Articles from: Early Music (oxfordjournals.)
 |
|
|
| Next Page
| |
|
|
|
|
|
|
|
|
| Did Haydn attend the Handel Commemoration in Westminster Abbey? (more) | 2012 03 31 |
|
|
|
|
|
| Adapting an adaptation: Martin Opitz's Dafne among the Italians (more) | 2012 03 31 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| Banking on Brahms's tempos: a literalist look at the Italian terminology in (more) | 2012 03 31 |
|
| Love in the music room: Thomas Whythorne and the private affairs of Tudor m (more) | 2012 03 31 |
|
|
|
|
| High clefs and down-to-earth transposition: a brief defence of Monteverdi (more) | 2012 03 31 |
|
|
|
|
|
| 'Memento mori Froberger?' Locating the self in the passage of time (more) | 2012 03 31 |
|
|
| An emblem of modern music: temporal symmetry in the prologue of L'Orfeo (16 (more) | 2012 01 22 |
|
| J. S. Bach's Trauer-Music for Prince Leopold: clarification and reconstruct (more) | 2012 01 22 |
|
|
| 'His name will be called John': reception and symbolism in Obrecht's Missa (more) | 2012 01 22 |
|
|
| 'In grembo a Citherea': the representation of ingenium and ars in Claudio M (more) | 2012 01 22 |
|
| 'The ripienists must also be at least eight, namely two for each part': The (more) | 2012 01 22 |
|
| 'The high and lowe keyes come both to one pitch': reconciling inconsistent (more) | 2012 01 22 |
|
|
| Winds, cupids, little zephyrs and sirens: Monteverdi and Le nozze di Tetide (more) | 2012 01 22 |
|
| Significance and effect of the stile antico in Handel's oratorios (more) | 2012 01 22 |
|
| Next Page
| |
