burgschaft”, Vol. XXXIX (1958), n. 3, pp. 242-255

-CRISP (D.) & HILLMAN (R.), Verdi and Schoenberg in Bertolucci’s “The Spider’s Stratagem”, Vol. 82 (2001), n. 2, pp. 251-267

-CRISSOCHOIDIS (I.), Handel at a Crossroads: His 1737-1738 and 1738-1739 Seasons Re-examined, Vol. 90 (2009), n. 4, pp. 599-635

-CROOKES (D.Z.), “Small as Eunuch”: a Problem in “Coriolanus”, Act III scene 2, Vol. 67 (1986), n. 2

-CROSBY (B.), An Early Restoration Liturgical Music Manuscript, Vol. LV (1974), n. 4, pp. 458-464

-CROSS (E.), Vivaldi’s Operatic Borrowings, Vol. 59 (1978), n. 4, pp. 429-439

-CROSSLEY-HOLLAND (P.),

  • Oriental Music on the Gramophone, Vol. XL (1959), n. 1, pp. 56-71
  • Secular Homophonic Music in Wales in the Middle Ages, Vol. XXIII (1942), n. 2, pp. 135-162

-CROWDER (C. F.), Neglected Treasures in Handel’s Operas, Vol. II (1921), n. 1, pp. 135-148

-CROXALL (T. H.), Kierkegaard and Mozart, Vol. XXVI (1945), n. 3, pp. 151-158

-CRUM (M.), Early Lists of the Oxford Music School Collection, Vol. XLVIII (1967), n. 1, pp. 23-34

-CUDWORTH (C. L.),

  • Boyce and Arne: “The Generation of 1710”, Vol. XLI (1960), n. 2, pp. 136-145
  • Handel and the French Style, Vol. XL (1959), n. 2, pp. 122-131
  • Notes on the Instrumental Works Attributed to Pergolesi, Vol. XXX (1949), n. 4, pp. 321-328
  • Two Georgian Classics: Arne and Stevens, Vol. XLV (1964), n. 2, pp. 146-153

-CUMING (G.)

  • Haydn: Where to Begin, Vol. XXX (1949), n. 4, pp. 364-375
  • Mozart’s Oboe Concerto for Ferlendis, Vol. XXI (1940), n. 1, pp. 18-22
  • The Text of ‘Messiah’, Vol. XXXI (1950), n. 3, , pp. 226-230

-CUNEO (A.), Francis Tregian in the Younger: Musician, Collector and Humanist?, Vol. 76 (1995), n. 3

-CURRIE (J.R.), Impossible Reconciliations (Barely Hard), Vol. 88 (2007), n. 1, pp. 121-133

-CURTIS (G.R.K.), Jean Pullois and the Cyclic Mass – or a Case of Mistaken Identity?,  Vol. 62 (1981), n. 1, pp. 41-59

-CUTTS (J.P.)

  • A Bodlein Song-Book: Don C.57, Vol. XXXIV (1953), n. 3, pp. 192-211
  • An Unpublished Purcell Setting, Vol. XXXVIII (1957), n. 1, pp. 1-13
  • Early Seventeenth-Century Lyrics at St. Michael’s College, Vol. XXXVII (1956), n. 3, pp. 221-233
  • Jacobean Masque and Stage Music, Vol. XXXV (1954), n. 3, pp. 185-200
  • Music and the Supernatural in “The Tempest”: a Study in Interpretation, Vol. XXXIX (1958), 4, pp. 347-358
  • Robert Johnson: King’s Musician in his Majesty’s Public Entertainment, Vol. XXXVI (1955), n. 2, pp. 110-125
  • Robert Johnson and the Court Masque, Vol. XLI (1960), n. 2, pp. 111-126
  • Two Jacobean Theatre Songs, Vol. XXXIII (1952), n. 4

-CYR (M.),

  • Eighteenth-century French and Italian Singing: Rameau’s Writing for the Voice, Vol. 61 (1980), n. 3-4, pp. 318-337
  • “Incline Domine”: a Martin Motet wrongly attributed to Rameau, Vol. LVIII (1977), n. 3, pp. 318-325

-DALE (K.)

  • Edvard Grieg’s Pianoforte Music. With a Chronological List, Vol. XXIV (1943), n. 4, pp. 193-207
  • Ethel Smyth’s Prentice Work, Vol. XXX (1949), n. 4, pp. 329-336
  • Hours with Domenico Scarlatti, Vol. XXII (1941), n. 2, pp. 115-122
  • Hours with Muzio Clementi. With a Classified List, Vol. XXIV (1943), n. 3, pp. 144-154
  • Memories of Marion Scott, Vol. XXXV (1954), n. 3, pp. 236-276
  • Schubert’s Indebtedness to Haydn, Vol. XXI (1940), n. 1, pp. 23-30

-DALGLISH (W.), A Polyphonic Sequence from Rouen, , Vol. 59 (1978) n. 1, pp. 10-18

-DALHAUS (C.), “The New Grove”, Vol. 62 (1981), n. 3-4, pp. 249-260

-DALTON (D.), The Genesis of Bartok’s Viola Concerto, Vol. LVII (1976), n. 2, pp. 117-129

-DANN (M. G.), Elgar’s Use of the Sequence, Vol. XIX (1938), n. 3, pp. 255-264

-DANKS (H.), The Viola d’Amore, Vol. XXXVIII (1957), n. 1, pp. 14-20

-DARBY (J. L.), Music and Education, Vol. XXIV (1943), n. 3, pp. 159-163

-DART (T.)

  • A New Source of Early English Organ Music, Vol. XXXV (1954), n. 3, pp. 201-203
  • An Early Seventeenth-Century Book of English Organ Music for the Roman Rite, Vol. LII (1971), n. 1, pp. 27-38
  • Bach’s “Fiauti d’ Echo”, Vol. XLI (1960), n. 4, pp. 331-341
  • Cavazzoni and Cabezòn, Vol. XXXVI (1955), n. 1, pp. 2-6
  • (and H.K. ANDREWS), Fourteenth-Century Polyphony in a Fountains Abbey MS Book, Vol. XXXIX (1958), n. 1, pp. 1-12
  • Elizabeth Edgeworth’s Keyboard Book, Vol. L (1969), n. 4, pp. 470-474
  • John Bull’s “Chapel”, Vol. XL (1959), n. 3, pp. 279-282
  • Lord Herbert of Cherbury’s Lute Book, Vol. XXXVIII (1957), n. 2, pp. 136-148
  • Maurice Greene and the Nartional Anthem, Vol. XXXVII (1956), n. 3, pp. 205-210
  • Music and Musicians at Chichester Cathedral, 1545-1642, Vol. XLII (1960), n. 3, pp. 221-226
  • New Sources of Virginal Music, Vol. XXXV (1954), n. 2, pp. 93-106
  • Simone Molinaro’s Lute-Book of 1599, Vol. XXVIII (1947), n. 3, pp. 258-261
  • The Dartmouth Magnificat, Vol. XXXIX (1958), n. 3, pp. 209-217
  • The Printed Fantasies of Orlando Gibbons, Vol. XXXVII (1956), n. 4, pp. 342-349
  • Two New Documents Relating to the Royal Music, 1584-1605, Vol. XLV (1964), n. 1, pp. 16-21

-DAVIES (F.)

  • On Schumann- and Reading between the Lines, Vol. VI (1925), n. 3,pp. 214-223
  • Pianoforte Concertos, Vol. VIII (1927), n. 2, pp. 224-226

-DAVIES (H.), Bernard van Dieren, Philp Heseltine and Cecil Gray: a Significant Affiliation, Vol. 69 (1988), n. 1

-DAVIES (H.N.), The History of a Cipher, 1602 – 1772, Vol. XLVIII (1967), n. 4, pp. 325-329

-DAVIES (L.), Stravinsky as Littérateur, Vol. XLIX (1968), n. 2, pp. 135-144

-DAVISON (N.), So which way round did they go? the Palm Sunday Procession at Salisbury, Vol. 61 (1980), n. 1, pp. 1-14

-DAWSON (R. V.)

  • Beethoven and Cesar Frank, Vol. XI (1930), n. 2, pp. 110-123
  • Beethoven and Shelley, Vol. X (1929), n. 1, pp. 35-45

-DE MEDICIS (D.), Darius Milhaud and the Debate on Polytonality in the French Press of the 1920’s, Vol. 86 (2005), n. 4, pp. 573-591

-DEAN (W.)

  • A New Source for Handel’s “Amadigi”, Vol. 72 (1991), n. 1, pp. 27-37
  • An Unfinished Opera by Bizet, Vol. XXVIII (1947), n. 4, pp. 347-363
  • Barzun’s Life of Berlioz, Vol. XXXIII (1952), n. 2, pp. 119-131
  • Bizet’s Self-Borrowings, Vol. XLI (1960), n. 3, pp. 238-244
  • Charles Jennens’s Marginalia to Mainwaring’s Life of Handel, Vol. LIII (1972), n. 2, pp. 160-164
  • Edward J. Dent: a Centenary Tribute, Vol. LVII (1976), n. 4, pp. 353-361
  • Handel’s Dramatic Music on Records, Vol. XXXIX (1958), n. 1, pp. 57-65
  • Music and Letters? An Impertinent Enquiry, Vol. XXX (1949), n. 4, pp. 376-380
  • Schoenberg’s Ideas, Vol. XXXI (1950), n. 4, pp. 295-304
  • The Performance of Recitative in Late Baroque Opera, Vol. LVIII (1977), n. 4, pp. , pp. 389-402

-DEAS (J.)

  • The Limits of Expression, Vol. XIII (1932), n. 4, pp. 418-420
  • The Symphonies of Brahms, Vol. XIV (1933), n. 2, pp. 112-116

-DEAS (S)

  • An Early Mozartian, Vol. XLIII (1962), n. 4, pp. 320-328
  • Arcangelo Corelli, Vol. XXXIV (1953), n. 1, pp. 1-10
  • Beethoven’s “Allegro Assai”, Vol. XXXI (1950), n. 4, pp. 333-336

-DELLA SCIUCCA (M.), “S’amor non è”: Cesare Tudino and the Birth of the Purely Musical Dialogue, Vol. 84 (2003), n. 4, pp. 557-595

-DEMMERY (M.), The Hybrid Critic, Vol. XXXVII (1956), n. 2, pp. 128-140

-DENHAM (A.E.), The Moving Mirrors of Music: Roger Scruton Resonates with Tradition, Vol. 80 (1999), n. 3, pp. 411-432

-DENNISON (P.), Elgar and Wagner, Vol. 66 (1985), n. 2

  • The Sacred Music of Matthew Locke, Vol. 60 (1979), n. 1, pp. 60-75

-DENT (E. J.)

  • A Best-Seller in Opera, Vol. XXII (1941), n. 2, pp. 164-169
  • Binary and Ternary Form, Vol. XVII (1936), n. 4, pp. 309-321
  • Busoni’s “Doctor Faust”, Vol. VII (1926), n. 3, pp. 196-208
  • Emanuel Schikaneder, Vol. XXXVII (1956) n. 1, pp. 14-21
  • Handel on the Stage, Vol. XVI (1935), n. 3, pp. 174-187
  • Musical Form of the Madrigal, Vol. XI (1930), n. 3, pp. 230-240
  • On the Composition of English Songs, Vol. VI (1925), n. 3, pp. 224-235
  • The Choral Fantasia, Vol. VIII (1927), n. 2, pp. 111-121
  • The Nomenclature of Opera- I, Vol. XXV (1944), n. 3, pp. 132-139
  • Translating ‘Trovatore’, Vol. XX (1939), n. 1, pp. 7-20
  • Un Ballo in Maschera, Vol. XXXIII (1952), n. 2, pp. 101-110

-de PASCUAL (B.K.),

  • Domenico Scarlatti and his Son Alexandro’s Inheritance, Vol. 69 (1988), n. 1
  • English Square Pianos in Eighteenth-Century Madrid, Vol. 64 (1983), n. 3-4

-DEUTSCH (O. E.)

  • Austrian Currency Values and their Purchasing Power (1725- 1934), Vol. XV (1934), n. 3, pp. 236-238
  • Schubert: The Collected Works, Vol. XXXII (1951), n. 3, pp. 226-234
  • Schubert’s Income, Vol. XXXVI (1955), n. 2, pp. 165-204
  • The Schubert Catalogue: Corrections and Additions, Vol. XXXIV, n. 1, pp. 25-32
  • The Walter Scott Songs, Vol. IX (1928), n. 4, pp. 330-335

-DI GRAZIA (D.M.), Funerall Teares or Dolefull Songes? Reconsidering Historical Connections and Musical Resemblances in Early English Absalom Settings, Vol. 90 (2009), n. 4, pp. 555-598

-DIBDIN (E. R.)

  • Charles Dibdin as a Writer, Vol. XIX (1938), n. 2, pp. 149-170
  • Isaac Nathan, Vol. XXII (1941), n. 1, pp. 75-80
  • The Bi-Centenary of ‘Rule Britannia’, Vol. XXI (1940), n. 3, pp. 275-302

-DICKINSON (A. E. F.)

  • Round About “The Midsummer Marriage”, Vol. XXXVII (1956), n. 1, pp. 50-60
  • Schubert and Beethoven: A Contrast of Methods, Vol. IX (1928), n. 1, pp. 44-50
  • The Craftsmanship of Bach’s Choral Music, Vol. XX (1939), n. 3, pp. 266-277
  • The Present Neglect of Bach, Vol. X (1929), n. 2, pp. 189-198

-DICKINSON (D.)

  • Palestrina’s ‘Song of Solomon’, Vol. XVIII (1937), n. 2, pp. 150-157
  • The Drama Behind Elgar’s Music, Vol. XXIII (1942), n. 2, pp. 116-125

-DICKSON (J. D. H.), Dr. Grierson’s Life of Tovey, Vol. XXXIII (1952), n. 3, pp. 198-202

-DICKINSON (P.),

  • Emily Dickinson and Music, Vol. 75 (1994), n. 2
  • Hitchcock’s Ives: A New Edition of 129 Songs, Vol. 87 (2006), n. 4, pp. 606-613

-DIXON (G.), The Cappella of S. Maria in Trastevere (1605-45): an Archival Study, Vol. 62 (1981), n. 1, pp. 30-40

-DREAMER (G.), The Fall and Rise of the Hymn Tune, Vol. VI (1925), n. 1,pp. 35-45

-DEEMING (H.), The Songs of St Godric: A Neglected Context, Vol. 86 (2005), n. 2, pp. 169-185

-DEMUTH  (N.), Antonin Reicha, Vol. XXIX (1948), n. 2, pp. 165-228

-DESMOND (A.), Grieg’s Song, Vol. XXII (1941), n. 4, pp. 333-357

-DEUTSCH (O. E.)

  • Count Deym and his Mechanical Organs, Vol. XXIX (1948), n. 2
  • Kozeluch Ritrovato, Vol. XXVI (1945), n. 1, pp. 47-50
  • The Chronology of Schubert’s String Quartets, Vol. XXIV (1943), n. 1, pp. 25-29
  • The Subscribers to Mozart’s Private Concerts, Vol. XXII (1941), n. 3, pp. 225-234
  • Weber’s Mother and her Family. With Some Sidelights on Mozart, Vol. XXV (1944), n. 2, pp. 95-97

-DOCTOR (J.), “Vital to the very survival of music as a living art”: Hans Keller’s Radio World, Vol. 85 (2004), n. 4, pp. 614-623

-DOE (P.), Tallis’s “Spem in alium” and the Elizabethan Respond-Motet, Vol. LI (1970), n. 1, pp. 1-14

-DOERNBERG (E.), Adalbert Gyrowetz, Vol. XLIV (1963), n. 1, pp. 21-30

-DOLMETSCH (C. F.), The Recorder or English Flute, Vol. XXII (1941), n. 1, pp. 67-74

-DONINGTON (R.)

  • Baroque Music on the Gramophone, Vol. XXXVII (1956), n. 2, pp. 165-172
  • Geminiani and the Gremlins, Vol. LI (1970), n. 2, pp.150-155
  • On Interpreting Modern Music, Vol. XXVIII (1946), n. 3, pp. 223-241
  • The Origin of the In Nomine, Vol. XXX (1949), n. 1, pp. 101-106

-DRENNAN (J.R.J.), Another Mass Attributable to Giovanni Rovetta, Vol. 88 (2007), n. 4, pp. 589-603

-DRINKER (H. S.), Singing together for Musical Experience, Vol. XIV (1933), n. 4, pp. 364-368

-DRINKWATER (J.), The Heroic in Art, Vol. II (1921), n. 1, pp. 168-171

-DRUMMOND (P.), The Royal Society of Musicians in the Eighteenth Century, Vol. 59 (1978), n. 3, pp. 268-289

-DUMONT (S.), Valentin Haussmann’s Canzonettas: the Italian Connection, Vol. 63 (1982), n. 1-2

-DUNSBY (J.), Considerations of Texture, Vol. 70 (1989), n. 1, pp. 46-57

-DURANTE (S.), The Chronology of Mozart’s “La clemenza di Tito” Reconsidered, Vol. 80 (1999), n. 4, pp. 560-594

-DYER (J.), Speculative “Musica” and the Medieval University of Paris, Vol. 90 (2009), n. 2, pp. 177-204

-DYSON (G.)

  • Beethoven and the Piano, Vol. VIII (1927), n. 2
  • The Texture of Modern Music, Vol. IV (1923), n. 2,3,4, pp. 107-118

-EARLE (B.), Taste, Power, and Trying to Understand Op. 36: British Attempts to Popularize Schoenberg, Vol. 84 (2003), n. 4, pp. 608-643

-EDMONDS (P.), A Concert Audience and Its Points of View, Vol. II (1921), n. 1, pp. 163-167

-EDWARDS (W.), The Walsingham Consort Books, Vol. LV (1974), n. 2, pp. 209-214

-EGGAR (K.)

  • Emotion and Morals in Greek Music, Vol. XI (1930), n. 2
  • Leaves from the Mother-Tree of Guernica, Vol. VIII (1927), n. 4, pp. 448-457

-EIGELDINGER (J.J.), Chopin and “La Note bleue”: an Interpretation of the Prelude Op. 45, Vol. 78 (1997), n. 2

-EINSTEIN (A.)

  • Bach through the Ages, Vol. XVI (1935), n. 3, pp. 230-237
  • Carl Maria Weber, Vol. XVIII (1937), n. 1, pp. 9-13
  • Concerning Some Recitatives in ‘Don Giovanni’, XIX (1938), n. 4, pp. 417-425
  • The “Dialogo della Musica” of Messer Antonio Francesco Doni, Vol. XV (1934), n. 3, pp. 244-253
  • The Elizabethan Madrigal and “Musica Transalpina”, Vol. XXV (1944), n. 2, pp. 66-76
  • The Mo0rtality of Opera, Vol. XXII (1941), n. 4
  • Two Missing Sonatas by Mozart, Vol. XXI (1940), n. 1, pp. 1-17
  • Vincenzo Bellini, Vol. XVI (1935), n. 4, pp. 325-332
  • Vincenzo Galilei and the Instructive Duo, Vol. XVIII (1937), n. 4, pp. 360-368

-EISEN (C.), Problems of authenticity among Mozart’s Early Symphonies: the Examples of K.Anh.220 (16a) and 76 (42a), Vol. 70 (1989), n. 4, pp.505-516

-ELKIN (R.), Beethoven’s Choral Fantasia: a New English Version, Vol. XXX (1949), n. 2

-ELLIOT (J. H.)

  • Berlioz and His Critics, Vol. XVII (1936), n. 2, pp. 140-144
  • Biography in Musicology, Vol. XV (1934), n. 1, pp. 50-54
  • The All-Brass Ensemble, Vol. XII (1931), n. 1, pp. 30-34
  • The Sixth Symphony of Sibelius, Vol. XVII (1936), n. 3, pp. 234-236

-ELLIOTT (K.), “Church Musick at Dunkell”, Vol. XLV (1964), n. 3, pp. 228-232

-ELLIOT, Jr. (J.R.), The Shakespeare Berlioz Saw, Vol. LVII (1976), n. 3, pp. 292-308

-ELLIS (K.), Paris, 1866: In Search of French Music, Vol. 91 (2010), n. 4, pp. 536-555

-EMERY (W.)

  • Bach’s Symbolic Language, Vol. XXX (1949), n. 4, pp. 345-354
  • The London Autograph of “The Forty-eight”, Vol. XXXIV (1953), n. 2

-EMSLIE (McD.), Nicholas Lanier’s Innovations in English Song, Vol. XLI (1960), n. 1, pp. 13-27

-ERHART (D.), Pity the Poor Performer, Vol. X (1929), n. 4, pp. 391-396

-ERLEBACH (R.), Style in Pianoforte concerto Writing, Vol. XVII (1936), n. 2, pp. 131-139

-ESCOMBE (N.), “Apt for Voices”, Vol. XV (1934), n. 1, pp. 71-74

-EVANS (E.)

  • Music and the Cinema, Vol. X (1929), n. 1, pp. 65-69
  • My First “Modern”, Vol. IV (1923), n. 3, pp. 219-230
  • Stocktaking, 1930, Vol. XII (1931), n. 1, pp. 60-65

-EVANS (P.), Seventeenth-Century Chamber Music Manuscripts at Durham, Vol. XXXVI (1955), n. 3, pp. 205-223

-EVERHART (R.), New Sources for Handel’s “La Resurrezione”, Vol. XLI (1960), n. 2, pp. 127-135

-EVERIST (M.),

  • “Il n’y a qu’un Paris au monde, et j’y reviendrai planter mon drapeau!” : Rossini’s Second Grand opéra , Vol. 90 (2009), n. 4, pp. 636-672
  • The Miller’s Mule: Writing the History of Medieval Music, Vol. 74 (1993), n. 1, pp. 44-53
  • The Rondeau Motet: Paris and Artois in the Thirteenth Century, Vol. 69 (1988), n. 1

-EVERSON (J.E.), Of Beaks and Geese: Mozart, Varesco and Francesco Cieco, Vol. 76 (1995), n. 3

-EYRE (F.), Interlude on a Hilltop, Vol. XV (1934), n. 4, pp. 339-343

-FABBRI (P.), New Sources for “Poppea”, Vol. 74 (1993), n. 1, pp. 16-23

-FADER (D.), The “Cabale du Dauphin”, Campra, and Italian Comedy: The Courtly Politics of French Musical Patronage around 1700,  Vol. 86 (2005), n. 3, pp. 380-413

-FANRICH (H.), Music in the Letters of Paul Valéry, Vol. LV (1974), n. 1, pp. 48-60

-FAIRBROTHER (M.), In Defence of Wireless, Vol. XIII (1932), n. 3, pp. 329-332

-FAIRCLOUGH (P.),

  • Facts, Fantasies, and Fictions: Recent Shostakovich Studies, Vol. 86 (2005), n. 3, pp. 452-460
  • The “Old Shostakovich”: Reception in the British Press, Vol. 88 (2007), n. 2, pp. 266-296
  • The “Perestroyka” of Soviet Symphonism: Shostakovich in 1935, Vol. 83 (2002), n. 2, pp. 259-273

-FAREBROTHER (R. K.), Impressions of “La Valkyrie”, Vol. VI (1925), n. 4, pp. 354-358

-FARMER (A.), Introduction to Organ Music, Vol. XIV (1933), n. 4, pp. 326-342

-FARMER (H. G.)

  • A Forgotten Composer of Anthems, Vol. XVII (1936), n. 3, pp. 188-199
  • British Musicians a Century Ago, Vol. XII (1931), n. 4, pp. 384-393
  • Crusading Martial Music, Vol. XXX (1949), n. 3, pp. 243-249
  • Monster Kettledrums, Vol. XLIII (1962), n. 2, pp. 129-130
  • Percussion and Petticoats, Vol. XXXI (1950), n. 4, pp. 343-345
  • Some Notes on the Irish Harp, Vol. XXIV (1943), n. 2, pp. 100-106
  • Unknown Birthdays of Some Georgian Musicians, Vol. XX (1939), n. 3, pp. 299-303

-FARRELL (G.) & SORRELL (N.), Colonialism, Philology, and Musical ethnography in Ninteenth-Century India: The Case of S.W.Fallon, Vol. 88 (2007), n. 1, pp. 107-120

-FELLOWES (E. H.)

  • Misprints and Errors, Vol. XVII (1936), n. 4, pp.
  • My Ladye Nevells Booke, Vol. XXX (1949), n. 1, pp. 1-7
  • The Philidor Manuscripts, Vol. XII (1931), n. 2, pp. 116-129
  • The Text of Song-Books of Robert Jones, Vol. VIII (1927), n. 1, pp.25-37

-FENLON (I.), Renaissance Novellara: Musical Life in the Gonzaga Hinterland, Vol. 91 (2010), n. 4, pp. 484-497

-FERGUSON (H.),

  • Bach’s “Lauten Werck”, Vol. XLVIII (1967), n. 3, pp. 259-314
  • Corrupt Passages in „Diferencias“ by Cabezon, Vol. LII (1971), n. 4, pp. 402-406
  • Gerald Finzi (1901-1956), Vol. XXXVIII (1957), n. 2, pp. 129-135
  • Repeats and Final Bars in the Fitzwilliam Virginal Book, Vol. XLIII (1962), n. 4, pp. 345-350

-FIEDLER (H. G.), Schubert’s Poets, Vol. VI (1925), n. 1, pp. 68-77

-FIELD (C.D.S.), Matthew Locke and the Consort Suite,  Vol. LI (1970), n. 1, pp. 15-25

-FIELDEN (T.), Tempo Rubato, Vol. XXXIV (1953), n. 2

-FINCHAM (K.), Contemporary Opinions of Thomas Weelkes, Vol. 62 (1981), n. 3-4, pp. 352-353

-FINLAY (I. F.)

  • Bach’s Secular Cantata Texts, Vol. XXXI (1950), n. 3, pp. 189-195
  • Music in Gotfried’s ‘Tristan’, Vol. XXXIII (1952), n. 1, pp. 50-58

-FISCHER (I.), A Note in Op. 27, No. 2, Vol. XXXII (1951), n. 1, pp. 45-46

-FISKE (R.),

  • A Cliveden Setting, Vol. XLVII (1966), n. 2, pp. 126-129
  • A Score for “The Duenna”, Vol. XLII (1961), n. 2, pp. 132-141
  • Handel’s “Joseph”, Vol. XV (1934), n. 4, pp. 301-305
  • The „Macbeth“ Music, Vol. XLV (1964), n. 2, pp. 114-125

-FITZGIBBON (H. M.), Two Lute Books, Vol. XI (1930), n. 1, pp. 71-77

-FITZPATRICK (H.), Antonio Rossetti, Vol. XLIII (1962), n. 3, pp. 234-247

-FLEURY (L.)

  • About “Pierrot Lunaire”, Vol. V (1924), n. 4, pp. 347-356
  • Music for Two Flutes without Bass, Vol. VI (1925), n. 2, pp. 110-118
  • The Flute and its Powers of Expression, Vol. III (1922), n. 4, pp. 383-393

-FLOOD (W. H. G.)

  • Eighteen Century Italians in Dublin, Vol. III (1922), n. 3, pp. 274-278
  • Irish Ancestry of Garland, Dowland, Campion and Purcell, Vol. III (1922), n. 1, pp. 59-65
  • The Beginnings of the Chapel Royal, Vol. V (1924), n. 1, pp.85-90
  • The Beggar’s Opera and its Composers, Vol. III (1922), n. 4
  • The Eschequier Virginal, Vol. VI (1925), n. 2

-FOLLOWS (D.), Busnoys and the Early Fifteenth Century: a Note on “L’ardant desir” and “Faictes de moy”, Vol. 71 (1990), n. 1

-FORD (E.), Introduction to Henry Lawes, Vol. XXXII (1951), n. 2, pp. 216-225

-FORD (W.)

  • Concerning William Parsons, Vol. XXXVII (1956), n. 4, pp. 333-335
  • Some Thoughts on Singing, Vol. I (1920)
  • The Grand Style, Vol. IX (1928), n. 3, pp. 319-321
  • The Songs, Vol. VIII (1927), n. 2

-FOREMAN (R.L.E.), The Musical Development of Arnold Bax, Vol. LII (1971), n. 1, pp. 59-68

-FORSYTH (C.)

  • The First Performance of Gounod’s “Redemption”, Vol. VI (1925), n. 1, pp. 85-93
  • The Stranger, Vol. I (1920), n. 1, pp. 61-67
  • To a Pianist, Vol. V (1924), n. 3

-FORTUNE (N.) Italian 17th-Century Singing, Vol. XXXV (1954), n. 3, pp. 206-218

-FOSS (H. J.)

  • Elgar and His Age, Vol. XVI (1935), n. 1, pp. 5-12
  • Modern Music Printing, Vol. IV (1923), n. 4, pp. 340-347
  • Musicianship and the Pianoforte, Vol. III (1922), n. 3, pp. 245-254
  • The Circumstances of the English Composer, Vol. XII (1931), n. 1, pp. 12-20
  • The Musical Press of Today, Vol. XI (1930), n. 2, pp. 128-140
  • The Production of Opera in England, Vol. IV (1923), n. 1, pp. 85-101
  • William Henry Hadow, Vol. XVIII (1937), n. 3, pp. 236-238

-FOWLER (R.), Music and Metre: Browning’s “Pietro of Abano”, Vol. LVII (1976), n. 1, pp. 47-54

-FOWLER (W. W.)

  • Leopold Mozart, Vol. I (1920), n. 1, p. 60
  • Mozart and the Europe of his Day I, Vol. I (1920), n. 2, pp. 111-122
  • Mozart and the Europe of his Day II, Vol. I (1920), n. 3, pp. 191-200

-FRAENKEL (G.S.), Berlioz, The Princess and “Les Troyens”, Vol. XLIV (1963), n. 3, pp. 249-256

-FRANCIS (J.), What Bach Wrote for t .he Flute, and Why, Vol. XXXI (1950), n. 1, pp. 46-52

-FRANKENSTEIN (A.), American Music on the Gramophone, Vol. XLI (1960), n. 4, pp. 360-365

-FRANKLIN (P.), „Funeral Rites“ – Mahler and Mickiewicz, Vol. LV (1974), n. 2, pp.203-208

-FRANKLIN (P.R.), The Gestation of Mahler’s Third Symphony, Vol. LVIII (1977), n. 4, pp. 439-446

-FRASER (A. A.), Paul Hindemith, Vol. X (1929), n. 2, pp. 167-176

-FRASER (R.), An Amateur Elizabethan Composer, Vol. XXXIII (1952), n. 4, pp. 329-334

-FREEMAN (G.), “It wants all the creases ironing out”: Percy Grainger, the Folk Song Society, and the Ideology of the Archive, Vol. 92 (2011), n. 3, pp. 410-436

-FREITAS (R.), Singing and Playing: the Italian Cantata and the Rage for Wit, Vol. 82 (2001), n. 4, pp. 509-542

-FRERE (W. H.), Bach’s Vorspiele, Vol. I (1920), n. 3, pp. 218-224

-FREYMANN (R.)

  • The Eclipse of German Musical Hegemony, Vol. XXIII (1942), n. 2, pp. 185-200
  • The Functional Dynamics of Music, Vol. XXIX (1948), n. 1, pp. 57-72

-FRISKIN (J.), The Text of Tchaikovsky’s Bb minor Concerto, Vol. L (1969), n. 2, pp. 246-251

-FROGLEY (A.),

  • Rewriting the Renaissance: History, Imperialism, and British Music since 1840, Vol. 84 (2003), n. 2, pp. 241-257
  • Vaughan Williams and Thomas Hardy: “Tess” and the Slow Movement of the Ninth Symphony, Vol. 68 (1987), n. 1

-FROST (T.), The Cantatas of John Stanley (1713-86), Vol. LIII (1972), n. 3, pp. 284-292

-FULD (J.J.) The First Complete Printing of Handel’s “Messiah”, Vol. LV (1974), n. 4, pp. 454-457

-FULLER (D.),

  • Ben Jonson’s Plays and their Contemporary Music, Vol. LVIII (1977), n. 1, pp. 60-75
  • Of Portraits, “Sapho” and Couperin: Titles and Characters in French Instrumental Music of the High Baroque, Vol. 78 (1997), n. 2
  • The Jonsonian Masque and its Music, Vol. LIV (1973), n. 4, pp. 440-452

-FULLER-MAITLAND (J. A.), Some Victorian Songs, Vol. XII (1931), n. 1, pp. 78-80

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-GERVAIS (T. W.), An Italian Musical Renascence?, Vol. XXVII (1946), n. 2, pp. 108-113

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-GIBSON (E.), Earl Cowper in Florence and his Correspondence with the Italian Opera in London, , Vol. 68 (1987), n. 3

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-GIEGLING (F.), Geminiani’s Harpsichord Transcription, Vol. XL (1959), n. 4, pp. 350-352

-GIGER (A.), The Triumph of Diversity: Theories of French Accentuation and their Influence on Verdi’s French Operas, Vol. 84 (2003), n. 1, pp. 55-83

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-GILLIESPIE (N.), The Text of Stanley’s “Teraminta”, Vol. 64 (1983), n. 3-4

-GILLINGHAM (B.),

  • British Library MS Egerton 945: Further Evidence for a Mensural Interpretation of Sequences, Vol. 61 (1980), n. 1, pp. 50-59
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-GLANVILLE-HICKS (P.), Paul Bowles: American Composer, Vol. XXVI (1945), n. 2, pp. 88-96

-GLIDESTONE (C.M.), Rameau’s Self-Borrowings, Vol. XXXIX (1958), n. 1, pp. 52-56

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-GLYN (M. H.), Balance or Decadence?, Vol. XVIII (1937), n. 4, pp. 369-373

-GODDARD (S.)

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-GODEFROY (J. V. L.), Some Aspects of the Aria, Vol. XVII (1936), n. 3, pp. 200-209

-GODLEY (E.), The Minor Triad, Vol. XXXIII (1952), n. 4, pp. 285-296

-GODMAN (S.), Bach’s copies of Ammerbach’s “Orgel oder Instrument Tabulatur”, Vol. XXXVIII (1957), n. 1, pp. 21-27

-GODT (I.),

  • A Monteverdi Source Reappears: the “Girlanda” of F.M. Fucci, Vol. 60 (1979), n. 4, pp. 428-439
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-GOLDEN CARLSON (R.), Striking Ornaments: Complexities of Sense and Song in Aquitanian “Versus”, Vol. 84 (2003), n. 4, pp. 527-556

-GOOSSENS (E.), The String Quartet since Brahms, Vol. III (1922), n. 4, pp. 335-348

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-GOTCH (O. H.), The Revival of Handel, Vol. VIII (1927), n. 4, pp. 464-469

-GRACE (H.), The Musical Competition Festival, Vol. XI (1930), n. 3, pp. 267-276

-GRADENWITZ (P.)

  • An early Instance of Copyright- Venice 1622, Vol. XXVII (1946), n. 3, pp. 185-186
  • Mid-Eighteenth-Century Transformations of Style, Vol. XVIII (1937), n. 3, pp. 265-275
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-GRAMIT (D.), Schubert and the Biedermeier: the Aesthetics of Johann Mayrhofer’s “Heliopolis”, Vol. 74 (1993), n. 3, pp. 355-382

-GRANT (J. P.), Canntaireachd, Vol. VI (1925), n. 1, pp. 54-63

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-GRAVES (C. L.), George Grove: a Centenary Study, Vol. I (1920), n. 4, pp. 330-333

-GRAY (A.)

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-GRAY (C.)

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-GRAYSON (D.), The Libretto of Debussy’s “Pelléas et Mélisande”, Vol. 66 (1985), n. 1

-GREENE (H. P.)

  • A Trip to the Canadian Festivals, Vol. IV (1923), n. 4, pp. 356-370
  • Another Trip to the Canadian Festivals, Vol. XIII (1932), n. 1, pp. 19-30
  • Leonard Borwick, Vol. VII (1926), n. 1, pp. 17-24
  • Songs as the Singer Sees Them, Vol. IX (1928), n. 3, pp. 304-318
  • Stanford’s Songs, Vol. II (1921), n. 1, pp. 96-106
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-GREEN (R.), A Musico-Rhetorical Outline of Holst’s “Egdon Heath”, Vol. 73 (1992), n. 2, pp. 244-267

-GREER (D.),

  • An Early Setting of Lines from “Venus and Adonis”, Vol. XLV (1964), n. 2, pp. 126-129
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  • Manuscript Additions in “Parthenia” and Other Early English Printed Music in America, Vol. 77 (1996), n. 2
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-GREGORY (R.)

  • The Horn in Beethoven’s Symphonies, Vol. XXXIII (1952), n. 4, pp. 303-310
  • Dies Irae, Vol. XXXIV (1953), n. 2, pp. 133-139

-GREW (E. M.)

  • Martin Luther and Music, Vol. XIX (1938), n. 1, pp. 67-79
  • The Creative Faculty, Vol. XXVII (1946), n. 2, pp. 102-107
  • Thomas Hardy as a Musician, Vol. XXI (1940), n. 2, pp. 120-142
  • With the Bell-Ringers, Vol. XI (1930), n. 3, pp. 289-294

-GREW (S.)

  • Clichés, Vol. I (1920), n. 3, pp.
  • Random Notes on the Spiritual, Vol. XVI (1935), n. 2, pp. 96-109
  • Repertory Opera in Birmingham, Vol. II (1921), n. 4, pp. 341-344
  • The “Grosse Fuge”, Vol. XII (1931), n. 2, 140-147
  • The “Grosse Fuge” : An Analysis, Vol. XII (1931), n. 3
  • The Player-Piano, Vol. VI (1925), n. 3, pp. 236-247
  • The Significance of the Bach Chorale, Vol. XIV (1933), n. 4, pp. 313-317
  • The South Staffordshire Musical Festival, Vol. III (1922), n. 1, pp. 66-72

-GRIMLEY (D.M.), “Tonality, Clarity, Strenght”: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music, Vol. 86 (2005), n. 2, pp. 202-233

-GROGAN (C.),

  • “My Dear Analyst”: Some Observations on Elgar’s Correspondence with A.J.Jaeger regarding the “Apostles” Project, Vol. 72 (1991), n. 1, pp. 48-60
  • Percy Grainger and the Revival of Early English Polyphony: the Anselm Hughes Correspondence, Vol. 77 (1996), n. 3

-GROOS (A.), Wagner’s “Tristan und Isolde”: in Defence of the Libretto, Vol. 69 (1988), n. 4, pp. 465-481

-GROUT (D. J.), Some Forerunners of Lully Opera, Vol. XXII (1941), n. 1, pp. 1-25

-GURALNICK (E.S.), “Ah Clara, I am not worthy of your love”: Rereading “Frauenliebe und Leben”, the Poetry and the Music, Vol. 87 (2006), n. 4, pp. 580-605

-GURNEY (I.)

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-HAGREEN (P.)

  • The English School of Painting I, Vol. I (1920), n. 3, pp. 269-278
  • The English School of Painting II, Vol. I (1920), n. 4, pp.  359-366

-HALFPENNY (E.)

  • A French Commentary on Quantz, Vol. XXXVII (1956), n. 1, pp. 61-66
  • A Seventeenth-Century Tutor for the Hautboy, Vol. XXX (1949), n. 4, pp. 355-363
  • Castilon on the Clarinet, Vol. XXXV (1954), n. 4, pp. 331-337
  • Musicians at James II’S Coronation, Vol. XXXII (1951), n. 2, pp. 103-117
  • Shudi and the “Venetian Swell”, Vol. XXVII (1946), n. 3, pp. 180-184
  • Stanesby, Major and Minor, Vol. XXXIV (1953), n. 1, pp. 41-47
  • The “Entertainment” of Charles II, Vol. XXXVIII (1957), n. 1, pp. 32-44

-HALSKI (C.R.),

  • Paganini and Lipinski, Vol. XL (1959), n. 3, pp. 274-278
  • Murky: a Polish Musical Freak, Vol. XXXIX (1958), n. 1, pp. 35-37
  • Musical Europe in Retrospect, Vol. XXXIX (1958), n. 4, pp. 372-377

-HAMESSLEY (L.), The Tenbury and Ellesmere Partbooks: New Findings on Manuscript Compilation and Exchange, and the Reception of the Italian Madrigal in Elizabethan England, Vol. 73 (1992), n. 2, pp. 177-221

-HAMM (C.),

  • A Group of Anonymous English Pieces in Trent 87,Vol. XLI (1960), n. 3, pp. 211-215
  • The Firebrand of New York: Kurt Weill and his “Broadway Operetta”, Vol. 85 (2004), n. 2, pp. 239-254

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-HANKEY (S.), The Compleat Gentleman’s Music, Vol. 62 (1981), n. 2, pp. 146-154

-HANSON (A.M.), Incomes and Outgoings in the Vienna of Beethoven and Schubert, Vol. 64 (1983), n. 3-4

-HARBINSON (D.),

  • Imitation in the Early Motet, Vol. XLV (1964), n. 4, pp. 359-368
  • Isorhythmic Technique in the Early Motet, Vol. XLVII (1966), n. 1, pp. 100-109
  • The Hymsn “Ut queant laxis”, Vol. LII (1971), n. 1

-HARDING (R.), The Earliest Pianoforte Music, Vol. XIII (1932), n. 2, pp. 194-199

-HARLEY (B.), Music and Chess, Vol. XII (1931), n. 3, pp. 276-283

-HARLEY (J.),

  • Music at the English Court in the Eighteenth and Nineteenth Century, Vol. L (1969), n. 3, pp. 332-351
  • “My Ladye Nevell” Revealed, Vol. 86 (2005), n. 1, pp. 1-15
  • New Light on William Byrd, Vol. 79 (1998), n. 4, pp. 475-488

-HARMON (R.), Plato, Aristotle, and Women Musicians, Vol. 86 (2005), n. 2, pp. 351-356

-HARMON (T.), The Performance of Mozart’s Church Sonatas, Vol. LI (1970), n. 1, pp. 51-60

-HARPER-SCOTT (J.P.E.), “Our true north”: Walton’s First Symphony, Sibelianism, and the Nationalization of Modernism in England, Vol. 89 (2008), n. 4, pp. 562-589

-HARRAN (D.), Towards a Definition of the Early Secular Dialogue, Vol. LI (1970), n. 1, pp. 37-50

-HARRIS (C. A.), Church Choirs in History, Vol. XVII (1936), n. 3, pp. 210-217

-HARRIS (E.T.),

  • Courting Gentility: Handel at the Bank of England, Vol. 91 (2010), n. 3, pp. 357-375
  • Handel the Investor, Vol. 85 (2004), n. 4, pp. 521-575

-HARRIS (S.),

  • Lully, Corelli, Muffat and the Eighteenth-Century String Body, Vol. LIV (1973), n. 2, pp. 197-202
  • The Byzantine Office of the Genuflexion, Vol. 77 (1996), n. 3
  • The Byzantine Responds for the Two Sundays before Christmas, Vol. 74 (1993), n. 1, pp. 1-15
  • The “Kanon” and the Heirmologion, Vol. 85 (2004), n. 2, pp. 175-197

-HARRIS (W. H.), The Organ Works of Bach and Handel, Vol. XVI (1935), n. 4, pp. 296-304

-HARRISON (F.), Polyphonic Music for a Chapel of Edward III, Vol. 59 (1978), n. 4, pp. 420-428

-HARRISON (F. L.), An English “Caput”, Vol. XXXIII (1952), n. 3, pp. 203-214

-HART (B.), Vincent D’Indy and the Development of the French Symphony, Vol. 87 (2006), n. 2, pp. 237-261

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  • The Restoration Catch, Vol. XXXIV (1953), n. 4, pp. 288-305

-HARTHAN  (J. P.)

  • Eighteenth-Century Flute Music, Vol. XXIV (1943), n. 1, pp. 35-41
  • Stendhal and Mozart, Vol. XXVII (1946), n. 3, pp. 174-179

-HARTY, SIR (H.), The Orchestra, Vol. VIII (1927), n. 2, pp. 172-177

-HARVEY (J.), Schonberg: Man or Woman?, Vol. LVI (1975), n. 3, pp. 371-385

-HASTINGS (M.), Gluck’s “Alceste”, Vol. XXXVI (1955), n. 1, pp. 41-54

-HATTON (A. P.), Personality in Opera, Vol. XII (1931), n. 2

-HAUGER (G.),

  • “Othello” and “Otello”, Vol. L (1969), n. 1, pp. 76-85
  • William Shield, Vol. XXXI (1950), n. 4, pp. 337-342

-HEAD (M.), Myths of a Sinful Father: Maynard Solomon’s “Mozart”, Vol. 80 (1999), n. 1, pp. 74-85

-HEDGES (S.A.), Dice Music in the Eighteenth Century, , Vol. 59 (1978) n. 2, pp.  180-187

-HEDLEY (A.)

  • Some Notes on Chopin Biography, Vol. XVIII (1937), n. 1, pp. 42-49
  • Was Sir Walter Scott Musical?, Vol. XVII (1936), n. 2, pp. 151-153

-HEILE (B.), Recent Approaches to Experimental Music Theatre and Contemporary Opera, Vol. 87 (2006), n. 1, pp. 72-81

-HELLER (W.), “A Present for the Ladies”: Ovid, Montaigne, and the Redemption of Purcell’s Dido, Vol. 84 (2003), n. 2, pp. 189-2008

-HELLYER (R.), “Fidelio”fur neunstimmige Harmonie, Vol. LIII (1972), n. 3, pp. 242-253

-HELMERS (R.), “It just reeks of Italianism”: Traces of Italian Opera in A Life for the Tsar, Vol. 91 (2010), n. 3, pp. 376-405

-HELY-HUTCHINSON (V.), Dvořák the Craftsman, Vol. XXII (1941), n. 4, pp. 303-312

-HENDERSON (D.G.), The “Magic Flute” of Peter Winter, Vol. 64 (1983), n. 3-4

-HENDERSON (R.L.), Chopin and the Expressionists, Vol. XLI (1960), n. 1, pp. 38-45

-HERISSONE (R.),

  • Richard Goodson the Elder’s Ode “Janus, did ever to thy sight?”: Evidence of Compositional Procedures in the Early Eighteenth Century, Vol. 79 (1998), n. 2
  • Robert Pindar, Thomas Busby, and the Mysterious Scoring of Henry Purcell’s “Come Ye Sons of Art”, Vol. 88 (2007), n. 1, pp. 1-48

-HESELTINE (P.), The Scope of Opera, Vol. I (1920), n. 3, pp. 230-233-

-HESS (W.), Beethoven’s Last Composition, Vol. XXXIII (1952), n. 3, pp. 223-225

-HEWETT (R. P.), The Concert, Vol. XXVII (1946), n. 3, pp. 131-133

-HIBBERD (S.), Murder in the Cathedral? Stradella, Musical Power, and Performing the Past in 1830s Paris, Vol. 87 (2006), n. 4, pp. 551-580

-HIGHT (G. A.)

  • Some Recent Wagner Criticism in Germany and England, Vol. VI (1925), n. 1, pp. 64-67
  • Wagner’s Attitude to Art, Vol. IV (1923), n. 3, pp. 236-245

-HILEY (D.), Rouen, Bibliothèque Municipale, MS 249 (A.280) and the Early Paris Repertory of Ordinary of Mass Chants and Sequences, Vol. 70 (1989), n. 4, pp. 467-48

-HILL (E.), Shakespeare and Contemporary Music, Vol. XIV (1933), n. 1, pp. 40-43

-HILL (J.W.), Veracini in Italy, Vol. LVI (1975), n. 3, pp.257-276

-HILL (Q.), Roger Quilter: 1877-1953, Vol. XXXV (1954), n. 1, pp. 15-16

-HINDLEY (C.),

  • Contemplation and Reality: a Study in Britten’s “Death in Venice”, Vol. 71 (1990), n. 4
  • Love and Salvation in Britten’s “Billy Budd”, Vol. 70 (1989), n. 3, pp. 363-381
  • Platonic Elements in Britten’s “Death in Venice”, Vol. 73 (1992), n. 3, pp. 407-429

-HINTON (S.), The Emancipation of Dissonance: Schoenberg’s Two Practices of Composition, Vol. 91 (2010), n. 4, pp. 568-579

-HIRSCH (P.), A Discrepancy in Beethoven, Vol. XIX (1938), n. 3, pp. 265-267

-HOBSBAUM (P.), The Clavichord Speaks, Vol. XLIV (1963), n. 1, pp. 46-48

-HOLD (T.), Messiaen’s Birds, Vol. LII (1971), n. 2, pp. 113-122

-HOLDE (A.), An Unknown Paganini Letter, Vol. XXVIII (1947), n. 4, pp. 338-340

-HOLLANDER (H.)

  • Dvořák the Czech, Vol. XXII (1941), n. 4, pp. 313-317
  • Leos Janicek: Slav Genius, Vol. XXII (1941), n. 3, pp. 248-251

-HOLLINRAKE (R.),

  • Nietzsche, Wagner and Ernest Newman, Vol. XLI (1960), n. 3, pp. 235-247
  • The Title-Page of Wagner’s “Mein Leben”, Vol. LI (1970), n. 4, pp. 415-422

-HOPKINSON (C.), Berlioz and the “Marseillaise”, Vol. LI (1970), n. 4, pp. 435-439

-HOPPE (H.R.), John Bull in the Archduke Albert’s Service, Vol. XXXV (1954), n. 2, pp. 114-115

-HORGAN (M. K.), Recollections of Beethoven, Vol. IV (1923), n. 1, pp. 54-61

-HORSLEY (I.), Monteverdi’s Use of Borrowed Material in “Sfogava con le stelle”, Vol. 59 (1978), n. 3, pp. 316-328

-HORSLEY (P.M.), Charles Avison: the Man and his Milieu, Vol. LV (1974), n. 1, pp.5-23

-HORTON (J.),

  • Ibsen, Grieg and ‘Peer Gynt’, Vol. XXVI (1945), n. 2, pp. 66-77
  • John Field and the Alternative History of Concerto First-Movement Form, Vol. 92 (2011), n. 1, , pp. 43-83
  • Recent Developments in Bruckner Scholarship, Vol. 85 (2004), n. 1, pp. 83-94

-HOWARD (A.), Manuscript Publishing in the Commonwealth Period: A Neglected Source of Consort Music by Golding and Locke, Vol. 90 (2009), n. 1, pp. 35-67

-HOWARD (P.), Gluck the Family Man: an Unpublished Letter, Vol. 77 (1996), n. 1

-HOWARD-JONES (E.), Arrangements and Transcriptions, Vol. XVI (1935), n. 4, pp. 305-311

-HOWAT (R.), Ravel and Bartòk: Towards some new Concepts of Form, Vol. LVIII (1977), n. 3, pp. 285-293

-HOWELLS (H.)

  • A Note on Alan Rawsthorne, Vol. XXXII (1951), n. 1, pp. 19-28
  • Frank Bridge, Vol. XXII (1941), n. 3, pp. 208-215
  • Hubert James Foss 1899-1953, Vol. XXXIV (1953), n. 4, pp. 319-323
  • Hubert Parry, Vol. L (1969), n. 2, pp. 223-229
  • Marion Margaret Scott : 1877-1953, Vol. XXXV (1954), n. 2, pp. 134-135
  • The “Pastoral” Symphony”, Vol. III (1922), n. 2, pp. 122-132

-HOWES (F. S.)

  • A. H. Fox Strangways, Vol. L (1969), n. 1, pp. 9-14
  • Emotion, Vol. V (1924), n. 1, pp. 45-57
  • Eric Blom, Vol. XL (1959), n. 3, pp. 205-206
  • Professor Wellesz on Opera, Vol. XV (1934), n. 2, pp. 120-127
  • Prolegomena to an Uncompiled Lexicon, Vol. XXI (1940), n. 3, pp. 266-274
  • Science and Music, Vol. XV (1934), N. 1, pp. 66-70
  • The Dead Past, Vol. XXII (1941), n. 3, pp. 252-260
  • The Philosopher and the Artist, Vol. XI (1930), n. 3, pp. 241-254
  • The Two Elgars, Vol. XVI (1935), n. 1, pp. 26-29

-HOWIE (C.), Bruckner Scholarship in the Last Ten Years (1987-96), Vol. 77 (1996), n. 4

-HUBERMAN (B.), Artists and Concert Life, Vol. II (1921)

-HUDSON (F.) and DURR (A.), An Investigation into the Authenticity of Bach’s “Kleine Magnificat”, Vol. XXXVI (1955), n. 3, pp. 233-236

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-IRVING (H.), William Crotch on “The Creeation”, Vol. 75 (1994), n. 3

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-JACKSON (B.), Elgar’s ‘Spanish Lady’, Vol. XXIV (1943), n. 1, pp. 1-14

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-JACOBS (R. L.)

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-JACQUES (R.), Howells’s’Hymnus Paradisi’, Vol. XXXIII (1952), n. 3, pp. 193-197

-JACQUES-DALCROZE (E.)

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-JAMES (W. P.), Music Pure and Applied, Vol. II (1921), n. 4, pp. 373-385

-JAROSY (A.)

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-JEAN-AUBRY(G.)

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  • Gustave Flaubert and Music, Vol. XXXI (1950), n. 1, pp. 13-29
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-JENKINS (J.), Mozart’s Good Friend Dr Laugier, Vol. 77 (1996), n. 1

-JENSEN (E.F.), Satie and the “Gymnopédie”, Vol. 75 (1994), n. 2

-JOHNSON (M.), Return to Mozart, Vol. XXV (1944), n. 2

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-JOINER (M.), Another Campion Song?, Vol. XLVIII (1966), n. 2, pp. 138-139

-JONAS (O.)

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-JONES (A.V.),

  • Carissimi Manuscripts in Paris and Bologna: Problems of Authenticity and Dating, Vol. 62 (1981), n. 2, pp. 176-197
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-JORGENSON (D.), A Resumé of Harmonic Dualism, Vol. XLIV (1963), n. 1, pp. 31-42

-JUDD (P.), The Songs of John Danyel, Vol. XVII (1936), n. 2, pp. 118-123

-KAHN (R.), Memories of Brahms, Vol. XXVIII (1947), n. 2, pp. 101-107

-KALISCH (A.), Hackneyd Music, Vol. X (1929), n. 3, pp. 299-303

-KAUFFMAN (D.), Fauxbourdon in the Seventeenth and Eighteenth Centuries: “Le secours d’une douce harmonie”, Vol. 90 (2009), n. 1, pp. 68-93

-KEEFE (S.P.), “An entirely special manner”: Mozart’s Piano Concerto No. 14 in E Flat, K. 449, and the Stylistic Implications of Confrontation, Vol. 82 (2001), n. 4, pp. 559-581

-KEENER (A.D.), Gustav Mahler as Conductor, Vol. LVI (1975), n. 3, pp. 341-355

-KEETON (A. E.), Elgar’s Music for ‘The Starlight Express’, Vol. XXVI (1945), n. 1, pp. 43-46

-KELLER (H.), Britten and Mozart, Vol. XXIX (1948), n. 1, pp. 17-30

-KELLY (C.), Madrigals from Singer’s Point of View, Vol. XII (1931), n. 3, pp. 232-241

-KELLY (E.), An Unexpected Champion of Francois Couperin: Johannes Brahms and the “Pièces de clavecin”, Vol. 85 (2004), n. 4, pp. 576-601

-KELSEY (F.)

  • Speech-Song and the Singer, Vol. XXXVI (1955), n. 2, pp. 146-154
  • The Nature of the Singing Voice, Vol. XXXII (1951), n. 2, pp. 140-146
  • The Riddle of the Voice, Vol. XXIX (1948), n. 2, pp. 238-248
  • What is Singing? Vol. XXX (1949), n. 3, pp. 216-229

-KEMP (W.H.), “Votre trey downce”: a Duo for Dancing, Vol. 60 (1979), n. 1, pp. 37-44

-KENYON (M.), Modern Metres, Vol. XXVIII (1947), n. 2, pp. 168-175

-KEPHART (C.), An Unnoticed Forerunner of “The Beggar’s Opera”, Vol. 61 (1980), n. 3-4, pp. 266-271

-KERMAN (J.),

  • Morley and “The Triumphs of Oriana”, Vol. XXXIV (1953), n. 3, pp. 185-191
  • Thematic Return in Late Bach Fugues, Vol. 87 (2006), n. 4, pp. 515-522

-KERR (J. M.), Mary Harvey- The Lady Dering, Vol. XXV (1944), n. 1, pp. 23-32

-KESSELS (S. H.), Is there a Highest Art?, Vol. XII (1931), n. 4, pp. 398-404

-KETTERER (R.C.), Neoplatonic Light and Dramatic Genre in Busenello’s “L’incoronazione di Poppea” and Noris’s “Il ripudio di Ottavia”,  Vol. 80 (1999), n. 1, pp. 1-22

-KEYS (A.C.),

  • Schiller and Italian Opera, Vol. XLI (1960), n. 3, pp. 223-237
  • Two Eighteenth-Century Racinian Operas, Vol. 59 (1978) n. 1, pp. 1-9

-KEYS (I.), Rubbra’s Viola Concerto, Vol. XXXV (1954), n. 3, pp. 204-205

-KIMBELL (D.),

  • “Poi… diventò ‘L’Oberto’”, Vol. LII (1971), n. 1, pp. 1-7
  • Verdi’s First Rifacimento: “I Lombardi” and “Jérusalem”, Vol. 60 (1979), n. 1, pp. 1-36
  • The “Amadis” Operas of Destouches and Handel, Vol. XLIX (1968), n. 4, pp.329-346
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-KIMMEL (W.), Vaughan Williams’s Choice of Words, Vol. XIX (1938), n. 2, pp. 132-142

-KING (A. H.)

  • Fragments of Early printed Music in the Bagford Collection, Vol. XL (1959), n. 3, pp. 269-273
  • Mozart and the Gramophone, Vol. XXXVII (1956), n. 1
  • The Forsytes and Music, Vol. XXIII (1942), n. 1, pp. 24-36
  • The Mozart Autographs in the British Museum, Vol. XVIII (1937), n. 4, pp. 343-354
  • The Musical Side of Norman Douglas, Vol. XXVII (1946), n. 4, pp. 215-220

-KING (R.G.),

  • Classical History and Handel’s “Alessandro”, Vol. 77 (1996), n. 1
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-KIRBY (F.E.),

  • Beethoven and the geselliges Lied , Vol. XLVII (1966), n. 2, pp. 116-125
  • Hermann Finck on Method’s of Performance, Vol. XLII (1960), n. 3, pp. 212-220

-KIRBY (P. R.)

  • A Thirteenth Century Ballad Opera, Vol. XI (1930), n. 2
  • Captain Gordon, the Flute Maker, Vol. XXXVIII (1957), n. 3, pp. 250-259
  • Mozart’s Counterpoint: It’s Growth and Significance, Vol. XXVI (1945), n. 1, pp. 12-20
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  • The Kettle-Drums: An Historical Survey, Vol. IX (1928), n. 1, pp.34-43
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-KIRKMAN (A.), The Transmission of English Mass Cycles in the Mid to Late Fifteenth Century: a Case Study in Context, Vol. 75 (1994), n. 2

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-KITSON (C. H.), Musical ‘Depreciation’, Vol. XII (1931), n. 2, pp. 184-193

-KLEIN (H.), The Vienna Hofoper, Vol. XIV (1933), n. 3, pp. 239-246

-KLEIN (J. W.)

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  • Berlioz’s Personality, Vol. L (1969), n. 1, pp. 15-24
  • Bizet and Wagner, Vol. XXVIII (1947), n. 1, pp. 50-62
  • Bizet’s Admirers and Detractors, Vol. XIX (1938), n. 4, pp. 405-416
  • Bizet’s Early Operas, Vol. XVIII (1937), n. 2, pp. 169-175
  • Bizet-Opportunist or Innovator?, Vol. V (1924), n. 3, pp. 230-238
  • Boito and His Two Operas, Vol. VII (1926), n. 1, pp. 73-80
  • Georges Bizet’s Tragic Son, Vol. XLIX (1968), n. 4, pp. 357-366
  • Pietro Mascagni and Giovanni Verga, Vol. XLIV (1963), n. 4, pp. 350-357
  • Puccini’s Enigmatic Inactivity, Vol. XLVI (1965), n. 3, pp. 195-206
  • Romain Rolland (1866-1943), Vol. XXV (1944), n. 1, pp. 13-22
  • Some Reflections on Verdi’s “Simone Boccanegra”, Vol. XLIII (1962), n. 2, pp. 115-122
  • The Centenary of Bizet’s “L’Arlésienne”, Vol. LIII (1972), n. 4, pp. 363-368
  • Toscanini and Catalani – a Unique Friendship, Vol. XLVIII (1967), n. 3, pp. 213-228
  • Verdi’s Italian Contemporaries and Successors, Vol. XV (1934), n. 1, pp. 37-45
  • Verdi’s “Otello” and Rossini’s Music for Shakespeare-Some Practical Problems, Vol. XLV (1964), n. 2, pp. 130-145
  • Wagner and his Operatic Contemporaries, Vol. IX (1928), n. 1, pp. 59-66
  • “Wozzeck”–a Summing-up, Vol. XLIV (1963), n. 2, pp. 132-139

-KLENAU (Paul v.), The music To-day, Vol. XII (1931), n. 4, pp. 365-3722

-KLIMA (S.V.), Dussek in England, Vol. XLI (1960), n. 2, pp. 146-149

-KNAPP (J.M.),

  • A Forgotten Chapter in English Eighteenth-Century Opera, Vol. XLII (1961), n. 1, pp. 4-16
  • Hendel’s First Italian Opera: “Vincer se stesso è la maggior vittoria” or “Rodrigo”, Vol. 62 (1981), n. 1, pp. 12-29
  • Samuel Webbe and the Glee, Vol. XXXIII (1952), n. 4, pp. 346-351
  • The Libretto of Handel’s “Silla”, Vol. L (1969), n. 1, pp. 68-75

-KNITTEL (K.M.),

  • “Late”, Last, and Least: On Being Beethoven’s Quartet in F Major, op. 135, 87 (2006), n. 1, pp. 16-51
  • Pilgrimages to Beethoven: Reminiscences by his Contemporaries, Vol. 84 (2003), n. 1, pp. 19-54

-KNOWLTON (J.), A Definition of the Duret, Vol. XLVIII (1966), n. 2, pp. 120-123

-KOMLOS (K.), The Viennese Keyboard Trio in the 1780’s: Sociological Background and Contemporary Reception, , Vol. 68 (1987), n. 3

-KORNSTEIN (E. F.), How to Practise a String-Quartet, Vol. III (1922), n. 4, pp. 329-334

-KORTSEN (B.), Grieg’s String Quartet and Robert Heckmann, Vol. XLIX (1968), n. 1, pp. 21-28

-KÖLTZSCH (H.), Schubert and the Romantic Problem, Vol. XX (1939), n. 2, pp. 130-137

-KROLL (M.), Two Important New Sources for the Music of Charles Avison, Vol. 86 (2005), n. 3, pp. 414-431

-LANDON (H.C.R.), Greeting to Kurt Eulenburg, Vol. XXXV, n. 3, pp. 233-235

-LANGHAM SMITH (R.), Debussy and the Art of the Cinema, Vol. LIV (1973), n. 1, pp. 61-70

-LANGFORD (J.), Berlioz, Cassandra, and the French Operatic Tradition, Vol. 62 (1981), n. 3-4, pp. 310-317

-LANGWILL (L. G.),

  • Instrument-Making in Paris in 1839, Vol. XXXIX (1958), n. 2, pp. 135-138
  • Two Rare Eighteenth-Century London Directories, Vol. XXX (1949), n. 1, pp. 37-43

-LARA (de), (A.), Clara Schumann’s Teaching, Vol. XXVI (1945), n. 3, pp. 143-147

-LARSSON (R.B.), Charles Avison’s “Stiles in Musical Expression”, Vol. 63 (1982), n. 3-4

-LaRUE (J.),

  • A “Hail and Farewell” Quodlibet Symphony, Vol. XXXVII (1956), n.3, pp. 250-259
  • A New Figure in the Haydn Masquerade, Vol. XL (1959), n. 2, pp. 132-139

-LATHAM (P.), The score- Servant or Master?, Vol. XXV (1944), n. 1, pp. 33-44

-LAUDON (R.T.), The Debate about Consecutive Fifths: a Context for Brahm’s Manuscript “Oktaven und Quintet”, Vol. 73 (1992), n. 1, pp. 48-61

-LAWRENCE (T. B.), The Musical Festivals, Vol. X (1929), n. 4, pp. 397-401

-LAWRENCE (W. J.), Notes on a Collection of Masque Music, Vol. III (1922), n.1, pp. 49-58

-LE HURAY (P.), Early Keyboard Music on the Gramophone, Vol. XLI (1960), n. 1, pp. 46-53

-LEACH (E.E.), “The Little Pipe Sings Sweetly while the Fowler Deceives the Bird”: Sirens in the Later Middle Ages, Vol. 87 (2006), n. 2, pp. 187-211

-LEACH (J.), The Cimbalom, Vol. LIII (1972), n. 2, pp.134-142

-LEAVIS (R.),

  • Bach’s Setting of Psalm CXVII (BWV. 230), Vol. LII (1971), n. 1, pp.19-26
  • Mozart’s Flute Quartet in C, K.App.171, Vol. XLIII (1962), n. 1, pp. 48-52
  • Mozart’s Last Horn Concerto, Vol. XXXIV (1953), n. 4, pp. 315-318

-LEE (S.D.), The Other in the Mirror, or, Recognizing the Self: Wilde’s and Zemlinsky’s Dwarf, Vol. 91 (2010), n. 2, pp. 198-223

-LEE (A.), Samuel Pepys, The Music – Lover, Vol. XI (1930), n. 2, pp. 182-183

-LEESON (D.N.) & WHITWELL (D.), Mozart’s “Spurious” Wind Octets, Vol. LIII (1972), n. 4, pp. 377-399

-LEFTOKOWITZ (M.), New Facts concerning William Lawes and the Caroline Masque, Vol. XL (1959), n. 4, pp. 324-333

-LENNARD (R.), The Heyford Concerts, Vol. I (1920), n. 3, pp. 240-246

-LENTH (B.), Bach and the English Oculist, Vol. XIX (1938), n. 2, pp. 182-198

-LESSEM (A.), Schonberg and the Crisis of Expressionism, Vol. LV (1974), n. 4, pp. 429-436

-LEWIS (A.),

  • Purcell and Blow’s “Venus and Adonis”, Vol. XLIV (1963), n. 3, pp. 266-269
  • Thurston Dart, Vol. LII (1971), n. 3, pp. 236-238

-LEWIS (R.A.), Love as Persuasion in Monteverdi’s “L’incoronazione di Poppea”: New Thoughts on the Authorship Question, Vol. 86 (2005), n. 1, pp. 16-41

-LINDGREN (L.),

  • Ariosti’s London Years, 1716-29, Vol. 62 (1981), n. 3-4, pp. 331-351
  • Parisian Patronage of Performers from the Royal Academy of Musick (1719-28), Vol. LVIII (1977), n. 1, pp. 4-28

-LINCOLN (S.), The First Setting of Congreve’s “Semele”, Vol. XLIV (1963), n. 2, pp. 103-117

-LISTER (W.), Wilhelm Cramer and the Opera Concert Orchestra: “Damnatio memoriae”?, Vol. 82 (2001), n. 1, p. 78

-LIONNET (J.), The Borghese Family and Music during the First Half of the Seventeenth Century, Vol. 74 (1993), n. 4, pp. 519-529

-LIVERMORE (A.)

  • “Così fan tutte”: A Well-Kept Secret, Vol. XLVI (1965), n. 4, pp. 316-321
  • Rousseau and Cherubino, Vol. XLIII (1962), n. 3, pp. 218-223
  • The Abade Antonio da Costa, Vol. XXVI (1945), n. 3, pp. 162-171
  • “The Magic Flute” and Calderòn, Vol. XXXVI, n. 1, pp. 7-16
  • The Origins of Don Juan, Vol. XLIV (1963), n. 3257-265
  • The Spanish Dramatists and their Use of Music, Vol. XXV (1944), n. 3, pp. 140-148
  • Turner and Music, Vol. XXXVIII (1957), n. 2, pp. 170-179

-LLOYD (LL. S.)

  • Intonation- and the Ear, Vol. XIX (1938), n. 4, pp. 443-449
  • Just Intonation Misconceived, Vol. XXIV (1943), n. 3, pp. 133-143
  • Just Temperament, Vol. XX (1939), n. 4, pp. 365-373
  • The A Priori Theorist and Music, Vol. XXVI (1945), n. 2, pp. 97-101
  • The Myth of Equal-Stepped Scales in Primitive Music, Vol. XXVII (1946), n. 2, pp. 73-78
  • The Sensation of Loudness, Vol. XXXIV (1953), n. 3, pp. 243-250
  • The Strike-Notes of Church Bells, Vol. XXXV (1954), n. 3, pp. 227-232

-LLOYD-JONES (D.), Borodin on Liszt, Vol. XLII (1961), n. 2, pp. 117-126

-LOCKSPIESER (E.)

  • Berlioz and the French Romantics, Vol. XV (1934), n. 1, pp. 26-31
  • French Influences on Bach, Vol. XVI (1935), n. 4, pp. 312-320
  • New Literature on Debussy, Vol. XL (1959), n. 2, pp. 140-149
  • Roussel and Ravel, Vol. XIX (1938), n. 3, pp. 245-250
  • The Berlioz-Strauss Treatise on Instrumentation, Vol. L (1969), n. 1, pp. 37-44
  • The Dvořák Centenary, Vol. XXII (1941), n. 4, pp. 299-302
  • The Renoir Portraits of Wagner, Vol. XVIII (1937), n. 1, pp. 14-19

-LOCKWOOD (E. M.)

  • At Dr. Burney’s, Vol. XI (1930), n. 1, pp. 78-86
  • Charles Dibdin’s Musical Tour, Vol. XIII (1932), n. 2, pp. 207-214
  • Edward Miller, Vol. IX (1928), n. 1, pp. 67-76
  • Jane Austen and Some Drawing-Room Music of Her Time, Vol. XV (1934), n. 2, pp. 112-119
  • Some Old-Fashioned Music, Vol. XII (1931), n. 3, pp. 262-270

-LOCKWOOD (L.), A Continental Mass and Motet in a Tudor Manu-script, Vol. XLII (1961), n. 4, pp. 336-347

-LOEWENBERG (A.)

  • An Unknown Edition of the ‘Bastien und Bastienne’ Text, Vol. XXIII (1942), n. 4
  • ‘Bastien and Bastienne’ Once More, Vol. XXV (1944), n. 3, pp. 176-180
  • Paisiello’s and Rossini’s ‘Barbiere di Siviglia’, Vol. XX (1939), n. 2, pp. 157-167
  • Some Stray Notes on Mozart. I. The First English ‘Zauberflote’, Vol. XXIII, n°3, pp. 255-264
  • Some Stray Notes on Mozart. II. An Unknown Edition of the ‘Bastien und Bastienne’ Text, Vol. XXIII, n°4, pp. 319-321
  • Some Stray Notes on Mozart. III. Opera at Milan (1770-1773), Vol. XXIV (1943), n. 1, pp. 48-49
  • Some Stray Notes on Mozart. IV. Early Biographicla Accounts, Vol. XXIV (1943), n. 2, pp. 110-124
  • Some Stray Notes on Mozart. V. ‘Don Giovanni’ in London, Vol. XXIV (1943), n. 3
  • The First English ‘Zauberflöte”, Vol. XXIII (1942), n. 3, pp. 164-168

-LONG (J.H.), Music for a Song in “Damon and Pithias”, Vol. XLVIII (1967), n. 3, pp. 247-250

-LONGYEAR (R.M.), Musical Portraits in “Sturm und Drang” Drama, Vol. XLVI (1965), n. 1, pp. 39-49

-LORD (P.), The English-Italian Opera Companies, 1732-33, Vol. XLV (1964), n. 3, pp. 239-251

-LOURIE (A.)

  • The Crisis of Form, Vol. XIV (1933), n. 2, pp. 95-103
  • Variations on Mozart, Vol. XI (1930), n. 1, pp. 17-33

-LOVE (F.R.), Nietzsche, Music and Madness, Vol. 60 (1979), n. 2, pp. 186-203

-LOVELL (P.),

  • “Ancient” Music in Eighteenth-Century England, Vol. 60 (1979), n. 4, pp. 402-415
  • The Proposed National Opera House at Glastonbury, 1913-15, Vol. L (1969), n. 1, pp. 172-179

-LYLE (R.), Delis and the Philosophy of Romanticism, Vol. XXIX (1948), n. 2

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-McCREDIE (A.D.),

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-McGEARY (T.), Shaftesbury on Opera, Spectacle and Liberty, Vol. 74 (1993), n. 4, pp. 530-541

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-MELAMED (D.R.), Constructing Johann Christoph Bach (1642-1703), Vol. 80 (1999), n. 3, pp. 345-365

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  • Kodàly and the Christian Epic, Vol. XXII (1941), n. 2, pp. 155-161
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  • Tallis, Byrd and the “Incorrected” Copy: Some Cautionary Notes for Editors of Early Music Printed from Movable Type, Vol. 77 (1996), n. 3
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-MITCHELL (D.),

  • Mahler on the Gramophone, Vol. XLI (1960), n. 2, pp. 156-163
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-MOBERLY (R.B.),

  • Mozart and his Librettists, Vol. LIV (1973), n. 2, pp. 161-170
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  • The Rehabilitation of Metastasio, Vol. LVII (1976), n. 3, pp. 268-291
  • Word-Setting in the Strophic Lied, Vol. 65 (1984), n. 3

-MONRO (H.), Words to Music, Vol. I (1920), n. 1, pp. 52-59

-MONSON (C.),

  • George Kirbye and the English madrigal, Vol. 59 (1978), n. 3, pp. 290-315
  • “Giulio Cesare in Egitto”: from Sartorio (1677) to Handel (1724), Vol. 66 (1985), n. 4
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-MONTAGU-NATHAN (M.)

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-MOOR (E. L.), Some Notes on the Life of Francoise Marguerite de l’Epine, Vol. XXVIII (1947), n. 4, pp. 341-346

-MOORE (A.F.), Categorical Conventions in Music Discourse: Style and Genre, Vol. 82 (2001), n. 3, pp. 432-442

-MOORE (H. R. R.), The Wireless Transmission of Music, Vol. IV (1923), n. 2, pp. 158-161

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  • A Fragmentary Bass Manuscript in St. John’s College Library, Oxford, Vol. LIII (1972), n. 1, pp.56-58
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-MOREY (C.), Alexander Gordon, Scholar and Singer, Vol. XLVI (1965), n. 4, pp. 332-335

-MORGAN-BROWNE (H.)

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-MORHEN (J.), The Gloucester Cathedral Bassus Part-Book MS 93, Vol. 62 (1981), n. 2, p. 198

-MORRIS (R. O.)

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-MULLALLY (R.),

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-MUMFORD (I.L.),

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-MUNSON (P.A.), The Librettos for Liszt’s Oratorio “St Stanislaus”, Vol. 78 (1997), n. 4

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-MURRAY (D. L.), The Future of the Ballet, Vol. VII (1926), n. 1, pp. 25-37

-MURRAY (S.E.), The Rosler-Rosetti Problem: a Confusion of Pseudonym and Mistaken Identity, Vol. LVII (1976), n. 2, pp. 130-143

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-MUSGRAVE (M.), Historical Influences in the Growth of Brahms’s Requiem, Vol. LIII (1972), n. 1, pp. 3-17

-MÜLLER-HARTMANN ( R.)

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  • Reminiscences of Reger and Strauss, XXIX (1948), n. 2, pp. 153-157

-MYERS (R.), Edmund Gurney’s “The Power of Sound”, Vol. LIII (1972), n.1, pp. 36-43

-MYERS (R.H.),

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  • Claude Debussy and Russian Music, Vol. XXXIX (1958), n. 4, pp. 336-342

-NEGUS (K.), Authorship and the Popular Song, Vol. 92 (2011), n. 4, pp. 607-695

-NEIGHBOUR (O. W.),

  • In Defence of Schönberg, Vol. XXXIII (1952), n. 1, pp. 10-27
  • Music Manuscripts of George Iliffe from Stanford Hall, Leicestershire, including a New Ascription to Byrd, Vol. 88 (2007), n. 3, pp. 420-435
  • Ralph, Adeline, and Ursula Vaughan Williams: Some Facts and Speculation (with a Note about Tippett), Vol. 89 (2008), n. 3, pp. 337-345

-NETTEL (R.)

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  • What Happened to Folksong, Vol. XXVI (1945), n. 1, pp. 28-30

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  • Jewish Connections of Some Classical Composers, Vol. XLV (1964), n. 4, pp. 337-344
  • Schubert’s Czech Predecessors, Vol. XXIII (1942), n. 1, pp. 61-68

-NEUMANN (F.),

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  • A New Look at Bach’s Ornamentation, II, Vol. XLVI (1965), n. 2, pp. 126-133
  • The Use of Baroque Treatises on Musical Performance, Vol. XLVIII (1967), n. 4, pp. 315-324

-NEVINSON (H. W.), The Joy of Dancing, Vol. XII (1931), n. 2, pp. 109-115

-NEWBERRY (G.), Raimund von Zur-Mühlen, Vol. XIII (1932), n. 2, pp. 215-217

-NEWBOULD (B.), “Never done before”: Elgar’s Other Enigma, Vol. 77 (1996), n. 2

-NEWHILL (J.P.), The Adagio for Clarinet and Strings by Wagner/Baermann, Vol. LV (1974), n. 2, pp. 167-171

-NEWMAN (E.), The Joy of Pace in Music, Vol. V (1924), n.3, pp. 255-259

-NEWMAN (W.S.), Ravenscroft and Coreli, Vol. XXXVIII (1957), n. 4, pp. 369-370

-NEWSON (J.), Hans Pfitzner, Thomas Mann and “The Magic Mountain”, Vol. LV (1974), n. 2, pp. 136-150

-NEWTON (I.), “At the Piano”, Vol. XXIV (1943), n. 2, pp. 107-109

-NEWTON (R.), The English Cult of Domenico Scarlatti, Vol. XX (1939), n. 2, pp. 138-156

-NEWMARCH (R.), A Nation of Opera-Goers, Vol. IV (1923), n. 1

-NICHOLS (R.), Debussy’s Two Settings of “Clair de Lune” , Vol. XLVIII (1967), n. 3, pp. 229-235

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  • Unanswerable Questions/Questionable Answers, Vol. 75 (1994), n. 2

-NICHOLLS (F.), Creative Genius and Appreciation, Vol. V (1924), n. 1, pp. 76-78

-NICHOLSON (S. H.), Music in Country Churches, Vol. I (1920), n. 1, pp. 27-34

-NOBLE (J.),

  • Music, Vol. XXXIX (1958), n. 2
  • Sixteenth-Century Music on Records: II. Secular Music, Vol. XXXIX (1958), n. 4, pp. 385-391

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-NORWOOD (E.L.) and GREEN (D.B.), A New Schubert Letter, Vol. XXXVII (1956), n. 4, pp. 340-341

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-NOSOW (R.), Beethoven’s Popular Keyboard Publications, Vol. 78 (1997), n. 1

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-O’HAGAN (P.), From Sketch to Score: A Facsimile Edition of Boulez’s Le Marteau sans maître, Vol. 88 (2007), n. 4, pp. 632-644

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  • The Influence of Music in the Works of John Marston, II, Vol. LIII (1972), n. 3, pp. 293-308
  • The Influence of Music in the Works of John Marston, III, Vol. LIII (1972), n. 4, pp. 400-410

-O’REGAN (N.), Histories of Renaissance Music for a New Century, Vol. 82 (2001), n. 2, pp. 268-281

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  • The Salzburg Mozart –Congress, Vol. VIII (1927), n. 4, pp. 473-476

-OLLESON (E.), Nigel Fortune Retires After 28 Years as Editor of Music & Letters, Vol. 89 (2008), n. 2, pp. 163-164

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  • Satie at Sea, and the Mystery of La “Belle Cubaine, 71 (1990), n. 3, pp. 361-373
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-ORLOVA (A.), Tchaikovsky: the Last Chapter, Vol. 62 (1981), n. 2, pp. 125-145

-ORME (N.), The Early Musicians of Exeter Cathedral, Vol. 59 (1978), n. 4, pp. 395-410, pp. 395-410

-ORR (C. W.), The Problem of Translation, Vol. XXII (1941), n. 4, pp. 318-332

-ORREY (L.), The Literary Sources of Bellini’s First Opera, Vol. LV (1974), n. 1, pp.24-29

-OSSI (M.), Monteverdi, Marenzio, and Battista Guarini’s Cruda Amarilli, Vol. 89 (2008), n. 3, pp. 311-336

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-OWEN (A.E.B.), Giles and Richard Farnaby in Lincolnshire, Vol. XLII (1961), n. 2, pp. 151-154

-OWEN (A.M.), The Authorship of Bach’s Cantata No.15, Vol. XLI (1960), n. 1, pp. 28-32

-OWENS (S.), Professional Women Musicians in Early Seveneenth-Century Württemberg, Vol. 82 (2001), n. 1, pp. 32-50

-PACEY (R.), Byrd’s Keyboard Music: a Lincolnshire Source, Vol. 66 (1985), n. 2

-PAETSCH (A.), Aspects of Narrativity and Temporality in Britten’s “Winter Words”, Vol. 79 (1998), n. 4, pp. 538-554

-PAGE-WOOD (G.), The Song of the Blackbird, Vol. VIII (1927), n. 3, pp. 345-349

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-SEAR (H. G.)

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-SEARLE (H.)

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-SEINEN (N.), Kutuzov’s Victory, Prokofiev’s Defeat : The Revisions of « War and Peace »,  Vol. 90 (2009), n. 3, pp. 399-431

-SÉLINCOURT, de (B.)

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-SELFRIDGE-FIELD (E.),

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-SHAY (R.), “Naturalizing” Palestrina and Carissimi in Late Seventeenth-Century Oxford: Henry Aldrich and his Recompositions, Vol. 77 (1996), n. 3

-SHAW (H. W.)

  • Extracts from Anthony á Wood’s “Notes on the Lives of Musicians”, hitherto unpublished, Vol. XV (1934), n. 2, pp. 157-162
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-SHAW (W.),

  • The “Sterndale Bennett” Manuscript Score of “Messiah”, Vol. XLIV (1963), n. 2, pp. 118-122
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-SHAW (W. S.),

  • A Cambridge Manuscript from the English Chapel Royal, Vol. XLII (1961), n. 3, pp. 263-267
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-SHEINBERG (E.) & RITZAREV (M.), “The Infinite Grace of Jesus”: Massanet’s Marie-Magdaleine and Tchaikovsky’s Blessed Tears, Vol. 91 (2010), n. 2, pp. 171-197

-SHELTON (E.), Victorian Memories, Vol. XXIX (1948), n. 1, pp. 1-16

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-SHERMAN (E.), Thomas Hardy: Lyricist, Symphonist, Vol. XXI (1940), n. 2, pp. 143-171

-SHERR (R.), Laudat autem David: Fallows on Josquin, Vol. 92 (2011), n. 3, pp. 437-461

-SHIRE (H.M.), Musical Servitors to Queen Mary Stuart, Vol. XL (1959), n. 1, pp. 15-18

-SHIRLAW (M.), The Music and Tone-System of Ancient Greece, Vol. XXXII (1951), n. 2, pp. 131-139

-SKEMPTON (A.), The Instrumental Sonatas of the Loeillets, Vol. XLIII (1962), n. 3, pp. 206-217

-SILBURN (M.)

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  • “The Most Extraordinary Creature in Europe”, Vol. III (1922), n. 2, pp. 200-205

-SIMPSON (K.), School Certificate Music, Vol. XXVIII (1947), n. 2, pp. 108-114

-SMALLMAN (B.), Endor Revisited: English Biblical Dialogues of the Seventeenth Century, Vol. XLVI (1965), n. 2, pp. 137-145

-SMACZNY (J.),

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-SMEED (J.W.), “Süssertöndes Klavier”: Tributes to the Early Piano in Poetry and Song, Vol. 66 (1985), n. 3

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-SMITH (A. B.)

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  • His “Infinite Variety”, Vol. VIII (1927), n. 2, pp. 202-205
  • Jocoseria, Vol. XV (1934), n. 2, pp. 163-169
  • Music on the Hearth, Vol. XI (1930), n. 2, pp. 184-189
  • Not Quite and Not at All, Vol. IX (1928), n. 2, pp. 161-167
  • Operatic Experiments at Lancing College, Vol. VI (1925), n. 4, pp. 344-350
  • Spontaneity, IX (1928), n. 4, pp. 364-367
  • The Cantata in being, Vol. I (1920), n. 3, pp. 227-229
  • The Conventions of Bach, Vol. XVI (1935), n. 4, pp. 321-324
  • The Humour of Elgar, Vol. XVI (1935), n. 1, pp. 20-25
  • The Pleasures of Recognition, Vol. XIII (1932), n. 1, pp. 80-84
  • The Tragedy of Meyerbeer, Vol. VI (1925), n. 3, pp. 248-255
  • The Workmanship of Bach, Vol. III (1922), n. 3, pp. 229-236
  • Wagner’s Fatal Legacy, Vol. XIII (1932), n. 3, pp. 323-328
  • Written at Random, Vol. II (1921), n. 4, pp. 364-372

-SMITH (J.A.),

  • First-Century Christian Singins and its Relationship to Contemporary Jewish Religious Song, Vol. 75 (1994), n. 1, pp. 1-15
  • The Ancient Synagogue, The Early Church and Singing, Vol. 65 (1984), n. 1
  • The Textual Function of the Refrain Cento in a Thirteenth-Century French Motet, Vol. 71 (1990), n. 2, pp. 187-197

-SMITH (J.L.), From “Rights to Copy” to the “Bibliographic Ego”: a New Look at the Last Early Edition of Byrd’s “Psalmes, Sonet & Songs”, Vol. 80 (1999), n. 4, pp. 511-530

-SMITH (M.W.A.), The Origin of Liszt’s Simplification of his “Grand galop chromatique”, Vol. 78 (1997), n. 2

-SMITH (N.E.), Some Exceptional Clausulae of the Florence Manuscript, Vol. LIV (1973), n. 4, pp.405-414

-SMITH (R.),

  • The Achievements of Charles Jennens (1700-1773), Vol. 70 (1989), n. 2, pp. 161-190
  • The Meaning of Morelli’s Libretto of “Judas Maccabeus”, Vol. 79 (1998), n. 1

-SMITH (W. C.)

  • Handel’s First Song on the London Stage, Vol. XVI (1935), n. 4, pp. 286-292
  • Handeliana, Vol. XXXI (1950), n. 2, pp. 125-132
  • More Handeliana, Vol XXXIV (1952), n. 1, pp. 11-24
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-SMITHERS (D.), Seventeenth-Century English Trumpet Music, Vol. XLVIII (1967), n. 4, pp.358-365

-SMOLDON (W. L.), The Easter Sepulchre Music-Drama, Vol. XXVII (1946), n. 1, pp. 1-17

-SMYTHE (B.), Troubadour Songs, Vol. II (1921), n. 1, pp. 263-273

-SMYSER (W. L.), Richard Strauss, Vol. XII (1931), n. 1, pp. 46-53

-SOLOMON (J.),

  • Polyphemus’s Whistle in Handel’s “Acis and Galatea”, Vol. 64 (1983), n. 1-2
  • Reflections of Ovid in Semele’s Mirror, Vol. 63 (1982), n. 3-4

-SOLOMON (M.),

  • Antonie Brentano and Beethoven, Vol. LVIII (1977), n. 2, pp. 153-169
  • Beethoven’s Productivity at Bonn, Vol. LIII (1972), n. 2, pp.165-172
  • On Beethoven’s Creative Process: a Two-part Invention, Vol. 61 (1980), n. 3-4, pp. 272-283

-SOMMERS (L.), Beethoven’s Violin Concerto, Vol. XV (1934), N. 1, pp. 46-49

-SOMERSET (H. V. F.)

  • Giovanni Paisiello, Vol. XVIII (1937), n. 1, pp. 20-35
  • Jean Jacques Rousseau as a Musician, Vol. XVII (1936), n. 1, pp. 37-46
  • Joseph Haydn in England, Vol. XIII (1932), n. 3, pp. 274-286
  • Some Lesser Known Works of Haydn in Modern Editions, Vol. XIV (1933), n. 1, pp. 36-40
  • The Habsburg Emperors as Musicians, Vol. XXX (1949), n. 3, pp. 204-215

-SOMERVELL (A.), The Public School, and before it Options, Vol. III (1922), n. 3, pp. 179-199

-SOMERVELL (D. C.)

  • The Bach Passions and Greek Tragedy, Vol. XXVII (1946), n. 4, pp. 221-223
  • The Visual Element in Music, Vol. XXIV (1943), n. 1, pp. 42-47

-SOUPER (F.), The Music of Dittersdorf, Vol. XI (1930), n. 2, pp.141-145

-SPENCE (K.G.F.), The Learned Doctor Busby, Vol. XXXVII (1956), n. 2, pp. 141-153

-SPENCER (M.), Théophile Gautier, Music Critic, Vol. XLIX (1968), n. 1, pp.4-17

-SPINK (I.),

  • Another Gaultier Affair, Vol. XLV (1964), n. 4, pp. 345-347
  • English Seventeenth-Century Dialogues, Vol. XXXVIII (1957), n. 2, pp. 155-163
  • Lanier in Italy, Vol. XL (1959), n. 3, pp. 242-252

-SPINK (G.W.), Walter Scott’s Musical Acquaintances, Vol. LI (1970), n. 1, pp. 61-65

-SPITZER (M.), Marx’s “Lehre” and the Science of Education: towards the Recuperation of Music Pedagogy, Vol. 79 (1998), n. 4, pp. 489-526

-SPOSATO (J.S.), “The joyous light of day”: New Year’s Day Music in Leipzig, 1781-1847, Vol. 92 (2011), n. 2, pp. 202-229

-SQUIRE (W. B.), John Playford, Vol. IV (1923), n. 3, pp. 261-265

-STADLEN (P.),

  • Beethoven and the Metronome, I, Vol. XLVIII (1967), n. 4, pp. 330-349
  • Schönberg’s Speech-Song, Vol. 62 (1981), n. 1

-STANDEN (B. P.), Children and Chamber Music, Vol. XIV (1933), n. 1, pp. 51-54

-STANFORD (C. V.), Three Centenaries, Vol. II (1921), n. 1, pp. 29-34

-STEBLIN (R.) & STOCKEN (F.), Studying with Sechter: Newly Recovered Reminiscences about Schubert by his Forgotten Friend, the Composer Joseph Lanz, Vol. 88 (2007), n. 2, pp. 226-265

-STEIGMAN (B. M.)

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  • Wagner’s “Symphonic Poems”, Vol. VIII (1927), n. 1, pp. 55-60

-STEIN (L.). The Passacaglia in the Twentieth Century, Vol. XL (1959), n. 2, pp. 150-153

-STELL (J.) & WATHEY (A.), New Light on the Biography of John Dunstable?, Vol. 62 (1981), n. 1, pp. 60-63

-STERNE (C.), The Quotations in Charles Ive’s Second Symphony, Vol. LII (1971), n. 1, pp. 39-45

-STERNFELD (F.),

  • Egon Wellesz (1885-1974), Vol. LVI (1975), n. 2, pp.147-149
  • Recent Research on Lute Music, Vol. XXXIX (1958), n. 2, pp. 139-142
  • The First Printed Opera Libretto, , Vol. 59 (1978) n. 2, pp. 121-138

-STERNFELD (F.W.), Ophelia’s Version of the Walsingham Song, Vol. XLV (1964), n.2, pp. 108-113

-STEPTOE (A.),

  • Mozart, Mesmer and “Così fan tutte”, Vol. 67 (1986), n. 3
  • The Sources of “Così fan tutte”: a Reappraisal, Vol. 62 (1981), n. 3-4, pp. 281-294

-STEVENS (D.)

  • A Musical Admonition for Tudor Schoolboys, Vol. XXXVIII (1957), n. 1, pp. 49-52
  • Musical History on the Gramophone, Vol. XXXIX (1958), n. 3, pp. 275-281
  • Purcell on the Gramophone, Vol. XL (1959), n. 2, pp. 166-171
  • Purcell’s Art of Fantasia, Vol. XXXIII (1952), n. 4, pp. 341-345
  • The Second Fountains Fragment: a Postscript Sixteenth-Century Music on Records: I. Sacred Music, Vol. XXXIX (1958), n. 2, pp. 154-159
  • Thomas Preston’s Organ Mass, Vol. XXXIX (1958), n. 1, pp. 29-34

-STEVENS (J. E.), Rounds and Canons from an Early Tudor Songbook, Vol. XXXII (1951), n. 1, pp. 29-37

-STEVENSON (R.), Maurice Emmanuel: a Belated Apologia, Vol. XL (1959), n. 2, pp. 154-165

-STEWART (H. F.), Maurice Emmanuel (1862-1938), Vol. XX (1939), n. 3, pp. 278-280

-STILWELL (J.), A New View of the Eighteenth-Century “Abduction” Opera: Edification and Escape at the Parisian Théâtres de la foire, Vol. 91 (2010), n. 1, pp. 51-82

-STILWELL (R.J.), “I just put a drone under him…”: Collage and Subversion in the Score of “Die Hard”, Vol. 78 (1997), n. 4

-STOCK (J.P.J.), Orchestration as Structural Determinant: Mozart’s Deployment of Woodwind Timbre in the Slow Movement of the C Minor Piano Concerto K.491, Vol. 78 (1997), n. 2

-STOESSEL (J.), Looking Back over the Missa L’Ardant desir: Double Signatures and Unusual Signs in Sources of Fifteenth-Century Music, Vol. 91 (2010), n. 3, pp. 311-342

-STOLL (D.), The Eastern Modal Influence, Vol. XXII (1941), n. 2, pp. 139-153

-STONE (A.), A Singer at the Fountain: Homage and Irony in Ciconia’s “Sus une fontaine”, Vol. 82 (2001), n. 3, pp. 361-390

-STONELEY (H.), Music as a Speech Corrective, Vol. XXXVI (1955), n. 1, pp. 39-40

-STOOKES (S.), Before the Conquest, Vol. XXXV (1954), n. 4, pp. 286-292

-STOYCOS (S.M.), Making an Initial Impression: Lassus’s First Book of Five-Part Madrigals, Vol. 86 (2005), n. 4, pp. 537-559

-STRANGWAYS (A. H. Fox)

  • A Note on Notation, Vol. XX (1939), n. 1, pp. 40-42
  • A Tenth Century Manual, Vol. XIII (1932), n. 2, pp. 183-193
  • Brahms and Tieck’s ‘Magelone’, Vol. XXI (1940), n. 2, pp. 211-229
  • English Folk Songs, Vol. V (1924), n. 4, pp. 293-301
  • Exotic Music, Vol. VI (1925), n. 2, pp. 119-127
  • Language, Vol. V (1924), n. 1, pp. 33-44
  • Music and Letters, Vol. L (1969), n. 1, pp. 6-8
  • Our Folk-Dances, Vol. IV (1923), n. 4, pp. 321-333
  • Scales, Vol. VII (1926), n. 3, pp. 295-309
  • Schubert and Wolf, Vol. XXIII (1942), n. 2, pp. 126-134
  • Symbolic- Classic- Romantic, Vol. XIX (1938), n. 3, pp. 251-254
  • The Minor Chord, Vol. IV (1923), n. 1, pp. 26-41
  • The Pipes of Pan, Vol. X (1929), n. 1, pp. 58-64
  • The Songs in ‘Wilhelm Meister’, Vol. XXIII (1942), n. 4, pp. 290-297
  • Translations, Vol. IX (1928), n. 4
  • Tune, Vol. III (1922), n. 3, pp. 90-109
  • When Music Sounds, Vol. XXVII (1946), n. 4, pp. 203-207

-STUART (M.), Pastoral Invocation in Noon, Vol. XVIII (1937), n. 3, p. 239

-STUCKENSCHMIDT (H. H.), Karol Szymanowski, Vol. XIX (1938), n. 1, pp. 36-47

-STURZO (L.), After “The Ring”- A Call to Genius, Vol. VIII (1927), n. 4, pp. 418-424

-SUCKLING (N.),

  • “La Carté Française “ in Orchestration, Vol. XXVII (1946), n. 3, pp. 141-146
  • Tales from the Vienna Backwoods, Vol. XLIII (1962), n. 1, pp. 38-47

-SUGGIA (G.)

  • The Violoncello, Vol. I (1920), n. 2, pp. 104-111
  • Violoncello Playing, Vol. II (1921), n. 1, pp. 130-134

-SUMMERS (W.), A New Source of Medieval English Polyphonic Music, Vol. LVIII (1977), n. 4, pp. 403-414

-SUTHERLAND (G.), The Schweitzerian Heresy, Vol. XXIII (1942), n. 4, pp. 265-289

-SWAINSON (D.), The voice of the Machine, Vol. XII (1931), n. 4, pp. 393-397

-SWAN (A. J.),

  • Medtner and the Music of our Times, Vol. VIII (1927), n. 1, pp. 46-54
  • Russian Liturgical Music and its Relation to Twentieth-Century Ideals, Vol. XXXIX (1958), n. 3, pp. 265-274

-SZABOLCSI (B.), Exoticism in Mozart, Vol. XXXVII (1956), n. 4, pp. 323-332

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  • The Concerto Allegro in the Early Eighteenth Century, I, Vol. LII (1971), n. 1, pp. 8-18
  • The Concerto Allegro in the Early Eighteenth Century, II, Vol. LII (1971), n. 2, pp. 159-172
  • The Taiheg, the Pira and Other Curiosities of Benedetto Vinaccesi’s “Suonate da camera a tre”, Op. 1, Vol. 75 (1994), n. 3

-TARTAK (M.), The Two “Barbieri”, Vol. L (1969), n. 4, pp. 453-469

-TARUSKIN (R.), Material Gains: Assessing Susan McClary, Vol. 90 (2009), n. 3, pp. 453-467

-TATLOW (R.), J.S. Bach and the Baroque Paragram: a Reappraisal of Friedrich Smend’s Number Alphabet Theory, Vol. 70 (1989), n. 2, pp. 191-205

-TAYLOR (C.), From Losses to Lawsuit: Patronage of the Italian Opera in London by Lord Middlesex, 1739-45, Vol. 68 (1987), n. 1

-TAYLOR (E.), Rousseau’s Conception of Music, Vol. XXX (1949), n. 3, pp. 231-242

-TAYLOR (N. H.), The Schoenberg Concept, Vol. XX (1939), n. 2, pp. 1183-188

-TAYLOR (P.M.), Unification and Tonal Absolution in “Der Freischütz”, Vol. 78 (1997), n. 2

-TAYLOR (T.D.), Moving in Decency: the Music and Radical Politics of Cornelius Cardew, Vol. 79 (1998), n. 4, pp. 555-576

-TCHAIKOVSKY, Mme. (A.), Recollections of Tchaikovsky, Vol. XXI (1940), n. 2

-TEMPERLEY (N.),

  • Berlioz and the Slur, Vol. L (1969), n. 3, pp. 388-392
  • John Field and the first Nocturne, Vol. LVI (1975), n. 3, pp. 335-340
  • John Playford and the Stationers’ Company, Vol. LIV (1973), n. 2, pp. 203-212
  • Mendelssohn’s Influence on English Music, Vol. XLIII (1962), n. 3, pp. 224-233
  • Mozart’s Influence on English Music, Vol. XLII (1961), n. 4, pp. 307-318
  • Tempo and Repeats in the Early Nineteenth Century, Vol. XLVII (1966), n. 4, pp. 323-331

-TERNANT (A.), French Opera Libretti, Vol. XI (1930), n. 2, pp. 172-176

-TERRY (C. S.)

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  • Baron Bach, Vol. XII (1931), n. 2, pp. 130-139
  • Portait of Bach, Vol. XVII (1936), n. 4
  • The Spurious „Bach“ „Lucaspassion“, Vol. XIV (1933), n. 3, pp. 207-221

-TERRY (R.R),

  • Sailor Shanties I, Vol. I (1920), n. 1, pp. 35-44
  • Sailor Shanties II, Vol. I (1920), n. 3, pp. 256269

-TERTIS (L.)

  • Introduction to an English Viola (with a Diagram), Vol. XXVIII (1946), n. 3
  • The String Quartet, Vol. XXXI (1950), n. 2, pp. 214-222

-THATCHER (D.S.), Nietzsche and Brahms: a Forgotten Relationship, Vol. LIV (1973), n. 3, pp. 261-280

-THEWLIS (G. A.), Oxford and the Gibbons Family, Vol. XXI (1940), n. 1, pp. 31-33

-THOMAS (R. H.), Lenau and Beethoven, Vol. XVIII (1937), n. 4, pp. 374-378

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-WALLACE (R.), The Role of Music in Liturgical Drama: a Revalutation, Vol. 65 (1984), n. 3

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-WALTHEW (R.), The Minor Composers, Vol. VIII (1927), n. 2

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-WATERHOUSE (J. F.), Gerard Manley Hopkins and Music, Vol. XVIII (1937), n. 3, pp. 227-235

-WATERHOUSE (P.), Music and Architecture, Vol. II (1921), n. 4, pp. 323-331

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-WEITZMAN (R.), An Introduction to Adorno’s Music and Social Criticism, Vol. LII (1971), n. 3, pp. 287-298

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-WERNER (E.), Two Unpublished Mendelssohn Concertos, Vol. XXXVI (1955), n. 2, pp. 126-138

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  • Nicolas Saboly and his ‘Noëls Provençaux’, Vol. XXI (1940), n. 1, pp. 34-49
  • Purcell and Handel, Vol. XL (1959), n. 2, pp. 103-108
  • Sir Hugh Allen (1869-1946), Vol. XXVII (1946), n. 2, p. 65
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-WHITE (M.G.), The Life of Francesco Maria Veracini, Vol. LIII (1972), n. 1, pp. 18-35

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  • The Last Scene of Götterdämmerung, Vol. XVII (1936), n. 1, pp. 62-64
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-WHITING (M. B.), The Dante Sexcentenary of 1865, Vol. II (1921), n. 1, pp. 172-182

-WHITING (S.M.), Erik Satie and Vincent Hypsa: Notes on a Collaboration,  Vol. 77 (1996), n. 1

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  • The Claims of Tonic Solfa I, , Vol. V (1924), n. 4, pp. 313-321
  • The Claims of Tonic Solfa II, Vol. VI (1925), n. 1, pp. 46-53

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  • A Transatlantic Future?, Vol. LI (1970), n. 3, pp. 259-264
  • A War and a Wedding: Two Modern British Operas, Vol. LV (1974), n. 3, pp. 299-306
  • “Byzantium”: Tippett, Yeats and the Limitations of Affinity, Vol. 74 (1993), n. 3, pp. 383-398
  • Comrades and Conservatives, Vol. XLVII (1966), n. 1, pp. 27-33
  • Dyson the Contemporary, Vol. XLVI (1965), n. 1, pp. 35-38
  • “Forceful Muting” or “Phatic Dithering”? Some Recent Writing on Opera, Vol. 71 (1990), n. 1
  • Rosseau and the Scope of Opera, Vol. XLV (1964), n. 4, pp. 369-376
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  • Modality, Monality, and Tonality in the Sixteenth and Seventeenth Centuries, II, Vol. LIII (1972), n. 1, pp. 59-73

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-WILKINSON (C.), Gabriele Fattorini: Rival of Viadana, Vol. 65 (1984), n. 4

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-WILEY (C.), “When a woman speaks the truth about her body”: Ethel Smith, Virgina Woolf, and the Challenges of Lesbian Auto/biography, Vol. 85 (2004), n. 3, pp. 388-414

-WILKONSON (N.), A Note on the Clavichord and Harpsichord, Vol. IV (1923), n. 2, pp. 162-169

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  • A Neglected Source of Monody and Madrigal, Vol. XLIII (1962), n. 4, pp. 329-344
  • Autograph Music by John Jenkins, Vol. XLVIII (1966), n. 2
  • Autographs of Angelo Notari, Vol. L (1969), n. 1, pp. 124-126
  • Musical Connections of Thomas Myriell, Vol. XLIX (1968), n. 1, pp. 36-42
  • Sir Nicholas Le Strange and John Jenkins, Vol XLII (1961), n. 1, pp. 30-43
  • The Identity of Thomas Myriell, Vol. LIII (1972), n. 4, pp. 431-433

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-WILLIAMS (A.G.), Stanley, Smith and “Teraminta”, Vol. 60 (1979), n. 3, pp. 312-315

-WILLIAMS (P.),

  • Basso Continuo on the Organ, I, Vol. L (1969), n. 1, pp. 136-152
  • Basso Continuo on the Organ, II, Vol. L (1969), n. 2, pp. 230-245
  • Some Developments in Early Keyboard Studies, Vol. LII (1971), n. 3, pp. 272-286

-WILLIAMS (P.F.), J.S. Bach and English Organ Music, Vol. XLIV (1963), n. 2, pp. 140-151

-WILLIAMS (R. V.)

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  • Gustav Holst I, Vol. I (1920), n. 3, pp. 181-190
  • The Letter and the Spirit, Vol. I (1920), n. 2, pp. 87-93
  • What have we Learnt from Elgar?, Vol. XVI (1935), n. 1, pp. 13-19

-WILLIAMSON (J.),

  • Mahler’s Compositional Process: Reflections on an Early Sketch for the Third Symphony’s First Movement, Vol. 61 (1980), n. 3-4, pp. 338-345
  • Pfitzner and Ibsen, Vol. 67 (1986), n. 2
  • The Revision of Liszt’s „Prometheus“,
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-WILLSON (R.B.), A Study in Geography, “Tradition”, and Identity in Concert Practice, Vol. 85 (2004), n. 4, pp. 602-613

-WILSON (A.), Modernism and the Machine Woman in Puccini’s “Turandot”, Vol. 86 (2005), n. 3, pp. 4332-451

-WILSON (C.R.), Elgar, Naylor and “The Cobbler’s Jig”: an Enquiry Reopened, Vol. 74 (1993), n. 1, pp. 39-43

-WILSON (C. W.), Concentration and Pianoforte Technique, Vol. IX (1928), n. 2, pp. 145-151

-WILLNER (G.), Richard Capell in Egypt, Vol. XXXVI (1955), n. 3, pp. 224-225

-WILSON (J.), John Stanley: Some Opus Numbers and Editions, Vol. XXXIX (1958), n. 4, pp. 359-362

-WILSON (K. M.)

  • Meaning in Poetry and Music, Vol. IX (1928), n. 2, pp. 211-225
  • Music and Speech, Vol. VIII (1927), n. 3, pp. 350-365
  • What is Rhythm?, Vol. VIII (1927), n. 1, pp. 2-12
  • The Spirit of Music, Vol. X (1929), n. 3, pp. 222-226

-WILSON (S.)

  • Church Music, Vol. III (1922), n. 2
  • Olympic Music, Vol. XII (1931), n. 4, pp. 373-377
  • On Being Taught Singing, Vol. V (1924), n. 4
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  • The Question of Taste, Vol. IX (1928), n. 3, pp. 322-324
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-WINDSOR (O.), Village Music, Vol. XIV (1933), n. 3, pp. 258-259

-WINGFIELD (P.), Unlocking a Janáček Enigma: the Harmonic Origins of Kudrjáš’s “Waiting” Song, Vol. 75 (1994), n. 4

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-WOOD (B.),

  • A Newly Identified Purcell Autograph, Vol. 59 (1978), n. 3, pp. 329-332
  • A Note on Two Cambridge manuscripts and their Copyists, Vol. LVI (1975), n. 3, pp. 308-312

-WOOD (R. W.)

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  • Brahm’s Glimpse, Vol. XXV (1944), n. 2, pp. 98-102
  • Carts and Horses, Vol. XXXIV (1953), n. 4, pp. 324-328
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  • Sibelius’s Use of Percussion, Vol. XXIII (1942), n. 1, pp. 10-23
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  • The Promenade Audience, Vol. XI (1930), n. 2, pp. 177-181
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-WOOD (T.), Portrait of H. P. A., Vol. XXXI (1950), n. 4, pp. 290-294

-WOODHOUSE (G.), How Leschetizky Taught, Vol. XXXV (1954), n. 3, pp. 220-226

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-WOOLLEY (G.), Pablo De Sarasate: his Historical Significance, Vol. XXXVI (1955), n. 3, pp. 237-253

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-WORSTHORNE (S. T.)

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-WRIGHT (L.M.), Misconceptions Concerning the Troubadours, Trouvères and Minstrels, Vol. XLVIII (1966), n. 1, pp. 35-39

-WRIGHT (P.), Paper Evidence and Dating of Trent 91, Vol. 76 (1995), n. 4

-WULSTAN (D.), The Earliest Musical Notation, Vol. LII (1971), n. 4, pp. 365-382

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-WYATT-EDGEL (P.), An Old Master, Vol. II (1921), n. 1, pp. 284-286

-YEARSLEY (D.), Towards an Allegorical Interpretation of Buxtehude’s Funerary Counterpoints, Vol. 80 (1999), n. 2, pp. 183-206

-YOUENS (S.),

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-YOUNG (A.R.), Henry Peacham, Ben Jonson and the Cult of Elizabeth-Oriana, Vol. 60 (1979), n. 3, pp. 305-311

-YOUNG (P.)

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  • George Eliot and Music, Vol. XXIV (1943), n. 2, pp. 92-99
  • Gossip in the Music-Room, Vol. XXIII (1942), n. 1, pp. 50-60
  • Leigh Hunt- Music Critic, Vol. XXV (1944), n. 2, pp. 86-94
  • Observation on Music by Tobias Smollett, Vol. XXVII (1946), n. 1, pp. 18-24
  • The Royal Music, Vol. XVIII (1937), n. 2, pp. 119-128

-YUDKIN (J.), The Anonymous Music Treatise of 1279: Why St. Emmeram?, Vol. 72 (1991), n. 2, pp. 177-196

-ZACHAREVITCH (M.), A Paganini Manuscript, Vol. XXI (1940), n. 2, pp. 179-206

-ZEILEIS (F.G.), Two Manuscript Sources of Brahms’s German Requiem, Vol. 60 (1979), n. 2, pp. 149-155

-ZIMMERMAN (F.B.), Purcell and the Dean of Westminster-Some New Evidence, Vol. XLIII (1962), n. 1, pp. 7-15

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