TWENTIETH-CENTURY MUSIC

TWENTIETH-CENTURY MUSIC

PER.GB. 16

 

-ADAMS (B.), Hugh Cobbe, ed., The Letters of Ralph Vaughan Williams 1895-1958, Vol. 6 (2009), n. 2, pp. 264-270

-ALLEN (S.A.), Philip Reed, Mervyn Cooke, and Donald Mitchell, eds, Letters from a Life: the Selected Letters of Benjamin Britten, vol. 4: 1952-1957, Vol. 6 (2009), n. 2, pp. 271-276

-ANDERSON (L.), Musique concrète, French New Wave cinema, and Jean Cocteau’s Le Testament d’Orphée (1960), , Vol. 12 (2015), n.2, pp. 197-224

-ASHBY (A.), Henri Lonitz, ed., Wieland Hoban, trans., Theodor W. Adorno & Alban Berg: Correspondence 1925-1935, Vol. 5 (2008), n. 1, pp. 135-139

-ATKINSON (D.), Sound and Writing: Complementary Facets of the Anglo-Scottish Ballad, Vol. 7 (2010), n. 2, pp. 139-166

-AUNER (J.), Reich on Tape: The Performance of Violin Phase, Vol. 14 (2017), n.1, pp. 77-92

-BALMER (Y.), LACOTE (T.), MURRAY(C.B.), Un cri de passion ne s’analyse pas: Olivier Messiaen’s Harmonic Borrowingsfrom Jules Massenet,  Vol. 13 (2016), n. 2, pp. 233-260

-BEAL (A.C.), Peter Dickinson, ed., CageTalk: Dialogues with & About John Cage, Vol. 5 (2008), n. 1, pp. 146-149

-BENNETT (J.), Béla Bartòk’s Evolutionary Model of Folk Music,  Vol. 13 (2016), n. 2, pp. 291-230

-BEARD (D.), Patricia Hall and Friedmann Sallis, eds, A Handbook to Twentieth-Century Musical Sketches, Vol. 5 (2008), n. 2, pp. 243-250

-BERKOWITZ (A.), Experimental Actions, the Outcomes of Wich Are Foreseen: Experiment and Tradition in Conlon Nancarrow’s Studies nos 21 and 36 for Player Piano, Vol. 5 (2008), n. 2, pp. 195-218

-BERNARD (J.W.), Four Analytical Sites in Bartók’s Third String Quartet, Vol. 5 (2008), n. 1, pp. 3-24

-BESSELER (H.), translated by Matthew Pritchard, with Irene Auerbach, Appendix: Fundamental Issues of Musical Listening (Grundfragen des musikalischen Hörens), Vol. 8  (2011), n. 1, pp. 49-70

-BINNS (A.), Daniel Goldmark, Lawrence Kramer, and Richard Leppert, eds, Beyond the Soundtrack: Representing Music in Cinema, Vol. 6 (2009), n. 1, pp. 122-125

-BLOMANN (U.J.), A Semblance of Freedom: Karl Amadeus Hartmann between Democratic Renewal and Cold War, 1945-7 (translated by Jürgen Thym), Vol. 9 (2012), n. 1 & 2, pp. 143-160

– BOHLMAN (A. F.), MCMURRAY (P.), Tape: Or, Rewinding the Phonographic Regime, Vol. 14 (2017), n. 1, pp. 3-24

-BOHLMAN (A. F.), Making Tapes in Poland: The Compact Cassette at Home, Vol. 14 (2017), n.1, pp. 119-134

-BOHLMAN (PP.V.), Analysing Aporia, Vol. 8 (2011), n. 2, pp. 133-152

-BORIO (G.), Theodor W. Adorno, Kranichsteiner and Redemption, Vol. 12 (2015), n.2, pp. 253-260

-BORN (G.), On Musical Mediation: Ontology, Technology and Creativity, Vol. 2 (2005), n. 1, pp. 7-36

-BORN (G.), DEVINE (K.), Music Technology, Gender, and Class: Digitization, Educational and Social Change in Britain,, Vol. 12 (2015), n.1, pp. 135-172

-BRAAE (N.), Sonic Patterns and Compositional Strategies in Queen’s ‘Bohemian Rhapsody’, Vol. 12 (2015), n.2, pp. 173-196

-BRATUS (A.), Scene through the Press: Rock Music and Underground Papers in London, 1966-73, Vol. 8 (2011), n. 2, pp. 227-252

-BRINNER (B.), Rachel Beckles Willson, Orientalism and Musical Mission: Palestine and the West, Vol. 11 (2014), n. 2, pp. 301-207

-BROWN (J.), Schoenberg and Redemption, , Vol. 12 (2015), n.2, pp. 253-260

-BRÜSTLE (C.), Timekeepers – Sound Artists – Drum Machines: Studies of Notation and Performance in Contemporary Music for Solo Percussionist, Vol. 6 (2009), n. 1, pp. 63-82

-BULLIVANT (J.), Rachel O’Higgins, ed., The Correspondence of Alan Bush and John Ireland 1927-1961, Vol. 6 (2009), n. 2, pp. 255-259

-BURNS (L.) WOODS (A.), Lafrance (M.), The Genealogy of a Song: Lady Gaga’s Musical Intertexts of The Fame Monster (2009), Vol. 23 (2015), n. 1, ppp. 3-35

-CARR (PP.), Kenneth Womack, ed., The Cambridge Companion to the Beatles, Vol. 8  (2011), n. 2, pp. 256-260

-CENCIARELLI (C.), Bach and Cigarettes: Imagining the Everyday in Jarmusch’s Int. Trailer. Night, Vol. 7 (2010), n. 2, pp. 219-244

-CHOWRIMOOTOO (C.), “Britten Minor”: Constructing the Modernist Canon,  Vol. 13 (2016), n. 2, pp. 261-290

-CIMINI (A.), Telematic Tape: Notes on Maryanne Amacher’s CityLinks (1967-1980), Vol. 14 (2017), n.1, pp. 93-108

-CIZMIC (M.), Transcending the Icon: Spirituality and Postmodernism in Arvo Pärt’s Tabula Rasa and Spiegel im Spiegel, Vol. 5 (2008), n. 1, pp. 45-78

-CLINE (D.), Straightening the Record: Morton Feldman’s Return to Graph Music, Vol. 10  (2013), n. 1, pp. 59-90

-COCHRAN (T.), Marianne Wheeldon, Debussy’s Late Style, Vol. 10 (2013), n. 2, pp. 285-290

-CODE (D.J.), Real Feelings: Music as Path to Philosophy in 2001: A Space Odyssey, Vol. 7 (2010), n. 2, pp. 195-218

-COLE (R.), ‘Sound Effects (O.K., Music)’: Steve Reich and the Visual Arts in New York City, 1966-1968, Vol. 11 (2014), n. 2, pp. 217-244

-COLLINS (S.), The Composer as ‘Good European’: Musical Modernism, Amor Fati and the Cosmopolitanism of Frederick Delius, Vol. 12 (2015), n.2, ppp.  97-124

-CONNOR (S.), Choralities, Vol. 13 (2016), n. 1, pp. 3-23

-COTTER (A.M.), Timothy A. Johnson, John Adams’s Nixon in China: Musical Analysis, Historical and Political Perspectives, Vol. 10 (2013), n. 2, pp. 291-296

-CROSS (J.), Tamara Levitz, Modernist Mysteries:Perséphone, Vol. 12 (2015), n.2, ppp. , ppp. 125-129

-CURRY (B.), Resituating the Icon: David Osmond-Smith’s Contribution to Music Semiotics, Vol. 9 (2012), n. 1 & 2, pp. 177-200

-DE BENEDICTIS (A.I.), The Dramaturgical and Compositional Genesis of Luigi Nono’s Intolleranza 1960 (translated by John O’Donnell), Vol. 9 (2012), n. 1 & 2, pp. 101-142

-DE CARVALHO (M.V.), Between Political Engagement and Aesthetic Autonomy: Fernando Lopes-Graça’s Dialectical Approach to Music and Politics, Vol. 8 (2011), n. 2, pp. 175-202

-DEMERS (J.), Cassette Tape Revival as Creative Anachronism, Vol. 14 (2017), n.1, pp. 109-117

-DESBRUSLAIS (S.), Stephen Luttmann, Paul Hindemith: a Research and Information Guide, Vol. 8 (2011), n.2, pp. 266-269

-DICKSON (I.), Orality and Rhetoric in Scelsi’s Music, Vol. 6 (2009), n. 1, pp. 23-42

-DINEEN (M.), Max Paddison and Irène Deliège, eds, Contemporary Music: Theoretical and Philosophical Perspectives, Vol. 9 (2012), n. 1 & 2, pp. 213-220

-DOFFMAN (M.), Jammin’ an Ending: Creativity, Knowledge, and Conduct among Jazz Musicians, Vol. 8 (2011), n. 2, pp. 203-226

-DUECK (B.), Gillian Mitchell, The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945-1980, Vol. 2 (2008), n. 2, pp. 263-268

-ELLIOTT (R.), “My Tongue Gets t-t-t”: Words, Sense, and Vocal Presence in Van Morrison’s It’s Too Late to Stop Now, Vol. 13 (2016), n. 1, pp. 53-76

-EMMERY (L.), Marguerite Boland and John Link (eds), Elliott Carter Studies, Vol. 10 (2013), n. 2, pp. 304-310

-FAIRCLOUGH (PP.), Marina Frolova-Walker and Jonathan Walker, Music and Soviet Power 1917-1932; Alexander Ivashkin and Andrew Kirkman, eds, Contemplating Shostakovich: Life, Music and Film, Vol. 11 (2014), n. 1, pp. 177-182

-FULLER (S.), Nicholas Cook and Anthony Pople, eds, The Cambridge History of Twentieth-Century Music, Vol. 5 (2008), n. 2, pp. 251-258

-GANN (K.), S. Andrew Ganade, Harry Partch, Hobo Composer, Vol. 12 (2015), n.2, pp. 268-273

-GARRATT (J.), Theodore Grayck and Andrew Kania (eds), The Routledge Companion to Philosophy and Music , Vol. 10 (2013), n. 273

-GRIFFITHS (D.), Kyle Gann, Music Downtown: Writings from the Village Voice, Vol. 7 (2010), n.1, pp. 127-129

-GRIMLEY (D.M.), Hidden Places: Hyper-realism in Björk’s Vespertine and Dancer in the Dark, Vol. 2 (2005), n. 1, pp. 37-52

-HAND (R.J.), Kevin J.H. Dettmar, ed., The Cambridge Companion to Bob Dylan, Vol. 8 (2011), n. 2, pp. 253-255

-HANRAHAN (B.), Alexandra Hui, The Psychophysical Ear: Musical Experiments, Experimental Sounds, 1840-1910; Carolyn Birdsall, Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933-1945; Florence Feiereisen and Alexandra Merley Hill, eds, Germany in the Loud Twentieth Century: An Introduction, Vol. 11 (2014), n. 2, pp. 315-321

-HEILE (B.), Eric Salzman and Thomas Desi, The New Music Theater: Seeing the Voice, Hearing the Body, Vol. 7 (2010), n. 1, pp. 130-135

-HESMONDHALGH (D.), Jonathan Sterne, MP3: The Meaning of a Format, Vol. 12 (2015), n.2, ppp. 130-132

-HILL (S.), Mina Yang, California Polyphony: Ethnic Voices, Musical Crossroads, Vol. 7 (2010), n. 1, pp. 122-126

-HOK CEE WONG (M.), Nicholas Cook, Eric Clarke, Daniel Leech-Wilkinson, and John Rink, eds, The Cambridge Companion to Recorded Music; Amanda Bayley, ed., Recorded Music: Performance, Culture, and Technology, Vol. 8 (2011), n. 1, pp. 99-104

-HOOPER (G.), A Sign of the Times: Semiotics in Anglo-American Musicology, Vol. 9 (2012), n. 1 & 2, pp. 161-176

-IMPERY (A.), Kofi Agawu, Representing African Music: Postcolonial Notes, Queries, Positions, Vol. 2 (2005), n. 1, pp. 146-149

-IVERSON (J.), Amy Bauer, Ligeti’s Laments: Nostalgia, Exoticism, and the Absolute, Vol. 9 (2012), n. 1 & 2, pp. 227-233

  • The Emergence of Timbre: Ligeti’s Synthesis of Electronic and Acoustic Music in Atmosphères, Vol. 7 (2010), n. 1, pp. 61-90

-JAKELSKI (L.), Rachel Beckles Willson, Ligeti, Kurtag, and Hungarian Music during the Cold War, Vol. 8 (2011), n. 1, pp. 125-130

  • Witold Lutosławski and the Ethics of Abstraction, Vol. 10 (2013), n. 2, pp. 169-202

-JONES (N.), Bayan Northcott, The Way We Listen Now and Other Writings on Music, ed. Christopher Wintle, Vol. 7 (2010), n. 2, pp. 267-270

-KANE (B.), Relays: Audiotape, Material Affordances, and Cultural Practice, Vol. 14 (2017), n.1, pp. 65-75

-KANEDA (M.), Acoustics of the Everyday: Between Growth and Conflict in 1960s Japan

-KERNODLE (T.L.), Ruth Feldstein, How It Feels to Be Free: Black Women Entertainers and the Civil Right Movement, Vol. 12 (2015), n.2, pp. 274-278

-KLEPPINGER (S.V.), The Structure and Genesis of Copland’s Quiet City, Vol. 7 (2010), n. 1, pp. 29-60

-KNYT (E.), Between Composition and Transcription: Ferruccio Busoni and Music Notation, Vol. 11 (2014), n. 1, pp. 37-62

-KUPFER (P.), “Our Soviet Americanism”: Jolly Fellows, Music, and Early Soviet Cultural Ideology, Vol. 13 (2016), n. 2, pp. 201-232

-LAMBERT (PP.), Brian Wilson’s Pet Sounds, Vol. 5 (2008), n. 1, pp. 109-134

-LATARTARA (J.), Laptop Composition at the Turn of the Millennium: Repetition and Noise in the Music of Oval, Merzbow, and Kid 606, Vol. 7 (2010), n. 1, pp. 91-116

-LEANTE (L.), Andy Nercessian, Postmodernism and Globalization in Ethnomusicology: An Epistemological Problem, Vol. 2 (2005), n. 1, pp. 142-146

-LEIPERT (T.), Björn Heile, ed., The Modernist Legacy: Essays on New Music, Vol. 8 (2011), n. 1, pp. 113-118

-LEVY (B.R.), ‘Rules as Strict as Palestrina’s’: The Regulation of Pitch and Rhythm in Ligeti’s Requiem and Lux aeterna, Vol. 10 (2013), n. 2, pp. 203-230

-LOMANNO (M.), Brian Harker, Louis Armstrong’s Hot Five and Hot Seven Recordings; Catherine Tackley, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert; Keith Waters, The Studio Recordings of the Miles Davis Quintet, 1965-68; Peter Elsdon, Keith Jarrett’s The Köln Concert; Gabriel Solis, Thelonious Monk Quartet Feauturing John Coltrane a Carnegie Hall, Vol. 12 (2015), n.2, pp. 279-284

-LONGOBARDI (R.S.), Multivalence and Collaboration in Benjamin Britten’s Death in Venice, Vol. 2 (2005), n. 1, pp. 53-78

-MALCOMSON (H.), Composing Individuals: Ethnographic Reflections on Success and Prestige in the British New Music Network, Vol. 10 (2013), n. 1, pp. 115-136

-MARK (C.), Matthew Riley, ed., British Music and Modernism, 1895-1960, Vol. 10 (2013), n. 1, pp. 141-148

-MATTES (A.C.), Radiant Moments of Remembrance: on Sound Sheets in Scoenberg’s Late Chamber Works, Vol. 6 (2009), n. 1, pp. 43-62

-MAWER (D.), Jazzing a Classic: Hylton and Stravinsky’s Mavra at the Paris Opéra, Vol. 6 (2009), n. 2, pp. 155-182

-McCARTHY (D.), Textured Voices and the Performance of Ethical Life in the Case of the Laff Box (1966), Vol. 13 (2016), n. 1, pp. 109-137

-McCRELESS (PP.), Daniel Grimley, Carl Nieslen and the Idea of Modernism, Vol. 10 (2013), n. 1, pp. 149-155

-McGLONE (M.), Benjamin Piekut, Experimentalism Otherwise: the New York Avant-Garde and Its Limits, Vol. 10 (2013), n. 2, pp. 297-303

-McMURRAY (P.), One Upone Time: A Superficial History of Early Tape, Vol. 14 (2017), n. 1, pp. 25-48

-MEAD (A.), Brian Alegant, The Twelve-Tone Music of Luigi Dallapiccola, Vol. 8 (2011), n. 1, pp. 119-124

-MILLER (L.E.), Lou Harrison and the Aesthetics of Revision, Alteration and Self-Borrowing, Vol. 2 (2005), n. 1, pp. 79-108

-MICZNIK (V.), Julian Johnson, Mahler’s Voices: Expression and Irony in the Songs and Symphonies, Vol. 8 (2011), n. 1, pp. 105-112

-MILLER (PP.V.), Mary Bauermeister, Ich hänge im Tirolengitter: mein Leben mit Karlheinz Stockhausen, Vol. 9 (2012), n. 1 & 2, pp. 221-226

-MOORE (A.F.), & DOCKWRAY (R.), The Establishment of the Virtual Performance Space in Rock, Vol. 5 (2008), n. 2, pp. 219-242

-MOORE (A.F.), SCHMIDT (PP.), & DOCKWRAY (R.), A Hermeneutics of Spatialization for Recorded Song, Vol. 6 (2009), n. 1, pp. 83-114

-MOREDA-RODRÍGUEZ (E.), Francoism and the Republican Exiles: the Case of the Composer Julián Bautista (1901-61), Vol. 8 (2011), n. 2, pp. 153-174

-MÓRICZ (K.), Shadows of the Past: Akhmatova’s Poem Without a Hero and Lourié’s Incantations, Vol. 5 (2008), n. 1, pp. 79-108

-MURPHY (S.), A Composite Approach to Ives’s ‘Cage’, Vol. 5 (2008), n. 2, pp. 179-194

  • In the Beginning of Penderecki’s Paradise Lost, Vol. 10 (2013), n. 2, pp. 231-248

-NIELSEN (N.), Ernst Krenek’s ‘Problem of Freedom’ in Jonny spielt auf, Vol. 10 (2013), n. 1, pp. 25-58

-O’CONNELL (J.M.), A Staged Fright: Musical Hybridity and Religious Intolerance in Turkey, 1923-38, Vol. 7 (2010), n. 1, pp. 3-28

-O’MEARA (C.PP.), Adam Krims, Music and Urban Geography, Vol. 5 (2008), n. 2, pp. 259-262

-OSMOND-SMITH (D.), Appendix: The Iconic Process in Musical Communication (1972), Vol. 9 (2012), n. 1 & 2, pp. 201-212

  • Masculine Semiotics: the Music of Goffredo Petrassi and the Figurative Arts in Italy during the 1930s (edited by Ben Earle), Vol. 9 (2012), n. 1 & 2, pp. 11-38
  • Two Fragments of ‘The Music of Luciano Berio’ (with an introductory note by Talia Pecker Berio), Vol. 9 (2012), n. 1 & 2, pp. 39-62
  • Voicing the Labyrinth: the Collaborations of Edoardo Sanguineti and Luciano Berio, Vol. 9 (2012), n. 1 & 2, pp. 63-78

-OWEN (C.), Making an English Voice: Performing National Identity during the English Musical Renaissance, Vol. 13 (2016), n. 1, pp. 77-107

-PASLER (J.), Sonic Anthropology in 1900: The Challenge of Transcribing Non-Western Music and Language, Vol. 11 (2014), n. 1, pp. 7-36

-PATERSON (A.), Pwyll ap Siôn, The Music of Michael Nyman: Texts, Contexts and Intertexts, Vol. 7 (2010), n. 2, pp. 254-259

-PAUL (D.C.), Richard H. Pells, Modernist America : Art, Music, Movies, and the Globalization of American Culture, Vol. 10 (2013), n. 1, pp. 137-140

-PHILLIPS (W.), Spaces of Resistance: the Adorno – Nono Complex, Vol. 9 (2012), n. 1 & 2, pp. 79-100

-PIEKUT (B.), Actor-Networks in Music History: Clarifications and Critiques, Vol. 11 (2014), n. 2, pp. 191-216

-PIERSON (M.), Voice, Techne, and Jouissance in Music for 18 Musicians, Vol. 13 (2016), n. 1, pp. 25-52

-POWERS (A.), Robin Holloway, On Music: Essays and Diversions, Vol. 2 (2005), n. 1, pp. 150-156

-PRITCHARD (M.), Who Killed the Concert? Heinrich Besseler and the Inter- War Politics of Gebrauchsmusik, Vol. 8 (2011), n. 1, pp. 29-48

-REES (J.), Kenneth Gloang and Nicholas Jones, eds, Peter Maxwell Davies Studies, Vol. 8 (2011), n. 2, pp. 261-265

-REICHARDT, (S.), Composing the Modern Subject: Four String Quartets by Dimitri Shostakovich, Vol. 7 (2010), n. 2, pp. 260-266

-RENIHAN (C.), ‘History As It Should Have Been’: Haunts of the Historical Sublime in John Corigliano’s and William Hoffman’s The Ghosts of Versailles, Vol. 10 (2013), n. 2, pp. 249-272

-REYLAND (N.), The Spaces of Dream: Lutoslawski’s Modernist Heterotopias, Vol. 12 (2015), n.2, ppp. 37-70

-RIFKIN (D.), The Quiet Revolution of a B Natural: Prokofiev’s ‘New Simplicity’ in the Second Violin Concerto, Vol. 6 (2009), n. 2, pp. 183-208

-RIVAL (R.), The Comfort of Denial: Metre, Cyclic Form, and Narrative in Shostakovich’s Seventh String Quartet, Vol. 6 (2009), n. 2, pp. 209-236

-ROGERS (H.), Carol Vernallis, Unruly Media: YouTube, Music Video, and the New Digital Cinema; John Richardson, An Eye for Music: Popular Music and the Audiovisual Surreal, Vol. 11 (2014), n. 2, pp. 308-314

  • Mervyn Cooke, A History of Film Music, Vol. 7 (2010), n. 2, pp. 245-247

-ROLLEFSON (J.G.), Martin Munro, Different Drummers: Rhythm and Race in the Americas, Vol. 10 (2013), n. 1, pp. 156-162

-ROSS (R.), David Manning, ed., Vaughan Williams on Music, Vol. 6 (2009), n. 2, pp. 260-263

-ROUST (C.), ‘Say it with Georges Auric’: Film Music and the esprit nouveau, Vol. 6 (2009), n. 2, pp. 133-154

-ROWDEN (C.), Alexandra Wilson, The Puccini Problem: Opera, Nationalism and Modernity, Vol. 6 (2009), n. 1, pp. 115-118

-RUBINOFF (K.R.), Cracking the Dutch Early Music Movement: the Repercussions of the 1969 Notenkrakersactie, Vol. 6  (2009), n. 1, pp. 3-22

-SIÔN (PP.a), Robert Carl, Terry Riley’s In C, Vol. 7 (2010), n. 2, pp. 248-253

-SMITH (K.M.), Skryabin’s Revolving Harmonies, Lacanian Desire, and Riemannian Funktionstheorie, Vol. 7 (2010), n. 2, pp. 167-194

-SPRIGGE (M.), Tape Work and Memory Work in Post-War Germany, Vol. 14 (2017), n.1, pp. 49-63

-STANYEK (J.), Forum on Transcription, Vol. 11 (2014), n. 1, pp. 101

-STANNARD (I.), Suzanne Robinson ed., Michael Tippett: Music and Literature, Vol. 2 (2005), n. 1, pp. 137-141

-STEINBECK (PP.), The Art Ensemble of Chicago’s ‘Get in Line’: Politics, Theatre and Play, Vol. 10 (2013), n. 1, pp. 3-24

-STRAUS (J.N.), Motivic Chains in Bartók’s Third String Quartet, Vol. 5 (2008), n. 1, pp. 25-44

-SUMMACH (J.), Allan F. Moore, Song Means: Analysing and Interpreting Recorded Popular Song, Vol. 11 (2014), n. 1, pp. 183-188

-TAMPLIN (J.), Ignacio Corona and Alejandro L. Madrid, eds, Postnational Musical Identities: Cultural Production, Distribution, and Consumption in a Globalized Scenario, Vol. 7 (2010), n. 1, pp. 117-121

-TARUSKIN (R.), ‘Alte Musik’ or ‘Early Music’?, Vol. 8 (2011), n. 1, pp. 3-28

-TAUSIG (B.), Georgina Born, ed., Music, Sound and Space: Transformations of Public and Private Experience; Jonathan Sterne, ed., The Sound Studies Reader; Trevor Pinch and Karin Bijsterveld, eds, The Oxford Handbook of Sound Studies, Vol. 11 (2014), n. 1, pp. 163-176

-TAYLOR (H.), Whose Bird Is It? Messiaen’s Transcription of Australian Songbirds, Vol. 11 (2014), n. 1, pp. 63-100

-THOMAS (H.), Holly Watkins, Metaphors of Depth in German Musical Thought: from E.T.A. Hoffmann to Arnold Schoenberg, Vol. 10 (2013), n. 2, pp. 280-284

-THOMAS (PP.), Understanding Indeterminate Music through Performance: Cage’s Solo for Piano, Vol. 10 (2013), n. 1, pp. 91-114

-TUNBRIDGE (L.), Scarlet Johansson’s Body and the Materialization of Voice, Vol. 13 (2016), n. 1, pp. 139-152

-TYRRELL (J.), Brian S. Locke, Opera and Ideology in Prague: Polemics and Practice at the National Theatre, 1900-1938, Vol. 5 (2008), n. 1, pp. 150-154

-VAGOPOULOU (E.), Nouritza Matossian, Xenakis (rev. edn), Vol. 6 (2009), n. 1, pp. 126-130

-VALIQUET (P.), Pierre Schaeffer, In Search of a Concrete Music; Brian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice, Vol. 12 (2015), n.2, pp. 285-290

-VARWIG (B.), Beware the Lamb: Staging Bach’s Passions, Vol. 11 (2014), n. 2, pp. 245-274

-VENN (E.), A Very British Modernism? A Review of Hugh Wood, Staking Out the Territory and Other Writings on Music, ed. Christopher Wintle, Vol. 6 (2009), n. 2, pp. 237-254

-VON GLAHN (S.), Charles Ives at ‘Christo’s Gates’, Vol. 5 (2008), n. 2, pp. 157-178

-WALSH (S.), David E. Schneider, Bartók, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and Nationality; Danielle Fosler-Lussier, Music Divided: Bartók’s Legacy in Cold War Culture, Vol. 5 (2008), n. 1, pp. 140-145

-WEDLER (S.), Thus Spoke the Early Modernist: Zarathustra and Rotational Form in Webern’s String Quartet (1905), , Vol. 12 (2015), n.2, pp. 225-252

-WESTERN (T.), ‘The Age of the Golden Ear’: The Columbia World Library and Sounding out Post-war Field Recording, Vol. 11 (2014), n. 2, pp. 275-300

-WHITTALL (A.), Jane F. Fulcher, The Composer as Intellectual: Music and Ideology in France, 1914-1940, Vol. 6 (2009), n. 1, pp. 119-121

-WILLIAMS (A.), Mixing with Mozart: Aesthetics and Tradition in Helmut Lachenmann’s Accanto, Vol. 8 (2011), n. 1, pp. 71-98

-WOOD (A.), Jason Toynbee and Byron Dueck, eds, Migrating Music, Vol. 10 (2013), n. 1, pp. 163-166

-WRIGHT (D.C.H.), The London Sinfonietta 1968-2004: A Perspective, Vol. 2 (2005), n. 1, pp. 109-136

-YUNKER (J.F.), Erik Levi, Mozart and the Nazis: How the Third Reich Abused a Cultural Icon, Vol. 9 (2012), n. 1 & 2, pp. 234-240

 

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