Musica Disciplina

MUSICA DISCIPLINA
PER. GB. 5

-ALLAIRE (G.), A Sample of Hexachordal Modal Analysis for Vocal and Instrumental Polyphony of the Renaissance, Vol. XLVIII (1994),pp. 259-283
-ALM (I.), Humanism and Theatrical Dance in Early Opera, Vol. XLIX (1995),pp. 79-95
-ALTENBURG (D.), Die Musik in der Fronleichnamesprozession des 14. und 15. Jahrhunderts, Vol. XXXVIII (1984), pp. 5-25
-d’ALVARENGA (J. P.), A Neglected Anonymous Requiem Mass of the Early Sixteenth Century and Its Possible Context, Vol. LVII (2012), pp. 155-191
-ANDERSON (G. A.)
• Motets of the Thirteenth Century Manuscript La Clayette, Vol. XVII (1973), pp. 11-41
• Notre Dame Latin Double Motets ca. 1215-1250, Vol. XXV (1971), pp. 35-93
• The Notation of the Bamberg and Las Huelgas Manuscript, Vol. XXXII (1978), pp. 19-69
-APEL (W.)
• Anent a Ritornello, Vol. V (1951), pp. 213
• The Development of French Secular Music During the Fourteenth Century, Vol. XVII (1973), pp. 41-61
• The Early Development of Organ Ricercar, Vol. III, Fasc. 1, 2, 3 and 4 (1949), pp. 139-151
-ARNOLD (D.), Towards a Biography of Giovanni Gabrieli, Vol. XV (1961), pp. 200-209
-ATLAS (A. W.), On the Provenance of Manuscript Perugia, Biblioteca Comunale Augusta, 431 (G20), Vol. XXXI (1977), pp. 45-107
-AVENARY (H.)
• Abu’l-Salt’s Treatise on Music, Vol. VI, Fasc. 1, 2, 3 and 4 (1952), pp. 27-33
• Formal Structure of Psalms and Canticles in Early Jewish and Christian Chant, Vol. VII (1953), pp. 1
-AVENARY-LOEWENSTEIN (H.), The Mixture Principle in the Mediaeval Organ-An Early Evidence, Vol. IV, Fasc. 1, 2, 3 and 4 (1950), pp. 51-59
-BAIRD (M. A.), Changes in the Literary Texts of the Late 25th and WìEarly 16th Centuries, as shown in the Works of Chanson Composers of the Pays-Bas Méridionaux, Vol. XV (1961), pp. 145-156
-BARCLAY (B.), Organa Letitie, Vol. XXXII (1978), pp. 5-19
-BENHAM (H.), The Formal Design and Construction of Taverner’s Works, Vol. XXVI (1972), pp. 198-211
-BENT (M.)
• A Contemporary Perception of Early Fifteenth-Century Style: Bologna Q15 as a Document of Scribal Editorial Initiative, Vol. XLI (1987), pp. 183-203
• Modal Order and Disorder in the Rhymed Office, Vol. XXXVI (1983), pp. 53-83
• Musica Recta and Musica Ficta, Vol. XXVI (1972), pp. 73-101
• The Machaut Manuscripts V g, B and E, Vol. XXXVI (1983), pp. 53-83
-BERGER (C.), The Hand and the Art of Memory, Vol. XXXV (1981), pp. 87-121
-BERGSAGEL (J. D.)
• An Introduction to Ludford, Vol. XIV (1960), pp. 105-135
• On the Performance of Ludford’s Alternatim Masses, Vol. XVI (1962), pp. 35-53
-BERNET KEMPERS (K. PH.)
• Bibliography of the Sacred Works of Jacobus Clemens Non Papa. A Classified List with a Notice on His Life, Vol. XVIII (1964), pp. 85-151
• Jacobus Clemens non Papa’s Chansons in their Chronological Order, Vol. XV (1961), pp. 187-200
-BERNHARD (M.), Textkritisches zu Aurelianus Reomensis, Vol. XL (1986), pp. 49-63
-BERNSTEIN (J. A.), Philip Van Wilder and the Netherlandish Chanson in England, Vol. XXXIII (1979), pp. 55-77
-BESSELER (H.), The Manuscript Bologna Biblioteca Universitaria 2216, Vol. VI, Fasc. 1, 2, 3 and 4 (1952), pp. 39-67
-BESUTTI (P.), Da L’Arianna a La Ferinda: Giovan Battista Andreini e la “comedia musicale all’improviso”, Vol. XLIX (1995),pp. 227-277
-BEVILACQUA (G.), Conductus ot Motet? A New Source and a Question of Genre, Vol. LVIII (2013), pp. 9-28
-BLACKBURN (B. J.)
• Petrucci’s Venetian Editor: Petrus Castellanus and his Musical Garden, Vol. XLIX (1995),pp. 15-47
• Two “Carnival Songs” unmasked: A Commentary on MS Florence Magl. XIX. 121, Vol. XXXV (1981), pp. 121-179
-BLUM (F.), Another Look at the Montpellier Organum Treatise, Vol. XIII (1959), pp. 15-25
-BOE (J.)
• Gloria A and the Roman Eastern Vigil Ordinary, Vol. XXXVI (1982), pp. 5-39
• Rhythmical Notation in the Beneventan Gloria Trope “Aureas Arces”, Vol. XXIX (1975), pp. 5-43
-BONGE (D.), Gaffurius on Pulse and Tempo: A Reinterpretation, Vol. XXXVI (1982), pp. 167-175
-BONHÔTE (J. M.), Resonance musicale d’une villa de Palladio, Vol. XXV (1971), pp. 171-179
-BOOS (E. L.), Alleluia cum psallite, Vol. XXV (1971), pp. 93-99
-BOSI (C.), Gentils Gallans de France: The Vicissitudes of a French War Song between Brittany and Rome, Vol. LIX (2014), pp. 7-52
-BOWER (C. M.), Natural and Artificial Music: the Origins and Development of an Aesthetic Concept, Vol. XXV (1971), pp. 17-35
-BOWLES (E. A.), Haut and Bas: The Grouping of Musical Instruments in the Middle Ages, Vol. VIII (1954), pp. 115-141
-BRADSHAW (M. C.)
• Salvation, Right Thinking, and Cavalieri’s Rappresentatione di anima, et di corpo (1600), Vol. LII (1998-2002),pp. 233-251
• Text and Tonality in early sacred monody (1599-1603), Vol. XLVII (1993),pp. 171-227
• The Influence of Vocal Music on Venetian Toccata, Vol. XLII (1988), pp. 157-199
-BRAGARD (R.)
• Le Speculum Musicae Du Compilateur Jacques de Liége, Vol. VII (1953), pp. 59
• Le Speculum Musicae Du Compilateur Jacques de Liége, Vol. VIII (1954), pp. 1
-BRAY (R.), The Part-Books Oxford, Christ Church, Mss. 979-983: An Index and Commentary, Vol. XXV (1971), pp. 179-199
-BROBECK (J. T.), Some “Liturgical Motets” for the French Royal Court: A reconsideration of genre in the sixteenth-century motet, Vol. XLVII (1993),pp. 123-158
-BROCKETT (C. W.)
• Ambiguities in the Deignation of Antiphons for the Tenth-Century Quem Quaeritis, Vol. LI (1997), pp. 103-127
• Saeculorum Amen and Differentia: Practical versus Theoretical Tradition, Vol. XXX (1976), pp. 13-37
• The Role of the Office Antiphon in Tenth-Century Liturgical Drama, Vol. XXXIV (1980), pp. 5-29
• Unpublished Antiphons and Antiphon Series Found in the Gradual of St. Yrieix, Vol. XXVI (1972), pp. 5-37
-BROTHERS (L. D.)
• Avery Burton and his Hexachord Mass, Vol. XVIII (1974), pp. 153-177
• New Light on an Early Tudor Mass. Avery Burton’s Missa ut re mi fa sol la, Vol. XXXII (1978), pp. 11-127
-BROWN (H. M.)
• A Ballade for Mathieu de Foix: Style and Structure in a Composition by Trebor, Vol. XLI (1987), pp. 75-109
• A “New” Chansonnier of the Early Sixteenth Century in the University of Uppsala: A Preliminary Report, Vol. XXXVI (1983), pp. 171-235
• St. Augustine, Lady Music and the Gittern in Fourteenth-Century Italy, Vol. XXXVIII (1984), pp. 25-67
-BROWNE (A. C.), The a-p System of Letter Notation, Vol. XXXV (1981), pp. 5-55
-BUKOFZER (M.), Two Mesuration Canons, Vol. II, Fasc. 1, 2, 3 and 4 (1948), pp. 165-173
-BURSTYN (S.), Power’s Anima mea and Binchois’ De plus en plus: A Study in Musical Relationships, Vol. XXX (1976), pp. 55-73
-BUSSE-BERGER (A. M.), Musical Proportions and Arithmetic in the Late Middle Ages and Renaissance, Vol. XLIV (1990),pp. 89-119
-BUTLER (G. G.), Music and Memory in Johannes Romberch’s Congestorium (1520), Vol. XXXII (1978), pp. 73-87
-CALDWELL (J.), Keybord plainsong settings in England, 1500-1660, Vol. XIX (1965), pp. 129-155
-CAMPAGNOLO, Il Libro Primo de la Serena e il madrigale a Roma, Vol. L (1996), pp. 95-135
-CARAPETYAN (A.), A Fourteenth-Century Florentine Treatise in the Vernacular, Vol. IV, Fasc. 1, 2, 3 and 4 (1950), pp. 81-93
-CARSANIGA (G.), An Additional Look at London Additional 29987, Vol. XLVIII (1994),pp. 283-297
-CHAN (M.), The Witch of Endor and Seventeenth-Century Propaganda, Vol. XXXIV (1980), pp. 205-215-
-CHARLES (S. R.), The Provenance and date of Pepys Ms 1236, Vol. XVI (1962), pp. 57-73
-CHARTERIS (R.)
• An early seventeenth-century manuscript discovery in Augsburg, Vol. XLVII (1993),pp. 35-71
• Further Manuscript Discoveries in the Staats- und Stadtbibliothek, Augsburg, Vol. LI (1997), pp. 179-231
• Music by Giovanni Gabrieli and his Contemporaries: Rediscovered Sources in the Staats- und Universitätsbibliothek, Hamburg, Vol. LII (1998-2002),pp. 251-288
• New Sources of the Works of Giovanni Gabireli, Vol. XL (1986), pp. 135-177
• Protest music a Perugia nel XVI secolo: gli scritti musicali di Raffaello Sozi (1529-89), Vol. LIII (2003-2008),pp. 121-143
-CILIBERTI (G.)
• Diffusione e Trasmissione del Credo Nelle Fonti Mensurati del Tardo Medioevo (Nuove Evidenze in Italia Centrale), Vol. XLIV (1990),pp. 57-89
• “La bella setella”: Il sogno, l’immaginario, il meraviglioso nella musica italiana del trecento, Vol. LI (1997), pp. 127-179
-CLARK (J. B), Adrian Batten and John Barnard: colleagues and collaborators, Vol. XXII (1968), pp. 207-231
-COLDWELL (M. V.),Guillaume de Dole and Medieval Romances, Vol. XXXV (1981), pp. 55-87
-COUCHMAN (J. P.), The Lorraine Chansonnier: Antoine de Lorraine and the Court of Louis XII, Vol. XXXIV (1980), pp. 85-159
-CRAWFORD (D.), A Chant Manual in Sixteenth-Century Italy, Vol. XXXVI (1982), pp. 175-191
-CROLL (G.), Gaspar van Weerbeke, An Outline of His Life and Works, Vol. VI, Fasc. 1, 2, 3 and 4 (1952), pp. 67-83
-CROSS (R.), The Life and Works of Matthaeus Pipelare, Vol. XVII (1963), pp. 97-115
-CUMMINGS (A. M.), Music for Medici Festivals: Some Additional Works Recovered, Vol. LVI (2011), pp. 275-335
-CUNNINGHAM (C. M.)
• Ensemble Dances in Early Sixteenth-Century Italy: Relationships with Villotte and Franco-Flemish Danceries, Vol. XXXIV (1980), pp. 159-205
• Estienne du Tertre and the Mid-Sixteenth Century Parisian Chanson, Vol. XXV (1971), pp. 127-171
-CUTHBERT (M. S.), Tipping the Iceberg: Missing Italian Polyphony from the Age of Schism, Vol. LIV (2009),pp. 39-75
-CUTTIS (J. P.)
• Drexel Manuscript 4041 « … Earl Ferrer’s MS-a treasure- house of early seventeenth-century song and dramatic lyric », Vol. XVIII (1964), pp. 151-203
• Seventeenth-Century Lyrics. Oxford, Bodleian, Ms Mus. b. 1, Vol. X (1956), pp. 142-210
• Seventeenth-Century Songs and Lyrics in Edinburgh University Library, Music Ms. Dc. 1. 69, Vol. XIII (1959), pp. 169-195
• Seventeenth-Century Songs and Lyrics in Paris Conservatoire Ms. Rés. 2489, Vol. XXIII (1969), pp. 117-141
• ‘Songs Vnto the Violl and Lute’, Vol. XVI (1962), pp. 73-93
-CZAGÁNY (ZS.), Anonymi Leutsoviensis Tractatus de Musica, Vol. XLVI (1991),pp. 223-243
-D’ACCONE (F. A.)
• A Late 15th-Century Sienese Sacred Repertory: MS K. I. 2 of Biblioteca Comunale, Siena, Vol. XXXVI (1983), pp. 121-171
• Bernardo Pisano, an Introduction to his Life and Works, Vol. XVII (1963), pp. 115-137
• Matteo Rampollini and his Petrarchan Canzoni Cycles, Vol. XVII (1973), pp. 65-107
• Remembering Nino Pirrotta’s Early Years in America, Vol. XLIX (1995),pp. 9-15
• The Florentine Fra Mauros. A Dynasty of Musical Friars, Vol. XXXIII (1979), pp. 77-139
• The Intavoltura di M. Alamanno Aiolli, Vol. XX (1966), pp. 151-175
-D’AGOSTINO (G.), “Più glie delectano canzone veneciane che francese”: Echi di poesia italiana alla corte napoletana di Alfonso il Magnanimo, Vol. XLIX (1995),pp. 47-79
-DALGLISH (W. E.), The Use of Variation in Early Polyphony, Vol. XXVI (1972), pp. 37-53
-DEAN (J. J.), The Occasion of Compère’s Sola Caret Monstris: A Case Study in Historical Interpretation, Vol. XL (1986), pp. 99-135
-DEFORD (R. I.), Musical Relationships Between tha Italian Madrigal and Light Genres in the Sixteenth Century, Vol. XXXIX (1985), pp. 107-169
-DESMOND (K.), Texts in Play: The Ars Nova and Its Hypertexts, Vol. LVII (2012), pp. 81-155
-DEUSEN (van) (N.)
• In and out of a Latin “Forest”: The Timaeus latinus, its Concept of Silva, and Music as a Discipline in the Middle Ages, Vol. LIII (2003-2008), pp.
• Sequence Repertoires: A Reappraisal, Vol. XLVIII (1994),pp. 99-125
• The Use and Significance of the Sequence, Vol. XL (1986), pp. 5-49
-DITTMER (L. A.)
• An English Discantuum Volumen, Vol. VIII (1954), pp. 19
• Binary Rhythm, Musical Theory and the Worcester Fragments, Vol. VII (1953), pp. 39
• The Dating and the Notation of the Worcester Fragments, Vol. XI (1957), pp. 5-12
• The Ligatures of the Montpellier Manuscript, Vol. IX (1955), pp. 35-57
-DIXON (H. M.), The Manuscript Vienna, National Library, 1783, Vol. XXIII (1969), pp. 105-117
-DUGGAN (M. K.), Queen Joanna and her Musicians, Vol. XXX (1976), pp. 73-97
-DUHAMEL (P.), The Gothic Architecture of John of Garland’s De mensurabili musica, Vol. LVIII (2013), pp. 29-50
-EARP (L.), Genre in the Fourteenth-century French Chanson: The Virelai and the Dance Song, Vol. XLV (1991), pp. 123-143
-EDWARDS (R.), Becoming Magnificent: Giovanni Gabrieli from his Annus Horribilis to his Death in 1612, Vol. LVI (2011), pp. 335-419
-ELLINWOOD (L.), Talli’s Tunes and Tudor Psalmody, Vol. II, Fasc. 1, 2, 3 and 4 (1948), pp. 189-205
-ETZION (J.), The Spanish Polyphonic Ballad in 16th Century , Vol. XXXV (1981), pp. 179-199
-EVERIST (M.), Master and Disciple: Teaching the Composition of Polyphony in the Thirteenth Century, Vol. LVIII (2013), pp. 51-72
-FACCHIN (F.), L’Udito e la voce nella figurazione padovana tra Tre e Quattrocento – Alcune osservazioni, Vol. L (1996), pp. 167-203
-FEDERHOFER (H.)
• Graz Court Musicians and their Contribution to the ‘Parnassus musicus Ferdinandaeus’ (1615), Vol. IX (1955), pp. 167-245
• Matthia Ferrabosco, Vol. VII (1953), pp. 205
-FELDMANN (F.), Untersuchungen Zum Wort-Ton-Verhältnis Den Gloria-Credo-Sätzen Von Dufay Bis Josquin, Vol. VIII (1954), pp. 141-173
-FERRARA (M.), Da ‘Dabudà’ strumento musicale a ‘Dabudà’ Millenatore, Vol. IV, Fasc. 1, 2, 3 and 4 (1950), pp. 69-81
-FINSCHER (L.)
• Loyset Compère and his Works I, Vol. XII (1958), pp. 105-145
• Loyset Compère and his Works II, Vol. XIII (1959), pp. 123-155
• Loyset Compère and his Works III, Vol. XIV (1960), pp. 135-16
• Loyset Compère and his Works IV, Vol. XVI (1960), pp. 93-115
-FISCHER (K.),
• Ein Versuch zur Chronologie von Landinis Werken, Vol. XX (1966), pp. 31-47
• “Portraits” von Piero, Giovanni da Firenze und Jacopo da Bologna in einer Bologneser. Handschrift des 14. Jahrhunderts? Vol. XVII (1973), pp. 61-65
• The Manuscript Paris, Bibl. Nat. Nouv. Acq. Frc. 6771 (Codex Reina=PR), Vol. XI (1957), pp. 38-79
• Replay to N. E. Wilkin’s Article on the Codex Reina, Vol. XVII (1963), pp. 75-79
-FLINDELL (E. F.)
• Johannis Cottonis, Vol. XX (1966), pp. 11-31
• Johannis Cottonis, Corrigenda et Addenda, Vol. XXIII (1969), pp. 7-13
-FORNEY (K.), “Nymphes gays en abry du Laurierr”: Music instruction for the Bourgeois Women, Vol. XLIX (1995),pp. 151-189
-FRANDSEN (M. E.), Salve Regina/ Salve Rex Christe: Lutheran Engagement with Marian Antiphons in the Age of Orthodoxy and Piety, Vol. LV (2010), pp. 129-121
-FRASER (R. A.), Earlu Elizabethan Songs John Hall’s Court of Virtue, 1565, Vol. VII (1953), pp. 199
-FREEMAN (D. E.), On the Origins of the Pater noster-Ave Maria of Josquin Des Prez, Vol. XLV (1991), pp. 169-221
-FULLER (S.)
• Additional notes on the 15th-century chansonnier Bologna Q16, Vol. XXIII (1969), pp. 81-105
• An Anonymous Treatise dictus de Sancto Martiale, Vol. XXXI (1977), pp. 5-31
• The Myth of Saint Martial Polyphony. A Study of Sources, Vol. XXXIII (1979), pp. 5-27
-GALLO (F. A.)
• Astronomy and music in the Middle Ages: The Liber introductorius by Michael Scott, Vol. XVII (1973), pp. 5-11
• Tra Giovanni di Garlandia e Filippo da Vitry, Vol. XXIII (1969), pp. 13-21
-GAMPEL (A.), Papyrogical Evidence of Musical Notation from the 6th to the 8th Centuries, Vol. LVII (2012), pp. 5-51
-GARDEN (G.), François Roussel: A Northern Musician in Sixteenth-Century Rome, Vol. XXXI (1977), pp. 107-135
-GERBER (R. L.), An Assessment of Johannes Wiser’s Scribal Activities, Vol. XLVI (1991),pp. 51-79
-GETZ (C.), The milanese Cathedral Choir under Hermann Matthias Werrecore, Vol. XLVI (1991),pp. 169-223
-GHISI (F.), A Second Sienese Fragment of Italian Ars Nova, Vol. II, Fasc. 1, 2, 3 and 4 (1948), pp. 173-179
-GILL (L. A.), The Anthems of Thomas Tomkins : An Introduction (with transcription of two anthems), Vol. XI (1957), pp. 153-188
-GILLES (A.)
• De Musica Plana Breve Compendium (Un témoignage de l’enseignement de Lambertus), Vol. XLIII (1989),pp. 33-63
• L’Anonyme III de Coussemaker, Scriptores III, Vol. XV (1961), pp. 27-39
• Un Témoignage inédit de l’enscignement de Phiilippe de Vitry, Vol. X (1956), pp. 35-55
-GILLES (A.), REANEY (G.), A New Source for the Ars Nova of Philippe de Vitry, Vol. XII (1958), pp. 59-67
-GISSEL (S.)
• Abweichungen von den Normen eines Modus als Mittel der Wortausdeutungen, Vol. XLII (1988), pp. 199-217
• Die modi phrygius, hypophrygius und phrygius connexus, Vol. XLV (1991), pp. 5-95
• Die Tonarten Ionicus Connexus in der Motettensammlung ‘Opus Melicum’ von Friedrich Weißensee, Vol. LII (1998-2002),pp. 57-139
• Die Tonarten der “Lagrime del San Pietro” von Orlando di Lasso, Vol. XLVII (1993),pp. 5-35
• Die Tonarten vor und nach 1600 und ihre Akzetpanz in der gegenwärtigen Musikgeschichte, Vol. XLVIII (1994),pp. 15-69
• Glareans Tonarten Lydius und Hypolydius und ihre Berücksichtigung durch die Theoretiker/Komponisten bis etwa 1650, Vol. LI (1997), pp. 73-103
-GLIXON (J.), Late Medieval Chant for a Venetian Confraternity: Venice, Biblioteca Nazionale Marciana, MS. Lat. II, 119 (2426), pp. 189-227
-GOLDBERG (C.), Text, Music and Liturgy in Johannes Ockeghem’s Masses, Vol. XLIV (1990),pp. 185-233
-GÓMEZ (C.)
• El Manuscrito 823 de Montserrat (Biblioteca del Monasterio), Vol. XXXVI (1982), pp. 39-95
• La Musique à la fin du Moyen-Age et le Chantre Johan Robert, Vol. XLI (1987), pp. 109-153
• Musique et Musiciens dans les Chapelles de la Maison Royale d’Aragon (1336-1413), Vol. XXXVIII (1984), pp. 67-87
• Une Version a Cinq Voix du Motet Apollinis Eclipsatur/Zodiacum Signis dans le Manuscript E-BCEN 853, Vol. XXXIX (1985), pp. 5-45
-GOMBOSI (O.), Gothic Form- A Marginal Note, Vol. IV, Fasc. 1, 2, 3 and 4 (1950), pp. 43-51
-GOTTWALD (C.), Johannes Ghiselin-Janne Verbonnet. Some Traces of His Life, Vol. XV (1961), pp. 105-112
-GOZZI (M.), La cosidetta Longanotation: nuove prospettive sulla notazione italiana del Trecento, Vol. XLIX (1995),pp. 121-151
-GÖLLNER (M. L.), The Transmission of French Motets in German and Italian Manuscripts of the 14th Century, Vol. XL (1986), pp. 63-79
-GRAU (A.K.), Hearing Voices: Heteroglossia, Homoglossia, and the Old French Motet, Vol. LVIII (2013), pp. 73-100
-GRIER (J.), Some Codicological Observations on the Aquitanian Versaria, Vol. XLIV (1990),pp. 5-57
-GUHL-MILLER (S.), Three Hypothetical Phases of Notre Dame Organum Performance Practice, Vol. LVIII (2013), pp. 101-152
-GÜNTHER (U.)
• Eine Ballade auf Mathieu de Foix, , Vol. XIX (1965), pp. 69-83
• Das Manuskript Modena, Biblioteca Estense, Vol. XXIV (1970), pp. 17-69
• Datierbare Balladen des Spāten 14. Jahrhunderts, I, Vol. XV (1961), pp.39-63
• Datierbare Balladen des Spāten 14. Jahrhunderts, II, Vol. XVI (1962), pp. 151-175
• Die Musiker des Herzogs von Berrry, Vol. XVII (1963), pp. 79-97
• The 14th-Century Motet and its Development, Vol. XII (1958), pp. 27-59
• Unusual Phenomena in the Transmission of Late Fourteenth-Century Polyphonic Music, Vol. XXXVIII (1984), pp. 87-119
• Zitate in Französischen Liedsätzen der Ars Nova und Ars Subtilior, Vol. XXVI (1972), pp. 53-69
• Zwei Balladen auf Bertrand und Olivier du Guesclin, Vol. XXII (1968), pp. 15-47
-HAAR (J.)
• Astral music in Seventeenth Century Nurenberg: The Tugendsterne of Harsdorffer und Staden, Vol. XVI (1962), pp. 175-191
• Pace non trovo: a study in literary and musical parody, Vol. XX (1966), pp. 95-151
• The Capriccio of Giachet Berchem: A Study in Modal Organization, Vol. XLII (1988), pp. 129-157
• The Libraria of Antonfrancesco Doni, Vol. XXIII (1969), pp. 101-125
-HAINES (J.), The Transformations of the Manuscrit du Roi, Vol. LII (1998-2002),pp. 5-45
-HAM (M.), A Sense of Proportion: The Performance of Sesquialtera ca. 1515- ca. 1565, Vol. LVI (2011), pp.
-HAMILTON (E.G.), Walter of Evesham and De speculatione musicae: Authority of Music Theory in Medieval England, Vol. LVIII (2013), pp. 153-166
-HAMM (C.), A Catalouge of Anonymus English Music in Fifteenth-Century, Continental Manuscript, Vol. XXII (1968), pp. 47-77
-HANDSCHIN (J.)
• Anselmi’s Treatise on Music Annoted by Gafori, Vol. II, Fasc. 1, 2, 3 and 4 (1948), pp. 123-141
• The Summer Canon and its Background I, Vol. III, Fasc. 1, 2, 3 and 4 (1949), pp. 55-95
• The Summer Canon and its Background ,Vol. V (1951), pp. 65
• The ‘Timaues’ Scale, Vol. IV, Fasc. 1, 2, 3 and 4 (1950), pp. 3-43
-HARBINSON (D.)
• Consonance and Dissonance in the Old Corpus of the Montpellier Motet Manuscript, Vol. XXII (1968), pp. 5-15
• The Hocket Motets in the Old Corpus of the Montpellier Motet Manuscript, Vol. XXV (1971), pp. 99-113
-HARDER (H.), Die Messe von Toulouse, Vol. VII (1953), pp. 105
-HARNE (G. A.), The Ends of Theory and Practice in the Speculum Musicae, Vol. LV (2010), pp. 5-33
-HARRÁN (D.)
• How to “Lay” the “Lay”: New Thoughts on Text Underlay, Vol. LI (1997), pp. 231-262
• Stories from the Hebrew Bible in Music of the Renaissance, Vol. XXXVI (1983), pp. 235-289
• The Theorist Giovanni del Lago: A New View of the Man and His Writings, Vol. XVII (1973), pp. 107-153
-HARRISON (F.), Ars Nova in England: A New Source, Vol. XXI (1967), pp. 67-87
-HARRISON (F. L.), Faburden in Practice, Vol. XVI (1962), pp. 11-35
-HASCHER-BURGER (U.), Notation, Devotion und Emotion in spätmittelalterlichen Andachtsbüchern aus dem Kloster Medingen, Vol. LV (2010), pp. 33-75
-HOEKSTRA (G. R.), The Reception and Cultivation of the Italian Madrigal in Antwerp and the Low Countries, 1555-1620, Vol. XLVIII (1994),pp. 125-189
-HOPPIN (R. H.)
• An Unrecognized Polyphonic Lai of Machaut, Vol. XII (1958), pp. 93-105
• Notational Licences of Guillaume de Machaut, Vol. XIV (1960), pp. 13-29
• The Cypriot-French Repertory of the Manuscript Torino, Bbiblioteca Nazionale, J. II. 9, Vol. XI (1957), pp. 79-126
-HORSLEY (I.), The Sixteenth-Century Variation and Baroque Counterpoint, Vol. XIV (1960), pp. 161-169
-HUCK (O.), The Music of the Angels in Fourteenth-and Early Fifteenth-century Music, Vol. LIII (2003-2008),pp.99-121
-HUCKE (H), Das Dekret “Docte Sanctorum Patrum” Papst Johannes’ XXII, Vol. XXXVIII (1984), pp. 119-133
-HUDSON (B.), On the Texting of Obrecht’s Masses, Vol. XLII (1988), pp. 101-129
-HUDSON (R.)
• The Folia Dance and the Folia Formula in the 17th Century Guitar Music, Vol. XXV (1971), pp. 199-223
• The Zarabanda and Zarabanda Francese in Italian Guitar Music of the Early 17th Century, Vol. XXIII (1969), pp. 125-151
-HUGHES (A.)
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