TIJDSCHRIFT VAN DE VERENIGING VOOR NEDERLANDSE MUZIEKGESCHIEDENI

TIJDSCHRIFT VAN DE VERENIGING VOOR NEDERLANDSE MUZIEKGESCHIEDENI

                            PER.NL.1

 

– ALLAIRE (G.), Debunking the Myth of Musica Ficta, pp.110-126, Volume XLV, 2, 1995

– BLACKBURN (B.J.), Obrecht’s Missa Je ne demande and Busnoys’s  Chanson: An Essay in Reconstructing Lost Canons, pp.18-32, Volume XLV, 1, 1995

– BONCELLA (P.A.L.), Denying Ancient Music’s Power: Ghiselin Danckert’s Essays in the “Generi Inusitati” , pp.59-80, Volume XXXVIII, 1988

– CLEMENT (A.), Pieter Bustijn, “Musicyn en Organist”, pp.81-98, Volume XXXVIII, 1988

– CRAWFORD (T.), Allemande Mr. Zuilekom: Constantijn Huygens’s Sole Surviving Instrumental Composition, pp.175-181, Volume XXXVII, 1987

– CURTIS (L.), The Origins of Cambrai, Bibliothèque municipale manuscript 6 and ist Relationship to Cambrai 11, pp.6-35, Volume XLIV, 1, 1994

– DAVISON (N.), Absalom fili mi Reconsidered, pp.42-56, Volume XLVI, 1, 1996

– DE GROOT (R.), Keuze en kans in Geert van Keulens harmoniek: De constrictie van het “gegevene”, Deel I, pp.51-69, Volume XLIV, 1, 1994

Keuze en kans in Geert van Keulens harmoniek: de constructie van het  “gegevene”, Deel II, pp.132-154, Volume XLIV,2, 1994

Ockeghem and New Music in the Twentieth Century, pp.201-220, Volume XLVII, 1/2, 1997

 

– DE LOOS (I.), Der Neumenbuchstabe S als chromatisches Zeichen im Antiphonale Utrecht, Universitätsbibliothek 406, aus dem 12. Jahrhundert, pp.5-27, Volume XXXIX, 1989

– ELDERS (W.), Josquin’s Absolve, quaesumus, domine: A Tribute to Obrecht?, pp.14-24, Volume XXXVII, 1987

New Light on the Dating of Josquin’s Hercules Mass, pp.112-149, Volume XLVIII, 2, 1998

 

– ELZINGA (H.), Josquin’s Missa Quem dicunt hominess: a Reexamination, pp.87-104, Volume XLIII, 2, 1993

– FITCH (F.), ‘For the Sake of His Honour’. Obrecht Reconsidered, pp.150-163, Volume XLVIII, 2, 1998

– GREIG (D.), The Issue of Ockeghem, pp.139-162, Volume XLVII, 1/2, 1997

– GRIJP (L.P.), Te voila donc, bel oeil: An Autograph Tablature by Constantijn Huygens, pp.170-174, Volume XXXVII, 1987

– GUILLO (L.), Les deux recueils de musique de Zouz/Washington (1580-1643) : sur deux tèmoins de la librairie musicale nèerlandaise au XVIIe siècle, pp.137-152, Volume XLVI, 2, 1996

– HAGGH (B.), An Ordinal of Ockeghem’s Time from the Sainte-Chapelle of Paris: Paris, Bibliothèque de l’Arsenal, MS 114, pp.33-71, Volume XLVII, 1/2, 1997

– HASCHER-BURGER (U.), Neue Aspekte mehrstimmiger Lesungen des späten Mittelalters. Die Lektionen der Handschrift Den Haag, Museum van het Boek / Museum Meermanno-Westreenianum, ms. 10 B 26, pp.89-111, Volume XLVIII, 2, 1998

– HERING (W.), De polyfone composities in het manuscript no. 16664 uit het Fonds Latin van de Bibliothèque Nationale te Parijs, pp.28-37, Volume XXXIX, 1989

– HUDSON (B.), Obrecht’s Tribute to Ockeghem, pp.3-13, Volume XXXVII, 1987

– JAS (E.), Another Mass by Benedictus Appenzeller, pp.99-114, Volume XLIV, 2, 1994

-KESSELS (L.), The Brussels/Tournai-Partbooks: Structure, Illumination, and Flemish Repertory, pp.82-104, Volume XXXVII, 1987

– KING (R.G.), The Riehman Family of Court Musicians and Composers, pp.36-50, Volume XLIV, 1, 1994

C.E. Graf’s Music for the Consecration of the Martinikerk Organ at Bolsward (1781), pp.115-131, Volume XLIV, 2, 1994

 

– KIRKMAN (A.), Some early fifteenth-century fauxbourdons by Dufay and his contemporaries: A study in liturgically-motivated musical style, pp.3-35, Volume XL, 1, 1990

– KOOIMAN (E.),The Biography of Jacob Barbireau (1455-1491) Reviewed, pp.36-58, Volume XXXVIII, 1988

– LOCHNER (F.), Un Évêque Musicien au Xe Siècle: Radbod d’Utrecht (†917), pp.3-35, Volume XXXVIII, 1988

– MACEY (P.), Josquin’s “Little” Ave Maria: A Misplaced Motet from the Vultum tuum Cycle?, pp.38-53, Volume XXXIX, 1989

– METZELAAR (H.), An unknown 18th-century Dutch woman composer: Josina Boetzelaer (1733-1797), pp.3-56, Volume XL, 2, 1990

– NOBLITT (T.), Additional Compositions by Paulus de Rhoda?, pp.49-63, Volume XXXVII, 1987

-OP DE COUL (P.), Dankwoord Willem Elders – Homage to Willem Elders, pp.3-4, Volume XXXIX, 1989

– RASCH (R.), P(i)eter Meyer, musician in Hamburg, Amsterdam, Sulzbach, and Hamburg, pp.36-74, Volume XL, 1, 1990

Corelli’s contract: Notes on the Publication History of the Concerti Grossi… Opera Siesta [1714], pp.83-136, Volume XLVI, 2, 1996

 

– RYKER (H.), Closing the Circle: Willem Pijper’s Music for the Theatre, pp.42-75, Volume XLIII, 1, 1993

– SCHREURS (E.), New Findings on Music Fragments from Tongeren with Two Chansons by Ockeghem, pp.119-138, Volume XLVII, 1/2, 1997

– STEIB (M.), A Composer looks at his Model: Polyphonic Borrowing in Masses from the Late Fifteenth Century, pp.5-41, Volume XLVI, 1, 1996

– STEWART (R.), …Ita desiderat anima mea ad te, Deus (Ps.42:1): Johannes Ockeghem, a most Medieval Composer, pp.163-200, Volume XLVII, 1/2, 1997

– TICHELAAR (W.), Muziekbeleid in Nederland 1900-1950: een historisch overzicht, pp.182-207, Volume XXXVII, 1987

– URQUHART (P.), Cross-Relations by Franco-Flemish Composers after Josquin, pp.3-41, Volume XLIII, 1, 1993

Calculated to Please the Ear: Ockeghem’s Canonic Legacy, pp.72-98, Volume XLVII, 1/2, 1997

 

– VAN ACHT (R.), Dutch Wind-Instruments, 1670-1820, pp.99-122, Volume XXXVIII, 1988

-VAN BENTHEM (J.), Lazarus versus Absalon. About Fiction and Fact in the Netherlands Motet (For Willem Elders), pp.54-82, Volume XXXIX, 1989

A Waif, a Wedding, and a Worshipped Child: Josquin’s Ut Phebi radiis and the Order of the Golden Fleece, pp.64-81, Volume XXXVII, 1987

‘Prenez sur moy vostre exemple’: Signae, text and cadences in Ockeghem’s Prenez sur moy and Missa Cuiusvis toni, pp.99-118, Volume XLVII, 1/2, 1997

Johannes Ockeghem – Masses and Mass Sections : Some Principles of the Edition, pp.221-224, Volume XLVII, 1/2, 1997

 

– VAN DER KAAIJ-HUIBERS (B.), Muziek en dans aan het hof van Jan van Blois (1342-1381), pp.91-109, Volume XLV, 2, 1995

 

– VANHULST (H.), A fragment of a lost luteboook printed by Phalèse (Louvain, c1575), pp.57-80, Volume XL, 2, 1990

 

– WEGMAN (R.C.), In memoriam Chris Maas (1922-1998), pp.87-88, Volume XLVIII, 2, 1998

 

-WENNEKES (E.), “Tot een beter begrip van muziek en tot veredeling van den heerschenden smaak” – Het Orkest van het Paleis voor Volksvlijt, pp.33-66, Volume XLV, 1, 1995

– WERGMAN (R.C.), An Anonymous Twin to Johannes Ockeghem’s Missa Quinti Toni in San Pietro B 80, pp.25-48, Volume XXXVII, 1987

– WEXLER (R.), Ockeghem and Politics, pp.5-32, Volume XLVII, 1/2, 1997

– WIND (T.), Musical Partecipation in Sixteenth-Century Triumphal Entries in the Low Countries, pp.111-169, Volume XXXVII, 1987

“Verschiedene große Passions-Symphonien, von Haydn komponiert” Eine Rotterdamr Aufführung der Sieben Letzten Worte Im Jahre 1784?, pp.105-118, Volume XLIII, 2, 1993

 

– ZIJLSTRA (A.M.J.), Egmond Revisited. Swiss Elements in Dutch Chant Manuscripts, pp.3-17, Volume XLV, 1, 1995

 

– ZIWLHORST (A.), Jan Ingenhoven and Jugendstil: Stylistic Development in the Four Vocal Quartets, pp.123-135, Volume XXXVIII, 1988