THE MUSICAL QUARTERLY

THE MUSICAL QUARTERLY

PER. GB. 1

– AARON (A.), William Tuckey, A Choirmaster in Colonial New York, Vol. 64 No. 1 (1978), pp. 79-97

– ABRAHAM (G. E. H.), Prince Igor: An Experiment in Lyrical Opera, Vol. 17 No. 1 (1931), pp. 74-83

– ABRAHAM (G.), Pskovityanka: The Original Version of Rimsky-Korsakov’s First Opera, Vol. 54 No. 1 (1968), pp.58-73

– ABRAHAM (G.), Schumann’s Jugendsinfonie in G minor, Vol. 37 No. 1 (1951), pp. 45-60

– ABRAHAM (G.), Weber as a Novelist and Critic, Vol. 20  No.1 (1934), pp. 27-38

– ABROMEIT (K. A.), Ethel Smyth, The Wreckers, and Sir Thomas Beecham, Vol. 73 No. 2 (1989), pp. 196-211

– ADAMS (B.), The Stages of Revision of Vaughan William’s Sixth Symphony, Vol. 73 No. 3 (1989), pp. 382-400

– ADDINGTON (C.), The Bach Flute, Vol. 71 No. 3 (1985), pp. 264-280

-ADLARD (E.), Interior Time: Debussy, Fêtes galantes, and the Salon of Marguerite de Saint-Marceux, Vol. 96 No. 2 (2013), pp. 178-218

– ADLER (G.), August Wilhelm Ambros, Vol. 17 No. 3 (1931), pp. 360-373

– ADLER (G.), Haydn and the Viennese Classical School, Vol. 18  No.2 (1932), pp. 191-207

– ADLER (G.), Internationalism in Music, Vol. 11 No. 2 (1925), pp. 281-300

– ADLER (G.), Johannes Brahms, Vol. 19  No.2 (1933), pp. 113-150

– ADLER (G.), Schubert and the Viennese Classic School, Vol. 14 No. 4 (1928), pp. 473-485

– ADLER (G.), Style-Criticism, Vol. 20  No.2 (1934), pp. 172-176

-ADLINGTON (R. ), Organizing Labor: Composers, Performers, and “the Renewal of Musical Practice” in the Netherlands, 1969-72, vol. 90 No. 3-4 (2007), pp. 539-577

– ADORNO (T. W.), Analytical Study of the NBC Music Appreciation Hour, Vol. 78 No. 2 (1994), pp. 325-377

– ADORNO (T. W.), Music, Language, and Composition, Vol. 77 No. 3 (1993), pp. 401-414

– ADORNO (T. W.), On Some Relationships Between Music and Painting, Vol. 79 No. 1 (1995), pp. 66-79

-AHLQUIST (K.), Musical Assimilation and “the German Element” at the Cincinnati Sängerfest, 1879, Vol. 94 No. 3 (2001), pp. 381-416

– AHRENS (C.), Technological Innovations in Nineteenth-Century Instrument Making and Their Consequences, Vol. 80 No. 2 (1996), pp. 332-340

– ALBERT (H.), Bach, Beethoven, Brahms, Vol. 13 No. 2 (1927), pp. 329-343

– ALBRECHT (O. E.), Adventures and Discoveries of a Manuscript Hunter, Vol. 31 No. 4 (1945), pp. 492-503

– ALBRECHT (T.), A New Wagner Letter, to a “Friend”, April 4, 1875, Vol. 68 No. 3 (1982), pp. 411-415

– ALDRICH (P.), Bach’s Technique of Transcription and Improvised Ornamentation, Vol. 35 No. 1 (1949), pp. 26-35

– ALDRICH (P.), On the Interpretation of Bach’s Trills, Vol. 49 No. 3 (1963), pp. 289-310

– ALDRICH (R.), Robert Franz on Schubert and Others, Vol. 14 No. 4 (1928), pp. 486-494

– ALFORD (V.), Cantabrian Calendar Customs and Music, Vol. 20  No.4 (1934), pp. 435-451

– ALFORD (V.), Ceremonial Dances of the Spanish Basques, Vol. 18  No.3 (1932), pp. 471-482

– ALFORD (V.), Christmas Carols and Crèches in Provence, Vol. 31 No. 1 (1945), pp. 1-16

– ALFORD (V.), Dance and Song in Two Pyrenean Valleys, Vol. 17 No. 2 (1931), pp. 248-258

– ALFORD (V.), Music and Dance of the Swiss Folk, Vol. 27 No. 4 (1941), pp. 500-513

– ALFORD (V.), Odd Music-Makers and Their Instruments, Vol. 22 No.1 (1936), pp. 98-106

– ALFORD (V.), The Rigaudon, Vol. 30 No. 3 (1944), pp. 277-296

– ALFORD (V.), Traditional Airs from a Little Known Pyrenean Valley, Vol. 25 No. 3 (1939), pp. 351-371

– ALFORD (V.), Valencian Cross-Roads, Vol. 23 No.3 (1937), pp. 367-387

– ALLANBROOK (W. J.), Metric Gesture as a Topic in Le Nozze di Figaro and Don Giovanni, Vol. 67 No. 1 (1981), pp. 94-112

-ALLEN (R.), CUNNINGHAM (G.P.), Cultural Uplift and Double-Consciousness: African American Responses to the 1935 Opera Porgy and Bess, Vol. 88 No 3 (2005), pp. 342-369

– ALLEN (W. D.), Baroque Histories of Music, Vol. 25 No. 2 (1939), pp. 195-209

– ALLMENDINGER (J.), HACKMAN (J. R.), LEHMAN (E. V.), Life and Work in Symphony Orchestras, Vol. 80 No. 2 (1996), pp. 194-219

-ALSOP (D.K.), Artful Anthology : The Use of Literary Sources for Hendel’s Jephtha, Vol 86 No. 2 (2002), pp. 349-362

– ALTMAN (R.), The Silence of Silents, Vol. 80 No. 4 (1996), pp. 648-718

-ANDERSON (C.), Reger in Bach’s Notes: On Self-Image and Authority in Max Reger’s Bach Playing, Vol. 87 No 4 (2004), pp. 749-770

– ANDERSON (G. A.), Newly Identified Clausula-Motets in the Las Huelgas Manuscript, Vol. 55 No. 2 (1969), pp. 228-245

– ANDERSON (G. A.), Thirteenth-Century Conductus: Obiter Dicta, Vol. 58 No. 3 (1972), pp. 349-364

– ANDERSON (J. D.), Varèse and the Lyricism of the New Physics, Vol. 75 No. 1 (1991), pp. 31-49

– ANDERSON (P. A.), Ellington, Rap Music, and Cultural Difference, Vol. 79 No. 1 (1995), pp. 172-206

– ANDERSON HUFSTADER (A.), Beethoven’s Irische Lieder: Sources and Problems, Vol. 45 No. 3 (1959), pp. 343-360

– ANDERSON HUFSTADER (A.), Musical References in Blue-Stocking Letters, Vol. 47 No. 1 (1961), pp. 73-90

– ANDERSON HUFSTADER (A.), Samuel Pepys, Inquisitive Amateur, Vol. 54 No. 4 (1968), pp. 437-461

– ANDREWS (E. D.), Shaker Songs, Vol. 23 No.4 (1937), pp. 491-508

– ANDREWS (H.), Elizabethan Keyboard Music, Vol. 16 No. 1 (1930), pp. 59-71

– ANGLÈS (H.), Hispanic Musical Culture from the 6th to the 14th Century, Vol. 26 No. 4 (1940), pp. 494-528

-ANSARI (E.A.), Musical Americanism, Cold War Consensus Culture, and the U.S.-USSR Composers’ Exchange, 1958-60, Vol. 97 No. 3 (2014), pp. 360-389

– ANTCLIFFE (H.), A Brief Survey of the Works of Granville Bantock, Vol. 4 No. 3 (1918), pp. 333-346

– ANTCLIFFE (H.), A British School of Music-Drama: The Work of Rutland Boughton, Vol. 4 No. 1 (1918), pp. 117-127

– ANTCLIFFE (H.), A Decade of English Song, Vol. 11 No. 2 (1925), pp. 219-230

– ANTCLIFFE (H.), Music in the Life of the Ancient Greeks, Vol. 16 No. 2 (1930), pp. 263-275

– ANTCLIFFE (H.), Prometheus in Music, Vol. 12 No. 1 (1926), pp. 110-120

– ANTCLIFFE (H.), Some Notes on Coleridge-Taylor, Vol. 8 No. 2 (1922), pp. 180-192

– ANTCLIFFE (H.), Space and Spacing in Music, Vol. 11 No. 1 (1925), pp.116-123

– ANTCLIFFE (H.), The Co-Ordination of Musical Studies, Vol. 5 No. 1 (1919), pp. 62-73

– ANTCLIFFE (H.), The Effect of the War on English Choral Music, Vol. 6 No. 3 (1920), pp. 342-353

– ANTCLIFFE (H.), The Essential Nature of Music, Vol. 2 No.2 (1916), pp. 163-170

– ANTCLIFFE (H.), The Musical Mentality of Holland, Vol. 12 No. 4 (1926), pp. 602-613

– ANTCLIFFE (H.), The Recent Rise of Chamber Music in England, Vol. 6 No. 1 (1920), pp. 12-23

– ANTCLIFFE (H.), The Significance of Scriabin, Vol. 10 No. 3 (1924), pp. 333-345

– ANTCLIFFE (H.), The Undulations of Technique, Vol. 15 No. 1 (1929), pp. 37-49

– ANTHONY (J. R.), Printed Editions of Andre Campra’s L’Europe galante, Vol. 56 No. 1 (1970), pp. 54-73

– ANTHONY (J. R.), Thematic Repetition in the Opera-Ballets of André Campra, Vol. 52 No. 2 (1966), pp. 209-220

– ANTRIM (D. K.), Music in Industry, Vol. 29 No. 3 (1943), pp. 275-290

– ANTRIM (D. K.), Music Therapy, Vol. 30 No. 4 (1944), pp. 409-420

– APEL (W.), Early German Keyboard Music, Vol. 23 No.2 (1937), pp. 210-237

– APEL (W.), Early Spanish Music for Lute and Keyboard Instruments, Vol. 20  No.3 (1934), pp. 289-301

– APEL (W.), Neapolitan Links between Cabezon and Frescobaldi, Vol. 24 No. 4 (1938), pp. 419-437

– APPIA (E.), Current Chronicle; Switzerland, Vol. 36 No. 2 (1950), pp. 300-302

– APPLETON (J. H.), Commentary I: Electronic Music: Questions of Style and Compositional Technique, Vol. 65 No. 1 (1979), pp. 103-110

– APPLETON (J.), Current Chronicle: Berlin, Vol. 55 No. 1 (1969), pp. 112-114

– APPLETON (J.), Current Chronicle: Rochester, Michigan, Vol. 54 No. 1 (1968), pp. 92-96

– APPLETON (J.), Current Chronicle: Royalton, Vermont, Vol. 56 No. 1 (1970), pp. 116-119

– ARBATSKY (Y.), The Soviet Attitude towards Music: An Analysis Based in Part on Secret Archives, Vol. 43 No. 3 (1957), pp. 295-315

– ARCHER (T.), The Formal Construction of Die schöne Müllerin, Vol. 20  No.4 (1934), pp. 401-407

– ARCHIBALD (B.), Current Chronicle: Boston, Vol. 59 No. 1 (1973), pp. 121-125

– ARMITAGE-SMITH (J.), Schubert’s Winterreise, Part I: The Sources of the Musical Text, Vol. 60 No. 1 (1974), pp. 20-36

– ARNOLD (B.), War Music and the American Composer during the Vietnam Era, Vol. 75 No. 3 (1991), pp. 316-335

– ARNOLD (D.), Alessandro Grandi, A Disciple of Monteverdi, Vol. 43 No. 2 (1957), pp. 171-186

– ARNOLD (D.), Giovanni Croce and the Concertato Style, Vol. 39 No. 1 (1953), pp. 37-48

– ARNOLD (D.), The Second Venetian Visit of Heinrich Schütz, Vol. 71 No. 3 (1985), pp. 359-374

– ASAI (S. M.), Transformations of Tradition: Three Generation of Japanese American Music Making, Vol. 79 No. 3 (1995), pp. 429-453

– ASHBY (A.), Frank Zappa and the Anti-Fetishist Orchestra, Vol. 83 No. 4 (1999), pp. 557-606

– ASKELI (H.), A Sketch of Sibelius the Man, Vol. 26 No. 1 (1940), pp. 1-7

– ASPDEN (S.), Ariadne’s Clew: Politics, Allegory, and Opera in London (1743), Vol. 85 No. 4 (2001), pp. 735-770

– ATKINSON (C. M.), The Parapteres: Nothi or Not?, Vol. 68 No. 1 (1982), pp. 32-59

– ATLAS (A. W.), Belasco and Puccini: “Old Dog Tray” and the Zuni Indians, Vol. 75 No. 3 (1991), pp. 362-398

– AUGUST (G. J.), In Defense of Canned Music, Vol. 17 No. 1 (1931), pp. 138-149

– AUSTERN (L. P.), “For Love’s a Good Musician”: Performance, Audition, and Erotic Disorders in Early Modern Europe, Vol. 82 No. 3/4 (1998), pp. 614-653

– AUSTIN (W.), Santayana as a Critic of Music, Vol. 40 No. 4 (1954), pp. 497-508

– AUSTIN (W.), Satie Before and After Cocteau, Vol. 48 No. 2 (1962), pp. 216-233

– AUSTIN (W.), The Idea of Evolution in the Music of the 20th Century, Vol. 39 No. 1 (1953), pp. 26-36

– AUSTIN (W.), The Music of Robert Palmer, Vol. 42 No. 1 (1956), pp. 35-50

– AYCOCK (R. E.), Shakespeare, Boito, and Verdi, Vol. 58 No. 4 (1972), pp. 588-604

– BABBITT (M.), The String Quartets of Bartók, Vol. 35 No. 3 (1949), pp. 377-385

– BABBITT (M.), Twelve-Tone Invariants as Compositional Determinants, Vol. 46 No. 2 (1960), pp. 246-259

– BABITZ (S.), A Problem of Rhythm in Baroque Music, Vol. 38 No. 4 (1952), pp. 533-565

– BABITZ (S.), Stravinsky’s Symphony in C (1940), Vol. 27 No. 1 (1941), pp. 20-25

– BACH (D. J.), A Note on Arnold Schoenberg, Vol. 22 No.1 (1936), pp. 8-13

– BACHMANN (P. J.), BACHMANN (T.), An Analysis of Béla Bartók’s Music through Fibonaccian Numbers and the Golden Mean, Vol. 65 No. 1 (1979), pp.72-82

– BACHMANN (T.), BACHMANN (P. J.), An Analysis of Béla Bartók’s Music through Fibonaccian Numbers and the Golden Mean, Vol. 65 No. 1 (1979), pp.72-82

– BADURA-SKODA (E.), Textual Problems in Masterpieces of the 18th and 19th Centuries, Vol. 51 No. 2 (1965), pp. 301-317

– BAILEY (W. B.), Prophetic Aspects of Musical Style in the Early Unpublished Songs of Arnold Schoenberg, Vol. 74 No. 4 (1990), pp. 491-520

– BAILLIE (H.), Nicholas Ludford (c. 1485-c. 1557), Vol. 44 No. 2 (1958), pp. 196-208

– BAKER (J. P.), Sir Alexander Mackenzie, Vol. 13 No. 1 (1927), pp. 14-28

– BALDWIN (S. A.), The American Guild of Organists, Vol. 32 No. 2 (1946), pp. 289-295

-BALL (R. J.), Joseph Machlis and the Enjoyment of Music: A Biographical Appreciation of a Great Teacher, Vol. 95 No. 4 (2012), pp. 613-643

– BALLANTINE (C.), Charles Ives and the Meaning of Quotation in Music, Vol. 65 No. 2 (1979), pp. 167-184

– BALLANTINE (C.), Social and Philosophical Outlook in Mozart’s Operas, Vol. 67 No. 4 (1981), pp. 507-526

– BALLANTINE (C.), Towards an Aesthetic of Experimental Music, Vol. 63 No. 2 (1977), pp. 224-246

– BALTZELL (W. J.), The American College Man in Music, Vol. 1 No. 4 (1915), pp. 623-636

– BARBEAU (M.),  Songs of the Northwest, Vol. 19  No.1 (1933), pp. 101-111

– BARBEAU (M.), Asiatic Survivals in Indian Songs, Vol. 20  No.1 (1934), pp. 107-116

– BARBEAU (M.), French Canadian Folk-Songs, Vol. 29 No. 1 (1943), pp. 122-137

– BARBLAN (G.), ZECCA LATERZA (A.), The Tarasconi Codex in the Library of the Milan Conservatory, Vol. 60 No. 2 (1974), pp. 195-221

– BARBOUR (J. M.), Bach and The Art of Temperament, Vol. 33 No. 1 (1947), pp. 64-89

– BARBOUR (J. M.), Nierop’s Hackebort, Vol. 20  No.3 (1934), pp. 312-319

– BARBOUR (J. M.), Pokorny Vindicated, Vol. 49 No. 1 (1963), pp. 38-58

-BARG (L.), LEUR (van de) (W.), “Your Music Has Flung the Story of ‘Hot Harlem’ to the Four Corners of the Earth!”: Race and Narrative in Black, Brown and Beige, Vol. 96 No. 3-4 (2013), pp. 426-458

– BARGELLINI (S.), Paganini and the Princess, Vol. 20  No.4 (1934), pp. 408-418

-BARHAM (J.), Scoring Incredible Futures: Science-fiction Screen Music and “Postmodernism” as Romantic Epiphany, Vol. 91 No. 3-4 (2008), pp. 240-274

– BARNES-OSTRANDER (M. E.), Domestic Music Making in Early New York State: Music in the Lives of Three Amateurs, Vol. 68 No. 3 (1982), pp. 353-372

-BARON (C.K.), Efforts on Behalf of Democracy by Charles Ives and His Family: Their Religious Context, Vol. 87 No 1 (2004), pp. 6-43

– BARON (C. K.), What Motivated Charles Ives’s Search for Time Past, Vol. 78 No. 2 (1994), pp. 206-219

– BARON (J. H.), Monody: A Study in Terminology, Vol. 54 No. 4 (1968), pp. 462-474

-BARONE (A.), Modernist Rifts in a Pastoral Landscape: Observations on the Manuscripts of Vaughan William’s Fourth symphony, Vol. 91 No. 1-2 (2008), pp. 60-88

– BARRÈRE (G.), Expression Unconfined, Vol. 30 No. 2 (1944), pp. 192-197

– BARRY (B. R.), Pitch Interpretation and Cyclical Procedures in Middle-Period Beethoven, Vol. 76 No. 2 (1992), pp. 184-215

-BARRY (B.), In Beethoven’s Clock Shop: Discontinuity in the Opus 18 Quartets, Vol. 88 No 2 (2005), pp. 320-337

– BARRY (B.), The Hidden Program in Mahler’s Fifth Symphony, Vol. 77 No. 1 (1993), pp. 47-66

– BARRY (E. W.), What Wagner Found in Schopenhauer’s Philosophy, Vol. 11 No. 1 (1925), pp. 124-137

– BARRY (P.), Greek Music, Vol. 5 No. 4 (1919), pp. 578-613

– BARTHA (D.), On Beethoven’s Thematic Structure, Vol. 56 No. 4 (1970), pp. 759-778

– BARTÓK (B.), Gipsy Music or Hungarian Music?, Vol. 33 No. 2 (1947), pp. 240-257

– BARTÓK (B.), Hungarian Peasant Music, Vol. 19  No.3 (1933), pp. 267-287

– BARTÓK (B.), Two Unpublished Liszt Letters to Mosonyi, Vol. 7 No. 4 (1921), pp. 520-526

– BARZUN (J.), Berlioz a Hundred Years After, Vol. 56 No. 1 (1970), pp. 1-13

– BARZUN (J.), The Meaning of Meaning in Music: Berlioz Once More, Vol. 66 No. 1 (1980), pp. 1-20

– BARZUN (J.), The Mind of the Young Berlioz, Vol. 35 No. 4 (1949), pp. 551-564

– BASHFORD (C.), The Late Beethoven Quartets and the London Press, 1836-ca. 1850, Vol. 84 No. 1 (2000), pp. 84-122

– BAUER (H.), Carl Engel, Vol. 30 No. 3 (1944), pp. 249-254

– BAUER (H.), Self-Portrait of the Artist as a Young Man, Vol. 29 No. 2 (1943), pp. 153-168

– BAUER (H.), The Paris Conservatoire: Some Reminiscences, Vol. 33 No. 4 (1947), pp. 533-542

– BAUER (M.), Charles T. Griffes as I Remember Him, Vol. 29 No. 3 (1943), pp. 355-380

– BAUER (M.), Darius Milhaud, Vol. 28 No. 2 (1942), pp. 139-159

– BAUER (M.), Natural Law: Its Influence on Modern Music, Vol. 6 No. 4 (1920), pp. 469-477

– BAUER (M.), REIS (C. R.), Twenty-five Years with the League of Composers, Vol. 34 No.1 (1948), pp. 1-14

– BAUER (M.), The Literary Liszt, Vol. 22 No.3 (1936), pp. 295-313

– BAUER (M.), The Primitive Art-Instinct, Vol. 9 No. 2 (1923), pp. 157-166

– BAUGH (H.), Music and the Mediterranean, Vol. 12 No. 4 (1926), pp. 623-630

– BAUGH (H.), Nietzsche and His Music, Vol. 12 No. 2 (1926), pp. 238-247

-BAUMAN (T.), Becoming Original: Haydn and the Cult of Genius, Vol. 87 No 2 (2004), pp. 333-357

– BAZZANA (K.), The Uses and Limits of Performance Practice in François Coupertin’s Huitiême Ordre, Vol. 75 No. 1 (1991), pp. 12-30

-BEAL (A.C.), A Place to Ply Their Wares with Dignity : American Composer-Performers in West Germany, 1972, Vol 86 No. 2 (2002), pp. 329-348

– BECKER (J. J.), Wilhelm Middelschulte, Master of Counterpoint, Vol. 14 No. 2 (1928), pp. 192-202

– BECKER (J.), Is Western Art Music Superior?, Vol. 72 No. 3 (1986), pp. 341-359

– BECKER-CARSTEN (W.), Current Chronicle: Berlin, Vol. 57 No. 2 (1971), pp. 314-317

– BECKERMAN (M.), Janáček and the Herbartians, Vol. 69 No. 3 (1983), pp.388-407

– BECKERMAN (M.), PAIGE (D.), Does It Still Pay to Study Music?, Vol. 81 No. 1 (1997), pp. 64-80

– BECKERMAN (M.), The Real Value of Yellow Journalism: James Creelman and Antonĺn Dvořák, Vol. 77 No. 4 (1993), pp. 749-768

– BECKERMAN (M.), The Sword on the Wall: Japanese Elements and their Significance in The Mikado, Vol. 73 No. 3 (1989), pp. 303-319

– BEDFORD (W. C.), A Musical Apprentice: Amy Lowell to Carl Engel, Vol. 58 No. 4 (1972), pp. 519-542

– BEECHEY (G.), J. G. C. Schetky and His “Observations” on Playing the Cello, Vol. 60 No. 3 (1974), pp. 451-469

– BEECHEY (G.), Memoirs of Dr. William Boyce, Vol. 57 No. 1 (1971), pp. 87-106

– BEECHEY (G.), Robert Bremner and his Thoughts on the Performance of Concert Music, Vol. 69 No. 2 (1983), pp. 244-252

– BEECHEY (G.), Thomas Linley, Junior. 1756-1778, Vol. 54 No. 1 (1968), pp.74-82

– BEETHOVEN van (L.), Sayings of Beethoven, Vol. 13 No. 2 (1927), pp. 183-207

– BEKKER (P.), Franz Liszt Reconsidered, Vol. 28 No. 2 (1942), pp. 186-189

– BEKKER (P.), Liszt and His Critics, Vol. 22 No.3 (1936), pp. 277-283

– BEKKER (P.), The Opera Walks New Paths, Vol. 21 No.3 (1935), pp. 266-278

– BELAIEV (V.), Olenin’s Reminiscences of Balakirev, Vol. 16 No. 1 (1930), pp. 72-82

– BELAIEV (V.), Sergei Rakhmaninov, Vol. 13 No. 3 (1927), pp. 359-376

– BELAIEV (V.), The Folk-Music of Georgia, Vol. 19  No.4 (1933), pp. 417-433

– BELAIEV (V.), The Longitudinal Open Flutes of Central Asia, Vol. 19  No.1 (1933), pp. 84-100

– BELAIEV (V.), The Signs of Style in Music, Vol. 16 No. 3 (1930), pp. 366-377

– BELAIEV (V.), Turkish Music, Vol. 21 No.3 (1935), pp. 356-367

– BELL (L.), OLMSTEAD (A.), Musica reservata in Frederic Rzewski’s North American Ballads, Vol. 72 No. 4 (1986), pp. 449-457

– BELLAMANN (H. H.), Notes on the New Æsthetic of Poetry and Music, Vol. 9 No. 2 (1923), pp. 260-270

– BELLAMANN (H. H.), Of Notable Piano Concertos, Neglected and Otherwise, Vol. 7 No. 3 (1921), pp. 399-407

– BELLAMANN (H. H.), The Piano Works of C. V. Alkan, Vol. 10 No. 2 (1924), pp. 251-262

– BELLAMANN (H.), Charles Ives: The Man and His Music, Vol. 19  No.1 (1933), pp. 45-58

– BELLAMANN (H.), Isidor Philipp, Vol. 29 No. 4 (1943), pp. 417-425

-BELLMAN (J. D.), Musical Voyage and Their Baggage: Orientalism in Music and Critical Musicology, Vol. 94 No. 3 (2011), pp. 417-438

– BELOTTI (G.), Three Unpublished Letters by George Sand and Their Contribution to Chopin Scholarship, Vol. 52 No. 3 (1966), pp. 283-303

– BELTON (J.), Awkward Transitions: Hitchcock’s Blackmail and the Dynamics of Early Film Sound, Vol. 83 No. 2 (1999), pp. 227-246

– BENNETT (V.), Music and Emotion, Vol. 28 No. 4 (1942), pp. 406-414

– BENNIGSEN (O.), A Bizarre Friendship: Tchaikovsky and Mme. von Meck, Vol. 22 No.4 (1936), pp. 420-429

– BENNIGSEN (O.), The Brothers Rubinstein and Their Circle, Vol. 25 No. 4 (1939), pp. 407-419

– BENNINGSEN (O.), More Tchaikovsky-von Meck Correspondence, Vol. 24 No. 2 (1938), pp. 129-138

– BENTON (R.), Jean-Frederic Edelmann, A Musical Victim of the French Revolution, Vol. 50 No. 2 (1964), pp. 165-187

– BERG (W.), Hymns of the Old Colony Mennonites and the Old Way of Singing, Vol. 80 No. 1 (1996), pp. 77-117

– BERGER (A. V.), The Music of Aaron Copland, Vol. 31 No. 4 (1945), pp. 420-447

– BERGER (A.), Current Chronicle: Waltham, Vol. 41 No. 4 (1955), pp. 517-520

– BERGER (J.), Notes on Some 17th-Century Compositions for Trumpets and Strings in Bologna, Vol. 37 No. 3 (1951), pp. 354-367

– BERGER (K.), Tonality and Atonality in the Prologue to Orlando di Lasso’s Prophetiae Sibyllarum: Some Methodological Problems in Analysis of Sixteenth-Century Music, Vol. 66 No. 4 (1980), pp. 484-504

– BERGMAN CRIST (E.), Critical Politics: The Reception History of Aaron Copland’s Third Symphony, Vol. 85 No. 2 (2001), pp. 232-263

– BERGSMA (W.), LANG (P. H.), Current Chronicle: New York, Vol. 44 No. 1 (1958), pp. 86-92

– BERGSTEIN (B.), Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship, Vol. 76 No. 4 (1992), pp. 502-525

-BERISH (A.), Leisure, Love, and Dreams in Depression America: Duke Ellington and Tin Pan Alley Song, Vol. 96 No. 3-4 (2013), pp. 339-368

– BERNARD (J. W.), Elliott Carter and the Modern Meaning of Time, Vol. 79 No. 4 (1995), pp. 644-682

– BERNHEIMER (M.), Current Chronicle: Some Modern Operas, Vol. 48 No. 1 (1962), pp. 114-121

– BERNHEIMER (M.), Current Chronicle: Some Modern Operas, Vol. 48 No. 4 (1962), pp. 518-528

– BERRETT (J.), Louis Armstrong and Opera, Vol. 76 No. 2 (1992), pp. 216-241

– BERRY (W.), The Music of Halsey Stevens, Vol. 54 No. 3 (1968), pp.287-308

– BERTENNSON (S.), The Tchaikovsky Museum at Klin, Vol. 30 No. 3 (1944), pp. 329-335

– BERTENSSON (S.), Ludmila Ivanovna Shestakova – Handmaid to Russian Music, Vol. 31 No. 3 (1945), pp. 331-338

– BERTRAND (P.), Pure Music and Dramatic Music, Vol. 9 No. 4 (1923), pp. 545-555

– BESSER SCOTT (A.), Ibo michi ad montem mirre: A New Motet by Plummer?, Vol. 58 No. 4 (1972), pp. 543-556

– BESSER SCOTT (A.), Medieval and Renaissance Techniques in the Music of Charles Ives: Horatio at the Bridge?, Vol. 78 No. 3 (1994), pp. 448-478

– BESSER SCOTT (A.), The Performance of the Old Hall Descant Settings, Vol. 56 No. 1 (1970), pp. 14-26

– BETZ (M.), New Light on George Whitefield Chadwick: Recent Discovery of Unknown Material, Vol. 85 No. 4 (2001), pp. 641-643

– BETZ (S. A. E.), The Operatic Criticism of the Tatler and Spectator, Vol. 31 No. 3 (1945), pp. 318-330

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– BIE (O.), Melody, Vol. 2 No.3 (1916), pp. 402-417

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-GOLDEN (R. M.), Polyphonies of Sound and Space: Motet, Montage, Voices of Light, and La Passion de Jean d’Arc, Vol. 96 No. 2 (2013), pp. 296-330

– GOLDMAN (D. P.), Esotericism as a Determinant of Debussy’s Harmonic Language, Vol. 75 No. 2 (1991), pp. 130-147

– GOLDMAN (R. F.), Aaron Copland, Vol. 47 No. 1 (1961), pp. 1-3

– GOLDMAN (R. F.), BRODER (N.), Current Chronicle: New York, Vol. 49 No. 1 (1963), pp. 91-97

– GOLDMAN (R. F.), CARTER (E.), Current Chronicle: New York, Vol. 45 No. 3 (1959), pp. 375-385

– GOLDMAN (R. F.), CITKOWITZ (I.), COWELL (H.), Current Chronicle: New York, Vol. 40 No. 3 (1954), pp. 391-403

– GOLDMAN (R. F.), COPLAND (A.), GREISSLE (F.), Current Chronicle: New York, Vol. 37 No. 3 (1951), pp. 394-410

– GOLDMAN (R. F.), COWELL (H.),  Current Chronicle: New York, Vol. 34 No.3 (1948), pp. 407-415

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle. New York, Vol. 35 No. 3 (1949), pp. 451-465

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 34 No.4 (1948), pp. 594-603

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 35 No. 2 (1949), pp. 289-296

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 35 No. 4 (1949), pp. 616-622

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 36 No. 3 (1950), pp. 444-453

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 37 No. 1 (1951), pp. 76-89

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 37 No. 2 (1951), pp. 248-260

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 38 No. 2 (1952), pp. 287-298

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 38 No. 3 (1952), pp. 435-445

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 39 No. 2 (1953), pp. 247-255

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 41 No. 3 (1955), pp. 368-376

– GOLDMAN (R. F.), COWELL (H.), Current Chronicle: New York, Vol. 42 No. 2 (1956), pp. 236-244

– GOLDMAN (R. F.), COWELL (H.), STERNFELD (F. W.), Current Chronicle: New York, Vol. 35 No. 1 (1949), pp. 106-121

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 36 No. 4 (1950), pp. 592-595

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 37 No. 4 (1951), pp. 578-580

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 46 No. 1 (1960), pp. 71-76

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 46 No. 2 (1960), pp. 260-264

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 46 No. 3 (1960), pp. 361-367

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 47 No. 1 (1961), pp. 97-100

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 47 No. 2 (1961), pp. 233-239

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 47 No. 3 (1961), pp. 396-400

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 49 No. 2 (1963), pp. 235-237

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 51 No. 2 (1965), pp. 399-406

– GOLDMAN (R. F.), Current Chronicle: New York, Vol. 52 No. 3 (1966), pp. 373-376

– GOLDMAN (R. F.), Current Chronicle: United States, Vol. 48 No. 4 (1962), pp. 514-517

– GOLDMAN (R. F.), LANG (P. H.), Current Chronicle: New York, Vol. 48 No. 1 (1962), pp. 93-104

– GOLDMAN (R. F.), LOWENS (I.), Current Chronicle: Washington D. C., Vol. 44 No. 3 (1958), pp. 376-384

– GOLDMAN (R. F.), POWELL (M.), COWELL (H.), Current Chronicle: New York, Vol. 42 No. 3 (1956), pp. 383-394

– GOLDMAN (R. F.), The Music of Elliott Carter, Vol. 43 No. 2 (1957), pp. 151-170

– GOLDMAN (R. F.), The Music of Wallingford Riegger, Vol. 36 No. 1 (1950), pp. 39-61

-GOLDMARK (D.), Creating Desire on Tin Pan Alley, Vol. 90 No.2 (2007), pp. 197-229+

-GOLDMARK (D.), “Making Songs Pay”: Tin Pan Alley’s Formula for Success, Vol. 98 No.1-2 (2015), pp. 3-28

– GOLDMARK (R.), PUTNAM (H.),  O. G. Sonneck, Vol. 15 No. 1 (1929), pp. 1-5

– GOLDTHWAITE (S.), Current Chronicle: Urbana, Illinois, Vol. 43 No. 3 (1957), pp. 390-398

– GOLÉA (A.), French Music Since 1945, Vol. 51 No. 1 (1965), pp. 22-37

– GOLOS (G. S.), Some Slavic Predecessors of Chopin, Vol. 46 No. 4 (1960), pp. 437-447

– GOMBOSI (O.), About Dance and Dance Music in the Late Middle Ages, Vol. 27 No. 3 (1941), pp. 289-305

– GOMBOSI (O.), Béla Bartók (1881-1945), Vol. 32 No. 1 (1946), pp. 1-11

– GOMBOSI (O.), Johannes Wolf (1869-1947), Vol. 34 No.2 (1948), pp. 149-154

– GOMBOSI (O.), Machaut’s Messe Notre-Dame, Vol. 36 No. 2 (1950), pp. 204-224

– GOMBOSI (O.), Stephen Foster and “Gregory Walker”, Vol. 30 No. 2 (1944), pp. 133-146

– GOMBOSI (O.), The Melody of Pindar’s “Golden Lyre”, Vol. 26 No. 3 (1940), pp. 381-392

-GOOLEY (D.), La Commedia del Violino: Paganini’s Comic Strains, Vol. 88 No 3 (2005), pp. 370-327

– GOOSEN (J. F.), Current Chronicle: Tuscaloosa, Alabama, Vol. 47 No. 4 (1961), pp. 527-530

– GOOSEN (J. F.), Current Chronicle: Tuscaloosa, Alabama, Vol. 50 No. 4 (1964), pp. 519-523

– GOOSEN (J. F.), Current Chronicle: Tuscaloosa, Vol. 49 No. 3 (1963), pp. 375-378

– GORDON (P.), Franz Grillparzer: Critic of Music, Vol. 2 No.4 (1916), pp. 552-561

– GOSSET (P.), Rossini in Naples: Some Major Works Recovered, Vol. 54 No. 3 (1968), pp.316-340

– GOSTŬSKI (D.), The Third dimension of Poetic Expression or Language and Harmony, Vol. 55 No. 3 (1969), pp. 372-383

-GOTTLIEB (L. M.), Images, Technology, and Music: The Ballets Suédois and Les maries de la Tour Eiffel, Vol. 88 No 4 (2005), pp. 523-555

– GOTTLIEB (J.), Symbols of Faith In the Music of Leonard Bernstein, Vol. 66 No. 2 (1980), pp. 287-295

– GOTWALS (V.), Joseph Haydn’s Last Will and Testament, Vol. 47 No. 3 (1961), pp. 331-353

– GOTWALS (V.), The Earliest Biographies of Haydn, Vol. 45 No. 4 (1959), pp. 439-459

– GOW (G. C.), Rhythm: The Life of Music, Vol. 1 No. 4 (1915), pp. 637-652

– GRACYK (T. A.), Adorno, Jazz and the Aesthetics of Popular Music, Vol. 76 No. 4 (1992), pp. 526-542

– GRADENWITZ (P.), Current Chronicle: Israel, Vol. 34 No.4 (1948), pp. 616-621

– GRADENWITZ (P.), Current Chronicle: Israel, Vol. 36 No. 2 (1950), pp. 295-299

– GRADENWITZ (P.), Current Chronicle: Israel, Vol. 37 No. 3 (1951), pp. 421-425

– GRADENWITZ (P.), Current Chronicle: Israel, Vol. 38 No. 4 (1952), pp. 610-615

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– GRADENWITZ (P.), Current Chronicle: Norway, Vol. 39 No. 4 (1953), pp. 612-616

– GRADENWITZ (P.), Félicien David (1810-1876) and French Romantic Orientalism, Vol. 62 No. 4 (1976), pp. 471-506

– GRAF (M.), The Death of a Music City, Vol. 26 No. 1 (1940), pp. 8-18

– GRAINGER (P. A.), The Culturizing Possibilities of the Instrumentally Supplemented A Cappella Choir, Vol. 28 No. 2 (1942), pp. 160-173

– GRAINGER (P.), Arnold Dolmetsch: Musical Confucius, Vol. 19  No.2 (1933), pp. 187-198

– GRAINGER (P.), The Impress of Personality in Unwritten Music, Vol. 1 No. 3 (1915), pp. 416-435

– GRAME (T. C.), Music in the Jma al-Fna of Marrakesh, Vol. 56 No. 1 (1970), pp.74-87

– GRAME (T. C.), TSUGE (G.), Steed Symbolism on Eurasian String Instruments, Vol. 58 No. 1 (1972), pp. 57-66

– GRAMIT (D.), Between Taüschung and Seligkeit: Situating Schubert’s Dances, Vol. 84 No. 2 (2000), pp. 221-237

– GRATTAN (C. H.), The Australian Bush Songs, Vol. 15 No. 3 (1929), pp. 426-437

– GRATTAN FLOOD (W. H.), “Fair Harvard”: Irish Origin of the Tune, Vol. 5 No. 4 (1919), pp. 463-468

– GRATTON FLOOD (W. H.), An Eighteenth Century Essayist on Poetry and Music, Vol. 2 No.2 (1916), pp. 191-198

– GRAY (W.), Schubert The Instrumental Composer, Vol. 64 No. 4 (1978), pp. 483-494

– GRAY (W.), Some Aspects of Word Treatment in the Music of William Byrd, Vol. 55 No. 1 (1969), pp. 45-64

– GRAY (W.), The Classical Nature of Schubert’s Lieder, Vol. 57 No. 1 (1971), pp. 62-72

-GRAYDON (P.), “Rückkehr in die Heimat”: Postwar Cultural Politics and the 1924 Reworking of Beethoven’s Die Ruinen von Athen by Richard Strauss and Hugo von Hofmannsthal, Vol. 88 No 4 (2005), pp. 630-671

– GRAZIANO (J.), Lupus Hellinck: A Survey of Fourteen Masses, Vol. 56 No. 2 (1970), pp. 247-269

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– GREEN (G.), Current Chronicle: Ithaca, New York, Vol. 57 No. 4 (1971), pp. 659-664

– GREEN (L. D.), Schopenhauer and Music, Vol. 16 No. 2 (1930), pp. 199-206

– GREENE  (R. L.), John Dunstable: A Quincentenary Supplement, Vol. 40 No. 3 (1954), pp. 360-363

-GREENSPAN (C.), Richard Rodgers: Collaborator,, Vol. 98 No.1-2 (2015), pp. 81-99

– GREILSAMER (L.), On Old Violins. (With an American Epilogue by Jay C. Freeman), Vol. 13 No. 3 (1927), pp. 410-433

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– GREISSLE (F.), TRIMBLE (L.), Current Chronicle: New York, Vol. 43 No. 2 (1957), pp. 233-240

– GRESCH (D. C.), Mattheus Le Maistre’s Polyphonic Officia, Vol. 60 No. 1 (1974), pp. 94-113

– GREVILLE (U.), Radio in Britain, Vol. 11 No. 2 (1925), pp. 157-163

– GREW (E. M.), Herbert Spencer and Music, Vol. 14 No. 1 (1928), pp. 127-142

– GREW (E. M.), Some Obscure English Diarists and Their Music, Vol. 16 No. 3 (1930), pp. 314-321

– GREW (E. M.), Strindberg and Music, Vol. 19  No.1 (1933), pp. 59-73

– GREW (S.), Beethoven’s “Grosse Fuge”, Vol. 17 No. 4 (1931), pp. 497-508

– GREW (S.), National Music and the Folk-song, Vol. 7 No. 2 (1921), pp. 172-185

– GREW (S.), Some Conversations, Vol. 8 No. 4 (1922), pp. 555-565

– GRIDLEY (M.), MAXHAM (R.), HOFF (R.), Three Approaches to Defining Jazz, Vol. 73 No. 4 (1989), pp. 513-531

– GRIFFEL (L. M.), A Reappraisal of Schubert’s Methods of Composition, Vol. 63 No. 2 (1977), pp. 186-210

– GRIFFIN CARTER (M.), Removing the “Minstrel Mask” in the Musicals of Will Marion Cook, Vol. 84 No. 2 (2000), pp. 206-220

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-GRIMSHAW (J.), High, “Low”, and Plastic Arts : Philip Glass and the Symphony in the Age of Postproduction, Vol. 86 No 3 (2002), pp. 472- 507

– GRONQUIST (R.), Ravel’s Trois Poèmes de Stéphane Mallarmé, Vol. 64 No. 4 (1978), pp. 507-523

– GROUT (D. J.), German Baroque Opera, Vol. 32 No. 4 (1946), pp. 574-587

– GROUT (D. J.), Seventeenth-Century Parodies of French Opera – Part I, Vol. 27 No. 2 (1941), pp. 211-219

– GROUT (D. J.), Seventeenth-Century Parodies of French Opera – Part II, Vol. 27 No. 4 (1941), pp. 514-526

– GROVLEZ (G.), Jacques Offenbach. A Centennial Sketch, Vol. 5 No. 3 (1919), pp. 329-337

-GROVER-FRIEDLANDER (M.), The afterlife of Maria Callas’s Voice, Vol. 88 No 1 (2005), pp.35-62

– GRUENBERG (E.), Stage-Fright, Vol. 5 No. 2 (1919), pp. 221-254

– GÜLKE (P.), The Orchestra as Medium of Realization: Thoughts on the Finale of Brahms’s First Symphony, on the Different Versions of Bruckner’s Sixth Symphony, and on “Part One” of Mahler’s Fifth Symphony, Vol. 80 No. 2 (1996), pp. 269-275

– GUREWITSCH (M.), Il lamento d’Adriano, Vol. 73 No. 1 (1989), pp. 119-129

– GURNEY (I.), The Springs of Music, Vol. 8 No. 3 (1922), pp. 319-322

– GUSTAFSON (R.), Villa-Lobos and the Man-Eating Flower, Vol. 75 No. 1 (1991), pp. 1-11

-GUTHRIE (K.), Democratizing Art: Music Education in Postwar Britain, Vol. 97 No. 4 (2014), pp. 575-615

– HAAR (J.), The Fantasie et recerchari of Giuliano Tiburtino, Vol. 59 No. 2 (1973), pp. 223-238

– HAAS (D.), Boris Asaf’yev and Soviet Symphonic Theory, Vol. 76 No. 3 (1992), pp. 410-432

– HAAS (R.), The Viennese Violinist, Franz Clement, Vol. 34 No.1 (1948), pp. 15-27

– HACKMAN (J. R.), ALLMENDINGER (J.), LEHMAN (E. V.), Life and Work in Symphony Orchestras, Vol. 80 No. 2 (1996), pp. 194-219

– HADLEY (D. W.), Beethoven and the Philharmonic Society of London: A Reappraisal, Vol. 59 No. 3 (1973), pp. 449-461

– HADOW (W. H.), Some Aspects of Modern Music, Vol. 1 No. 1 (1915), pp. 57-68

– HAIMO (E.), Remote Keys and Multi-movement Unity: Haydn in the 1790s, Vol. 74 No. 2 (1990), pp. 242-268

– HAINES (E.), Current Chronicle: Spain, Vol. 52 No. 3 (1966), pp. 380-383

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– HALE (F. G.), The Rôle of Jewels in Opera, Vol. 29 No. 4 (1943), pp. 485-497

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– HALLE ROWEN (R.), Some 18th-Century Classifications of Musical Style, Vol. 33 No. 1 (1947), pp. 90-101

– HAMILTON (D.), CARTER (E.), Current Chronicle: New York, Vol. 52 No. 1 (1966), pp. 90-101

-HAMMILTON-TYRRELL (S.),Màrio de Andrade, Mentor: Modernism and Musical Aesthetics in Brazil, 1920-1945, vol. 88 No 1 (2005),pp. 7-34

– HAMM (C.), Irving Berlin’s Early Songs as Biographical Documents, Vol. 77 No. 1 (1993), pp. 10-34

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– HANLEY (E.), Current Chronicle: New Haven, Vol. 39 No. 2 (1953), pp. 241-247

– HANNAS (R.), Cerone, Philosopher and Teacher, Vol. 21 No.4 (1935), pp. 408-422

– HANNAS (R.), Gounod and Alfred William Phillips, Vol. 45 No. 4 (1959), pp. 508-514

– HANSELL (S. H.), The Cadence in 18th-Century Recitative, Vol. 54 No. 2 (1968), pp.228-248

– HARAP (L.), On the Nature of Musicology, Vol. 23 No.1 (1937), pp. 18-25

– HARAP (L.), Some Hellenic Ideas on Music and Character, Vol. 24 No. 2 (1938), pp. 153-168

– HARAP (L.), The Case for Hot Jazz, Vol. 27 No. 1 (1941), pp. 47-61

– HARASZTI (E.), Berlioz, Liszt, and the Rákóczy March, Vol. 26 No. 2 (1940), pp. 200-231

– HARASZTI (E.), Franz Liszt – Author Despite Himself, Vol. 33 No. 4 (1947), pp. 490-516

– HARASZTI (E.), PAILLARD (B.), Franz Liszt and Richard Wagner in the Franco-German War of 1870, Vol. 35 No. 3 (1949), pp. 386-411

– HARICH-SCHNEIDER (E.), The Present Condition of Japanese Court Music, Vol. 39 No. 1 (1953), pp. 49-74

– HARLEY (J.), Music and Musicians in Restoration London, Vol. 40 No. 4 (1954), pp. 509-520

– HARLEY (M. A.), Górecki and the Paradigm of the “Maternal”, Vol. 82 No. 1 (1998), pp. 82-130

– HARLEY (M. A.), On Life and Music: A Semi-Serious Conversation with Henryk Mikołaj Górecki, Vol. 82 No. 1 (1998), pp. 68-81

– HARPER (E. E.), A Study in Musical Ability, Vol. 9 No. 1 (1923), pp. 19-25

– HARPER (E. E.), Aperçus of an Adjudicator, Vol. 8 No. 1 (1922), pp. 7-22

– HARRAN (D.), Another Look at the Curious Fifteenth-Century Hebrew-Worded Motet “Cados cados” , Vol. 94 No. 4 (2011), pp. 481-518

– HARRAN (D.), “Mannerism” in the Cinquecento Madrigal?, Vol. 55 No. 4 (1969), pp. 521-544

– HARRÁN (D.), Vicentino and His Rules of Text Underlay, Vol. 59 No. 4 (1973), pp. 620-632

– HARRIS (C. A.), Music in the World’s Proverbs, Vol. 19  No.4 (1933), pp. 382-392

– HARRIS (C. A.), Musical Allusions of Great Writers, Vol. 2 No.3 (1916), pp. 465-476

– HARRIS (C. A.), Musical Animals in ornament, Vol. 6 No. 3 (1920), pp. 417-425

– HARRIS (C. A.), On the Divine Origin of Musical Instruments in Myths and Scriptures, Vol. 8 No. 1 (1922), pp. 69-75

– HARRIS (C. A.), The Element of Repetition in Nature and the Arts, Vol. 17 No. 3 (1931), pp. 302-318

– HARRIS (C. A.), The War Between the Fixed and Movable Doh, Vol. 4 No. 2  (1918), pp. 184-195

– HARRIS (E. T.), Twentieth-Century Farinelli, Vol. 81 No. 2 (1997), pp. 180-189

– HARRIS (H. J.), The Occupation of Musician in the United States, Vol. 1 No. 2 (1915), pp. 299-311

– HARRIS (R.), NORTON (M. D. H.), The Art of the Fugue, Vol. 21 No.2 (1935), pp. 166-178

– HARRIS (R.), The Growth of a Composer, Vol. 20  No.2 (1934), pp. 188-191

-HARRISON (D.), Max Reger Introduces Atonal Expressionism, Vol. 87 No 4, pp. 660-680

– HARSH (E.), Lessons in the Vernacular, Vol. 79 No. 3 (1995), pp. 500-511

– HART (E.), British Regimental Marches. Their History and Romance, Vol. 4 No. 4 (1918), pp. 579-586

– HARTFORD (K.), A Common Man for the Cold War: Aron Copland’s Old American Songs, Vol. 98, No. 4 (2015), pp.313-349

– HARTMANN (A.), Battista Guarini and Il Pastor Fido, Vol. 39 No. 3 (1953), pp. 415-425

– HARTMANN (A.), The Czimbalom, Hungary’s National Instrument, Vol. 2 No.4 (1916), pp. 590-600

– HARTZELL (L. W.), Karel Husa: The Man and the Music, Vol. 62 No. 1 (1976), pp. 87-104

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– HATCH (C.), The Education of A. W. Thayer, Vol. 42 No. 3 (1956), pp. 355-365

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– HEARTZ (D.), A Spanish “Masque of Cupid”, Vol. 49 No. 1 (1963), pp.59-74

– HEARTZ (D.), Mozart and Da Ponte, Vol. 79 No. 4 (1995), pp. 700-718

– HEARTZ (D.), Mozart’s Overture to Titus as Dramatic Argument, Vol. 64 No. 1 (1978), pp. 29-49

– HEARTZ (D.), Nicolas Jadot and the Building of the Burgtheater, Vol. 68 No. 1 (1982), pp.1-31

– HEARTZ (D.), Parisian Music Publishing under Henry II: A Propos of Four Recently Discovered Guitar Books, Vol. 46 No. 4 (1960), pp. 448-467

– HEARTZ (D.), Raaf’s Last Aria: A Mozartian Idyll in the Spirit of Hasse, Vol. 60 No. 4 (1974), pp. 517-543

– HEARTZ (D.), The Genesis of Mozart’s Idomeneo, Vol. 55 No. 1 (1969), pp. 1-19

– HEINSHEIMER (H. W.), Schreker Centennial, Vol. 64 No. 2 (1978), pp. 244-249

– HEINSHEIMER (H.), Commentary: The Schoenberg Institute, Vol. 63 No. 3 (1977), pp. 428-433

– HEINTZE (J. R.), Music of the Washington Family: A Little-Known Collection, Vol. 56 No. 2 (1970), pp. 288-293

– HEISENHEIMER (H. W.), Opera in America Today, Vol. 37 No. 3 (1951), pp. 315-329

-HEISLER Jr. (W.), “To drive away all cloudy thoughts”: Heinrich Köller’s and Richard Strauss’s  1923 Ballettsoirée and Interwar Viennese Cultural Politics, Vol. 88 No 4 (2005), pp. 594-629

– HELM (E. B.), Heralds of the Italian Madrigal, Vol. 27 No. 3 (1941), pp. 306-318

– HELM (E.), Carl Orff, Vol. 41 No. 3 (1955), pp. 285-304

– HELM (E.), Current Chronicle: Austria, Vol. 41 No. 1 (1955), pp. 89-93

– HELM (E.), Current Chronicle: France, Vol. 44 No. 4 (1958), pp. 520-523

– HELM (E.), Current Chronicle: Germany, Vol. 36 No. 4 (1950), pp. 598-602

– HELM (E.), Current Chronicle: Germany, Vol. 37 No. 1 (1951), pp. 98-102

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– HELM (E.), Current Chronicle: Germany, Vol. 38 No. 4 (1952), pp. 606-610

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– HELM (E.), Current Chronicle: Germany, Vol. 45 No. 1 (1959), pp. 100-104

– HELM (E.), Current Chronicle: Germany, Vol. 52 No. 1 (1966), pp. 101-106

– HELM (E.), Current Chronicle: Jugoslavia, Vol. 46 No. 1 (1960), pp. 88-94

– HELM (E.), Current Chronicle: Louisville, Vol. 42 No. 1 (1956), pp. 85-86

– HELM (E.), Current Chronicle: Poland, Vol. 45 No. 1 (1959), pp. 111-114

– HELM (E.), JOHNS (D. C.), Current Chronicle: Austria, Vol. 53 No. 3 (1967), pp. 402-415

– HELM (E.), Music in Yugoslavia, Vol. 51 No. 1 (1965), pp. 215-224

– HELM (E.), REICH (W.), Current Chronicle: Germany, Vol. 39 No. 2 (1953), pp. 255-260

– HELM (E.), The “Hamlet” Fantasy and the Literary Element in C. P. E. Bach’s Music, Vol. 58 No. 2 (1972), pp. 277-296

– HELM (E.), WÖRNER (K. H.), Current Chronicle: Germany, Vol. 45 No. 2 (1959), pp. 237-248

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– HENAHAN (D. J.), Current Chronicle: Chicago, Vol. 52 No. 4 (1966), pp. 496-503

– HENAHAN (D. J.), Current Chronicle: Chicago, Vol. 53 No. 2 (1967), pp. 246-250

– HENAHAN (D.), Current Chronicle: Chicago, Vol. 54 No. 1 (1968), pp. 83-87

– HENDERSON (W. J.), A Note on Floridity, Vol. 2 No.3 (1916), pp. 339-348

– HENDERSON (W. J.), Beethoven After a Hundred Years, Vol. 13 No. 2 (1927), pp. 161-168

– HENDERSON (W. J.), The Function of Musical Criticism, Vol. 1 No. 1 (1915), pp. 69-82

– HENDERSON (W. J.), Walter Damrosch, Vol. 18  No.1 (1932), pp. 1-8

– HENRY (H. T.), Choir-Boys in Catholic Churches, Vol. 3 No.3 (1917), pp. 410-415

– HENRY (H. T.), Music in Lowell’s Prose and Verse, Vol. 10 No. 4 (1924), pp. 546-572

– HENRY (H. T.), Music Reform in the Catholic Church, Vol. 1 No. 1 (1915), 102-117

– HENRY (H. T.), Wanted: A Historico-Musical Clearing-House, Vol. 4 No. 1 (1918), pp. 128-134

– HENRY (L.), The Celt in Music, Vol. 19  No.4 (1933), pp. 401-416

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