Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-hc48f Total loading time: 0 Render date: 2024-12-26T16:21:41.240Z Has data issue: false hasContentIssue false

Select bibliography

from PART VIII

Published online by Cambridge University Press:  28 March 2012

Edited by
Colin Lawson  and
Robin Stowell
Colin Lawson
Affiliation:
Royal College of Music, London
Robin Stowell
Affiliation:
Cardiff University
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
The Cambridge History of Musical Performance , pp. 834 - 893
Publisher: Cambridge University Press
Print publication year: 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Álvarez Martínez, M. S., ‘Sevilla’, in Diccionário de la música española y hispanoamericana, 7, Madrid, Sociedad General de Autores y Editores, 2000Google Scholar
Abraham, G., The Tradition of Western Music, Oxford University Press, 1974Google Scholar
Adam, J.-L., Méthode de piano du Conservatoire, Paris, Magasin de musique du Conservatoire Royal, 1804Google Scholar
Adler, G. (ed.), Handbuch der Musikgeschichte, 2nd edn, Berlin, H. Keller, 1930
Agricola, J. F., Anleitung zur Singkunst, Berlin, Winter, 1757, trans. and ed. Baird, J. C. as Introduction to the Art of Singing by Johann Friedrich Agricola, Cambridge University Press, 1995Google Scholar
Agricola, J. F., Anleitung zur Singkunst, Berlin, Winter, 1757; trans. and ed. Baird, J. C. as Introduction to the Art of Singing by Johann Friedrich Agricola, Cambridge University Press, 1995Google Scholar
Alberman, D., ‘Abnormal playing techniques in the string quartets of Helmut Lachenmann’, Contemporary Music Review, 24/1 (2005), 39–51CrossRefGoogle Scholar
Altenburg, J. E., Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Pauker-Kunst, Halle, Hendel, 1795, trans. Tarr, E. H as Essay on an Introduction to the Heroic and Musical Trumpeters' and Kettledrummers' Art, Nashville, TN, Brass Press, 1974Google Scholar
Anderson, G. A. (ed.), Compositions of the Bamberg Manuscript, Bamberg, Staatsbibliothek, Lit. 115, Corpus mensurabilis musicae 75, Neuhausen-Stuttgart, American Institute of Musicology, 1977
Andreassi, M., Mimi greci in Egitto: «Charition» e «Moicheutria», Bari, Palomar, 2001Google Scholar
Aneziri, S., ‘The organisation of music contests in the Hellenistic period and artists’ participation: an attempt at classification’, in Wilson, P. (ed.), The Greek Theatre and Festivals. Documentary Studies, Oxford Studies in Ancient Documents, Oxford University Press, 2007, pp. 67–84Google Scholar
Angilette, E., Philosopher at the Keyboard: Glenn Gould, New Jersey, Scarecrow, 1992Google Scholar
Anglès, H., ‘Hispanic culture from the 6th to the 14th century’, Musical Quarterly, 26 (1940), 494–528CrossRefGoogle Scholar
Anselmo, C., Saggio di lettere, Venice, 1627Google Scholar
Anthony, J. R., French Baroque Music from Beaujoyeulx to Rameau, 2nd edn, New York, Norton; London, Batsford, 1978Google Scholar
Antolini, B. M., ‘La carriera di cantante e compositore di Loreto Vittori’, Studi musicali, 7 (1978), 141–88Google Scholar
Applegate, C., and Potter, P. (eds.), Music and German National Identity, University of Chicago Press, 2002
Applegate, C., Bach in Berlin: Nation and Culture in Mendelssohn's Revival of the St Matthew Passion, Ithaca, NY, Cornell University Press, 2005Google Scholar
Arditi, L., My Reminiscences, New York, Dodd, Mead, 1896Google Scholar
Arlt, W., ‘Instrumentalmusik im Mittelalter: Fragen der Rekonstruktion einer schriftloser Praxis’, Basler Jahrbuch f ür historische Musikpraxis, 7 (1983), 32–64Google Scholar
Arnold, D., ‘Instruments and instrumental teaching in the early Italian conservatoires’, Galpin Society Journal, 18 (1965), 72–81CrossRefGoogle Scholar
Arnold, D., ‘Music at the Ospedali’, Journal of the Royal Musical Association, 113/2 (1988), 156–67CrossRefGoogle Scholar
Arnold, D. and , E, The Oratorio in Venice, London, Royal Musical Association Monographs, 1986Google Scholar
Arnold, D., ‘Music at the Scuola di San Rocco’, Music & Letters, 40 (1959), 229–41CrossRefGoogle Scholar
Arnold, F. T., The Art of Accompaniment from a Thorough-Bass as Practised in the XVIIth and XVIIIth Centuries, Oxford University Press, 1931Google Scholar
Arnott, P. D., Public and Performance in the Greek Theatre, London, Kindle Edition, 1989CrossRefGoogle Scholar
Arnott, P. D., and Walton, J. M., Menander and the Making of Comedy, Westport, CT, Greenwood Press, 1996Google Scholar
Arnott, W. G., ‘The preoccupations of Theocritus: structure, illusive realism, allusive learning’, in Harder, M. A., Regtuit, R. F. and Walker, G. C. (eds.), Theocritus, Hellenistica Groningana, Proceedings of the Groningen Workshops on Hellenistic Poetry, Groningen, Egbert Forsten, 1996, pp. 57–70Google Scholar
Ashbrook, W., ‘The first singers of Tristan und Isolde’, Opera Quarterly, 3/4 (1985–6), 11–23CrossRefGoogle Scholar
Ashworth, J., and O'Dette, P., ‘Basso Continuo’, in Carter, S. (ed.), A Performer's Guide to Seventeenth-Century Music, New York, Schirmer, 1997, pp. 269–96Google Scholar
Atlas, A. W., Renaissance Music, New York, Norton, 1998Google Scholar
Auer, L., Violin Playing as I Teach It, New York, Stokes, 1921; repr. New York, Dover, 1980Google Scholar
Austern, L. P., Music in English Children's Drama of the Late Renaissance, Philadelphia, PA, Gordon & Breach, 1992.Google Scholar
Huray, P., Authenticity in Performance: Eighteenth-Century Case Studies, Cambridge University Press, 1990Google Scholar
Ayarra Jarne, J. E., ‘La música en el culto catedralicio hispalense’, in Iñiguez, D. A. (ed.), La Catedral de Sevilla, Seville, Guadalquivir, 1984, pp. 699–747Google Scholar
Bödeker, H. E., Veit, P. and Werner, M. (eds.), Le concert et son public, Paris, Éditions de la Maison des sciences de l'homme, 2002CrossRef
Bücher, K., Arbeit und Rhythmus, 3rd edn, Leipzig, B. G. Teubner, 1902CrossRefGoogle Scholar
Bülow, H., The Early Correspondence of Hans von Bülow, ed. by his widow, selected, and trans. Bache, C., New York, Appleton, 1896Google Scholar
Bülow, H., Briefe, ed. Bülow, M., 7 vols., Leipzig, Breitkopf & Härtel, 1898–1908Google Scholar
Bach, C. P. E., Versuch über die wahre Art das Clavier zu spielen, 2 vols., Berlin, 1753 and 1762, repr. 1957, trans. and ed. Mitchell, W. J. as Essay on the True Art of Playing Keyboard Instruments, New York, Norton, 1949Google Scholar
Bach, C. P. E., Versuch über die wahre Art das Clavier zu spielen, 2 vols. Berlin, 1753 and 1762; trans. and ed. Mitchell, W. J. as Essay on the True Art of Playing Keyboard Instruments, New York, Norton, 1949Google Scholar
Bach, A. [Albert Bernhard], On Musical Education and Vocal Culture, Edinburgh and London, Blackwood, 1883Google Scholar
Bacilly, B., Remarques curieuses sur l'art de bien chanter, Paris, 1668, facsimile edn, Geneva, Minkoff, 1971, trans. Caswell, A. B. as A Commentary upon the Art of Proper Singing, Brooklyn, NY, Institute of Mediaeval Music, 1968Google Scholar
Bacilly, B., Remarques curieuses sur l'art de bien chanter et particulièrement pour ce qui regarde le chant français, Paris, author and Ballard, 1668; facsimile edn, Geneva, Slatkine, 1971; trans. and ed. A. B. Caswell as A Commentary upon the Art of Proper Singing, Brooklyn, NY, Institute of Mediaeval Music, 1968Google Scholar
Bacilly, B., Remarques curieuses sur l'art de bien chanter, Paris, author, 1668, trans. and ed. Caswell, A. B. as A Commentary upon the Art of Proper Singing, Brooklyn, NY, Institute of Mediaeval Music, 1968Google Scholar
Bacon, R. M., ‘Italian songs’ (unsigned review), Quarterly Musical Magazine and Review, 36 (1827), 542–3Google Scholar
Bailey, P. (ed.), Music Hall: The Business of Pleasure, Milton Keynes, Open University Press, 1986
Bailey, P., Popular Culture and Performance in the Victorian City, Cambridge, Oleander Press, 1998Google Scholar
Bailey, R., The Genesis of ‘Tristan und Isolde’ and a Study of Wagner's Sketches and Drafts for the First Act, Ann Arbor, MI, UMI Research Press, 1969Google Scholar
Bailey, R. (ed.), Richard Wagner: Prelude and Transfiguration from ‘Tristan and Isolde’, New York, Norton, 1985
Baines, A., ‘Fifteenth-century instruments in Tinctoris's De inventione et usu musicae’, Galpin Society Journal, 3 (1950), 19–27CrossRefGoogle Scholar
Baines, A. (ed.), Musical Instruments through the Ages, London, Pelican, 1961
Baines, A., Woodwind Instruments and their History, London, Faber, 1967Google Scholar
Baines, A., Brass Instruments: Their History and Development, London, Faber, 1976Google Scholar
Baker, N., ‘An unnumbered manuscript of polyphony in the archives of the Cathedral of Segovia’, Ph.D. thesis, University of Maryland (1978)Google Scholar
Baker, G., ‘Music in the convents and monasteries of colonial Cuzco’, Latin American Music Review, 24 (2003), 1–41CrossRefGoogle Scholar
Baker, J., Full Circle, London, Macrae, 1982Google Scholar
Baldauf-Berdes, J. L., Women Musicians of Venice. Musical Foundations, 1525–1855, Oxford University Press, 1996Google Scholar
Baldwin, O., and Wilson, T., ‘Purcell's stage singers’, in Burden, M. (ed.), Performing the Music of Henry Purcell, Oxford, Clarendon Press, 1996, pp. 105–29Google Scholar
Banfield, S., Sensibility and English Song, 2 vols., Cambridge University Press, 1985Google Scholar
Banks, J., ‘Performing the instrumental music in the Segovia codex’, Early Music, 27 (1999), 294–309CrossRefGoogle Scholar
Banks, J., The Instrumental Consort Repertory of the Late Fifteenth Century, Aldershot, Ashgate, 2006Google Scholar
Barbier, P., The World of the Castrati, London, Souvenir Press, 1998Google Scholar
Barbieri, P., Enharmonic Instruments and Music 1470–1900, Latina, Levante, 2008Google Scholar
Barbieri, P., ‘Violin intonation: a historical survey’, Early Music, 19 (1991), 69–88Google Scholar
Barblan, G., ‘Vita musicale alla corte sforzesca’, in Treccani, G. (ed.), Storia di Milano, vol. 9, Milan, Fondazione Treccani degli Alfieri per la Storia di Milano, 1961, pp. 787–852Google Scholar
Barbour, J. M., Tuning and Temperament: A Historical Survey, New York, Da Capo, 1953, repr. 1972Google Scholar
Barclay, R., ‘A new species of instrument: the vented trumpet in context’, Historic Brass Society Journal, 10 (1998), 1–13Google Scholar
Barker, A. D., Greek Musical Writings: I. The Musician and his Art, Cambridge Readings in the Literature of Music, Cambridge University Press, 1984Google Scholar
Barker, A. D., Euterpe. Ricerche sulla musica greca e romana, ed. Perusino, F. and Rocconi, E., Pisa, ETS, 2002Google Scholar
Barker, P., Composing for Voice, New York and London, Routledge, 2004Google Scholar
Barlow, C. (ed.), Martini episcopi Bracarensis, Opera omnia, New Haven and London, Yale University Press, 1950
Barlow, F. (ed.), The ‘Carmen de Hastingae Proelio’ of Guy Bishop of Amiens, Oxford Medieval Texts, Oxford University Press, 1999
Barnes, C. (trans. and ed.), Russian Piano School: Russian Pianists and Moscow Conservatoire Professors on the Art of the Piano, London, Kahn & Averill, 2007
Barnish, S. J. B., The Variae of Magnus Aurelius Cassiodorus, Liverpool University Press, 1992CrossRefGoogle Scholar
Barnish, S. J. B. trans., The Variae of Magnus Aurelius Cassiodorus Senator, Liverpool University Press, 1992CrossRef
Baron, J. H., Intimate Music: A History of the Idea of Chamber Music, Hillsdale, NY, Pendragon Press, 1998Google Scholar
Baroncini, R., ‘Zorzi Trombetta and the Band of Piffari and trombones of the Serenissima: new documentary evidence’, Historic Brass Society Journal, 14 (2002), 59–82Google Scholar
Barron, M., Auditorium Acoustics and Architectural Design, London, E. & F. N. Spon, 1993Google Scholar
Barth, G., The Pianist as Orator: Beethoven and the Transformation of Keyboard Style, Ithaca, NY, Cornell University Press, 1992Google Scholar
Bartlett, C. (ed.), Claudio Monteverdi: Vespers 1610, Wyton, King's Music, 1986, rev. 1990; Monteverdi Vespers (1610): Edition for Performance by Voices and Continuo Only, Wyton, King's Music, 1990; and Monteverdi: Vespers (1610): Guide to Liturgical Context with Plainsong Antiphons etc., Wyton, King's Music, 1989
Bartolozzi, B., New Sounds for Woodwind, 2nd edn, Oxford University Press, 1982Google Scholar
Bashford, C., The Pursuit of High Culture: John Ella and Chamber Music in Victorian London, Woodbridge, Boydell Press, 2007Google Scholar
Bashford, C., and Langley, L. (eds.), Music and British Culture 1785–1914: Essays in Honour of Cyril Ehrlich, Oxford University Press, 2000
Bashford, C., John Ella and the Musical Union, Music and British Culture 1785–1914. Essays in Honour of Cyril Ehrlich, Oxford University Press, 2000Google Scholar
Bashford, C., ‘The string quartet and society’, in Stowell, R. (ed.), The Cambridge Companion to the String Quartet, Cambridge University Press, 2003, pp. 3–18Google Scholar
Bassano, G., Ricercate, passaggi et cadentie, Venice, 1585, facsimile edn, Münster, Mieroprint, 1994Google Scholar
Bassano, G., Motetti, madrigali et canzoni francese, Venice, 1591, ed. Charteris, R., American Institute of Musicology, Holzgerlingen, Hänssler, 1999Google Scholar
Baxendall, M., Painting and Experience in Fifteenth-Century Italy, Oxford University Press, 1972Google Scholar
Beacham, R. C., Adolphe Appia, Artist and Visionary of the Modern Theatre, Philadelphia, PA, Harwood, 1994Google Scholar
Beal, A., New Music, New Allies. American Experimental Music in West Germany from the Zero Hour to Reunification, Berkeley, University of California Press, 2006CrossRefGoogle Scholar
Beale, R., ‘Opera in Manchester, 1848–1899’, Manchester Sounds, 6 (2005–6), 71–97Google Scholar
Beale, R.Charles Hallé: A Musical Life, Aldershot, Ashgate, 2007Google Scholar
Beaussant, P., François Couperin, Paris, Fayard, 1980, trans. Land, A., Portland, OR, Amadeus Press, 1990Google Scholar
Beethoven, L., The Letters of Beethoven, ed. Anderson, E. 3 vols., London, Macmillan, 1961Google Scholar
Beicken, S., Treatise on Vocal Performance and Ornamentation by Johann Adam Hiller, Cambridge University Press, 2001Google Scholar
Bennett, J., A Short History of Cheap Music as Exemplified in the Records of the House of Novello, London and New York, Novello, 1887Google Scholar
Bennett, D. E., Understanding the Classical Music Profession. The Past, the Present and Strategies for the Future, Aldershot, Ashgate, 2008Google Scholar
Benoit, M., Musiques de Cour, Paris, A. & J. Picard, 1971Google Scholar
Bent, I. (ed.), Source Materials and the Interpretation of Music, London, Stainer & Bell, 1981
Bent, M., Counterpoint, Composition, and Musica Ficta, New York and London, Routledge, 2002Google Scholar
Bente, M. (ed.), Musik. Edition. Interpretation. Gedenkschrift Günter Henle, Munich, Henle, 1979
Benvenuti, A. T., L'Orfeo del Poliziano, con il testo critico dell'originale e delle successive forme teatrali, Padua, Antenore, 1986Google Scholar
Berger, K., Theories of Chromatic and Enharmonic Music in Late Sixteenth-Century Italy, Bloomington, Indiana University Press, 1976Google Scholar
Berlioz, H., Grand traité d'instrumentation et d'orchestration modernes, Op. 10, Paris, 1843, 2nd edn, 1855, trans. Clarke, M. C. as A Treatise on Modern Instrumentation and Orchestration, London, Novello & Ewer, 1882Google Scholar
Berlioz, H., The Memoirs of Hector Berlioz, trans. and ed. Cairns, D., London, Gollancz, 1969; repr. London, Sphere, 1990Google Scholar
Berlioz, H., A travers chants (Paris, 1862), trans. Csicsery-Ronay, E. as The Art of Music and Other Essays, Bloomington, Indiana University Press, 1994Google Scholar
Bernac, P., The Interpretation of French Song, London, Cassell, 1970Google Scholar
Bernhard, C., Von der Singe Kunst, oder Maniera, ed. Müller-Blattau, J., Die Kompositionslehre Heinrich Schützens in der Fassung seines Schülers Christoph Bernhard, Kassel, Bärenreiter, 1999Google Scholar
Bernstein, J., Print, Culture and Music in Sixteenth-Century Venice, Oxford University Press, 2002CrossRefGoogle Scholar
Besutti, P., ‘Ave Maris Stella: la tradizione mantovane nuovamente posta in musica da Monteverdi’, in Besutti, P., Gialdroni, T. M., and Baroncini, R. (eds.), Claudio Monteverdi: Studi e Prospettive; Atti del Convegno, Mantova, 21–24 Ottobre 1993, Florence, Leo S. Olschki, 1993, pp. 57–77Google Scholar
Besutti, P., ‘Spaces for music in late Renaissance Mantua’, in Whenham, J. and Wistreich, R. (eds.), The Cambridge Companion to Monteverdi, Cambridge University Press, 2007, pp. 76–94CrossRefGoogle Scholar
Bianconi, L., Music in the Seventeenth Century, trans. Bryant, D., Cambridge University Press, 1987CrossRefGoogle Scholar
Biba, O., ‘Concert life in Beethoven's Vienna’, in Winter, R. and Carr, B. (eds.), Beethoven, Performers, and Critics, Detroit, MI, Wayne State University Press, 1979, pp. 77–93Google Scholar
Biba, O., ‘Schubert's position in Viennese musical life’, 19th-Century Music, 3/2 (1979), 106–13CrossRefGoogle Scholar
Bickley, N. (ed. and trans.), Letters from and to Joseph Joachim, London, Macmillan, 1914
Bilson, M., ‘The Viennese fortepiano of the late 18th century’, Early Music, 8 (1980), 158–62CrossRefGoogle Scholar
Black, C., Italian Confraternities in the Sixteenth Century, Cambridge University Press, 1989Google Scholar
Blackburn, B. J., Lowinsky, E. E. and Miller, C. A. (eds.), A Correspondence of Renaissance Musicians, Oxford University Press, 1991
Blackburn, B., and Lowinsky, E., ‘Luigi Zenobi and his letter on the perfect musician’, Studi musicali, 20 (1994), 61–95; repr. in Blackburn, B., Composition, Printing and Performance: Studies in Renaissance Music, Aldershot, Ashgate, 2000Google Scholar
Blades, J., Percussion Instruments and their History, London, Faber, 1984Google Scholar
Blake, A., The Land Without Music: Music, Culture and Society in Twentieth-Century Britain, Manchester University Press, 1997Google Scholar
Blanning, T. (ed.), The Oxford Illustrated History of Modern Europe, Oxford University Press, 1996
Blanning, T., The Culture of Power and the Power of Culture: Old Regime Europe 1660–1789, Oxford University Press, 2002CrossRefGoogle Scholar
Blanning, T., The Pursuit of Glory: Europe 1648–1815, Allen Lane, London, 2007Google Scholar
Blanning, T., The Triumph of Music: The Rise of Composers, Musicians and their Art, Cambridge, MA, Harvard University Press; London, Allen Lane, 2008Google Scholar
Blazey, D., ‘A liturgical role for Monteverdi's Sonata sopra Sancta Maria’, Early Music, 17 (1989), 175–82CrossRefGoogle Scholar
Blichmann, D., ‘Anmerkungen zur Musik an den venezianischen Ospedali im 17. und 18. Jahrhundert’, Acta Musicologica, 74/1 (2002), 77–99CrossRefGoogle Scholar
Bloom, P. A., ‘The public for orchestral music in the nineteenth century’, in Peyser, J. (ed.), The Orchestra: Origins and Transformations, New York, Billboard, 2000, pp. 253–84Google Scholar
Blume, W. (ed.), Brahms in der Meininger Tradition: Seine Sinfonien und Haydn-Variationen in der Bezeichnung von Fritz Steinbach, Stuttgart, Suhrkamp, 1933
Boethius, , The Theological Tractates, The Consolation of Philosophy, trans. Stewart, J. F., Rand, E. K. and Texter, S. J., Cambridge, MA, Harvard University Press, 2003Google Scholar
Boetticher, W. ed., Briefe und Gedichte aus dem Album Robert und Clara Schumanns, Leipzig, Deutscher Verlag für Musik, 1979
,Bonaventura da Brescia, Regula musice plane, facsimile edn, Monuments of Music and Music Literature in Facsimile, 77, New York, Broude, 1975, trans. Seay, A. as Rules of Plain Music, Colorado College Music Press Translations, 11, Colorado Springs, Colorado College Music Press, 1979Google Scholar
Bonds, M. E., Music as Thought: Listening to the Symphony in the Age of Beethoven, Princeton University Press, 2006Google Scholar
Bonta, S., ‘Liturgical problems in Monteverdi's Marian Vespers’, Journal of the American Musicological Society, 20 (1967), 87–106CrossRefGoogle Scholar
Bonta, S., ‘From violone to violoncello: a question of strings?’, Journal of the American Musical Instrument Society, 3 (1977), 64–99Google Scholar
Bonta, S., ‘Terminology for the bass violin in seventeenth-century Italy’, Journal of the American Musical Instrument Society, 4 (1978), 5–42Google Scholar
Bonta, S., Studies in Italian Sacred and Instrumental Music in the 17th Century, Aldershot, Ashgate, 2003Google Scholar
Bonta, S., ‘From violone to violoncello: a question of strings’, Journal of the American Musical Instrument Society, 3 (1977), 5–43Google Scholar
Boogart, J., ‘Encompassing past and present: quotations and their function in Machaut's motets’, Early Music History, 20 (2001), 1–86CrossRefGoogle Scholar
Boone, G. M., Patterns in Play, a Model for Text Setting in the Early French Songs of Guillaume Dufay, Lincoln and London, University of Nebraska Press, 1999Google Scholar
Boorman, S., Ottaviano Petrucci: A Catalogue Raisonné, Oxford University Press, 2005CrossRefGoogle Scholar
Borchard, B., Robert Schumann und Clara Wieck. Bedingungen künstlerischer Arbeit in der ersten Hälfte des 19. Jahrhunderts, Weinheim and Basel, Beltz, 1985Google Scholar
Borchard, B., Stimme und Geige. Amalie und Joseph Joachim, Vienna, Cologne and Weimar, Böhlau, 2005Google Scholar
Borchmeyer, D., Das Theater Richard Wagners. Idee–Dichtung–Wirkung, Stuttgart, Reclam, 1982, trans. Spencer, S. as Richard Wagner: Theory and Theatre, Oxford University Press, 1991Google Scholar
Borgerding, T. M., ‘The motet and Spanish religiosity, ca. 1550–1610’, Ph.D. thesis, University of Michigan (1997)Google Scholar
Borgir, T., The Performance of the Basso Continuo in Italian Baroque Music, Ann Arbor, MI, UMI Research Press, 1987Google Scholar
Boros, J., ‘A “new totality?”’, Perspectives of New Music 33/1 and 2 (1995), 538–53Google Scholar
Boros, J., and Toop, R. (eds.), Brian Ferneyhough: Collected Writings, Amsterdam, Harwood, 1998
Bossuat, R., Manuel bibliographique de la littérature française du Moyen Âge, Paris, Librairie d'argences, 1951Google Scholar
Botstein, L. ‘Listening through reading: musical literacy and the concert audience’, 19th-Century Music, 16/2 (1992), 129–45CrossRefGoogle Scholar
Boulez, P., ‘The Vestal Virgin and the fire-stealer: memory, creation and authenticity’, Early Music, 18 (1990), 355–8CrossRefGoogle Scholar
Bourdelet, P., Histoire de la musique et de ses effets, depuis son origine jusqu'à present, Paris, 1715Google Scholar
Bourgeois, L., Le droit chemin de musique, Geneva, 1550, facsimile edn, Kassel, Bärenreiter, 1954Google Scholar
Bovicelli, G. B., Regole, passaggi di musica, madrigali e motetti passeggiati, Venice, 1594, facsimile edn, Kassel, Bärenreiter, 1957Google Scholar
Bovicelli, G. B., Regole, passaggi di musica, madrigali e motetti passeggiati, Venice, 1594Google Scholar
Bowden, P., Life of a Low Lady, Norwich, Thames Elkin, 2002Google Scholar
Bowen, J. A. (ed.), The Cambridge Companion to Conducting, Cambridge University Press, 2003CrossRef
Bowen, C. D., Free Artist: The Story of Anton and Nicolai Rubinstein, Boston, Little, Brown & Company, 1939Google Scholar
Bowen, J. A., ‘Mendelssohn, Berlioz, and Wagner as conductors: the origins of the ideal of “fidelity to the composer” ’, Performance Practice Review, 6/1 (1993), 77–88CrossRefGoogle Scholar
Bowen, J. A., ‘The rise of conducting’, in Bowen, J. A. (ed.), The Cambridge Companion to Conducting, Cambridge University Press, 2003, pp. 93–113CrossRefGoogle Scholar
Bower, C. M. (ed.), Fundamentals of Music: Anicius Manlius Severinus Boethius, New Haven and London, Yale University Press, 1989
Bowers, R., ‘The vocal scoring, choral balance and performing pitch of Latin church polyphony in England, c. 1500–58’, Journal of the Royal Musical Association, 112 (1987), 38–76CrossRefGoogle Scholar
Bowers, R., ‘Some reflection upon notation and proportion in Monteverdi's Mass and Vespers of 1610’, Music & Letters, 73 (1992), 347–98CrossRefGoogle Scholar
Bowers, R., ‘An “aberration” reviewed: the reconciliation of inconsistent clef-systems in Monteverdi's Mass and Vespers of 1610’, Early Music, 31 (2003), 527–38CrossRefGoogle Scholar
Bowers, R. ‘Monteverdi at Mantua, 1590–1612’, in Whenham, J. and Wistreich, R. (eds.), The Cambridge Companion to Monteverdi, Cambridge University Press, 2007, pp. 53–75CrossRefGoogle Scholar
Bowers, R. ‘Claudio Monteverdi and sacred music in the household of the Gonzaga Dukes of Mantua, 1590–1612’, Music & Letters, 90 (2009), 331–71CrossRefGoogle Scholar
Bowles, E. A., ‘Haut and Bas: the grouping of musical instruments in the Middle Ages’, Musica Disciplina, 8 (1954), 115–40Google Scholar
Boyden, D. D., The History of Violin Playing from its Origins to 1761, Oxford University Press, 1965Google Scholar
Boyden, D. D., The History of Violin Playing from its Origins to 1761, and its Relation to the Violin and Violin Music, Oxford University Press, 1965, repr. 1990Google Scholar
Boyden, D., The History of Violin Playing from its Origins to 1761, Oxford University Press, 1965Google Scholar
Boyle, D., Blondel's Song: The Capture, Imprisonment and Ransom of Richard the Lionheart, London, Penguin, 2006Google Scholar
Bozarth, G. S., and Brady, S. H., ‘Brahms's pianos’, in Frisch, W. (ed.), Brahms and his World, Princeton University Press, 1990, pp. 49–64Google Scholar
Bozoky, E., Charmes et prières apotropaïques, Turnhout, Brepols, 2003Google Scholar
Brée, M., The Leschetizky Method: A Guide to Fine and Correct Piano Playing (1902), trans. Elson, A., New York, Dover, 1997Google Scholar
Brahms, J., Life and Letters, selected and annotated S. Avins, trans. Eisinger, J. and Avins, S., Oxford University Press, 1997Google Scholar
Brahms, J., Briefwechsel, 2nd edn, 16 vols., Leipzig, Deutschen Brahms-Gesellschaft, 1908–22Google Scholar
Brahms, J., Life and Letters, selected and annotated Avins, S., trans. Eisinger, J. and Avins, S., Oxford University Press, 1997Google Scholar
Brainard, P., ‘Proportional notation in the music of Schütz and his contemporaries’, Current Musicology, 1 (1992), 21–46Google Scholar
Brandenburg, S. (ed.), Ludwig van Beethoven: Briefwechsel Gesamtausgabe, 7 vols., Munich, Henle, 1996–8
Briquel, D., ‘Ludi/Lydi: jeux romains et origines étrusques’, Ktema, 11 (1986), 161–7Google Scholar
Broomfield, F. (ed.), Thomae de Chobham Summa confessorum, Analecta Mediaevalia Namurcensia, Louvain, Éditions Nauwelaerts, 1968
Brown, C., Classical and Romantic Performing Practice 1750–1900, Oxford University Press, 1999CrossRefGoogle Scholar
Brown, H. M., Embellishing Sixteenth-Century Music, Oxford University Press, 1976Google Scholar
Brown, H. M., ‘Songs after supper: how the aristocracy entertained themselves in the fifteenth century’, in Fink, M., Gstrein, R., and Mössmer, G. (eds.), Musica Privata: Die Rolle der Musik im privaten Leben, Festschrift zum 65. Geburtstag von Walter Salmen, Innsbruck, Helbing, 1991, pp. 37–52Google Scholar
Brown, H. M., and Sadie, S. (eds.), Performance Practice: Music before 1600, London, Macmillan, 1989
Brown, H. M., and Sadie, S.Performance Practice: Music after 1600, London, Macmillan, 1989Google Scholar
Brown, J. D., and Stratton, S. S., British Musical Biography: A Dictionary of Musical Artists, Authors and Composers, Birmingham, S. S. Stratton, 1897Google Scholar
Brown, H. M., ‘The trecento harp’, in Boorman, S. (ed.), Studies in the Performance of Late Medieval Music, Cambridge University Press, 1983, pp. 35–73Google Scholar
Brown, H. M. ‘Instruments’, in Brown, H. M. and Sadie, S. (eds.), Performance Practice: Music before 1600, London, Macmillan, 1989, pp. 15–36Google Scholar
Brown, H. M. ‘The trecento fiddle and its bridges’, Early Music, 17 (1989), 308–29Google Scholar
Brown, P. G., ‘Actors and actor-managers at Rome in the time of Plautus and Terence’, in Easterling, P. E. and Hall, E. (eds.), Greek and Roman Actors, Cambridge University Press, 2002, pp. 225–37Google Scholar
Brown, H. M., Sixteenth-Century Instrumentation: The Music for the Florentine Intermedii, Musicological Studies and Documents, vol. 30, Rome, American Institute of Musicology, 1973Google Scholar
Brown, H. M., Embellishing Sixteenth-Century Music, Oxford University Press, 1976Google Scholar
Brown, H. M., Music in the Renaissance, Englewood Cliffs, NJ, Prentice Hall, 1976Google Scholar
Brown, H. M., ‘Emulation, competition and homage: imitation and theories of imitation in the Renaissance’, Journal of the American Musicological Society, 35 (1982), 1–48CrossRefGoogle Scholar
Brown, H. M., A Florentine Chansonnier from the Time of Lorenzo the Magnificent, Monuments of Renaissance Music, 7, 2 vols., University of Chicago Press, 1983CrossRefGoogle Scholar
Brown, H. M., and Polk, K., ‘Instrumental music, c.1300–c.1520’, in Blackburn, B. J. and Strohm, R. (eds.), Music as Concept and Practice in the Late Middle Ages, The New Oxford History of Music, vol. 3, pt. 1, Oxford University Press, 2001, pp. 97–161Google Scholar
Brown, A. P., Joseph Haydn's Keyboard Music, Bloomington, Indiana University Press, 1986Google Scholar
Brown, C., ‘Historical performance, metronome marks and tempo in Beethoven's symphonies’, Early Music, 19 (1991), 247–58CrossRefGoogle Scholar
Brown, C.Classical and Romantic Performing Practice 1750–1900, Oxford University Press, 1999CrossRefGoogle Scholar
Brown, H. M., and Sadie, S. (eds.), Performance Practice: Music after 1600, London, Macmillan, 1989
Brown, A. P., ‘Performance tradition, steady and proportional tempos, and the first movements of Schubert's symphonies’, Journal of Musicology, 5/2 (1987), 296–307CrossRefGoogle Scholar
Brown, C., ‘Schubert's tempo conventions’, in Newbould, B. (ed.), Schubert Studies, Aldershot, Ashgate, 1998, pp. 1–15Google Scholar
Brown, C., Classical and Romantic Performing Practice, 1750–1900, Oxford University Press, 1999CrossRefGoogle Scholar
Brown, C., A Portrait of Mendelssohn, New Haven and London, Yale University Press, 2003CrossRefGoogle Scholar
Brown, R., The Early Flute: A Practical Guide, Cambridge University Press, 2002Google Scholar
Bryant, D., ‘The cori Spezzati of St. Mark's: myth and reality’, Early Music History, 1 (1981), 165–86CrossRefGoogle Scholar
Buelow, G. J., ‘Johann Mattheson and the invention of the Affektenlehre’, in Buelow, G. J. and Marx, H. J. (eds.), New Mattheson Studies, Cambridge University Press, 1983, pp. 393–408Google Scholar
Bujic, B., Music in European Thought 1851–1912, Cambridge University Press, 1988CrossRefGoogle Scholar
Burckhardt, J., Cultur der Renaissance in Italien (1898), trans. Middlemore, S. G. C. as The Civilisation of the Renaissance in Italy, London, Penguin, 1990Google Scholar
Burger, C., Ædification, fructus, utilitas: Johannes Gerson als Professor der Theologie und Kanzler der Universität Paris, Tübingen, J. C. B. Mohr (P. Siebeck), 1986Google Scholar
Burney, C., The Present State of Music in France and Italy, London, Becket, 1773Google Scholar
Burney, C., The Present State of Music in France and Italy, London, 1771, facsimile edn, New York, Elibron, 2005Google Scholar
Burney, C., A General History of Music from the Earliest Ages to the Present Period, to Which is Prefixed, a Dissertation on the Music of the Ancients, 4 vols., London, for the author, 1776–89; repr. ed. F. Mercer, 2 vols., London, Foulis, 1935Google Scholar
Burrow, J., A History of Histories: Epics, Chronicles, Romances and Inquiries from Herodotus and Thucydides to the Twentieth Century, London, Allen Lane, 2007Google Scholar
Busoni, F. (ed.), The Well-Tempered Clavichord by Johann Sebastian Bach: Revised, Annotated, and Provided with Parallel Examples and Suggestions for the Study of Modern Pianoforte-Technique, New York, Schirmer, [1894]
Busse Berger, A. M., Medieval Music and the Art of Memory, Berkeley, University of California Press, 2005CrossRefGoogle Scholar
Butt, J., Playing with History: The Historical Approach to Musical Performance, Cambridge University Press, 2002CrossRefGoogle Scholar
Butt, J., Playing with History: The Historical Approach to Musical Performance, Cambridge University Press, 2002CrossRefGoogle Scholar
Butt, J., Music Education and the Art of Performance in the German Baroque, Cambridge University Press, 1994CrossRefGoogle Scholar
Butt, J., Playing with History: The Historical Approach to Musical Performance, Cambridge University Press, 2002CrossRefGoogle Scholar
Butt, J., Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach, Cambridge University Press, 1990Google Scholar
Butt, J., Playing with History, Cambridge University Press, 2002CrossRefGoogle Scholar
Byrt, J., ‘Alteration in Handel: a fresh approach’, Musical Quarterly, 85 (2001), 194–219CrossRefGoogle Scholar
Caccini, G., Le nuove musiche, Florence, 1601 [1602], ed. Hitchcock, H. W., Recent Researches in the Music of the Baroque Era, 9, Madison, WI, A-R Editions, 1970Google Scholar
Caccini, G., Nuove musiche e nuova maniera di scriverle, Florence, 1614, ed. Hitchcock, H. W., Recent Researches in the Music of the Baroque Era, 28, Madison, WI, A-R Editions, 1978Google Scholar
Caccini, G., Le nuove musiche, Florence, Marescotti, 1602Google Scholar
Cairns, D., Berlioz: 1803–1832: The Making of an Artist, London, Deutsch, 1989Google Scholar
Cairns, D., Berlioz: Servitude and Greatness 1832–1869, London, Allen Lane, 1999Google Scholar
Calame, C., Les chœurs de jeunes filles en Grèce archaïque, Rome, Edizioni dell'Ateneo, 1977Google Scholar
Calame, C. ‘Feste, riti e forme poetiche’, in Settis, S. (ed.), I Greci. Storia, arte, cultura e società, vol. 2. pt. i, Torino, Einaudi, 1996, pp. 471–96Google Scholar
Caland, E., Artistic Piano-Playing as Taught by Ludwig Deppe, together with Practical Advice on Questions of Technic, trans. Stevenson, E. S., Nashville, TN, Olympian Publishing Company, 1903Google Scholar
Calin, W., A Poet at the Fountain: Essays on the Narrative Verse of Guillaume de Machaut, Lexington, University Press of Kentucky, 1974Google Scholar
Campbell, M., Greated, C. and Myers, A., Musical Instruments: History, Technology, and Performance of Instruments of Western Music, Oxford University Press, 2004CrossRefGoogle Scholar
Campbell, S. (ed.), Russians on Russian Music, 1830–1880: An Anthology, Cambridge University Press, 1994CrossRef
Cardano, G., De musica, Milan, 1574, trans. and ed. Miller, C. A. as Hieronymus Cardanus, Writings on Music, Musicological Studies and Documents 32, Rome, American Institute of Musicology, 1973Google Scholar
Carnegy, P., Wagner and the Art of the Theatre, New Haven and London, Yale University Press, 2006Google Scholar
Carpenter, N. C., ‘Music in the medieval universities’, Journal of Research in Music Education, 3/2 (Autumn, 1955), 136–44CrossRefGoogle Scholar
Carpenter, N. C., Music in the Medieval and Renaissance Universities, Norman, University of Oklahoma Press, 1958Google Scholar
Carroll, P., Baroque Woodwind Instruments: A Guide to Their History, Repertoire, and Basic Technique, Aldershot, Ashgate, 1993Google Scholar
Carruthers, M., The Book of Memory: A Study of Memory in Medieval Culture, 2nd edn, Cambridge University Press, 2008CrossRefGoogle Scholar
Carse, A., The History of Orchestration, London, Kegan Paul, 1925, repr. New York, Dover, 1964Google Scholar
Carse, A., The Orchestra from Beethoven to Berlioz, Cambridge, Heffer, 1946Google Scholar
Carter, T., ‘A Florentine wedding of 1608’, Acta musicologica, 55 (1983), 89–107CrossRefGoogle Scholar
Carter, T., ‘Giulio Caccini's “Amirilli, mia bella”: some questions (and a few answers)’, Journal of the Royal Musical Association, 113 (1988), 13–31CrossRefGoogle Scholar
Carter, T., and Hitchcock, H. W., in Sadie, S. (ed.), The New Grove Dictionary of Music and Musicians, 2nd edn, 29 vols., London, Macmillan, 2001, vol. 4, pp. 769–75, art. ‘Caccini, Giulio’
Carter, S., ‘Francesco Rognoni's Selva de varii passaggi (1620): fresh details concerning early-Baroque vocal ornamentation’, Performance Practice Review, 2 (1989), 5–33CrossRefGoogle Scholar
Carter, T., Music in Late Renaissance and Early Baroque Italy, London, Batsford, 1992Google Scholar
Carter, T. ‘Resemblance and representation: towards a new aesthetic in the music of Monteverdi’, in Fenlon, I. and Carter, T. (eds.), Con che soavità: Studies in Italian Opera, Song and Dance, 1580–1740, Oxford, Clarendon Press, 1995, pp. 118–34Google Scholar
Carter, T. ‘Lamenting Ariadne?’, Early Music, 27 (1999), 395–405CrossRefGoogle Scholar
Carter, T. ‘Singing Orfeo: on the performers of Monteverdi's first opera’, Recercare, 11 (1999), 75–118Google Scholar
Carter, T. ‘Printing the “New Music” ’, in Orden, K. (ed.), Music and the Cultures of Print, New York and London, Garland, 2000, pp. 3–37Google Scholar
Carter, T.Monteverdi's Musical Theatre, New Haven and London, Yale University Press, 2002Google Scholar
Carter, T. ‘Italian opera after 1637’, in Carter, T. and Butt, J. (eds.), The Cambridge History of Seventeenth-Century Music, Cambridge University Press, 2005, pp. 241–82CrossRefGoogle Scholar
Carter, T., and Butt, J. (eds.), The Cambridge History of Seventeenth-Century Music, Cambridge University Press, 2005CrossRef
Carter, T., and Levi, E., ‘The history of the orchestra’, in Lawson, C. (ed.), The Cambridge Companion to the Orchestra, Cambridge University Press, 2003, pp. 1–21Google Scholar
Castiglione, B., Il libro del cortegiano, Venice, Aldini, 1528, trans. and ed. Bull, G. as The Book of the Courtier, London, Penguin, 1967Google Scholar
Cavicchi, A., ‘Appunti sulla prassi esecutiva della musica sacra nella seconda metà del XVI secolo con riferimento alla musica del Palestrina’, in Luisi, F. (ed.), Atti del Convegno di Studi Palestriniani, 28 settembre–2 ottobre 1975, Palestrina, Fondazione G. P. da Palestrina, 1977, pp. 295–312Google Scholar
Cazeaux, I., French Music in the Fifteenth and Sixteenth Centuries, Oxford University Press, 1975Google Scholar
Ceroni, P., El melopeo y maestro, Naples, 1613Google Scholar
Cerquiglini, J., ‘Un engin si soutil’: Guillaume de Machaut et l'écriture au XIVe siècle, Geneva, Slatkine, 1985Google Scholar
,Cesarius of Arles, Sermons au peuple, trans. Delage, M.-J., Paris, Éditions du Cerf, 1971Google Scholar
Chambers, E. K., The Mediaeval Stage, Oxford University Press, 1903Google Scholar
Charlton, D., ‘Woodwind and brass’, in Brown, H. M. and Sadie, S. (eds.), Performance Practice: Music after 1600, London, Macmillan, 1989, pp. 409–23Google Scholar
Chorley, H. F., Thirty Years' Musical Recollections, 2 vols., London, Hurst & Blackett, 1862Google Scholar
Christensen, T. (ed.), The Cambridge History of Western Music Theory, Cambridge University Press, 2002CrossRef
Cinti-Damoreau, L., Méthode de chant, Paris, Heugel, 1849Google Scholar
Clagett, M., Nicole Oresme and the Medieval Geometry of Qualities and Motions: A Treatise on the Uniformity and Difformity of Intensities Known as Tractatus de configurationibus qualitatum et motuum, Madison, University of Wisconsin Press, 1968Google Scholar
Clark, P., British Clubs and Societies, 1580–1800: The Origins of an Associational World, Oxford University Press, 2000Google Scholar
Clayton, M., Herbert, T. and Middleton, R. (eds.), The Cultural Study of Music : A Critical Introduction, New York and London, Routledge, 2003
Cleve, L. V., Oboe Unbounded: Contemporary Techniques, Lanham, MD, Scarecrow, 2004Google Scholar
Coclico, A., Compendium musices, Nuremberg, 1552, facsimile edn, ed. Bukofzer, M., Kassel, , Bärenreiter, , 1954, trans. Seay, A. as Musical Compendium, Colorado College Music Press Translations, 5, Colorado Springs, CO, Colorado College Music Press, 1973Google Scholar
Coelho, V. A. (ed.), Performance on Lute, Guitar and Vihuela; Historical Practice and Modern Interpretation, Cambridge University Press, 1997
Coelho, V. and Polk, K., ‘Instrumental music’, in Haar, J. (ed.), European Music 1520–1640, Woodbridge, Boydell Press, 2006, pp. 527–55Google Scholar
Coldicott, A., ‘Beethoven as pianist, conductor and teacher’, in Cooper, B. (ed.), The Beethoven Compendium, London, Thames & Hudson, 1991, pp. 132–6Google Scholar
Cole, H., Sounds and Signs: Aspects of Musical Notation, Oxford University Press, 1974Google Scholar
Coleman, J., Ancient and Medieval Memories: Studies in the Reconstruction of the Past, Cambridge University Press, 1992CrossRefGoogle Scholar
Collins, T. A., ‘Of the differences between trumpeters and city tower musicians: the relationship of Stadtpfeifer and Kammeradschaft trumpeters’, Galpin Society Journal, 53 (2000), 51–9CrossRefGoogle Scholar
Conati, M., Interviste e incontri con Verdi, Milan, Formichiere, 1980, trans. Stokes, R. as Interviews and Encounters with Verdi, London, Gollancz, 1984Google Scholar
Conforto, G. L.Breve et facile maniera d'essercitarsi, Rome, 1593, facsimile edn, Bologna, Forni, 2002Google Scholar
Constable, M., ‘The Venetian “Figlie del Coro”: their environment and achievement’, Music & Letters, 63/3–4 (1982), 118–212CrossRefGoogle Scholar
Cook, N., and Everist, M. (eds.), Rethinking Music, Oxford University Press, 1999
Cooper, B., Beethoven, Oxford University Press, 2000Google Scholar
Cooper, J., The Rise of Instrumental Music and Concert Series in Paris 1828–1871, Ann Arbor, MI, UMI Research Press, 1983Google Scholar
Copland, A., ‘Interpreters and New Music’, in Copland, A., Copland on Music, New York, Pyramid, 1963Google Scholar
Corri, D., The Singer's Preceptor, London, Silvester, 1810, ed. Maunder, R. as Domenico Corri's Treatises on Singing, New York, Garland, 1995Google Scholar
Corri, D., The Singer's Preceptor, London, Chappell, 1810Google Scholar
Coryat, T., Coryat's Crudities, hastily gobled up in five moneths travells in France, Savoy, Italy, etc… London, 1611; facsimile edn, London, Scolar Press, 1978Google Scholar
Cosman, M. P., ‘Machaut's medical musical world’, in Cosman, M. P. and Chandler, B. (eds.), Machaut's World: Science and Art in the Fourteenth Century, New YorkAcademy of Sciences, 1978, pp. 1–36Google Scholar
Cott, J., Stockhausen: Conversations with the Composer, London, Pan Books, 1974Google Scholar
Cottrell, S., ‘The future of the orchestra’, in Lawson, C. (ed.), The Cambridge Companion to the Orchestra, Cambridge University Press, 2003, pp. 251–64CrossRefGoogle Scholar
Couperin, F., L'art de toucher le clavecin, Paris, 1717; facsimile edn, New York, Broude, 1969Google Scholar
Couperin, F., Pièces de clavecin: premier livre, ed. Gilbert, K., Paris, Heugel, 1972Google Scholar
Couperin, L., Pièces de clavecin, ed. Moroney, D., Monaco, L'Oiseau-Lyre, 1985Google Scholar
Couperin, F., L'art de toucher le clavecin, Paris, chez l'auteur, 1717; trans. Halford, M. as The Art of Playing the Harpsichord, Port Washington, NY, Alfred, 1974Google Scholar
Courcy, G. I. C., Paganini the Genoese, 2 vols., Norman, University of Oklahoma Press, 1957Google Scholar
Coussemaker, E. De, Histoire de l'harmonie au Moyen Âge, Paris, 1852, repr. Hildesheim, Georg Olms, 1966Google Scholar
Coussemaker, E. De (ed.), Scriptorum de musica medii aevi nova series, 4 vols., Paris, Durand, 1864–76
Cowgill, R., and Holman, P. (eds.), Music in the British Provinces, 1690–1914, Aldershot, Ashgate, 2007
Crescentini, G., Raccolta di Esercizi per il canto all'uso del vocalizzo/Recueil d'exercices pour la vocalisation musicale, Paris, Imbault, c. 1811; facsimile edn, Méthodes et Traités, Serie II/1, Paris, Fuzeau, 2005Google Scholar
Crescentini, G., Vingt-cinq nouvelles vocalises ou études de l'art du chant, Paris, Imbault, 1818–32; facsimile edn, Méthodes et Traités, Serie II/2, Paris, Fuzeau, 2005Google Scholar
Crist, S. A., and Marvin, R. M. (eds.), Historical Musicology: Sources, Methods, Interpretations. Festschrift for Robert L. Marshall, University of Rochester Press, 2004
Crowest, F., Phases of Musical England, London, Remington, 1881Google Scholar
Csapo, E., ‘The politics of the New Music’, in Murray, P. and Wilson, P. (eds.), Music and the Muses, Oxford University Press, 2004, pp. 207–48CrossRefGoogle Scholar
Cyr, M., ‘Eighteenth-century French and Italian singing: Rameau's writing for the voice’, Music & Letters, 61/ 3–4 (1980), 318–37CrossRefGoogle Scholar
Cyr, M., Performing Baroque Music, Aldershot, Scolar Press, 1992Google Scholar
Cyr, M., Essays on the Performance of Baroque Music, Aldershot, Ashgate, 2008Google Scholar
Czerny, C., ‘Recollections of my life’, Musical Quarterly, 42/3 (1956), 302-17Google Scholar
D'Accone, F., ‘The civic muse: music and musicians in Siena during the Middle Ages and the Renaissance’, Revue de musicologie, 85/2 (1999), 90–4Google Scholar
D'Anglebert, J.-H., Pièces de clavecin, ed. Gilbert, K., Paris, Heugel, 1975Google Scholar
Dörffel, A., Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881, Leipzig, Breitkopf & Härtel, 1884Google Scholar
Dürr, W., ‘Schubert and Johann Michael Vogl: a reappraisal’, 19th-Century Music, 3/2 (1979), 126–40CrossRefGoogle Scholar
Dahlhaus, C., Musik des 19. Jahrhunderts, trans. Robinson, J. B. as Nineteenth-Century Music, Berkeley, University of California Press, 1989Google Scholar
Dahlhaus, C., trans. Bradford Robinson, J., Nineteenth-Century Music, Berkeley, University of California Press, 1989Google Scholar
Dalla Casa, G., Il vero modo di diminuir, 2 vols., Venice 1584, facsimile edn, Bologna, Forni, 1970Google Scholar
Darian-Smith, K., Grimshaw, P. and Macintyre, S. (eds.), Britishness Abroad: Transnational Movements and Imperial Cultures, Melbourne University Publishing, 2007
Dart, T., The Interpretation of Music, London, Hutchinson, 1954Google Scholar
Dart, T., The Interpretation of Music, London, Hutchinson University Library, 4th edn, 1967Google Scholar
Daverio, J., Robert Schumann: Herald of a ‘New Poetic Age’, Oxford University Press, 1997Google Scholar
Daverio, J., and Ogasapian, J. (eds.), The Varieties of Musicology. Essays in Honor of Murray Lefkowitz, Warren, MI, Harmonic Park Press, 2000
Daverio, J., Robert Schumann: Herald of a ‘New Poetic Age’, Oxford University Press, 1997Google Scholar
David, H., and Mendel, A., The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, rev. and expanded Wolff, C., New York, Norton, 1998Google Scholar
David, F., Violinschule. Méthode de violon, Leipzig, Breitkopf & Härtel, 1863; version with English translation Violinschule/Violin School, Leipzig and London, Augener and Breitkopf & Härtel, 1874Google Scholar
David, F. ed., Violin Concerto neurer Meister Beethoven, Mendelssohn, Ernst, Lipinski, Paganini, Leipzig, Breitkopf & Härtel, 1875
Davies, S., Musical Works and Performances: A Philosophical Exploration, Oxford, Clarendon Press, 2001CrossRefGoogle Scholar
Davies, M., ‘Monody, choral lyric, and the tyranny of the hand-book’, Classical Quarterly, 38 (1988), 52–64CrossRefGoogle Scholar
Day, T., A Century of Recorded Music: Listening to Musical History, New Haven and London, Yale University Press, 2002Google Scholar
Day, T., A Century of Recorded Music: Listening to Musical History, New Haven and London, Yale University Press, 2000Google Scholar
Deaville, J., ‘The politics of Liszt's virtuosity: new light on the dialectics of a cultural phenomenon’, in Saffle, M. and Dalmonte, R. (eds.), Liszt and the Birth of Modern Europe: Music as a Mirror of Religious, Political, Cultural and Aesthetic Transformations, Hillsdale, NY, Pendragon Press, 2003, pp. 115–42Google Scholar
Debussy, C., Debussy on Music, collected by Lesure, F., trans. and ed. Smith, R. L., Ithaca, NY, Cornell University Press, 1977Google Scholar
Deford, R., ‘Tempo relationships between duple and triple time in the sixteenth century’, Early Music History, 14 (1995), 1–52CrossRefGoogle Scholar
Del Mar, N., ‘On co-conducting Stockhausen's “Gruppen” ’, Tempo, 59 (1961), 15–23Google Scholar
Delaurenti, B., La puissance des mots: ‘Virtus verborum’: Débats doctrinaux sur le pouvoir des incantations au Moyen Âge, Paris, Cerf, 2007Google Scholar
Zabern, Conrad, Demodo bene cantandi choralem cantum, Mainz, 1474, ed. Gümpel, K.-W., Die Musiktraktate Conrads von Zabern (No. 4), Wiesbaden, Akademie der Wissenschaften und der Literatur, 1956Google Scholar
Denis, J., Traité de l'accord de l'espinette, Paris, 1643, trans. Panetta, V. J. as Treatise on Harpsichord Tuning (1643), Cambridge University Press, 1987Google Scholar
DeNora, T., Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803, Berkeley, University of California Press, 1995Google Scholar
DeNora, T., Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803, Berkeley, University of California Press, 1995Google Scholar
Deutsch, O. (ed.), Franz Schubert's Letters and Other Writings, trans. Saville, V., London, Faber & Gwyer, 1928
Deutsch, O., (ed.), Schubert: Memories by his Friends, trans. Ley, R. and Nowell, J., New York, Macmillan, 1958Google Scholar
Dick, R., The Other Flute: A Performance Manual of Contemporary Techniques, Oxford University Press, 1975Google Scholar
Dickey, B., ‘Ornamentation in sixteenth-century music’, in Kite-Powell, J. (ed.), A Performer's Guide to Renaissance Music, 2nd edn, Bloomington, Indiana University Press, 2007, pp. 300–24Google Scholar
Dixon, G., ‘Continuo scoring in the early Baroque: the role of bowed-bass instruments’, Chelys, 15 (1986), 38–53Google Scholar
Dobrée, B. (ed.), The Letters of Philip Dormer Stanhope, 4th Earl of Chesterfield, London, Eyre & Spottiswoode, 1932
Doctor, J., ‘The BBC and the ultra-modern problem: a documentary study of the British Broadcasting Corporation's dissemination of Second Viennese School repertory, 1922–36’, Ph.D. thesis, Northwestern University (1993)Google Scholar
Doctor, J.The BBC and Ultra-modern Music 1927–36: Shaping a Nation's Tastes, Cambridge University Press, 1999Google Scholar
Doctor, J., Kenyon, N. and Wright, D. (eds.), The Proms: A New History, London, Thames & Hudson, 2007
Donington, R., A Performer's Guide to Baroque Music, London, Faber & Faber, 1975Google Scholar
Donington, R., The Interpretation of Early Music, London, Faber, 1963, new version, London, Faber, 1974Google Scholar
Downey, P., ‘The Renaissance slide trumpet: fact or fiction?’, Early Music, 12 (1984), 26–33CrossRefGoogle Scholar
Drescher, T., Spielmännische Tradition und höfische Virtuosität: Studien zu Voraussetzungen, Repertoire und Gestaltung von Violinsonaten des deutschsprachigen Südens im späten 17. Jahrhundert, Tutzing, Schneider, 2004Google Scholar
Dreyfus, L. ‘Early music defended against its devotees: a theory of historical performance in the twentieth century’, Musical Quarterly, 49 (1983), 297–322CrossRefGoogle Scholar
Dreyfus, L. ‘Beyond the interpretation of music’, Dutch Journal of Music Theory – Tijdschrift voor Muziektheorie, 12/3 (2007), 253–72Google Scholar
Dronke, P., The Medieval Lyric, Cambridge University Press, 1977Google Scholar
Druce, D., ‘Historical approaches to violin playing’, in Paynter, J. et al. (eds.), Companion to Contemporary Musical Thought, 2 vols., London, Routledge, 1992, vol. 2, pp. 993–1019Google Scholar
Du Cange, C.Du, F., Glossarium ad scriptores mediae et infimae latinitatis, Paris, Librairie des sciences et des arts, 1938, vol. 7Google Scholar
Duffin, R., ‘The trompette des ménestrels in the 15th-century alta capella’, Early Music, 17 (1989), 397–402CrossRefGoogle Scholar
Duffin, R. W. (ed.), ‘Shawm and curtal’, in Kite-Powell, J. (ed.), A Performer's Guide to Renaissance Music, New York, Schirmer, 1994, rev. edn, 2007, pp. 85–92
Duffin, R. W.A Performer's Guide to Medieval Music, Bloomington, Indiana University Press, 2000Google Scholar
Duffin, R. W., How Equal Temperament Ruined Harmony (and Why You should Care), New York, Norton, 2007Google Scholar
Duffin, R., How Equal Temperament Ruined Harmony (and Why You Should Care), New York, Norton, 2007Google Scholar
Dufourcq, N., Nicolas Lebègue (1631–1702), organiste de la chapelle royale, organiste de Saint-Merry de Paris: étude biographique, suivie de nouveaux documents inédits relatifs à l'orgue français au XVIIe siècle, Paris, A. et J. Picard, 1954Google Scholar
Duleba, W., Wieniawski, trans. Czerny, G., Neptune City, NJ, Paganiniana, 1984Google Scholar
Duncan, A., Performance and Identity in the Classical World, Cambridge University Press, 2006CrossRefGoogle Scholar
Dunsby, J., in Sadie, S. (ed.), The New Grove Dictionary of Music and Musicians, 2nd edn, 29 vols., London, Macmillan, 2001, vol. 19, pp. 346–9, art. ‘Performance’Google Scholar
Dunsby, J., Schoenberg: Pierrot lunaire, Cambridge University Press, 1992Google Scholar
Duprez, G., L'art du chant, Paris, Brandus, 1849Google Scholar
Durante, S., ‘Il cantante’, in Opera Production and its Resources, trans. Cochrane, L. G., University of Chicago Press, 1998, pp. 345–417Google Scholar
Dyer, J., ‘A thirteenth-century choirmaster: the Scientia Artis Musicae of Elias Salomon’, Musical Quarterly, 66 (1980), 83–111CrossRefGoogle Scholar
Dyer, J., ‘Singing with proper refinement from De modo bene cantandi (1474) by Conrad von Zabern’, Early Music, 6 (1978), 207–27CrossRefGoogle Scholar
Dyer, J. ‘The voice in the Middle Ages’, in Potter, J. (ed.), The Cambridge Companion to Singing, Cambridge University Press, 2000, pp. 165–77, 254–8CrossRefGoogle Scholar
Earp, L., Guillaume de Machaut: A Guide to Research, New York, Garland, 1995Google Scholar
Easterling, P., and Hall, E. (eds.), Greek and Roman Actors: Aspects of an Ancient Profession, Cambridge University Press, 2002
Eckardt, J., Ferdinand David und die Familie Mendelssohn-Bartholdy, Leipzig, Duncker & Humblot, 1888Google Scholar
Edgcumbe, R. M., The Musical Reminiscences of the Earl of Mount Edgcumbe, London, Andrews, 1834, repr. New York, Da Capo, 1973Google Scholar
Edwards, W., ‘Songs without words by Josquin and his Contemporaries’, in Fenlon, I. (ed.), Music in Medieval and Early Modern Europe, Cambridge University Press, 1981, pp. 79–92Google Scholar
Ehrlich, C., The Music Profession in Britain since the Eighteenth Century: A Social History, Oxford, Clarendon Press, 1985Google Scholar
Ehrlich, C., The Piano: A History, London, Dent, 1976, rev. edn, Oxford, Clarendon Press, 1990Google Scholar
Ehrlich, C., The Music Profession in Britain since the Eighteenth Century. A Social History, Oxford, Clarendon Press, 1985Google Scholar
Ehrlich, C., The Piano: A History, London, Dent, 1976, rev. edn, Oxford, Clarendon Press, 1990Google Scholar
Ehrlich, C., First Philharmonic: A History of the Royal Philharmonic Society, Oxford, Clarendon Press, 1995Google Scholar
Ehrlich, C., The Music Profession in Britain since the Eighteenth Century: A Social History, Oxford, Clarendon Press, 1985Google Scholar
Eigeldinger, J.-J. (ed.), Chopin, Pianist and Teacher: As Seen by his Pupils, trans. Shohet, N., Cambridge University Press, 1986
Eigeldinger, J.-J., Chopin: Pianist and Teacher as Seen by his Pupils, trans. Shohet, N., with Osostowicz, K. and Howat, R., ed. Howat, R., Cambridge University Press, 1986Google Scholar
Einstein, A., Mozart, His Character, his Work, Oxford University Press, 1945Google Scholar
Eisenberg, E., The Recording Angel: Music, Records and Culture from Aristotle to Zappa, New Haven and London, Yale University Press, 2nd edn, 2005Google Scholar
Eliot, T. S., ‘Tradition and the individual talent’, in The Sacred Wood, London, Methuen, 1920Google Scholar
Eliot, T. S. ‘Poetry in the eighteenth century’, in Ford, B. (ed.), Pelican Guide to English Literature, vol. 4: From Dryden to Johnson, London, Penguin, 1957Google Scholar
Ellis, K., Interpreting the Musical Past: Early Music in Nineteenth-Century France, Oxford University Press, 2005Google Scholar
Ellis, A. J., ‘On the history of musical pitch’, Journal of the Society of the Arts, 28 (1880), 293–336Google Scholar
Ellis, K., Interpreting the Musical Past: Early Music in Nineteenth-Century France, Oxford University Press, 2005Google Scholar
Elvers, R., Felix Mendelssohn: A Life in Letters, trans. Tomlinson, C., London, Cassell, 1986Google Scholar
Emerson, I., Five Centuries of Women Singers, Westport, CT, Praeger, 2005Google Scholar
Erig, R., with Gutmann, V., Italian Diminutions, Zurich, Amadeus, 1979Google Scholar
Erler, H., Robert Schumanns Leben. Aus seinen Briefen, 2 vols., Berlin, Ries & Erler, 1887Google Scholar
Fétis, F.-J., Biographie universelle des musiciens, 2nd edn, 8 vols., Paris, Didot, 1860–5Google Scholar
Fabbri, P., Monteverdi, trans. Carter, T., Cambridge University Press, 1994CrossRefGoogle Scholar
Fabbri, P., and Pompilio, A. (eds.), Il Corago, Florence, Olschki, 1983
Fabian, D., Bach Performance Practice, 1945–1975: A Comprehensive Review of Sound Recordings and Literature, Aldershot, Ashgate, 2003Google Scholar
Fallows, D., ‘Specific information on the ensembles for composed polyphony, 1400–74’, in Boorman, S. (ed.), Studies in the Performance of Late Medieval Music, Cambridge University Press, 1983, pp. 109–59Google Scholar
Fallows, D., ‘The performing ensembles in Josquin's sacred music’, Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 35 (1985), 32–66Google Scholar
Fallows, D., Songs and Musicians in the Fifteenth Century, Aldershot, Ashgate, 1996Google Scholar
Fallows, D., A Catalogue of Polyphonic Songs 1415–1480, Oxford University Press, 1999Google Scholar
Fantham, R. E., ‘Mime: the missing link in Roman literary history’, Classical World, 82 (1988–9), 153–63CrossRefGoogle Scholar
Farrell, G., ‘The early days of the gramophone industry in India: historical, social and musical perspectives’, British Journal of Ethnomusicology, 2 (1993), 31–53CrossRefGoogle Scholar
Fauré, J.-B., La voix et le chant, Paris, Heugel, 1886Google Scholar
Fauré, J., Aux jeunes chanteurs: notes et conseils, Paris, Heugel, 1898Google Scholar
Fauser, A., ‘Creating Madame Landowska’, Women and Music, 10 (2006), 1–23CrossRefGoogle Scholar
Fay, A., Music-Study in Germany (1880), New York, Dover, 1965Google Scholar
Fenlon, I. (ed.), Early Music History, vol. 18: Studies in Medieval and Early Modern Music, Cambridge University Press, 1981
Fenlon, I., The Renaissance from the 1470s to the End of the 16th Century, Englewood Cliffs, NJ, Prentice Hall; London, Macmillan, 1989Google Scholar
Fenlon, I.Music and Culture in Late Renaissance Italy, Oxford University Press, 2002Google Scholar
Fenner, T., Opera in London: Views of the Press 1785–1830, Carbondale, Southern Illinois University Press, 1994Google Scholar
Ferguson, H., Keyboard Interpretation, Oxford University Press, 1975Google Scholar
Ferrand, E. T., ‘Improvised vocal counterpoint in the late Renaissance and early Baroque’, Annales musicologiques, 4 (1956), 129–74Google Scholar
Fielding, H., Tom Jones, Oxford University Press, 1996Google Scholar
Fifield, C., ‘Conducting Wagner: the search for Melos’, in Millington, B. and Spencer, S. (eds.), Wagner in Performance, New Haven and London, Yale University Press, 1992, pp. 1–14Google Scholar
Finck, H., Practica Musica, Wittenberg, 1556, facsimile edn, Hildesheim, Olds, 1971, and Bologna, Forni, 1969Google Scholar
Fineberg, J., ‘Guide to the basic concepts and techniques of spectral music’, Contemporary Music Review, 19/2 (2000), 81–113CrossRefGoogle Scholar
Finnegan, R., The Hidden Musicians: Music-Making in an English Town, 2nd edn, Middletown, CT, Wesleyan University Press, 2007Google Scholar
Finscher, L. (ed.), Die Mannheimer Hofkapelle im Zeitalter Carl Theodors, Mannheim, Palatium, 1992
Finson, J. W., Robert Schumann and the Study of Orchestral Composition: The Genesis of the First Symphony Op. 38, Oxford, Clarendon Press, 1989Google Scholar
Fischer, K., Handschriften mit mehrstimmiger Musik des 14., 15. und 16. Jahrhunderts, Répertoire International des Sources Musicales B IV 3, Munich, Henle, 1972Google Scholar
Fleischmann, T., Aspects of the Liszt Tradition, ed. O'Neill, M., Aylesbury, Roberton, 1991Google Scholar
Fleming, T., ‘The survival of Greek dramatic music from the fifth century to the Roman period’, in Gentili, B. and Perusino, F. (eds.), La colometria antica dei testi poetici greci, Pisa, Istituti Editoriali e Poligrafici Internazionali, 1999, pp. 17–29Google Scholar
Fleming, T., and Kopff, E. C., ‘Colometry of Greek lyric verses in tragic texts’, Studi Italiani di Filologia Classica, 3/10 (1992), 758–70Google Scholar
Flesch, C., The Memoirs of Carl Flesch, trans. Keller, H. and ed. Keller, H. and Flesch, C. F., London, Rockliff, 1957Google Scholar
Foreman, L., Music in England 1885–1920 as Recounted in Hazell's Annual, London, Thames Publishing, 1994Google Scholar
Foreman, L. and , S., London: A Musical Gazetteer, New Haven and London, Yale University Press, 2005Google Scholar
Foss, L., ‘The changing composer–performer relationship: a monologue and a dialogue’, Perspectives of New Music, 1 (1963), 45–63CrossRefGoogle Scholar
Foster, M. B., The Philharmonic Society of London 1813–1912, London, Bodley Head, 1912Google Scholar
Fox, C., ‘Other Darmstadts: an introduction’, Contemporary Music Review, 26/1 (2007), 1–3CrossRefGoogle Scholar
Freeman, D., ‘An 18th-century singer's commission of “baggage” arias’, Early Music, 20 (1992), 427–33CrossRefGoogle Scholar
Freitas, R., ‘The eroticism of emasculation: confronting the Baroque body of the castrato’, Journal of Musicology, 20 (2003), 196–249CrossRefGoogle Scholar
Frescobaldi, G., Toccate e partite, Rome, Borboni, 1615Google Scholar
Frescobaldi, G., Fiori Musicali, ed. Johnson, C., Colfax, NC, Wayne Leupold, 2008Google Scholar
Friderici, D., Die Musica figuralis, Rostock, 1624/1649; ed. Langelütje, E., Berlin, Gaertner, 1901Google Scholar
Friedman, B. H., Give my Regards to Eighth Street: Collected Writings of Morton Feldman, Cambridge, MA, Exact Change, 2000Google Scholar
Frisch, W., Brahms: The Four Symphonies, New Haven and London, Yale University Press, 1996Google Scholar
Fuller, D., ‘French harpsichord playing in the 17th century: after le Gallois’, Early Music, 4 (1976), 22–6CrossRefGoogle Scholar
Fuller, D. ‘The performer as composer’, in Brown, H. M. and Sadie, S. (eds.), Performance Practice: Music After 1600, London, Macmillan, 1989, pp. 117–46Google Scholar
Fuller, D., ‘Dotting, the “French style” and Frederick Neumann's counter reformation’, Early Music, 5 (1977), 517–43CrossRefGoogle Scholar
Fuller, D., ‘The “dotted style” in Bach, Handel, and Scarlatti’, in Williams, P. (ed.), Bach, Handel, Scarlatti: Tercentenary Essays, Cambridge University Press, 1985, pp. 99–117Google Scholar
Fuller, D., ‘Sous les doits de Chambonnière’, Early Music, 21 (1993), 191–202CrossRefGoogle Scholar
Galilei, V., Fronimo: Dialogo, 2nd edn, Venice, Scotto, 1584Google Scholar
Galliard, J., Observations on the Florid Song by Pier Francesco Tosi, 2nd edn, London, J. Wilcox, 1743, facsimile edn, London, Reeves, 1967Google Scholar
Gallo, F. A., Music in the Castle, University of Chicago Press, 1995Google Scholar
Galloway, W. J., Musical England, London, Christophers, 1910Google Scholar
Gammacurta, T., Papyrologica scaenica, Alessandria, Edizioni dell'Orso, 2006Google Scholar
Ganassi, S. di, Opera intitulata Fontegara, Venice, 1535, trans. Swainson, D. and ed. Peter, H., Berlin, Lienau, 1956Google Scholar
Garborino, G., Metodo per clarinetto, Milan, Zerboni, 1978Google Scholar
García, M., Exercises and Method for Singing, with an Accompaniment for the Piano Forte, London, Boosey, 1824Google Scholar
García, M., Traité complet de l'art du chant, Paris, author, 1847, trans. as García's New Treatise on the Art of Singing, London, Cramer, Beale & Chappell, 1857Google Scholar
García, M., A Complete Treatise on the Art of Singing, the editions of 1841 and 1872 collated, ed. and trans. Paschke, D. V., New York, Da Capo, 1984Google Scholar
García, M., Traité complet de l'art du chant en deux parties. Première partie, deuxième édition; seconde partie, première édition. Paris, L'auteur, 1847, facsimile edn, Geneva, Minkoff, 1985Google Scholar
Garden, E., Balakirev: A Critical Study of his Life and Music, London, Faber, 1967Google Scholar
Garfield, S., Our Hidden Lives: The Remarkable Diaries of Post-War Britain, London, Ebury Press, 2004Google Scholar
Garratt, J., Palestrina and the German Romantic Imagination: Interpreting Historicism in Nineteenth-Century Music, Cambridge University Press, 2002CrossRefGoogle Scholar
Garrod, H. W. (ed.), Einhard's Life of Charlemagne: The Latin Text, Oxford, Clarendon Press, 1925
Gasparini, F., L'armonico pratico al cimbalo, Venice, 1708; trans. Stillings, F. S. and ed. Burrows, D. L. as The Practical Harmonist at the Keyboard, New Haven and London, Yale University Press, 1963Google Scholar
Gaunt, S., and Kay, S., The Troubadours: An Introduction, Cambridge University Press, 1999CrossRefGoogle Scholar
Geminiani, F., The Art of Playing on the Violin, London, Johnson, 1751, ed. Boyden, D., Oxford University Press, 1952Google Scholar
Gennrich, F., Der musicalische Vortrag der altfranzösischen chansons de geste; eine literarhistorisch-musikwissenschaftliche Studie, Halle, M.Niemeyer, 1923Google Scholar
Gentili, B., Lo spettacolo nel mondo classico (teatro ellenistico e teatro romano arcaico), Rome, Laterza, 1977Google Scholar
Gerig, R. W., Famous Pianists and their Technique, Newton Abbot, David & Charles, 1976Google Scholar
Germann, S., ‘The Mietkes, the Margrave and Bach’, in Williams, P. (ed.), Bach, Handel, Scarlatti: Tercentenary Essays, Cambridge University Press, 1985, pp. 119–48Google Scholar
Getz, C. S., Music in the Collective Experience in Sixteenth-Century Milan, Aldershot, Ashgate, 2006Google Scholar
Gibbs, C., and Gooley, D. (eds.), Franz Liszt and his World, Princeton University Press, 2006
Gibbs, C. H., ‘ “Poor Schubert”: images and legends of the composer’, in Gibbs, C. H. (ed.), The Cambridge Companion to Schubert, Cambridge University Press, 1997, pp. 36–55CrossRefGoogle Scholar
Gibbs, C. H., ‘ “Just two words: enormous success.”: Liszt's 1838 Vienna Concerts’, in Gibbs, C. H. and Gooley, D. (eds.), Franz Liszt and his World, Princeton University Press, 2006, pp. 167–230Google Scholar
Gilbert, A., ‘The improvising alta capella c.1500: paradigms and procedures’, Basler Jahrbuch für historische Musikpraxis, 29 (2005), 109–123Google Scholar
Gilles, H. N., The Complete Vocal Instructor, Baltimore, MD, Willig, n.d. [c. 1814]Google Scholar
Gillett, P., Musical Women in England, 1870–1914, Basingstoke, Palgrave Macmillan, 2000CrossRefGoogle Scholar
Ginsburg, L., Ysaÿe, trans. Danko, X. M., ed. Axelrod, H. R., Neptune City, NJ, Paganiniana, 1980Google Scholar
Gioia, T., Work Songs, Durham, NC, Duke University Press, 2006CrossRefGoogle Scholar
Glahn, H. (ed.), Music from the Time of Christian III, parts 2 and 3, Dania Sonans V, Copenhagen, Egtved, 1986
Gleick, J., Faster, New York, Random House, 1999Google Scholar
Glixon, B. L., ‘Scenes from the life of Silvia Gailarti Manni, a seventeenth-century “virtuosa” ’, Early Music History, 15 (1996), 97–146CrossRefGoogle Scholar
Glixon, B. L. and , J. E., Inventing the Business of Opera: the Impresario and his World in Seventeenth-Century Venice, Oxford University Press, 2006CrossRefGoogle Scholar
Glixon, J. E., Honoring God and the City: Music at the Venetian Confraternities, 1260–1807, Oxford University Press, 2003CrossRefGoogle Scholar
Godwin, J., Music, Mysticism and Magic: A Sourcebook, London, Routledge & Kegan Paul, 1986Google Scholar
Goehr, L., The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford University Press, rev. edn, 2007Google Scholar
Goehr, W. (ed.), Vespro della Beata Vergine (1610), Vienna, Universal Edition, 1957
Golby, D., Instrumental Teaching in Nineteenth-Century Britain, Aldershot, Ashgate, 2004Google Scholar
Goldberg, H., Music in Chopin's Warsaw, Oxford University Press, 2008CrossRefGoogle Scholar
Goldhill, S., and Osborne, R. (eds.), Performance Culture and Athenian Democracy, Cambridge University Press, 1999
Goldschmidt, O., Holland, H. S., and Rockstro, W. S., Memoir of Madame Jenny Lind-Goldschmidt: Her Early Art-Life and Dramatic Career, 1820–1851, London, Murray, 1891Google Scholar
Gomez, M., and Haggh, B., ‘Minstrel schools in the Late Middle Ages’, Early Music, 18 (1990), 213–17CrossRefGoogle Scholar
Gomez, M., ‘Minstrel schools in the Late Middle Ages’, Early Music, 18 (1990), 213–16CrossRefGoogle Scholar
González Barrionuevo, H., Francisco Guerrero (1528–1599), vida y obra: la música en la catedral de Sevilla a finales del siglo XVI, Seville, Cabildo Matropolitano de la Catedral de Sevilla, 2000Google Scholar
González Barrionuevo, H., Ayarra Jarne, J. E. and Vázquez Vázquez, M., Catálogo de libros de polifonía de la Catedral de Sevilla, Granada, Junta de Andalucía, 1994Google Scholar
Good, E. M., Giraffes, Black Dragons, and Other Pianos: A Technological History from Cristofori to the Modern Concert Grand, 2nd edn, Palo Alto, CA, Stanford University Press, 2001Google Scholar
Gooley, D., The Virtuoso Liszt, Cambridge University Press, 2004Google Scholar
Gougaud, L., ‘La danse dans les églises’, Revue d'histoire ecclésiastique, 15 (1914), 5–22Google Scholar
Gouk, P., Music, Science and Natural Magic in Seventeenth-Century England, New Haven and London, Yale University Press, 1999Google Scholar
Graeme, E., Beethoven: A Memoir, London, Griffin, 1870Google Scholar
Gramit, D., Cultivating Music: the Aspirations, Interests and Limits of German Musical Culture, 1770–1848, Berkeley, University of California Press, 2002Google Scholar
Greene, H. P., Interpretation in Song, New York, Macmillan, 1912Google Scholar
,Gregory of Tours, Patrologiae cursus completus … series latina, Paris, 1879, vol. 71Google Scholar
,Gregory of ToursThe History of the Franks, trans. Dalton, O. M., Oxford, Clarendon Press, 1927, vol. 2Google Scholar
Grey, T. S., Wagner's Musical Prose: Texts and Contexts, Cambridge University Press, 1995CrossRefGoogle Scholar
Grey, T. S. (ed.), The Cambridge Companion to Wagner, Cambridge University Press, 2008CrossRef
Griffiths, P., Modern Music and After: Directions since 1945 (2nd rev. edn of Modern Music: The Avant-Garde since 1945), Oxford, Clarendon Press, 1995Google Scholar
Grotjahn, R., Die Sinfonie im deutschen Kulturgebiet: Ein Beitrag zur Gattungs- und Institutionsgeschichte, Musik und Musikanschauung im 19. Jahrhundert, 7, Sinzig, Studio, 1998Google Scholar
Grove, G. (ed.), A Dictionary of Music and Musicians, 4 vols., London, Macmillan, 1879–89
Guhr, C., Ueber Paganinis Kunst die Violine zu spielen, ein Anhang zu jeder bis jetzt erschienenen Violinschule, Mainz, Schott, 1829Google Scholar
Guion, D., The Trombone: Its History and Music, 1697–1811, New York, Gordon & Breach, 1988Google Scholar
Gunn, S., The Public Culture of the Victorian Middle Class: Ritual and Authority in the English Industrial City 1840–1914, Manchester University Press, 2000Google Scholar
Gustafson, B., ‘France’, in Silbiger, A. (ed.), Keyboard Music before 1700, London and New York, Routledge, 2004, pp. 90–146Google Scholar
Gut, S., ‘Nationalism and supranationalism in Liszt’, Liszt Society Journal, 19 (1994), 28–35Google Scholar
Haar, J., ‘A sixteenth-century attempt at music criticism’, Journal of the American Musicological Society, 36 (1983), 191–209CrossRefGoogle Scholar
Haar, J.Essays on Italian Poetry and Music in the Renaissance, 1350–1600, Berkeley, University of California Press, 1986Google Scholar
Haas, F., Hans von Bülow. Leben und Wirken, Wilhelmshaven, Noetzel, 2002Google Scholar
Habeneck, F., Méthode théorique et pratique de violon, précédée des principes de musique et quelques notes en facsimile de l'écriture de Viotti, Paris, Canaux, 1845Google Scholar
Haggh, B., ‘Foundations or institutions? On bringing the Middle Ages into the history of Medieval music’, Acta musicologica, 68 (1996), 87–128CrossRefGoogle Scholar
Hahl-Koch, J. (ed.), trans Crawford, J. C., Arnold Schoenberg – Wassily Kandinsky: Letters, Pictures and Documents, London, Faber, 1984
Haines, J., ‘Friedrich Ludwig's “Musicology of the Future”: a commentary and translation’, Plainsong and Medieval Music, 12 (2003), 129–64CrossRefGoogle Scholar
Haines, J. D., Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music, Cambridge University Press, 2004CrossRefGoogle Scholar
Haines, J. D., ‘Lambertus's Epiglotus’, Journal of Medieval Latin, 16 (2006), 142–63CrossRefGoogle Scholar
Haines, J. D., Satire in the Songs of Renart le nouvel, Geneva, Droz, 2010Google Scholar
Haines, J., and DeWitt, P., ‘Johannes de Grocheio and Aristotelian natural philosophy’, Early Music History, 27 (2008), 47–98CrossRefGoogle Scholar
Hall, E., ‘The singing actors of antiquity’, in Easterling, P. and Hall, E. (eds.), Greek and Roman Actors, Cambridge University Press, 2002, pp. 3–38Google Scholar
Hallé, C., Life and Letters of Sir Charles Hallé being an autobiography (1819–1860) with correspondence and diaries, London, Smith, Elder & Co, 1896Google Scholar
Hall-Witt, J., Fashionable Acts: Opera and Elite Culture in London, 1780–1880, Durham, NH, University of New Hampshire Press, 2007Google Scholar
Hall-Witt, J., Fashionable Acts: Opera and Elite Culture in London, 1780–1880, Durham, NH, University of New Hampshire Press, 2007Google Scholar
Halliwell, R., ‘Mozart, Wolfgang Amadeus: education’, in Eisen, C. and Keefe, S. P. (eds.), The Cambridge Mozart Encyclopedia, Cambridge University Press, 2006Google Scholar
Hamilton, K., After the Golden Age: Romantic Pianism and Modern Performance, Oxford University Press, 2008Google Scholar
Hamilton, K., After the Golden Age: Romantic Pianism and Modern Performance, Oxford University Press, 2008Google Scholar
Handford, M., Sounds Unlikely: Music in Brimingham, Studley, Brewin, rev. edn, 2006Google Scholar
Handlos, M., ‘Die Wiener Concerts Spirituels (1819–1848)’, in Hilscher, E. T. (ed.), Musik in Österreich: Beiträge zur Musikgeschichte Mitteleuropas; Theophil Antonicek zum 60. Geburtstag, Tutzing, Schneider, 1998, pp. 283–319Google Scholar
Hanslick, E., Geschichte des Concertwesens Wien, 2 vols., vol. 1, Vienna, Graumüller, 1869Google Scholar
Hanslick, E., ‘The Meiningen court orchestra’, in Hanslick, E., Music Criticisms 1846–99, trans. and ed. Pleasants, H., London, Penguin, 1950, pp. 231–5Google Scholar
Hanson, A. M., Musical Life in Biedermeier Vienna, Cambridge University Press, 1985Google Scholar
Harding, R., The Piano-Forte: Its History Traced to the Great Exhibition of 1851, 2nd edn, Old Woking, Gresham, 1978Google Scholar
Harnoncourt, N., Musik als Klangrede, trans. O'Neill, M. as Baroque Music Today: Music as Speech, Portland, OR, Amadeus, 1982Google Scholar
Harnoncourt, N., Musik als Klangrede, St. Polten, Residenz, 1982, trans. O'Neill, M. as Baroque Music Today: Music as Speech, Portland, OR, Amadeus, 1988Google Scholar
Harper, J., The Forms and Orders of Western Liturgy from the Tenth to the Eighteenth Century, OxfordUniversity Press, 2001Google Scholar
Harrandt, A., ‘Bruckner in Vienna’, trans. Williamson, J., in Williamson, J. (ed.), The Cambridge Companion to Bruckner, Cambridge University Press, 2004, pp. 26–37CrossRefGoogle Scholar
Harris, M. (ed.), Porpora's Elements of Singing, London, 1858
Harrison, G. W. M. (ed.), Seneca in Performance, London, Duckworth, 2000
Hartford, R. (ed.), Bayreuth: The Early Years [1876–1914]: An Account of the Early Decades of the Wagner Festival as seen by the Celebrated Visitors and Participants, London, Gollancz, 1980
Harvey, J., The Music of Karlheinz Stockhausen, London, Faber, 1975Google Scholar
Haskell, H., The Early Music Revival: A History, London, Thames & Hudson, 1988Google Scholar
Haskell, H., The Early Music Revival: A History, London, Thames & Hudson, 1988Google Scholar
Haskell, H., The Early Music Revival: A History, London, Thames & Hudson, 1988Google Scholar
Haweis, H. R., Music and Morals, London, Strahan, 1871Google Scholar
Hawkins, Sir J., A General History of the Science and Practice of Music, 5 vols., London, author, 1776, repr. Novello, 1875, New York, Dover, 1963, facsimile edn, Graz, Akademische Druck- u. Verlagsanstalt, 1969Google Scholar
Haydon, G., Introduction to Musicology, New York, Prentice Hall, 1941Google Scholar
Haynes, B., A History of Performing Pitch: The Story of “A”, Lanham, MD, Scarecrow Press, 2002Google Scholar
Haynes, B., ‘Beyond temperament: non-keyboard intonation in the 17th and 18th centuries’, Early Music, 19 (1991), 357–81CrossRefGoogle Scholar
Haynes, B., ‘Tu ru or not tu ru: paired syllables and unequal tonguing patterns on woodwinds in the seventeenth and eighteenth centuries’, Performance Practice Review, 10 (1997), 41–60CrossRefGoogle Scholar
Haynes, B., The Eloquent Oboe: A History of the Hautboy, 1640–1760, Oxford University Press, 2001Google Scholar
Haynes, B., A History of Performing Pitch: The Story Of ‘A’, Lanham, MD, Scarecrow, 2002Google Scholar
Haynes, B., The End of Early Music: A Period Performer's History of Music for the Twenty-First Century, Oxford University Press, 2007CrossRefGoogle Scholar
Haynes, B., Music in European Capitals: The Galant Style, 1720–1780, New York, Norton, 2003Google Scholar
Haynes, B., The End of Early Music: A Period Performer's History of Music for the Twenty-First Century, Oxford University Press, 2007CrossRefGoogle Scholar
Heartz, D., Music in European Capitals: The Galant Style, 1720–1780, New York, Norton, 2003Google Scholar
Heartz, D., ‘From Garrick to Gluck: the reform of theatre and opera in the mid-eighteenth century’, Proceedings of the Royal Musical Association, 94 (1967–8), 111–27CrossRefGoogle Scholar
Hefling, S. E., Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music, New York, Schirmer Books, 1993Google Scholar
Hefling, S. E., Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music: Notes Inégales and Overdotting, New York, Schirmer, 1993Google Scholar
Hellsberg, C., Demokratie der Könige: Die Geschichte der Wiener Philharmoniker, Zurich, Vienna and Mainz, Schweizer, Kermayr and Scheriau & Schott, 1992Google Scholar
Helms, H. G., Metzger, H.-K., and Rhien, R. (eds.), ‘Ökonomische Bedingungen der musikalischen Produktion’, in Helms, H. G., Musik zwischen Geschäft und Unwahrheit, Musik-Konzepte 111, Munich, Edition Text + Kritik, 2001, pp. 27–82Google Scholar
Hemsley, T., Singing and Imagination, Oxford University Press, 1998Google Scholar
Henck, H., Klavierstück X: A Contribution toward Understanding Serial Technique, Cologne, Neuland, 1980Google Scholar
Hennenberg, F., The Leipzig Gewandhaus Orchestra, Leipzig, VEB, 1962Google Scholar
Herbert, T. (ed.), The British Brass Band: A Musical and Social History, Oxford University Press, 2000
Herbert, T., The Trombone, New Haven and London, Yale University Press, 2006Google Scholar
Hernnstein Smith, B., ‘Contingencies of value’, Critical Inquiry, 10 September 1983, 1–35CrossRefGoogle Scholar
Hess, E., ‘Anton Stadler's “Musick-Plan” ’, Mozart-Jahrbuch (1962–3), 37–64Google Scholar
Hey, H. (ed.), Richard Wagner als Vortragsmeister 1864–1876: Erinnerungen von Julius Hey, Leipzig, Breitkopf & Härtel, 1911
Higgins, P. (ed.), Anthoine Busnoys: Method, Meaning and Context in Late Medieval Music, Oxford University Press, 1999
Hiley, D., Western Plainchant: A Handbook, Oxford University Press, 1993Google Scholar
Hill, J. W., ‘Oratory music in Florence, I: Recitar Cantando, 1583–1655’, Acta Musicologica, 51 (1979), 108–36CrossRefGoogle Scholar
Hill, J. W.Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto, 2 vols., Oxford, Clarendon Press, 1997Google Scholar
Hill, J. W., Roman Monody, Cantata and Opera from the Circles around Cardinal Montalto, 2 vols., Oxford University Press, 1997Google Scholar
Hill, P. (ed.), The Messiaen Companion, London, Faber, 1995
Hill, P., and Simeone, N., Olivier Messiaen: Oiseaux exotiques, Aldershot, Ashgate, 2007Google Scholar
Hindemith, P., A Composer's World, Cambridge, MA, Harvard University Press, 1952Google Scholar
Hinrichsen, H., Musikalische Interpretation Hans von Bülow, Stuttgart, Steiner, 1999Google Scholar
Hobsbawm, E., and Ranger, T. (eds.), The Invention of Tradition, Cambridge University Press, 1984
Hoffmann, R. and , K., Brahms als Pianist und Dirigent. Chronologie seines Wirkens als Interpret, Tutzing, Schneider, 2006Google Scholar
Hogarth, G., Memoirs of the Opera, 2 vols., London, 1838, 2nd edn, London, Bentley, 1851, repr. New York, Da Capo, 1972Google Scholar
Hogwood, C., ‘The clavier speaks’, in Gallagher, S. and Kelly, T. F. (eds.), The Century of Bach and Mozart, Cambridge, MA, Harvard University Department of Music, 2008, pp. 345–70Google Scholar
Holliger, H., Pro Musica Nova: Studien zum Spielen Neue Musik – Oboe, Wiesbaden, Breitkopf & Härtel, 1972Google Scholar
Holloway, R., ‘Inori’, Tempo, 142 (1982), 35–7Google Scholar
Holman, P., Four and Twenty Fiddlers: The Violin at the English Court 1540–1690, Oxford, Clarendon Press, 1993Google Scholar
Holman, P., Four and Twenty Fiddlers: The Violin at the English Court, 1540–1690, Oxford, Clarendon Press, 1993Google Scholar
Holman, P., ‘ “Col Nobilissimo Esercitio della Vivuola”: Monteverdi's string writing’, Early Music, 21 (1993), 577–90CrossRefGoogle Scholar
Holman, P., Life after Death: The Viola Da Gamba in Britain from Purcell to Dolmetsch, Woodbridge, Boydell Press, 2010Google Scholar
Holoman, D. K., and Palisca, C. V. (eds.), Musicology in the 1980s: Methods, Goals, Opportunities, New York, Da Capo, 1982
Holoman, D. K., ‘Performing Berlioz’, in Bloom, P. (ed.), The Cambridge Companion to Berlioz, Cambridge University Press, 2000, pp. 173–96Google Scholar
Hominick, I. G., ‘Sigismond Thalberg (1812–1871), forgotten piano virtuoso: his career and musical contributions’, DMA thesis, Ohio State University (1991)Google Scholar
Hoppin, R., Medieval Music, New York, Norton, 1978Google Scholar
Horowitz, J., Understanding Toscanini, New York, Knopf, 1987Google Scholar
Horsley, I., ‘Full and short scores in the accompaniment of Italian church music in the early Baroque’, Journal of the American Musicological Society, 30 (1977), 466–99CrossRefGoogle Scholar
Horton, J., ‘Bruckner and the symphony orchestra’, in Williamson, J. (ed.), The Cambridge Companion to Bruckner, Cambridge University Press, 2004, pp. 138–69CrossRefGoogle Scholar
Hotteterre, J., Principes de la flûte traversière, ou flûte d'allemagne, Paris, Ballard, 1707, trans. Lasocki, D. as Principles of the Flute, Recorder & Oboe, London, Barrie & Rockliff, 1968Google Scholar
Houle, G., Meter In Music: 1600–1800, Bloomington, Indiana University Press, 1987Google Scholar
Howard, P., A Critical Translation from the Italian of Vincenzo Manfredini's ‘Difesa della musica moderna/In Defence of Modern Music (1788)’, New York, Mellen, 2002Google Scholar
Howie, C., Anton Bruckner: A Documentary Biography, 2 vols., Lewiston, NY, Mellen, 2002Google Scholar
Hsu, J., A Handbook of French Baroque Viol Technique, New York, Broude, 1981Google Scholar
Hubbard, F., Three Centuries of Harpsichord Making, Cambridge, MA, and London, Harvard University Press, 1976Google Scholar
Hudson, R., Stolen Time. The History of Tempo Rubato, Oxford, Clarendon Press, 1994Google Scholar
Hughes, A., Style and Symbol: Medieval Music, 800–1453, Ottawa, Institute of Mediaeval Music, 1989Google Scholar
Huizinga, J., The Waning of the Middle Ages, London, Arnold, 1924, repr. Mineola, NY, Dover, 1999Google Scholar
Humphries, J., The Early Horn: A Practical Guide, Cambridge University Press, 2000Google Scholar
Hunter, M., ‘ “To play as if from the soul of the composer”: the idea of the performer in early Romantic aesthetics’, Journal of the American Musicological Society, 58 (2005), 357–98CrossRefGoogle Scholar
Hunter, R., Theocritus and the Archaeology of Greek Poetry, Cambridge University Press, 1996CrossRefGoogle Scholar
Hunter, D., ‘The application of grace signs in the sources of English keyboard music, c. 1530–c. 1650’, Ph.D. thesis, National University of Ireland (1989)Google Scholar
Hunter, D., ‘My Ladye Nevells Booke and the art of gracing’, in Brown, A. and Turbet, R. (eds.), Byrd Studies, Cambridge University Press, 1992, pp. 174–92Google Scholar
Hunter, D., ‘The Dublin Virginal Manuscript: new perspectives on virginalist ornamentation’, Early Music, 30 (2002), 68–80CrossRefGoogle Scholar
Hunter, M., The Culture of Opera Buffa in Mozart's Vienna: A Poetics of Entertainment, Princeton University Press, 1999Google Scholar
Huray, P., ‘English keyboard fingering in the 16th and early 17th centuries’, in Bent, I. (ed.), Source Materials and the Interpretation of Music, London, Stainer & Bell, 1981, pp. 227–57Google Scholar
Huws Jones, E., The Performance of English Song 1610–1670, New York and London, Garland, 1989Google Scholar
Illari, B., ‘Polychoral culture: cathedral music in La Plata (Bolivia), 1680–1730’, Ph.D. thesis, University of Chicago (2001)Google Scholar
Jackman, J. L. (ed.), Fifteenth-Century Basse Dances, Wellesley, MA, Wellesley College, 1964
Jakob-Hoff, T., ‘Proms diary: marathon man’, Guardian, London, 6 August 2008Google Scholar
James, J., The Music of the Spheres: Music, Science, and the Natural Order of the Universe, New York, Copernicus Press, 1995Google Scholar
Jaques-Dalcroze, E., ‘Eugène Ysäye: quelques notes et souvenirs’, Revue Musicale, 188 (1939), 30–1Google Scholar
Jeltsch, J., ‘La clarinette de Mozart’, Crescendo: Le Magazine de la musique ancienne, 34 (1990), 12–24Google Scholar
Jensen, E. F., Schumann, Oxford University Press, 2005Google Scholar
,Jerome of Moravia, De musica, ed. Cserba, S. M. as Hieronymus de Moravia, O.P. Tractatus de musica, Freiburger Studien zur Musikwissenschaft 2, Regensburg, Pustet, 1935Google Scholar
Joachim, J., and Moser, A., Violinschule/Violin School, 3 vols., Berlin, Simrock, c. 1905Google Scholar
John, N. (ed.), Tristan and Isolde: English National Opera Guide 6, London, John Calder, 1981
,John of Salisbury, Policraticus: Of the Frivolities of Courtiers and the Footprints of Philosophers, trans. Nederman, C., Cambridge University Press, 1990Google Scholar
Johnson, J. H., Listening in Paris: A Cultural History, Berkeley, University of California Press, 1995Google Scholar
Johnson, J. H., Listening in Paris: A Cultural History, Berkeley, University of California Press, 1995Google Scholar
Johnson, V., Fulcher, J. F., and Ertman, T. (eds.), Opera and Society in Italy and France from Monteverdi to Bourdieu, Cambridge University Press, 2007CrossRef
Johnson, S., Bruckner Remembered, London, Faber, 1998Google Scholar
Johnson, G., The Songmakers' Almanac, Reflections and Commentaries, London, Thames Publishing, 1996Google Scholar
Johnson, G., and Stokes, R., A French Song Companion, Oxford University Press, 2000Google Scholar
Johnstone, A., ‘ “High” clefs in composition and performance’, Early Music, 34 (2006), 29–53CrossRefGoogle Scholar
Johnstone, A., ‘ “As it was in the beginning”: organ and choir pitch in early Anglican church music’, Early Music, 31 (2003), 507–25CrossRefGoogle Scholar
Johnstone, A., ‘ “High” clefs in composition and performance’, Early Music, 34 (2006), 29–53CrossRefGoogle Scholar
Jones, D. W., The Symphony in Beethoven's Vienna, Cambridge University Press, 2006Google Scholar
Jones, D. W., The Symphony in Beethoven's Vienna, Cambridge University Press, 2006Google Scholar
Jorgens, E. B. (ed.), English Song, 1600–1625, 11 vols., New York and London, Garland, 1986
Jory, E. J., ‘Association of actors in Rome’, Hermes, 98 (1970), 224–53Google Scholar
Jory, E. J., ‘The masks on the propylon of the Sebasteion at Aphrodisias’, in Easterling, P. and Hall, E. (eds.), Greek and Roman Actors, Cambridge University Press, 2002, pp. 238–53Google Scholar
Judd, R. F., ‘The use of notational formats at the keyboard: a study of printed sources of keyboard music in Spain and Italy c. 1500–1700’, D.Phil. thesis, University of Oxford (1989)Google Scholar
Kanno, M., ‘Prescriptive notation: limits and challenges’, Contemporary Music Review, 26/2 (2007), 231–54CrossRefGoogle Scholar
Karnes, K. C., Music, Criticism and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna, Oxford University Press, 2008CrossRefGoogle Scholar
Karp, T., ‘Compositional process in Machaut's ballades’, in Comberiati, C. and Steel, M. (eds.), Music from the Middle Ages through the Twentieth Century: Essays in Honor of Gwynn McPeek, New York, Gordon & Breach, 1988Google Scholar
Kassler, J. C., ‘Burney's sketch of a plan for a public music school’, Musical Quarterly, 43 (1972), 210–33CrossRefGoogle Scholar
Kast, P. (ed.), Schumanns rheinische Jahre, Düsseldorf, Droste, 1981
Katz, M., Capturing Sound: How Technology has Changed Music, Berkeley and Los Angeles, University of California Press, 2004Google Scholar
Katz, M., Capturing Sound: How Technology has Changed Music, Berkeley and Los Angeles, University of California Press, 2004Google Scholar
Kaufmann, H., The Life and Works of Nicola Vicentino, Middleton, WI, American Institute of Musicology, 1966Google Scholar
Kelly, H. A., ‘Tragedy and the performance of tragedy in late Roman antiquity’, Traditio, 35 (1979), 21–44Google Scholar
Kendall, A., Paganini: A Biography, London, Chappell, 1982Google Scholar
Kendrick, R. L., Celestial Sirens: Nuns and their Music in Early Modern Milan, Oxford University Press, 1996Google Scholar
Kenyon, N., The BBC Symphony Orchestra 1930–80, London, BBC Books, 1981Google Scholar
Kenyon, N. (ed.), Authenticity and Early Music: A Symposium, Oxford University Press, 1988
Kenyon, N. ‘Tradition isn't what it used to be’, Royal Philharmonic Society Lecture 2001, London, RPS, 2001Google Scholar
Kenyon, N., The Faber Pocket Guide to Mozart, London, Faber, 2005Google Scholar
Kerman, J., ‘A few canonic variations’, Critical Inquiry, 10 September 1983, 107–26, repr. in Hallberg, R. (ed.), Canons, University of Chicago Press, 1984Google Scholar
Kerman, J.Musicology, New York, Fontana, 1985Google Scholar
Kevorkian, T., Baroque Piety: Religion, Society, and Music in Leipzig, 1650–1750, Aldershot, Ashgate, 2007Google Scholar
Kientzy, D., Les sons multiples aux saxophones, Paris, Salabert, 2000Google Scholar
Kift [Hoher], D., The Victorian Music Hall: Culture, Class and Conflict, Cambridge University Press, 1996Google Scholar
Kildea, P., Selling Britten: Music and the Marketplace, Oxford University Press, 2002Google Scholar
Kirk, D., ‘Churching the shawms in renaissance Spain: Lerma, Archivo de San Pedro Ms. Mus. 1’, D.Phil. thesis, McGill University (1993)Google Scholar
Kirk, D., ‘Instrumental music in Lerma, c.1608’, Early Music, 23 (1995), 393–408CrossRefGoogle Scholar
Kirkendale, W., The Court Musicians in Florence during the Principate of the Medici, with a Reconstruction of the Artistic Establishment, ‘“Historiae Musicae Cultores” Biblioteca’, 61, Florence, Olschki, 1993Google Scholar
Kirkman, A. and Slavin, D. (eds.), Binchois Studies, Oxford University Press, 2000
Kisby, F. ‘Royal minstrels in the city and suburbs of early Tudor London: professional activities and private interests’, Early Music, 25 (1997), 199–219CrossRefGoogle Scholar
Kitchell, K., and Resnick, I., Albertus Magnus on Animals: A Medieval Summa Zoologica, Baltimore, MD, Johns Hopkins Press, 1999, vol. 1Google Scholar
Kite-Powell, J. (ed.), A Performer's Guide to Renaissance Music, New York, Schirmer, 1994, rev. edn, 2007
Kivy, P., Authenticities: Philosophical Reflections on Musical Performance, Ithaca, NY, Cornell University Press, 1995Google Scholar
Kneschke, E., Das Königliche Conservatorium der Musik zu Leipzig 1843–1893, Leipzig and New York, Internationale Verlags- und Kunstanstalt (A. Laurencic), [1893]Google Scholar
Knight, F., Cambridge Music: From the Middle Ages to Modern Times, Cambridge, Oleander Press, 1980Google Scholar
Knighton, T., and Fallows, D. (eds.), The Oxford Companion to Medieval and Renaissance Music, Oxford University Press, 1998
Kolisch, R., ‘Tempo und Charakter in Beethovens Musik’, Die Reihe: Musik-Konzepte, 76/77, Munich, Richard Boorberg Verlag, 1992Google Scholar
Kopiez, R., Lehmann, A. C., and Klassen, J., ‘Clara Schumann's collection of playbills: A historiometric analysis of life-span development, mobility, and repertoire canonization’, Poetics, 37/1 (2009), 50–73CrossRefGoogle Scholar
Korstvedt, B. M., ‘Bruckner editions: the revolution revisited’, in Williamson, J. (ed.), The Cambridge Companion to Bruckner, Cambridge University Press, 2004, pp. 121–37CrossRefGoogle Scholar
Koury, D. J., Orchestral Performance Practices in the Nineteenth Century: Size, Proportions, and Seating, Ann Arbor, UMI Research Press, 1986Google Scholar
Koury, D. J., Orchestral Performance Practices in the Nineteenth Century: Size, Proportions and Seating, Ann Arbor, MI, UMI Research Press, 1986Google Scholar
Kowalzig, B., ‘Changing choral worlds: song-dance and society in Athens and beyond’, in Murray, P. and Wilson, P. J. (eds.), Music and the Muses, Oxford University Press, 2004, pp. 39–65CrossRefGoogle Scholar
Krebs, C. (ed.), Johannes Brahms Briefwechsel XVI: Johannes Brahms im Briefwechsel mit Philipp Spitta und Otto Dessoff, Berlin, Deutsche Brahms Gesellschaft, 1922, repr. Tutzing, Schneider, 1974
Kreitner, K., ‘Minstrels in Spanish churches, 1400–1600’, Early Music, 20 (1992), 532–46CrossRefGoogle Scholar
Kreitner, K., ‘The cathedral band of León in 1548, and when it played’, Early Music, 31 (2003), 41–63CrossRefGoogle Scholar
Kreitner, K., ‘The repertory of the Spanish cathedral bands’, Early Music, 37 (2009), 267–86CrossRefGoogle Scholar
Kremer, J., Das norddeutsche Kantorat im 18. Jahrhundert: Untersuchungen am Beispiel Hamburgs, Kassel, Bärenreiter, 1995Google Scholar
Kuhnau, J., The Musical Charlatan, trans. Russell, J., Columbia, SC, Camden House, 1997Google Scholar
Kurke, L., ‘Inventing the hetaira: sex, politics, and discursive conflict in archaic Greece’, Classical Antiquity, 16 (1997), 106–50CrossRefGoogle Scholar
Kurth, G., Histoire poétique des Mérovingiens, Paris, A. Picard, 1893Google Scholar
Kurtz, M., trans. Toop, R., Stockhausen, A Biography, London, Faber, 1992Google Scholar
Kurtzman, J., The Monteverdi Vespers of 1610: Music, Context, Performance, Oxford University Press, 1999Google Scholar
Kurtzman, J., Essays on the Monteverdi Mass and Vespers of 1610, Houston, TX, William Marsh Rice University, 1978Google Scholar
Kurtzman, J., The Monteverdi Vespers of 1610: Music, Context, Performance, Oxford University Press, 1999Google Scholar
Kurtzman, J., ‘The Mantuan sacred music’, in Whenham, J. and Wistreich, R. (eds.), The Cambridge Companion to Monteverdi, Cambridge University Press, 2007, pp. 141–54CrossRefGoogle Scholar
Kurtzman, J. (ed.), Claudio Monteverdi: Vespro della Beata Vergine: Vespers 1610, Oxford University Press, 1999; and Claudio Monteverdi: Vespro della Beata Vergine: Vespers 1610: Critical Appendix, Oxford University Press, 1999
Labov, W., Principles of Linguistic Change, 3 vols., Oxford, Blackwell, 1994–2001Google Scholar
Lacassagne, L'Abbé J., Traité général des éléments du chant, Paris, 1766, facsimile edn, New York, Broude, 1967Google Scholar
Lalaing, A., Voyage de Philippe le Beau en Espagne, en 1501, in Collection des voyages des souverains des Pays-Bas, ed. Gachard, L., Mémoires de l'Académie Royale de Belgique i, Brussels, 1876–88, repr. 1969, p. viiGoogle Scholar
Lamperti, F., Guida teorico-pratica-elementare per lo studio del canto, Milan, Ricordi, 1864Google Scholar
Landon, H. C. R., Haydn: Chronicle and Works, vol. 3: Haydn in England 1791–1795, London, Thames & Hudson, 1976Google Scholar
Landon, H. C. R., 1791, Mozart's Last Year, London, Thames & Hudson, 1988Google Scholar
Landon, H. C. R., Mozart: The Golden Years 1781–1791, London, Thames & Hudson, 1989Google Scholar
Lang, P. H., Music in Western Civilization, New York, Norton, 1941Google Scholar
Langley, L., ‘Agency and change: Berlioz in Britain, 1870–1920’, Journal of the Royal Musical Association, 132/2 (2007), 306–48CrossRefGoogle Scholar
LaRue, C. S., Handel and his Singers: The Creation of the Royal Academy Operas, 1720–1728, Oxford, Clarendon Press, 1995Google Scholar
Lasocki, D., The Bassanos: Venetian Musicians and Instrument Makers in England, 1531–1665, Aldershot, Scolar Press, 1995Google Scholar
Lasocki, D. (ed.), Musicque de Joye, Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003, Utrecht, STIMU, 2005
Latham, A., and Parker, R. (eds.), Verdi in Performance, OxfordUniversity Press, 2001
Laurence, D. H. (ed.), Shaw's Music: The Complete Music Criticism, 3 vols., London, Bodley Head, 1981
Lavignac, A., and Laurencie, L. (eds.), Encyclopédie de la musique et dictionnaire du Conservatoire, 11 vols., Paris, Delagrave, 1913–31
Lawson, C. (ed.), The Cambridge Companion to the Orchestra, Cambridge University Press, 2003CrossRef
Lawson, C., and Stowell, R., The Historical Performance of Music: An Introduction, Cambridge University Press, 1999CrossRefGoogle Scholar
Lawson, C., ‘Playing historical clarinets’, in Lawson, C. (ed.), The Cambridge Companion to the Clarinet, Cambridge University Press, 1995, pp. 134–49CrossRefGoogle Scholar
Lawson, C., The Early Clarinet: A Practical Guide, Cambridge University Press, 2000CrossRefGoogle Scholar
Lawson, C., The Early Clarinet: A Practical Guide, Cambridge University Press, 2000CrossRefGoogle Scholar
Lawson, C. (ed.), The Cambridge Companion to the Orchestra, Cambridge University Press, 2003CrossRef
Leach, E. E., ‘Machaut's Balades with four voices’, Plainsong and Medieval Music, 10 (2001), 47–79CrossRefGoogle Scholar
Lebrecht, N., The Maestro Myth, London, Simon & Schuster, 1991Google Scholar
Lebrecht, N., ‘So which of the Beecham stories are true?’ La Scena Musicale, 3 September 2008Google Scholar
LeCerf de la Viéville, J. L., Comparaison de la musique italienne, et de la musique françoise, part 2, 2nd edn, Brussels, F. Froppens, 1705Google Scholar
Leech-Wilkinson, D., ‘Le Voir Dit and La Messe de Notre Dame: aspects of genre and style in the late works of Machaut’, Plainsong and Medieval Music, 2 (1993) 43–73CrossRefGoogle Scholar
Leech-Wilkinson, D. ‘Le Voir Dit: a reconstruction and a guide for musicians’, Plainsong and Medieval Music, 2 (1993), 103–40CrossRefGoogle Scholar
Leech-Wilkinson, D.The Modern Invention of Medieval Music: Scholarship, Ideology, Performance, Cambridge University Press, 2002Google Scholar
Leech-Wilkinson, D., ‘Il libro de appunti di un suonatore di tromba del quindecesimo secolo’, Rivista italiana di musicologia, 16 (1981), 16–39Google Scholar
Leech-Wilkinson, D., ‘Portamento and musical meaning’, Journal of Musicological Research, 25 (2006), 233–61CrossRefGoogle Scholar
Leech-Wilkinson, D., ‘Using recordings to study musical performance’, in Linehan, A. (ed.), Aural History, London, The British Library, 2001, pp. 1–12Google Scholar
Lefferts, P., ‘Machaut's B-flat Balade Honte, paour (B25)’, in Leach, E. E. (ed.), Machaut's Music: New Interpretations, Woodbridge, Boydell Press, 2003, pp. 161–74Google Scholar
Lenz, W., The Great Piano Virtuosos from Personal Acquaintance: Liszt, Chopin, Thalberg, Henselt, trans. Baker, M. R., New York, Schirmer, 1899Google Scholar
Leopold, S., Monteverdi: Music in Transition, trans. Smith, A., Oxford, Clarendon Press, 1991Google Scholar
Guen, B., Les associations de technites dionysiaques à l'époque hellénistique, Paris, de Boccard, 2001Google Scholar
Lester, J., Compositional Theory in the Eighteenth Century, Cambridge, MA, Harvard University Press, 1992Google Scholar
Levin, R., ‘Instrumental ornamentation, improvisation, and cadenzas’, in Brown, H. M. and Sadie, S. (eds.), Performance Practice: Music after 1600, London, Macmillan, 1989, pp. 267–91Google Scholar
Levin, R. D., ‘Mozart's working methods in the keyboard concertos’, in Gallagher, S. and Kelly, T. F. (eds.), The Century of Bach and Mozart, Cambridge, MA, Harvard University Department of Music, 2008, pp. 379–406Google Scholar
Levin, T., ‘Dimitri Pokrovsky and the Russian folk music revival movement’, in Slobin, M. (ed.), Retuning Culture: Musical Changes in Central and Eastern Europe, Durham, NC, Duke University Press, 1996, pp. 1–13Google Scholar
Levine, L. W., Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America, Cambridge, MA, Harvard University Press, 1988Google Scholar
Levy, K., Gregorian Chant and the Carolingians, Princeton University Press, 1998Google Scholar
Lindley, M., Lutes, Viols and Temperaments, Cambridge University Press, 1984Google Scholar
Lindsay, W. M. (ed.), Isidori Hispalensis episcope Etymologiarum sive Originum libri XX, Oxford University Press, 1988
Lionnet, J., ‘Performance practice in the Papal Chapel during the 17th century’, Early Music, 15 (1987), 3–15CrossRefGoogle Scholar
Lionnet, J., ‘Performance practice in the Papal Chapel during the 17th century’, Early Music, 15 (1987), 3–15CrossRefGoogle Scholar
Liszt, F., Letters of Franz Liszt, collected Mara, L., trans. Bache, C., 2 vols., London, Grevel, 1894Google Scholar
Liszt, F., An Artist's Journey: Lettres d'un bachelier ès musique 1835–1841, trans. and annotated Suttoni, C., University of Chicago Press, 1989Google Scholar
Litterick, L., ‘Vocal or instrumental? A methodology for ambiguous cases’, in Vaccaro, J. -M. and Ouvrard, J.-P. (eds.), Le concert des voix et des instruments à la Renaissance, Paris, CNRS éditions, 1995, pp. 157–78Google Scholar
Little, M. and Jenne, N., Dance and the Music of J.S. Bach, Bloomington, Indiana University Press, 1991Google Scholar
Litzmann, B., Clara Schumann: Ein Künstlerleben, 3 vols., Leipzig, Breitkopf & Härtel, 1920Google Scholar
,Liudprand of Cremona, The Complete Works of Liudprand of Cremona, trans. Squatriti, P., Washington, DC, Catholic University of America Press, 2007Google Scholar
Llorens Cisteró, J. M. (ed.), Francisco Guerrero (1528–1599): Opera omnia, vol. 3: Motetes I–XXII, Monumentos de la Música Española 36, Barcelona, Instituto Español de Musicología, 1978
Lockwood, L., Music in Renaissance Ferrara 1400–1505, Cambridge, MA, Harvard University Press, 1984Google Scholar
Loesser, A., Men, Women and Pianos: A Social History, New York, Dover, 1990Google Scholar
Loos, H. (ed.), Robert Schumann: Interpretationen seiner Werke, 2 vols., Laaber, Laaber, 2005
Lott, R. A., From Paris to Peoria: How European Piano Virtuosos Brought Classical Music to the American Heartland, Oxford University Press, 2003CrossRefGoogle Scholar
Loulié, E., Eléments ou principes de musique, Paris, 1696, facsimile edn, Geneva, Minkoff, 1977; 2nd edn, Amsterdam, Roger, 1698; trans. and ed. Cohen, A. as Elements or Principles of Music, Brooklyn, NY, Institute of Mediaeval Music, 1965Google Scholar
Lowerson, J., Amateur Operatics: A Social and Cultural History, ManchesterUniversity Press, 2005Google Scholar
Lowinsky, E. E. (ed.), Josquin des Prez, Oxford University Press, 1976
Luard, H. R. (ed.), Roberti Grosseteste episcope quondam Lincolniensis epistolae, Rolls Series 25, Wiesbaden, 1965
Lucas, J., Thomas Beecham: An Obsession with Music, Woodbridge, Boydell Press, 2008Google Scholar
Ludwig, F., Musikalische Werke, Balladen, Rondeaux und Virelais, Leipzig, 1926, vol. 1Google Scholar
Ludwig, F., ‘Die geistlich nichtliturgische, weltliche einstimmige und die mehrstimmige Musik des Mittelalters bis zum Angang des 15. Jahrhunderts’, in Adler, G. (ed.), Handbuch der Musikgeschichte, 2nd edn, Berlin, H. Keller, 1930Google Scholar
Lutchmayer, K., ‘The Hexameron: wishful thinking, stylistic rivalry and Lisztian conquest in 1830s Paris’, Liszt Society Journal, 31 (2006), 3–33Google Scholar
Mémoires d'Olivier de La Marche, trans. , G. G. and Stuart, D. M. as The Memoires of Messire Olivier de la Marche, London, British Library, 1930
Garaudé, A., Méthode complète de chant, Paris, L'auteur, 1825Google Scholar
Müller, H., Ulrich Johann Voigt, 1669–1732: Stadtmusikus zu Celle und Lüneburg, Celle, Stadt Celle, 1985Google Scholar
MacCary, W. T., ‘Philokleon ithyphallos. Dance, costume and character in the Wasps’, Transactions and Proceedings of the American Philological Association, 109 (1979), 137–47CrossRefGoogle Scholar
MacClintock, C. (ed.), Readings in the History of Music in Performance, Bloomington, Indiana University Press, 1979
MacClintock, C., Readings in the History of Music in Performance, Bloomington, Indiana University Press, 1982Google Scholar
MacClintock, C. (ed.), Readings in the History of Music in Performance, Bloomington, Indiana University Press, 1979
MacDonald, H., ‘Berlioz and the metronome’, in Bloom, P. (ed.), Berlioz Studies, Cambridge University Press, 1992, pp. 17–36CrossRefGoogle Scholar
MacDonald, H., Berlioz's Orchestration Treatise: A Translation and Commentary, Cambridge University Press, 2003Google Scholar
Mace, T., Musick's Monument, London, 1676Google Scholar
Machaut, G., Le Livre dou Voir Dit (The Book of the True Poem), ed. Leech-Wilkinson, D. and Palmer, R., New York, Garland, 1998Google Scholar
Mackenzie of Ord, A. C. N., The Temperament of Keyboard Music: Its Character; its Musicality; and its History, Bristol, the author, 2007Google Scholar
Mackerness, E. D., A Social History of English Music, London, Routledge & Kegan Paul, 1964Google Scholar
Mackerness, E. D., A Social History of English Music, Studies in Social History, London, Routledge & Kegan Paul, 1964Google Scholar
MacMullen, R., Christianity and Paganism in the Fourth to Eighth Centuries, New Haven and London, Yale University Press, 1997Google Scholar
MacNeil, A., Music and Women of the Commedia dell'Arte in the Late Sixteenth Century, Oxford University Press, 2003Google Scholar
Maconie, R., The Works of Karlheinz Stockhausen, London, Marion Boyars, 1976Google Scholar
MacQueen, J., Numerology. Theory and Outline of a Literary Mode, EdinburghUniversity Press, 1985Google Scholar
MacRae, J. (ed.), Wigmore Hall 1901–2001: A Celebration, London, The Wigmore Hall Trust, 2001
Maes, J., A History of Russian Music: From Kamarinskaya to Babi Yar, trans. Pomerans, A. J. and Pomerans, E., Berkeley, University of California Press, 2002Google Scholar
Maffei, G., Delle lettere … Libri due, Naples, 1562, in Bridgman, N., ‘Giovanni Camillo Maffei et sa lettre sur le chant’, Revue de musicologie, 38 (1956), 3–34Google Scholar
Magee, B., Aspects of Wagner, London, Alan Ross, 1968Google Scholar
Mahling, C.-H., Meyer, C., and Wolf, E. K. (general editors), Musical Life in Europe 1600–1900: Circulation, Institutions, Representation, 12 vols., Berlin, Berliner Wissenschafts-Verlag, 2003–8
Maitland, Fuller J.A., ‘Sir Arthur Sullivan’, Cornhill Magazine, new series, 10 (1901), 300–9Google Scholar
Malipiero, G. F. (ed.), Claudio Monteverdi: Tutte le opere, vol. 14/1–2, Vienna, Universal Edition, 1932
Mamone, S., ‘Most serene Brothers-Princes-Impresarios: theater in Florence under the management and protection of Mattias, Giovan Carlo, and Leopoldo de'Medici’, Journal of Seventeenth-Century Music, 9 (2003) www.sscm-jscm.org/v9/no1/mamone.htmlGoogle Scholar
Mancini, G., Pensieri e riflessioni practice sopra il canto figurato, Vienna, Ghelen, 1774, trans. Buzzi, P. as Practical Reflections on the Figurative Art of Singing, Boston, Gorham, 1912Google Scholar
Mann, A., and Buelow, G. J. (eds.), Paul Henry Lang: Musicology and Performance, New Haven and London, Yale University Press, 1997
Manning, B. L., The Hymns of Wesley and Watts, London, Epworth, 1942Google Scholar
Manning, J., New Vocal Repertory: An Introduction, London, Macmillan, 1986, reissued, Oxford, Clarendon Press, 1995CrossRefGoogle Scholar
Manning, J., New Vocal Repertory 2, Oxford, Clarendon Press, 1998Google Scholar
Manuel, P., Cassette Culture: Popular Music and Technology in North India, University of Chicago Press, 1993Google Scholar
Marín, M. A., Music on the Margin: Urban Musical Life in Eighteenth-Century Jaca (Spain), DeMusica 7, Kassel, Reichenberger, 2002Google Scholar
Mara, L. (ed.), Briefwechsel zwischen Franz Liszt und Carl Alexander Grossherzog von Sachsen, Leipzig, Breitkopf & Härtel, 1909
Marcello, B., ‘“Il teatro” alla moda’, Part I, trans. R. G. Pouly, Musical Quarterly, 34/3 (1948), 371–403
,Marchettus of Padua, The Lucidarium of Marchetto of Padua, ed. Herlinger, J., University of Chicago Press, 1985Google Scholar
Marcou, P., Elémens théorique et pratique de musique, London and Paris, 1782Google Scholar
Marix, J., Histoire de la musique et des musiciens de la cour de Bourgogne sous le règne de Philippe le Bon, Strasbourg, Heitz, 1939, repr. Geneva, Minkoff, 1972Google Scholar
Martène, E., Thesaurus novus anecdotorum, Paris, 1717, repr. Farnborough and New York, Gregg, 1968, vol. 4Google Scholar
Martin, P. J., Sounds and Society: Themes in the Sociology of Music, Manchester University Press, 1995Google Scholar
Marx, A. B., Die Kunst des Gesanges, theoretisch-praktisch, Berlin, Schlesinger, 1826Google Scholar
Mason, D., ‘The teaching and learning of singing’, in Potter, J. (ed.), The Cambridge Companion to Singing, Cambridge University Press, 2000, pp. 204–20CrossRefGoogle Scholar
Mason, W., Memories of a Musical Life, New York, Century, 1901Google Scholar
Massip, C., L'art de bien chanter: Michel Lambert (1610–1696), Paris, Société Française de Musicologie, 1999Google Scholar
Mattheson, J., Der volkommene Capellmeister, Hamburg, Herold, 1739, facsimile edn, Kassel, Bärenreiter, 1969; trans. Harriss, E. C. as Johann Mattheson's “Der volkommene Capellmeister”, Ann Arbor, UMI Research Press, 1981Google Scholar
Maugars, A., Response faite à un curieux sur le sentiment de la musique d'Italie, escrite à Rome le premier octobre 1639, ed. Thonain, E., Paris, Claudin 1865; repr. London, H. Baron, 1965Google Scholar
May, F., The Life of Johannes Brahms, 2 vols., London, Arnold, 1905Google Scholar
May, F., The Girlhood of Clara Schumann, London, Edward Arnold, 1912Google Scholar
McCord, N., British History 1815–1906, Oxford University Press, 1991Google Scholar
McCracken, A., ‘ “God's gift to us girls”: Crooning, gender, and the re-creation of American popular song, 1928–1933’, American Music, 17/4 (1999), 365–95CrossRefGoogle Scholar
McGee, T., ‘Instruments and the Faenza Codex’, Early Music, 14 (1986), 480–90CrossRefGoogle Scholar
McGee, T., The Sound of Medieval Song, Oxford University Press, 1998Google Scholar
McGee, T., The Ceremonial Musicians of Late-Medieval Florence, Bloomington, Indiana University Press, 2009Google Scholar
McGee, T. (ed.), Instruments and their Music in the Middle Ages, Aldershot, Ashgate, 2009
McGee, T. J., Medieval and Renaissance Music, a Performer's Guide, Aldershot, Scolar Press, 1990Google Scholar
McGee, T. J.The Sound of Medieval Song: Vocal Style and Ornamentation According to the Theorists, Oxford Monographs on Music Series, Oxford, Clarendon Press, 1998Google Scholar
McGee, T. J. ‘How one learned to ornament in late sixteenth-century Italy’, Performance Practice Review, 13 (2008), 1–16CrossRefGoogle Scholar
McGrady, D., Controlling Readers: Guillaume de Machaut and his Late Medieval Audience, University of Toronto Press, 2006Google Scholar
McKay, E. N., The Impact of the New Pianofortes on Classical Keyboard Style: Mozart, Beethoven and Schubert, West Hagley, Lynwood, 1987Google Scholar
McKay, E. N., Franz Schubert: A Biography, Oxford University Press, 1996Google Scholar
McKibbin, R., Classes and Cultures: England 1918–1951, Oxford University Press, 1998CrossRefGoogle Scholar
McKinnon, J., ‘The Early Christian Period and the Latin Middle Ages’, in Strunk, O. and Treitler, L. (eds.), Source Readings in Music History, New York, Norton, 1998, pp. 113–78Google Scholar
McKinnon, J., ‘Fifteenth-century northern book painting and the a cappella question: an essay in iconographic method’, in Boorman, S. (ed.), Studies in the Performance of Late Mediaeval Music, Cambridge University Press, 1984, pp. 1–17Google Scholar
McNeill, J., and Gamer, H., Medieval Handbooks of Penance: A Translation of the Principal Libri Poenitentiales and Selections from Related Documents, New York, Columbia University Press, 1938Google Scholar
McVeigh, S., Concert Life in London from Mozart to Haydn, Cambridge University Press, 1993Google Scholar
McVeigh, S., Concert Life in London from Mozart to Haydn, Cambridge University Press, 1993Google Scholar
Mead, S., ‘Renaissance theory’, in Kite-Powell, J. (ed.), A Performer's Guide to Renaissance Music, New York, Schirmer, 1994, pp. 289–316Google Scholar
Medlam, C., ‘On holding the violin’, Early Music, 7 (1979), 561–3CrossRefGoogle Scholar
Mell, A., ‘Ferdinand David’, at Grove Online (accessed 20 March 2009)Google Scholar
Melvin, S., and Cai, J., Rhapsody in Red: How Western Classical Music became Chinese, New York, Algora, 2004Google Scholar
Memelsdorff, P., ‘Motti a motti: reflections on a motet intabulation of the early Quattrocento’, Recercare, 10 (1998), 39–68Google Scholar
Mendelssohn, F., Briefe aus den Jahren 1830 bis 1847, ed. , P. and Mendelssohn-Bartholdy, C., Leipzig, Hermann Mendelssohn, 1899Google Scholar
Mengozzi, B. et al., Méthode de chant du Conservatoire de Musique, Paris, á l'imprimerie du Conservatoire de musique, 1804, facsimile edn, Méthodes et Traités, Série II/1, Paris, Fuzeau, 2005Google Scholar
Mercadante, S., Andronico: Soave immagine d'amor … The Graces & Embellishments by S. Crivelli, London, Willis, n.d. [c. 1825]Google Scholar
Mersenne, M., Harmonie universelle, contenant la théorie et la pratique de la musique, Paris, Cramoisy, 1636, repr. 3 vols., Paris, Centre National de la Recherche Scientifique, 1963Google Scholar
Mersenne, M., Harmonicorum libri, Paris, Lutetiæ Parisiorum, 1635–6Google Scholar
Mersenne, M., Harmonie universelle, Paris, Cramoisy, 1636; facsimile edn, Paris, CNRS, 1963Google Scholar
Migne, J.-P., Patrologia Latina, Paris, 1889Google Scholar
Millet, J., La belle méthode ou l'art de bien chanter, 1666, facsimile edn, with introduction by Cohen, A., New York, Da Capo, 1973Google Scholar
Millington, B. (ed.), The Wagner Compendium: A Guide to Wagner's Life and Music, New York, Schirmer, 1992
Millington, B., and Spencer, S. (eds.), Wagner in Performance, New Haven and London, Yale University Press, 1992
Milsom, D., Theory and Practice in Late Nineteenth-Century Violin Performance: An Examination of Style in Performance, 1850–1900, Aldershot, Ashgate, 2003Google Scholar
Minorova, N. A., Moskovskaia Conservatoriia. Istoki (The Moscow Conservatoriia: Origins) (Moscow, 1995), available online at http://www.mosconsv.ru/page.phtml?11134 (accessed 24 June 2009)Google Scholar
Mitchell, M., and Evans, A. (eds.), Moriz Rosenthal in Word and Music: A Legacy of the Nineteenth Century, Bloomington, Indiana University Press, 2006
Mittag, E., The Vienna Philharmonic, trans. Orange, J. R. L. and Morice, G., Vienna, Gerlach & Wiedling, 1950Google Scholar
Moll, K., ‘Texture and counterpoint in the four-voice Mass settings of Machaut and his contemporaries’, in Leach, E. E. (ed.), Machaut's Music: New Interpretations, Woodbridge, Boydell Press, 2003Google Scholar
Molloy, M. E., Libanius and the Dancers, Hildesheim and Zurich, Olms-Weidmann, 1996Google Scholar
Mondonville, J.-J. C. de, Pièces de clavecin avec voix ou violon, Paris, author, 1748Google Scholar
Monk, W. H., Hymns Ancient and Modern, London, Novello, 1861Google Scholar
Monson, C. A., Disembodied Voices: Music and Culture in an Early Modern Italian Convent, Berkeley and Los Angeles, University of California Press, 1995Google Scholar
Montéclair, M. P., Nouvelle méthode pour apprendre la musique, Paris, author, 1709Google Scholar
Montéclair, M. P., Principes de musique, Paris, Boivin, 1736; facsimile edn, Geneva, Minkoff, 1972Google Scholar
Montagu, J., Timpani and Percussion, New Haven and London, Yale University Press, 2002Google Scholar
Monteverdi, C., Madrigals Book VIII: Madrigali Guerrieri ed Amorosi, ed. Applebaum, S., New York, Dover, 1991Google Scholar
Monteverdi, Fondazione Claudio (ed.), Claudio Monteverdi: Opera omnia, vol. 9, Instituta et monumenta: Monumenta v, Cremona, Fondazione Claudio Monteverdi, 2005
Montgomery, D., ‘Franz Schubert's music in performance: a brief history of people, events, and issues’, in Gibbs, C. (ed.), The Cambridge Companion to Schubert, Cambridge University Press, 1997, pp. 270–83CrossRefGoogle Scholar
Montgomery, D., Franz Schubert's Music in Performance: Compositional Ideals, Notational Intent, Historical Realities, Pedagogical Foundations, Hillsdale, NY, Pendragon Press, 2003Google Scholar
Moore, J. H., ‘Venezia favorita da Maria: music for the Madonna Nicopeia and Santa Maria della Salute’, Journal of the American Musicological Society, 37 (1984), 299–355CrossRefGoogle Scholar
Moore, G., Am I too Loud? Memoirs of an Accompanist, London, Hamish Hamilton, 1962Google Scholar
Morelli, A., ‘Monteverdi and organ practice’, in Monterosso, R. (ed.), Performing Practice in Monteverdi's Music: The Historic-Philological Background, Cremona, Fondazione Claudio Monteverdi, 1995, pp. 125–41Google Scholar
Moretti, L., ‘Architectural spaces for music: Jacopo Sansovino and Adrian Willaert at St. Mark's’, Early Music History, 23 (2004), 153–84CrossRefGoogle Scholar
Morgado, A., Historia de Sevilla, Seville, Andrea Pescioni & Juan de Leon, 1587Google Scholar
Morley, T., A Plaine and Easie Introduction to Practicall Musicke (1597), ed. Harman, A., London, Dent, 1952Google Scholar
Moroney, D., ‘The performance of unmeasured harpsichord preludes’, Early Music, 4 (1976), 143–51CrossRefGoogle Scholar
Morrison, R., Orchestra: The LSO: A Century of Triumph and Turbulence, London, Faber, 2004Google Scholar
Morrison, R., ‘Stockhausen day at the Albert Hall’, The Times, London, 4 August 2008Google Scholar
Morrow, M. S., Concert Life in Haydn's Vienna: Aspects of a Developing Musical and Social Institution, Stuyvesant, NY, Pendragon, 1989Google Scholar
Moser, A., Joseph Joachim ein Lebensbild, Berlin, Behrs, 1898Google Scholar
Moyer, A., Musica Scientia: Musical Scholarship in the Italian Renaissance, Ithaca, NY, Cornell University Press, 1992Google Scholar
Mozart, L., Versuch einer gründlichen Violinschule, Augsburg, author, 1756, trans. Knocker, E. as A Treatise on the Fundamentals of Violin Playing, Oxford University Press, 1948Google Scholar
Mozart, L., Versuch einer gründlichen Violinschule, Augsburg, author, 1756, 3rd edn, Leipzig, Lotter, 1787, trans. Knocker, E. as A Treatise on the Fundamental Principles of Violin Playing, Oxford University Press, 1948, 2nd edn, Oxford University Press, 1951Google Scholar
Mozart, W. A., The Letters of Mozart and his Family, ed. Anderson, E., 1966, 3rd edn, rev. Sadie, S. and Smart, F., London, Macmillan, 1985Google Scholar
Muck, P., Einhundert Jahre Berliner Philharmonisches Orchester, Erster Band: 1882–1922, Tutzing, Schneider, 1982Google Scholar
Muffat, G., Florilegium primum, Augsburg, 1695, and Florilegium secundum, Passau, 1698; trans. and ed. Wilson, D. K., in Georg Muffat on Performance Practice, Bloomington, Indiana University Press, 2001Google Scholar
Muffat, G., Georg Muffat on Performance Practice, trans. and ed. Wilson, D. K., Bloomington, Indiana University Press, 2001Google Scholar
Munrow, D., Instruments of the Middle Ages and Renaissance, Oxford University Press, 1976Google Scholar
Murata, M. (ed. and trans.), Strunk's Source Readings in Music History, vol. 4: The Baroque Era, New York and London, Norton, 1998
Murphy, J. J., Rhetoric in the Middle Ages: A History of Rhetorical Theory from St. Augustine to the Renaissance, Berkeley, University of California Press, 1974Google Scholar
Murray, P., and Wilson, P. J. (eds.), Music and the Muses: The Culture of Mousike in the Classical Athenian City, Oxford University Press, 2004CrossRef
Musgrave, M., The Musical Life of the Crystal Palace, Cambridge University Press, 1995Google Scholar
Musgrave, M. (ed.), George Grove, Music and Victorian Culture, Basingstoke and New York, Palgrave Macmillan, 2003
Musgrave, M., and Sherman, B. D. (eds.), Performing Brahms: Early Evidence of Performance Style, Cambridge University Press, 2003
Musgrave, M., The Musical Life of the Crystal Palace, Cambridge University Press, 1994Google Scholar
Musgrave, M., ‘Changing values in nineteenth-century performance’, in Bashford, C. and Langley, L. (eds.), Music and British Culture 1785–1914. Essays in Honour of Cyril Ehrlich, Oxford University Press, 2000, ch. 8Google Scholar
Musgrave, M., ‘The musical legacy of the Great Exhibition’, in Bosbach, F. and Davies, J. R. (eds.), with Bennett, S., Brockmann, T. and Filmer-Sankey, W., The Great Exhibition and its Legacy, Munich, Sauer, 2002Google Scholar
Musgrave, M., and Sherman, B. D. (eds.), Performing Brahms: Early Evidence of Performance Style, Cambridge University Press, 2003
Musti, D., Il simposio nel suo sviluppo storico, Rome, Laterza, 2001Google Scholar
Myers, H. (ed.), Ethnomusicology: An Introduction, New York, Norton, 1992
Myers, H. W., ‘The idea of “Consort” in the sixteenth century’, in Lasocki, D. (ed.), Musicque de Joye, Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003, Utrecht, STIMU, 2005, pp. 31–60Google Scholar
Myers, A., ‘Design, technology and manufacture since 1800’, in Herbert, T. and Wallace, J. (eds.), The Cambridge Companion to Brass Instruments, Cambridge University Press, 1997, pp. 115–30CrossRefGoogle Scholar
Nösselt, H.-J., Das Gewandhausorchester. Entstehung und Entwicklung eines Orchesters, Leipzig, Koehler & Amelang, 1943Google Scholar
Naegele, A., ‘Über Arbeitslieder bei Johannes Chrysostomos – Patristisch-literarisches zu K. Büchers “Arbeit und Rhythmus” ’, Berichte über die Verhandlungen der Königlich Sächsischen Gesellschaft der Wissenschaften zu Leipzig, Philologisch-historische Klasse, 57 (1905), 101–42Google Scholar
Nathan, I., Musurgia Vocalis, 2nd edn, London, Fentum, 1836Google Scholar
Neighbour, O. (ed.), Music and Bibliography: Essays in Honour of Alec Hyatt King, London, Clive Bingley, 1980
Nelson, B., ‘The integration of Spanish and Portuguese organ music within the liturgy from the latter half of the sixteenth to the eighteenth century’, D.Phil. thesis, University of Oxford (1986)Google Scholar
Nelson, B., ‘Alternatim practice in 17th-century Spain: the integration of organ versets and plainchant in psalms and canticles’, Early Music, 22 (1994), 239–56CrossRefGoogle Scholar
Nettel, R., Music in the Five Towns 1840–1914, Oxford University Press, 1944Google Scholar
Nettl, P., Forgotten Musicians, New York, Philosophical Library, 1951Google Scholar
Nettl, P., The Book of Musical Documents, New York, Greenwood Press, 1969Google Scholar
Neuhaus, H., Ob iskusstve fortepiannoy igrï (Moscow, 1958), trans. Leibovitch, K. A. as The Art of Piano Playing, London, Barrie & Jenkins, 1973Google Scholar
Neumann, F., Ornamentation in Baroque and Post-Baroque Music, Princeton University Press, 1978Google Scholar
Neumann, F., ‘The dotted note and the so-called French style’, trans. Harris, R. and Shay, E., Early Music, 5 (1977), 310–24CrossRefGoogle Scholar
Neumann, F., Ornamentation in Baroque and Post-Baroque Music, Princeton University Press, 1978Google Scholar
Neumann, F., ‘The French inégales, Quantz and Bach’, Journal of the American Musicological Society, 18 (1965), 313–358; repr. in F. Neumann, Essays in Performance Practice, Ann Arbor, UMI Research Press, 1982, pp. 17–54CrossRefGoogle Scholar
Neumann, F., Ornamentation in Baroque and Post-Baroque Music, Princeton University Press, 1978Google Scholar
Neumann, F., Performance Practices of the Seventeenth and Eighteenth Centuries, New York, Schirmer, 1993Google Scholar
Newcomb, A., The Madrigal at Ferrara, 1579–1597, 2 vols., Princeton University Press, 1980Google Scholar
Newman, A., Bach and the Baroque, Stuyvesant, NY, Pendragon Press, 1985Google Scholar
Newman, W., Beethoven on Beethoven: Playing his Piano Music his Way, New York, Norton, 1988Google Scholar
Newman, E., The Life of Richard Wagner, 4 vols., London, Cassell, 1933–47, repr. Cambridge University Press, 1976, vol. 3: 1859–1866.Google Scholar
Newman, W., Beethoven on Beethoven: Playing his Piano Music his Way, New York, Norton, 1988Google Scholar
Newmarch, R., Henry J. Wood, London, John Lane, 1904Google Scholar
Newsome, R., Brass Roots: A Hundred Years of Brass Bands and their Music, 1836–1936, Aldershot, Ashgate, 1998Google Scholar
Nichols, R., Mendelssohn Remembered, London, Faber, 1997Google Scholar
Niedt, F. E., Musicalische Handleitung (Hamburg, 1700–21), trans. Poulin, P. L. and Taylor, I. C. as The Musical Guide: Parts 1 (1700/10), 2 (1721) and 3 (1717), Oxford University Press, 1989Google Scholar
Nivers, G.-G., Livre d'orgue, Paris, 1665, facsimile edn, Courlay, Fuzeau, 1987Google Scholar
Nivers, G.-G., 2. Livre d'orgue, Paris: 1667, facsimile edn, Courlay, Fuzeau, 1992Google Scholar
Nonken, M., ‘Introduction: vessels’, Contemporary Music Review, 21/1 (2002), 1–3CrossRefGoogle Scholar
Noone, M., ‘Cristóbal de Morales in Toledo, 1545–6: ToleBC 25 and “new” works by Morales, Guerrero, Lobo, Tejeda and Ambiela’, Early Music, 30 (2002), 341–63CrossRefGoogle Scholar
Noone, M., Códice 25 de la Catedral de Toledo: Polifonia de Morales, Guerrero, Ambiela, Boluda, Josquin, Lobo, Tejeda, Urrede y anónimos, Madrid, Editorial Apuerto, 2003Google Scholar
North, R., Roger North on Music, ed. Wilson, J., London, Novello, 1959Google Scholar
North, R., Cursory Notes of Musicke (c.1698–c.1703): A Physical, Psychological and Critical Theory, ed. Chan, M. and Kassler, J. C., Kensington, Australia, 1986Google Scholar
North, R., The Musical Grammarian 1728, ed. Chan, M. and Kassler, J., Cambridge University Press, 1990Google Scholar
Nottebohm, G., Beethoveniana, 2 vols., Leipzig, C. F. Peters, 1872Google Scholar
Nuti, G., The Performance of Italian Basso Continuo: Style in Keyboard Accompaniment in the Seventeenth and Eighteenth Centuries, Aldershot and Burlington, VT, Ashgate, 2007Google Scholar
Nyman, M., Experimental Music: Cage and Beyond, 2nd edn, Cambridge University Press, 1999Google Scholar
O'Donnell, J., ‘The French style and the overtures of Bach’, Early Music, 7 (1979), 190–6 and 336–45CrossRefGoogle Scholar
O'Donnell, J., ‘The French style and the overtures of J. S. Bach’, Early Music, 24 (1996), 190–6, 551–80Google Scholar
O'Donnell, J., ‘Bach's Temperament, Occam's Razor, and the Neidhardt factor’, Early Music, 34 (2006), 625–33CrossRefGoogle Scholar
O'Malley, J. W., et al. (eds.), The Jesuits: Cultures, Sciences, and the Arts 1540–1773, University of Toronto Press, 1999
O'Regan, N., ‘The church triumphant: music in the liturgy’, in Carter, T. and Butt, J. (eds.), The Cambridge History of Seventeenth-Century Music, Cambridge University Press, 2005, pp. 283–323CrossRefGoogle Scholar
O'Sullivan, D., Marian Devotion in Thirteenth-Century French Lyric, University of Toronto Press, 2005CrossRefGoogle Scholar
Ochs, S., Geschehenes Gesehenes, Leipzig, Grethlein, 1922Google Scholar
Odington, W., Summa de speculatione musice, ed. Hammond, F. F., CSM 14, Rome, American Institute of Musicology, 1970, trans. Huff, J. A., MSD 31, Rome, American Institute of Musicology, 1973Google Scholar
Ogden, D. H. (ed.), The Play of Daniel: Critical Essays, Early drama, art, and music monograph series, Kalamazoo, MI, Medieval Institute Publications, Western Michigan University, 1996
Olleson, E. (ed.), Modern Musical Scholarship, London, Oriel Press, 1978
Ollivier, D. (ed.), Correspondance de Liszt et de la Comtesse d'Agoult, 1833–1840, Paris, Grasset, 1933
Ornitoparcus, A., Musice Active Micrologus, Cologne, 1513, trans. Dowland, J. as Andreas Ornithoparcus his Micrologus or Introduction, London, 1609. Published as A Compendium of Musical Practice: Musice active micrologus, New York, Dover, 1973Google Scholar
Ortiz, D., Tratado de glosas, sobre clausulas y otros generos de puntos en la musica de violones, Rome, 1553, repr. Kassel, Bärenreiter, 2003Google Scholar
Osborne, R., Herbert von Karajan: A Life in Music, London, Chatto & Windus, 1998Google Scholar
Osmond-Smith, D., Luciano Berio, Two Interviews, London, Marion Boyars, 1985Google Scholar
Ostwald, P. trans., Nauhaus, G. ed., The Marriage Diaries of Robert and Clara Schumann, London, Robson, 1994
Owens, J. A., Composers at Work. The Craft of Musical Composition 1450–1600, Oxford University Press, 1999Google Scholar
Owens, J. A., and Cummings, A. M. (eds.), Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, Warren, MI, Harmonie Park Press, 1997
Pöhlmann, E., and West, M. L. (eds.), Documents of Ancient Greek Music: The Extant Melodies and Fragments, Oxford University Press, 2001
Pace, I., ‘Conventions, genres, practices in the performance of Liszt's piano music’, Liszt Society Journal, 31 (2006), 70–103Google Scholar
Pace, I., ‘Conventions, genres, practices in the performance of Liszt's piano music, part 2: Liszt and the style hongrois’, Liszt Society Journal, 32 (2007), 55–90Google Scholar
Pace, I., Brahms Performance Practice: Documentary, Analytic and Interpretive Approaches, Aldershot, Ashgate, 2011Google Scholar
Padgham, C. A., The Well-Tempered Organ, Oxford, Positif Press, 1986Google Scholar
Page, C., ‘Early 15th-century instruments in Jean de Gerson's “Tractatus de Cantici” ’, Early Music, 6 (1978), 339–49CrossRefGoogle Scholar
Page, C., ‘German musicians and their instruments: a 14th-century account by Konrad of Megenberg’, Early Music, 10 (1982), 192–200CrossRefGoogle Scholar
Page, C., Voices and Instruments of the Middle Ages: Instrumental Practice and Song in France 1100–1300, London, Dent, 1987Google Scholar
Page, C., ‘The performance of Ars Antiqua motets’, Early Music, 16 (1988), 147–64CrossRefGoogle Scholar
Page, C., The Owl and the Nightingale: Musical Life and Ideas in France 1100–1300, London, Dent, 1989; Berkeley, University of California Press, 1990Google Scholar
Page, C., (ed.), The Summa Musice: A Thirteenth-Century Manual for Singers, Cambridge University Press, 1991CrossRef
Page, C., ‘A treatise on musicians from ? c1400: the Tractatulus de differentiis et gradibus cantorum by Arnulf de St Ghislain’, Journal of the Royal Musical Association, 117 (1992), 1–21CrossRefGoogle Scholar
Page, C., Discarding Images: Reflections on Music and Culture in Medieval France, Oxford University Press, 1993Google Scholar
Page, C., ‘Johannes de Grocheio on secular music: a corrected text and a new translation’, Plainsong and Medieval Music, 2 (1993), 17–41CrossRefGoogle Scholar
Page, C., ‘Music and medicine in the thirteenth century’, in Horden, P. (ed.), Music as Medicine: The History of Music Therapy since Antiquity, Aldershot, Ashgate, 2000Google Scholar
Page, C. (ed.), The Summa Musice: A Thirteenth-Century Manual for Singers, Cambridge University Press, 1991CrossRef
Page, C., ‘The English a cappella renaissance’, Early Music, 21 (1993), 453–71Google Scholar
Palisca, C. V. (ed.), Hucbald, Guido, and John on Music: Three Medieval Treatises, New Haven and London, Yale University Press, 1978
Palisca, C. V.Norton Anthology of Western Music, New York, Norton, 1980, vol. 1; 2nd edn, 1988; 3rd edn, 1996
Palisca, C. V., Humanism in Italian Renaissance Musical Thought, New Haven and London, Yale University Press, 1985Google Scholar
Palisca, C. V., Studies in the History of Italian Music and Music Theory, Oxford University Press, 1994Google Scholar
Palmer, S. and , S., The Hurdy-Gurdy, Newton Abbot, David & Charles, 1980Google Scholar
Parisi, S., ‘Ducal patronage of music in Mantua, 1587–1627: an archival study’, Ph.D. thesis, University of Illinois at Urbana-Champaign (1989)Google Scholar
Parrott, A., ‘Monteverdi: onwards and downwards’, Early Music, 32 (2004), 303–17CrossRefGoogle Scholar
Parrott, A., ‘Transposition in Monteverdi's Vespers of 1610: an “Aberration” defended’, Early Music, 12 (1984), 490–516CrossRefGoogle Scholar
Parrott, A., ‘Monteverdi's Vespers of 1610 revisited’, in Monterosso, R. (ed.), Performing Practice in Monteverdi's Music: The Historic-Philological Background, Cremona, Fondazione Claudio Monteverdi, 1995, pp. 163–74Google Scholar
Parrott, A., ‘Performing Purcell’, in Burden, M. (ed.), The Purcell Companion, Portland, OR, Amadeus Press, 1995, pp. 385–444Google Scholar
Parrott, A., ‘Monteverdi: onwards and downwards’, Early Music, 32 (2004), 303–17CrossRefGoogle Scholar
Parrott, A., The Essential Bach Choir, Woodbridge, Boydell Press, 2000Google Scholar
Pascall, R., Playing Brahms: A Study in 19th-Century Performance Practice, University of Nottingham, 1991Google Scholar
Peacock, A. and Weir, R., The Composer in the Market Place, London, Faber, 1975Google Scholar
Pearsall, R., Edwardian Popular Music, Rutherford, NJ, Fairleigh Dickinson University Press, 1975Google Scholar
Perger, R., and Hirschfeld, R. (eds.), Geschichte der K.K. Gesellschaft der Musikfreunde Wien, 2 vols., Vienna, Holzhausen, 1912
Pesce, D., Hearing the Motet. Essays on the Motet of the Middle Ages and Renaissance, Oxford University Press, 1999Google Scholar
Peters, G., ‘Urban ministrels in late Medieval southern France: opportunities, status and professional relationships’, Early Music History, 19 (2000), 201–35CrossRefGoogle Scholar
Philip, R., ‘1900–1940’, in Brown, H. M. and Sadie, S. (eds.), Performance Practice: Music after 1600, London, Macmillan, 1989, pp. 461–82Google Scholar
Philip, R.Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1900–1950, Cambridge University Press, 1992CrossRefGoogle Scholar
Philip, R.Performing Music in the Age of Recording, New Haven and London, Yale University Press, 2004Google Scholar
Philip, R., Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1900–1950, Cambridge University Press, 1992CrossRefGoogle Scholar
Philip, R., Performing Music in the Age of Recording, New Haven and London, Yale University Press, 2004Google Scholar
Pickard-Cambridge, A. W., The Dramatic Festivals of Athens, rev. Gould, J. and Lewis, D. M., Oxford University Press, 1968Google Scholar
Pieper, A., Music and the Making of Middle-Class Culture: A Comparative History of Nineteenth-Century Leipzig and Birmingham, Basingstoke, Palgrave Macmillan, 2008Google Scholar
Pierre, C., Le Conservatoire nationale de musique et de déclamation, Paris, Imprimerie Nationale, 1900Google Scholar
Pierre, C., Histoire du concert spirituel, 1725–1790, Paris, Société française de musicologie, 1975Google Scholar
Pike, J. B. (ed.), Frivolities of Courtiers and Footprints of Philosophers, Minneapolis, University of Minnesota Press, 1938, repr. New York, Octagon Books, 1972
Pinnock, T., ‘20 years of the English Concert’, Early Music News, 174 (May 1993), 1Google Scholar
Pirrotta, N., Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays, Cambridge, MA, Harvard University Press, 1984CrossRefGoogle Scholar
Pirrotta, N., and Povoledo, E., Li Due Orfei da Poliziano a Monteverdi, Turin, Edizioni RAI, 1969, trans. Eales, K. as Music and Theatre from Poliziano to Monteverdi, Cambridge University Press, 1982Google Scholar
Pistone, D., L'opéra italien au XIXe siècle de Rossini à Puccini, Paris, Champion, 1986, trans. Glasgow, E. T. as Nineteenth-Century Opera from Rossini to Puccini, Portland, OR, Amadeus, 1991Google Scholar
Plamenac, D., Keyboard Music of the Late Middle Ages, CMM 52, Rome, American Institute of Musicology, 1972Google Scholar
Plantinga, L., Beethoven's Concertos: History, Style, Performance, New York and London, Norton, 1999Google Scholar
Playford, J., The Skill of Musick, London, Playford, 1674Google Scholar
Pleasants, H., The Great Singers, London, Gollancz, 1967Google Scholar
Pohl, R., Franz Liszt: Studien und Erinnerungen, Leipzig, Schlicke, 1883Google Scholar
Pohl, R., Hektor Berlioz: Studien und Erinnerungen, Leipzig, Schlicke, 1884Google Scholar
Pohl, R., ‘Reminiscences of Robert Schumann’ (1878), trans. Cooper, J. M., in Todd, R. L. (ed.), Schumann and his World, Princeton University Press, 1994, pp. 233–67Google Scholar
Polk, K., German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice, Cambridge University Press, 1992Google Scholar
Polk, K., ‘The trombone, the slide trumpet and the ensemble tradition of the early Renaissance’, Early Music, 17 (1989), 386–97Google Scholar
Polk, K. ‘Voices and instruments: soloists and ensembles in the 15th century’, Early Music, 18 (1990), 179–98CrossRefGoogle Scholar
Polk, K.German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice, Cambridge University Press, 1992Google Scholar
Polk, K., ‘Ensemble instrumental music in Flanders – 1450–1550’, Journal of Band Research, 11 (1975), 12–27Google Scholar
Polk, K., German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice, Cambridge University Press, 1992Google Scholar
Polk, K., ‘Minstrels and music in the Low Countries in the fifteenth century’, in Haggh, B. et al. (eds.), Archival Research and Musicology, Brussels, Belgian Royal Archives, 1994, pp. 392–410Google Scholar
Polk, K., ‘Instrumentalists and performance practices in dance music, c.1500’, in McGee, T. J. (ed.), Improvisation in the Arts of the Middle Ages and Renaissance, Kalamazoo, MI, Medieval Institute Publications, 2003, pp. 98–114Google Scholar
Polk, K., ‘The recorder in fifteenth-century consorts’, in Lasocki, D. (ed.), Musicque de Joye, Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003, Utrecht, STIMU Foundation for Historical Performance Practice, 2005, pp. 17–29Google Scholar
Pollens, S., The Early Pianoforte, Cambridge University Press, 1995Google Scholar
Porter, A., Music of Three Seasons 1974–7, London, Chatto & Windus, 1979Google Scholar
Porter, A.Music of Three More Seasons 1977–80, New York, Knopf, 1981Google Scholar
Porter, C. H., ‘The new public and the re-ordering of the musical establishment: the Lower Rhine music festivals 1818–67’, 19th-Century Music, 3/3 (1979–80), 211–24CrossRefGoogle Scholar
Porter, C. H., ‘The reign of the dilettanti: Düsseldorf from Mendelssohn to Schumann’, Musical Quarterly, 73/4 (1989), 476–512CrossRefGoogle Scholar
Portugal, M. (Portogallo), La morte di Mitridate: Teneri e cari affetti / Recitative & Song sung by / MAD.E CATALANI, / in the Opera of / LA MORTE DI MITRIDATE, London, Birchall, n.d. [c. 1805]Google Scholar
Potter, J., ‘Reconstructing lost voices’, in Knighton, T. and Fallows, D. (eds.), Companion to Medieval and Renaissance Music, London and New York, Schirmer, 1992, repr. Oxford, 1998, pp. 311–16Google Scholar
Potter, J., ‘Beggar at the door: the rise and fall of portamento in singing’, Music & Letters, 87/4 (2006), 523–50CrossRefGoogle Scholar
Potter, J., Tenor: History of a Voice, New Haven and London, Yale University Press, 2009Google Scholar
Potter, C., ‘Recollections of Beethoven, with remarks on his style’, The Musical Times and Singing Class Circular, 10/226 (1861), 150–7CrossRefGoogle Scholar
Potter, J., Vocal Authority: Singing Style and Ideology, Cambridge University Press, 1998CrossRefGoogle Scholar
Potter, J. (ed.), The Cambridge Companion to Singing, Cambridge University Press, 2000CrossRef
Poulin, P. L., ‘A view of eighteenth-century musical life and training: Anton Stadler's “Musick Plan” ’, Music & Letters, 71 (1990), 215–24CrossRefGoogle Scholar
Poulton, D., ‘Graces of play in renaissance lute music’, Early Music, 3 (1975), 107–14CrossRefGoogle Scholar
Powell, A., and Lasocki, D., ‘Bach and the flute: the players, the instruments, the music’, Early Music, 23 (1995), 9–29CrossRefGoogle Scholar
Praetorius, M., Syntagma musicum, 3 vols., Wolfenbüttel, 1619, vol. 3, facsimile edn, Kassel, Bärenreiter, 1985Google Scholar
Prauscello, L., Singing Alexandria: Music between Practice and Textual Transmission, Mnemosyne Supplements, 274, Leiden, Brill, 2006CrossRefGoogle Scholar
Prentner, M., Leschetizky's Fundamental Principles of Piano Technique (1903), New York, Dover, 2005Google Scholar
Pretagostini, R., ‘Tracce di poesia orale nei carmi di Teocrito’, Aevum Antiquum, 5 (1992), 67–78Google Scholar
Pribegina, G. A., Moskovskaia Conservatoriia 1866–1991, Moscow, Muzyka, 1991Google Scholar
Price, C., Milhous, J., Dideriksen, G., and Hume, R. D., Italian Opera in Late Eighteenth-Century London, 2 vols., Oxford University Press, 1995–2001Google Scholar
Printz, W. C., Musica modulatoria vocalis, Schweidnitz, 1678Google Scholar
Pritchett, J., ‘David Tudor as composer/performer in Cage's “Variations II” ’, Leonardo Music Journal, 14 (2004), 11–16CrossRefGoogle Scholar
Prizer, W. F., ‘Instrumental music/instrumentally performed music c1500: the genres of Paris, Bibliothèque Nationale, MS Rés. Vm7 676’, in Vaccaro, J.-M. and Ouvrard, J. P. (eds.), Le concert des voix et des instruments à la Renaissance, Paris, CNRS-Éditions, 1995Google Scholar
Prizer, W. F. ‘Una “Virtù Molto Conveniente A Madonne”: Isabella d'Este as a musician’, Journal of Musicology, 17/1 (1999), 10–49CrossRefGoogle Scholar
Prod'homme, J.-G., Les symphonies de Beethoven, Paris, Delagrave, 1906, repr. 1977Google Scholar
Prudentius, , Cathemerinon liber (Livre d'heures), ed. Lavarenne, M., Paris, Les Belles Lettres, 1943Google Scholar
Puchner, W., ‘Acting in the Byzantine theatre: evidence and problems’, in Easterling, P. and Hall, E. (eds.), Greek and Roman Actors, Cambridge University Press, 2002, pp. 304–24Google Scholar
Puliaschi, D., Musiche varie a una voce, Rome, 1618Google Scholar
Purcell, H., Eight Suites, ed. Ferguson, H., London, Stainer & Bell, 1964Google Scholar
Quantz, J. J., Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752, trans. Reilly, E. R. as On Playing the Flute, London, Faber, 1966Google Scholar
Quantz, J. J., Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752, facsimile edn, Leipzig, VEB Deutscher Verlag für Musik, 1983; trans. and ed. Reilly, E. R. as On Playing the Flute, London, Faber & Faber, 1966Google Scholar
Quantz, J. J., Versuch einer Anweisung die Flöte traversiere zu spielen, Berlin, 1752, trans. Reilly, E. R. as On Playing the Flute, London, Faber, 1966Google Scholar
Quasten, J., Music and Worship in Pagan and Christian Antiquity, trans. Ramsey, B., Washington, DC, National Association of Pastoral Musicians, 1983Google Scholar
Questa, C., Numeri innumeri. Ricerche sui cantica e la tradizione manoscritta di Plauto, Rome, Edizioni dell'Ateneo, 1985Google Scholar
Quicherat, L., Adolphe Nourrit, sa vie, son talent, son caractère, sa correspondance, Paris, Hachette, 1867Google Scholar
Röntsch, P. (ed.), Bericht über die ersten 75 Jahre des Königlichen Konservatoriums zu Leipzig, erstattet zum 2. April 1918, Leipzig, Linnemann, 1918
Raby, F. J. E., A History of Secular Latin Poetry in the Middle Ages, Oxford, Clarendon Press, 1957Google Scholar
Raguenet, F., Parallèle des Italiens et des François, en ce qui regarde la musique et les opéras, Paris, Moreau, 1702; trans. N. Haym as A Comparison between the French and Italian Musick and Opera's, London, Lewis, 1709Google Scholar
Raguenet, F., Parallèle des Italiens et des François en ce qui regarde la musique et les opéra's, Paris, Moreau, 1702, trans. Haym, N. as A Comparison between the French and Italian Musick and Operas, London, Lewis, 1709Google Scholar
Rainbow, B., The Land without Music. Musical Education in England 1800–1860 and its Continental Antecedents, London, Novello, 1967Google Scholar
Rainbow, B., The Choral Revival in the Anglican Church 1839–1872, Studies in Church Music, Oxford University Press, 1970Google Scholar
Ramann, L., Liszt Pädagogium, 2nd edn, ed. Brendel, A., Wiesbaden, Breitkopf & Härtel, 1996Google Scholar
Rappaport, E., Shopping for Pleasure: Women in the Making of London's West End, Princeton University Press, 2000Google Scholar
Rasch, R., ‘Johann Jacob Froberger's travels 1649–1653’, in Hogwood, C. (ed.), The Keyboard in Baroque Europe, Cambridge University Press, 2003Google Scholar
Rasch, R., ‘Does “well-tempered” mean “equal tempered”?’, in Williams, P. (ed.), Bach, Handel, Scarlatti: Tercentenary Essays, Cambridge University Press, 1985, pp. 293–310Google Scholar
Raychev, E., ‘The virtuoso cellist-composers from Luigi Boccherini to David Popper: a review of their lives and works’, DMA thesis, Florida State University (2003)Google Scholar
Reaney, G., ‘Ars Nova in France’, in Hughes, A. and Abraham, G. (eds.), Ars Nova and the Renaissance, 1300–1540, Oxford University Press, 1960Google Scholar
Reaney, G., ‘The Middle Ages’, in Stevens, D. (ed.), A History of Song, New York, Norton, 1961Google Scholar
Reardon, C., Holy Concord within Sacred Walls: Nuns and Music in Siena, 1575–1700, Oxford University Press, 2002Google Scholar
Redlich, H. (ed.), Monteverdi: Vespro della Beata Vergine, Vienna, Universal Edition, 1949, rev. 1952 and 1955
Rees, O. L., ‘Guerrero's L'homme armé masses and their models’, Early Music History, 12 (1993), 19–54CrossRefGoogle Scholar
Rees, O. L., ‘ “Recalling Cristóbal de Morales to mind”: emulation in Francisco Guerrero's Sacræ cantiones of 1555’, in Crawford, D. (ed.), Encomium musicæ: Essays in Honor of Robert J. Snow, Festschrift Series no. 17, Hillsdale, NY, Pendragon Press, 2002, pp. 365–94Google Scholar
Reese, G., Music in the Middle Ages, New York, Norton, 1940Google Scholar
Reese, G., Music in the Renaissance, London, Dent, 1954Google Scholar
Rehfeldt, P., New Directions for Clarinet, Berkeley, University of California Press, 1973, rev. edn, 1994Google Scholar
Reich, N., Clara Schumann: The Artist and the Woman, rev. edn, Ithaca, NY, Cornell University Press, 2001Google Scholar
Reicha, A., Traité de mélodie, Paris, chez l'auteur, 1814Google Scholar
Reichwald, S. (ed.), Mendelssohn in Performance, Bloomington, Indiana University Press, 2008
Remnant, M., English Bowed Instruments from Anglo-Saxon to Tudor Times, Oxford, Clarendon Press, 1986Google Scholar
Reynolds, C., ‘Sacred polyphony’, in Brown, H. M. and Sadie, S. (eds.), Performance Practice: Music before 1600, London, Macmillan, 1989, pp. 185–200Google Scholar
Ribera, J., Music in Ancient Arabia and Spain, being La música de las Cantigas, trans. and Hague, Abridged E. and Leffingwell, M., Oxford University Press, 1929Google Scholar
Rice, A. R., The Baroque Clarinet, Oxford, Clarendon Press, 1992Google Scholar
Rice, A. R., The Clarinet in the Classical Period, Oxford University Press, 2003Google Scholar
Rice, J. A., ‘Mozart and his Singers’, Opera Quarterly, 11/4 (1995), 31–52CrossRefGoogle Scholar
Rice, J. A., Empress Marie Therese and Music at the Viennese Court, 1792–1807, Cambridge University Press, 2003Google Scholar
Rice, J. A., Mozart on the Stage, Cambridge University Press, 2009Google Scholar
Richards, J., Imperialism and Music, Manchester University Press, 2001Google Scholar
Richards, J., Sir Henry Irving: A Victorian Actor and his World, Hambledon, NY, and London, Palgrave Macmillan, 2005Google Scholar
Rifkin, J., ‘Bach's chorus: a preliminary report’, Musical Times, 123 (1982), 747–54; revised as ‘Bachs Chor – Ein vorläufiger Bericht’, Basler Jahrbuch für historische Musikpraxis, 9 (1985), 141–55CrossRefGoogle Scholar
Rifkin, J., ‘Bach's chorus: a response to Robert Marshall’, Musical Times, 124 (1983), 161–2CrossRefGoogle Scholar
Rifkin, J., ‘Munich, Milan, and a Marian motet: dating Josquin's Ave Maria … virgo serena’, Journal of the American Musicological Society, 56 (2003), 239–350CrossRefGoogle Scholar
Riley, M., Musical Listening in the German Enlightenment: Attention, Wonder and Astonishment, Aldershot, Ashgate, 2004Google Scholar
Riley, M., Musical Listening in the German Enlightenment: Attention, Wonder and Astonishment, Aldershot, Ashgate, 2004Google Scholar
Rimsky-Korsakov, N., Principles of Orchestration, with Musical Examples Drawn from his Own Works, ed. Steinberg, M., trans. Agate, E., London, Russian Music Agency, 1911Google Scholar
Rimsky-Korsakov, N., My Musical Life, trans. Joffe, J. A., London, Eulenburg, 1974Google Scholar
Rink, J. (ed.), Musical Performance: A Guide to Understanding, Cambridge University Press, 2002CrossRef
Rink, J., ‘Liszt and the Boissiers: notes on a musical education’, Liszt Society Journal, 31 (2006), 34–65Google Scholar
Roach, J. R., The Player's Passion: Studies in the Science of Acting, Ann Arbor, University of Michigan Press, 1993CrossRefGoogle Scholar
Roads, C. (ed.), Composers and the Computer, Los Altos, CA, Kaufmann, 1985
Robert, L., ‘Pantomimen im Griechischen Orient’, Hermes, 65 (1930), 106–22Google Scholar
Robertson, A. W., Guillaume de Machaut and Reims: Context and Meaning in his Musical Works, Cambridge University Press, 2002Google Scholar
Robins, B., Catch and Glee Culture in Eighteenth-Century England, Woodbridge, Boydell Press, 2006Google Scholar
Robinson, J. O., ‘The “messa di voce” as an instrumental ornament in the seventeenth and eighteenth centuries’, Music Review, 43 (1982), 1–14Google Scholar
Robledo, L., ‘Questions of performance practice in Philip III's chapel’, Early Music, 22 (1994), 199–218Google Scholar
Rocconi, E., ‘Il canto delle rane in Aristofane Rane 209–267’, Quaderni Urbinati di Cultura Classica, 85 (2007), 137–42Google Scholar
Roche, J., ‘Music at S. Maria Maggiore, Bergamo, 1614–1643’, Music & Letters, 47 (1966), 296–312CrossRefGoogle Scholar
Roche, J. (ed.), Claudio Monteverdi: Vespro della Beata Vergine, London, Eulenburg, 1994
Roche, J., and Roche, H., ‘Ignaz Moscheles’, at Grove Online (accessed 13 March 2009)Google Scholar
Roesner, E. (ed.), Le Magnus liber organi de Notre-Dame de Paris, 7 vols., Monaco, Éditions de L'Oiseau-Lyre, 1993–2009
Rogniono, R., Passaggi per potersi essercitare nel diminuire, Venice, 1592, repr. Bologna, Forni, 2002Google Scholar
Rognoni, F., Selva di varii passaggi, Milan, 1620, facsimile edn, G. Barblan, Bologna, Forni, n.d.Google Scholar
Rohloff, E., Der Musiktraktat des Johannes de Grocheo nach den Quellen neu herausgegeben mit Übersetzung ins Deutsche und Revisionsbericht, Leipzig, Reinecke, 1943Google Scholar
Rokseth, Y., ‘Danses cléricales du XIIIe siècle’, Mélanges 1945, vol. 3, Études historiques, Publications de la Faculté des Lettres de l'Université de Strasbourg 106, Paris, 1947, pp. 93–126Google Scholar
Rosand, E., ‘Seneca and the interpretation of L'incoronazione di Poppea’, Journal of the American Musicological Society, 38 (1985), 34–71CrossRefGoogle Scholar
Rosand, E., ‘ “Senza necessità del canto dell'autore”: printed singing lessons in seventeenth-century Italy’, in Pompilio, A., Restani, D., Bianconi, L., and Gallo, F. A. (eds.), Atti del XIV Congresso della Società Internazionale di Musicologìa: Transmissione e recezione delle forme di cultura musicale, 3 vols., Bologna, EDT, 1990, vol. 2, pp. 214–24Google Scholar
Rosand, E., Opera in Seventeenth-Century Venice: The Creation of a Genre, Berkeley and Los Angeles, University of California Press, 1991Google Scholar
Rosand, E., Monteverdi's Last Operas: A Venetian Trilogy, Berkeley and Los Angeles, University of California Press, 2007CrossRefGoogle Scholar
Rose, J., The Intellectual Life of the British Working Classes, New Haven and London, Yale University Press, 2001Google Scholar
Rose, G., ‘Pietro Reggio: a wandering musician’, Music & Letters, 46 (1965), 207–16CrossRefGoogle Scholar
Rose, S., ‘Music in the market-place’, in Carter, T. and Butt, J. (eds.), The Cambridge History of Seventeenth-Century Music, Cambridge University Press, 2005, pp. 55–87CrossRefGoogle Scholar
Rose, M., Berlioz Remembered, London, Faber, 2001Google Scholar
Rosen, C., The Classical Style, Haydn, Mozart, Beethoven, London, Faber, 1971Google Scholar
Rosen, D., and Porter, A., Verdi's Macbeth: A Sourcebook, New York, Norton, 1984Google Scholar
Rosen, C., ‘Freedom of interpretation in twentieth-century music’, in Thomas, W. (ed.), Composition – Performance – Reception: Studies in the Creative Process in Music, Aldershot, Ashgate, 1998, pp. 66–73Google Scholar
Rosenblum, S., Performance Practices in Classic Piano Music, Bloomington, Indiana University Press, 1988Google Scholar
Rosenblum, S. P., Performance Practices in Classic Piano Music: Their Principles and Applications, Bloomington, Indiana University Press, 1988Google Scholar
Rosenfeld, R., ‘Technologies for musical drafts, twelfth century and later’, Plainsong and Medieval Music, 11 (2002), 45–63CrossRefGoogle Scholar
Rosenwald, L., ‘Theory, text-setting and performance’, Journal of Musicology, 11 (1993), 52–65CrossRefGoogle Scholar
Ross, A., The Rest is Noise: Listening to the Twentieth Century, New York, Harper Perennials, 2009Google Scholar
Ross, A., The Rest is Noise: Listening to the Twentieth Century, London, Fourth Estate (HarperCollins), 2009Google Scholar
Rosselli, J., The Opera Industry in Italy from Cimarosa to Verdi: The Role of the Impresario, Cambridge University Press, 1984Google Scholar
Rosselli, J.Singers of Italian Opera: The History of a Profession, Cambridge University Press, 1992Google Scholar
Rosselli, J., ‘The castrati as a professional group and a social phenomenon, 1550–1850’, Acta Musicologica, 60 (1988), 143–79CrossRefGoogle Scholar
Rosselli, J., The Opera Industry in Italy from Cimarosa to Verdi: The Role of the Impresario, Cambridge University Press, 1984Google Scholar
Rosselli, J., Music and Musicians in Nineteenth-Century Italy, Portland, OR, Amadeus, 1991Google Scholar
Rossi, L. E., ‘Mimica e danza sulla scena comica greca (a proposito del finale delle Vespe e di altri passi aristofanei)’, Rivista di cultura classica e medievale, 20 (1978), 1149–70Google Scholar
Rossini, G., [Il barbiere di Siviglia]: Una voce poco fa … avec tous les agrémens que Me. FODOR y fait, écrits par elle-même, Paris, Carli, n.d. [c. 1821]Google Scholar
Rousseau, E. E., ‘Clarinet instructional methods from 1732 to ca.1825’, thesis, University of Iowa (1962)Google Scholar
Rousseau, J.-J., Dictionnaire de musique, Paris and Amsterdam, 1768Google Scholar
Rowland, D. (ed.), The Cambridge Companion to the Piano, Cambridge University Press, 1998CrossRef
Rowland, D., ‘The piano since c.1825’, in Rowland, D. (ed.), The Cambridge Companion to the Piano, Cambridge University Press, 1998, pp. 40–56CrossRefGoogle Scholar
Rubinstein, A., Autobiography of Anton Rubinstein, 1829–1889, trans. Delano, A., Boston, Little, Brown, & Company, 1890Google Scholar
Ruiz Jiménez, J., Diccionário de la música española y hispanoamericana 6, Madrid, Sociedad General de Autores y Editores, 2000, art. ‘Ministril’Google Scholar
Ruiz Jiménez, J., ‘Ministriles y extravagantes en la celebración religiosa’, in Griffiths, J. and Suárez-Pajares, J. (eds.), Políticas y prácticas musicales en el mundo de Felipe II, Musica Hispana, Textos, Estudios 8, Madrid, Instituto Complutense de Ciencias Musicales, 2004, pp. 199–24Google Scholar
Ruiz Jiménez, J.La librería de canto de órgano: creación y pervivencia del repertorio del Renacimiento en la actividad musical de la Catedral de Sevilla, Seville, Junta de Andalucía, 2007Google Scholar
Russell, D., ‘Provincial concerts in England, 1865–1914: a case-study of Bradford’, Journal of the Royal Musical Association, 114/1 (1989), 43–55CrossRefGoogle Scholar
Russell, D., Popular Music in England, 1840–1914, Manchester University Press, 2nd edn, 1997Google Scholar
Russell, D., Looking North: Northern England and the National Imagination, Manchester University Press, 2004Google Scholar
Russell, R., The Harpsichord and Clavichord, 2nd edn, New York, Scribner, 1973Google Scholar
Rutherford, I. C., ‘χορὸς εἰς τῆσδε πόλεως (Xen. Mem. 3. 3. 12): song-dance and state-pilgrimage at Athens’, in Murray, P. and Wilson, P. J. (eds.), Music and the Muses, Oxford University Press, 2004, pp. 67–90CrossRefGoogle Scholar
Sándor, G., On Piano Playing, New York, Schirmer, 1981Google Scholar
Sadie, J. A., The Bass Viol in French Baroque Chamber Music, Ann Arbor, UMI Research Press, 1980Google Scholar
Sadler, G., ‘Charpentier's void notation: the Italian background and its implications’, in Thompson, S. (ed.), New Perspectives on Marc-Antoine Charpentier, Aldershot, Ashgate, 2010Google Scholar
Saffle, M., Liszt in Germany, 1840–1845: A Study in Sources, Documents and the History of Reception, Stuyvesant, NY, Pendragon Press, 1994Google Scholar
Sahlin, M., Étude sur la carole médiévale: l'origine du mot et ses rapports avec l'Église, Uppsala, Almqvist & Wiksells, 1940Google Scholar
Saint-Lambert, M., Les principes du clavecin, Paris, 1702, trans. and ed. Harris-Warrick, R. as Principles of the Harpsichord, Cambridge University Press, 1984Google Scholar
Saint-Lambert, M., Les principes du clavecin, Paris, 1702; trans. and ed. Harris-Warrick, R. as Principles of the Harpsichord by Monsieur de Saint Lambert, Cambridge University Press, 1984Google Scholar
Saint-Lambert, M., Les principes du clavecin, Paris, Ballard, 1702, ed. and trans. Harris-Warrick, R. as Principles of the Harpsichord by Monsieur de Saint Lambert, Cambridge University Press, 1984Google Scholar
Samson, J., Virtuosity and the Musical Work: The Transcendental Studies of Liszt, Cambridge University Press, 2003CrossRefGoogle Scholar
Sanford, S. A., ‘A comparison of French and Italian singing in the seventeenth century’, Journal of Seventeenth-Century Music, 1 (1995), http://sscm-jscm.illinois.edu/vl/no1/sanford.htmlGoogle Scholar
Santa Maria, Tomás, Libro llamado art de tañer fantasia, Valladolid, 1565Google Scholar
Sargeant, L., ‘A new class of people: the Conservatoire and musical professionalization in Russia, 1861–1917’, Music & Letters, 85 (2004), 41–61CrossRefGoogle Scholar
Sargeant, L., ‘A new class of people: the conservatoire and musical professionalization in Russia, 1861–1917’, Music & Letters, 85/1 (2004), 41–61CrossRefGoogle Scholar
Sartori, C., ‘La prima diva della liricia italiana: Anna Renzi’, Nuova rivista musicale italiana, 2 (1968), 430–52Google Scholar
Saslow, J. M., The Medici Wedding of 1589, New Haven and London, Yale University Press, 1996Google Scholar
Savage, R. and Sansone, M., ‘Il Corago and the staging of early opera: four chapters from an anonymous treatise circa 1630’, Early Music, 17 (1989), 494–511Google Scholar
Savarese, N. (ed.), Teatri romani: gli spettacoli nell'antica Roma, Bologna, Il mulino, 1996
Sawkins, L., ‘For and against the order of nature: who sang the soprano?’, Early Music, 15 (1987), 315–24CrossRefGoogle Scholar
Sawkins, L., ‘For and against the order of nature: who sang the soprano?’, Early Music, 15 (1987), 315–24CrossRefGoogle Scholar
Sawkins, L., ‘Doucement and Légèrement: tempo in French baroque music’, Early Music, 21 (1993), 365–74CrossRefGoogle Scholar
Schaarwächter, J., ‘Chasing a myth and a legend: “The British Musical Renaissance” in a “Land without Music” ’, Musical Times, 149 (Autumn, 2008), 53–60CrossRefGoogle Scholar
Schabas, E., Theodore Thomas. America's Conductor and Builder of Orchestras, 1835–1905, Urbana and Chicago, University of Illinois Press, 1989Google Scholar
Schafer, R. M., The Tuning of the World, New York, Knopf, 1977Google Scholar
Schenker, H., The Masterwork in Music: A Yearbook (1926), ed. Drabkin, W., Cambridge University Press, 1996Google Scholar
Schick, S., The Percussionist's Art: Same Bed Different Dreams, University of Rochester Press, 2006Google Scholar
Schmitz, O. A. H., Das Land ohne Musik. Englische Gesellschaftsprobleme, Munich, G. Müller, 1914, trans. Herzl, H. as The Land without Music, London, Jerrolds, [1926]Google Scholar
Schoenberg, H. C., The Great Pianists, rev. edn, New York, Simon & Schuster, 1987Google Scholar
Scholes, P. A., The Mirror of Music: A Century of Musical Life. 2 vols., London, Novello and Oxford University Press, 1947Google Scholar
Scholes, P. A., The Oxford Companion to Music, Oxford University Press, 1938Google Scholar
Scholes, P. A. (ed.), The Mirror of Music 1844–1944, 2 vols., London, Novello, 1947
Schrade, L., The Works of Guillaume de Machaut, Polyphonic Music of the Fourteenth Century 3, Paris, 1956Google Scholar
Schrade, L.Polyphonic Music of the Fourteenth Century, Monaco, 1956, vols. 2 and 3Google Scholar
Schrade, L., Monteverdi: Creator of Modern Music, New York, Norton, 1950Google Scholar
Schroeder, D., Haydn and the Enlightenment: The Late Symphonies and their Audience, Oxford University Press, 1990Google Scholar
Schubart, C. F. D., Ideen zu einer Ästhetik der Tonkunst, Vienna, Degen, 1806Google Scholar
Schubert, J. F., Neue Singe-Schule oder gründliche und vollständige Anweisung zur Singkunst, Leipzig, Breitkopf & Härtel, 1804Google Scholar
Schulmeister, R., Ædificatio und Imitatio: Studien zur internationalen Poetik der Legende und Kunstlegende, Hamburg, Lüdke, 1971Google Scholar
Schumann, R., On Music and Musicians, ed. Wolff, K., trans. Rosenfeld, P., Berkeley, University of California Press, 1946Google Scholar
Schumann, C., Clara Schumann–Johannes Brahms: Briefe aus den Jahren 1853–1896, ed. Litzmann, B., 2 vols., Leipzig, Breitkopf & Härtel, 1927, repr. Hildesheim, Olms, 1989Google Scholar
Schumann, R., Jugendbriefe von Robert Schumann. Nach den Originalen mitgetheilt von Clara Schumann, 2nd edn, Leipzig, Breitkopf & Härtel, 1886Google Scholar
Schumann, R., Robert Schumanns Briefe. Neue Folge, ed. Jansen, F. G., Leipzig, Breitkopf & Härtel, 1904Google Scholar
Schumann, R., Gesammelte Schriften, 5th edn, 2 vols., Leipzig, Breitkopf & Härtel, 1914Google Scholar
Schumann, R., Tagebücher, ed. Eismann, G., 4 vols., Leipzig, Deutscher Verlag für Musik, 1971–82Google Scholar
Schumann, R., Schumann on Music: A Selection from the Writings, trans. and ed. Pleasants, H., New York, Dover, 1988Google Scholar
Schumann, R., ‘Preface to Opus 3’, in Etüden nach Capricen von Paganini, Opus 3 und Opus 10, ed. Boetticher, W., Munich, Henle, 1997, pp. xi–xxiiGoogle Scholar
Schumann, R., ‘Musikalische Haus- und Lebensregeln’, in Album für die Jugend, Munich, Henle, 2007, pp. 61–8Google Scholar
Schwarz, B., French Instrumental Music between the Revolutions, New York, Da Capo, 1987Google Scholar
Schwarz, B., Great Masters of the Violin: From Corelli and Vivaldi to Stern, Zukerman and Perlman, London, Hale, 1983Google Scholar
Schwarz, W., ‘Eine Musikerfreundschaft des 19. Jahrhunderts. Unveröffentliche Briefe von Ferdinand David an Robert Schumann’, in Mahling, C.-H. (ed.), Zum 70. Geburtstag von Joseph Müller-Blattau (Saarbrücken Studien zur Musikwissenschaft 1), Kassel, Bärenreiter, 1966, pp. 282–303Google Scholar
Schwarzkopf, E., On and Off the Record: A Memoir of Walter Legge, London and New York, Faber, 1982Google Scholar
Scott, D., The Singing Bourgeois, 2nd edn, Aldershot, Ashgate, 2001Google Scholar
Scott, H. M. (ed.), European Nobilities in the Seventeenth and Eighteenth Centuries, 2 vols., Harlow, Longman, 1995
Scruton, R., Death-devoted Heart. Sex and the Sacred in Wagner's Tristan und Isolde, Oxford University Press, 2004CrossRefGoogle Scholar
Scruton, R., The Aesthetics of Music, Oxford University Press, 1997Google Scholar
Seletsky, R., ‘New light on the old bow’, Early Music, 32 (2004), 286–301, 415–26CrossRefGoogle Scholar
Selfridge-Field, E., Song and Season: Science, Culture and Theatrical Time in Early Modern Venice, Palo Alto, CA, Stanford University Press, 2007Google Scholar
Sewell, G. F., A History of the Bradford Festival Choral Society: From its Formation in 1856 to its Jubilee in 1906, Bradford, author, 1907Google Scholar
Sharp, G. B., ‘J. J. Froberger: 1614–1667: a link between the Renaissance and Baroque’, Musical Times, 108 (1967), 1094CrossRefGoogle Scholar
Shaw, G. B., Shaw's Music, new edn, 4 vols., ed. Lawrence, D. H., London, Bodley Head, 1981Google Scholar
Shaw, G. B., Music in London 1890–1894, 3 vols., London, Constable, 1932Google Scholar
Sherman, B. D., Inside Early Music, Oxford University Press, 1997Google Scholar
Sherman, B. D., ‘Bach's notation of tempo and early music performance: some reconsiderations’, Early Music, 28 (2000), 455–66CrossRefGoogle Scholar
Sherr, R., Music and Musicians in Renaissance Rome and Other Courts, Aldershot, Ashgate, 1999Google Scholar
Sieber, F., Vollständiges Lehrbuch der Gesangskunst, Magdeburg and St Louis, Heinrichshofen'sche Musikalienhandlung, 1858Google Scholar
Sifakis, G. M., Studies in the History of Hellenistic Drama, London, Athlone Press, 1967Google Scholar
Sisman, E. R. (ed.), Haydn and his World, Princeton University Press, 1997
Sisman, E., Mozart, the ‘Jupiter’ Symphony, Cambridge University Press, 1993CrossRefGoogle Scholar
Skeaping, K., ‘Some speculations on a crisis in the history of the violin’, Galpin Society Journal, 8 (1955), 3–12CrossRefGoogle Scholar
Skelton, G., Wagner at Bayreuth: Experiment and Tradition, London, Barrie and Rockliff, 1965, enlarged 2nd edn, 1976Google Scholar
Skemer, D., Binding Words: Textual Amulets in the Middle Ages, University Park, Pennsylvania State University Press, 2006Google Scholar
Skowron, Z., ‘Creating a legend or reporting the facts? Chopin as a performer in the biographical accounts of F. Liszt, M. A. Szulc, and F. Niecks’, in Szklener, A. (ed.), Chopin in Performance: History, Theory, Practice, Warsaw, Narodowy Instytut Fryderyka Chopin, 2004, pp. 9–23Google Scholar
Skowroneck, T., Beethoven the Pianist, Cambridge University Press, 2010CrossRefGoogle Scholar
Slocum, K. B., ‘Confrerie, Bruderschaft and Guild: the formation of musicians’ fraternal organisations in thirteenth- and fourteenth-century Europe’, Early Music History, 14 (1995), 257–74CrossRefGoogle Scholar
Smalley, R., ‘Some aspects of the changing relationship between composer and performer in contemporary music’, Proceedings of the Royal Musical Association, 96 (1969–70), 73–84CrossRefGoogle Scholar
Smilde, R., Musicians as Lifelong Learners: Discovery through Biography, Delft, Eburon, 2009CrossRefGoogle Scholar
Smith, A., The Wealth of Nations (1776), ed. Cannan, E., New York, Random House, 2000Google Scholar
Smith, D. A., A History of the Lute from Antiquity to the Renaissance, n. p., The Lute Society of America, 2002Google Scholar
Smith, R., Handel's Oratorios and Eighteenth-Century Thought, Cambridge University Press, 1995CrossRefGoogle Scholar
Smithers, D., The Music and History of the Baroque Trumpet before 1721, Carbondale, Southern Illinois University Press, 1988Google Scholar
Snow, R., ‘Liturgical reform and musical revisions: reworkings of their Vespers hymns by Guerrero, Navarro and Durán de la Cueva’, in Cidrais Rodrigues, M. F., Morais, M., and Nery, R. V. (eds.), Livro de Homenagem a Macario Santiago Kastner, Lisbon, Fundação Calouste Gulbenkian, 1992, pp. 463–99Google Scholar
Snow, R., A New-World Collection of Polyphony for Holy Week and the Salve Service: Guatemala City, Cathedral Archive, Music MS 4, Monuments of Renaissance Music, 9, University of Chicago Press, 1996Google Scholar
Snyder, K., Dieterich Buxtehude: Organist in Lübeck, New York, Schirmer, 1987Google Scholar
Snyder, K., Dieterich Buxtehude: Organist in Lübeck, rev. edn, University of Rochester Press, 2007Google Scholar
Solomon, M., Beethoven, London, Granada, 1980Google Scholar
Solum, J., The Early Flute, Oxford, Clarendon Press, 1992Google Scholar
Sonneck, O. G., Beethoven: Impressions by his Contemporaries, New York, Dover, 1967Google Scholar
Sous, A., Das Bayreuther Festspielorchester – Geschichte, Geschichten und Anekdoten von damals bis heute, Frankfurt a. M., Lienau, 1997Google Scholar
Spaethling, R. ed. and trans., Mozart's Letters, Mozart's Life: Selected Letters, London, Faber, 2000
Spencer, S. and Millington, B. (eds.), Selected Letters of Richard Wagner, London, Dent, and New York, Norton, 1988
Spink, I., Restoration Cathedral Music, 1660–1714, Oxford, Clarendon Press, 1995Google Scholar
Spitzer, J., and Zaslaw, N., ‘Improvised ornamentation in eighteenth-century orchestras’, Journal of the American Musicological Society, 39 (1986), 524–77CrossRefGoogle Scholar
Spitzer, J., and Zaslaw, N., The Birth of the Orchestra: History of an Institution, 1650–1815, Oxford University Press, 2004Google Scholar
Spitzer, J., and Zaslaw, N., The Birth of the Orchestra: History of an Institution, 1650–1815, OxfordUniversity Press, 2004Google Scholar
Spohr, L., Louis Spohr's Autobiography, trans. anon, New Haven, Da Capo, 1969Google Scholar
Spotts, F., Bayreuth, A History of the Wagner Festival, New Haven and London, Yale University Press, 1994Google Scholar
Spring, M., The Lute in Britain, Oxford University Press, 2001Google Scholar
Stadler, H., Albertus Magnus de Animalibus libri XXVI, Münster, Aschendorff, 1916Google Scholar
Stanford, C. V., Pages from an Unwritten Diary, London, Arnold, 1914Google Scholar
Stark, J., Bel Canto: A History of Vocal Pedagogy, University of Toronto Press, 1999Google Scholar
Steblin, R., A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries, Ann Arbor, MI, UMI Research Press, 1983Google Scholar
Stefanis, I. E., Διονυσιακοὶ Τεχνῖται. Συμβολὲς στὴν Πρωσοπογραφία τοῦ Θεάτρου καὶ τῆϛ Μουσικῆϛ τῶν Ἀρχαίων Ἑλλήνων, Heraklion, University Publications of Crete, 1988Google Scholar
Stein, E. (ed.), Arnold Schoenberg Letters, trans. Wilkins, E. and Kaiser, E., London, Faber, 1964
Stein, L., ‘The performer's point of view’, Perspectives of New Music, 1 (1963), 62–71CrossRefGoogle Scholar
Stembridge, C., ‘Interpreting Frescobaldi. The notation in the printed sources of Frescobaldi's keyboard music and its implications for the performer’ (I and II), The Organ Yearbook, 34 (2005), 33–60, and 35 (2006), 95–133Google Scholar
Stembridge, C., Introduction to Frescobaldi; Organ and Keyboard Works, vol. 1, pt. 1, Kassel, Bärenreiter, 2009Google Scholar
Stendhal, H. B., Vie de Rossini, Paris, Boulland, 1823Google Scholar
Stephan, R., Knessl, L., Tomek, O., Trapp, K. and Fox, C. (eds.), Von Kranichstein zur Gegenwart, Stuttgart, DACO Verlag, 1996
Sternberg, R. J., and Davidson, J. E. (eds.), Conceptions of Giftedness, Cambridge University Press, 2005CrossRef
Stevens, J., Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050–1350, Cambridge University Press, 1986Google Scholar
Stevens, D. (ed.), Claudio Monteverdi: Vespers 1610, London, Novello, 1961, rev. 1994
Stevenson, P., ‘Exit the performer?’, Musical Times, 77 (1936), 797–8CrossRefGoogle Scholar
Stevenson, R. M., Spanish Cathedral Music in the Golden Age, Westport, CT, Greenwood Press, 1961Google Scholar
Stevenson, R. M., La música en la Catedral de Sevilla 1478–1606: Documentos para su estudio, Madrid, Sociedad Española de musicologia, 1985Google Scholar
Stevenson, R. M., ‘Francisco Guerrero (1528–1599): Seville's sixteenth-century cynosure’, Inter-American Music Review, 13/1 (1992), 21–98Google Scholar
Stevenson, R., ‘Mexico City cathedral music: 1600–1750’, The Americas, 21 (1964), 111–35CrossRefGoogle Scholar
Stockhausen, K. (trans. Cardew, C.), ‘… how time passes …’, Die Reihe, 3 (1959), 10–40Google Scholar
Stockhausen, K., Texte zur Musik, 10 vols., vols. 1–6, Cologne, DuMont, 1963, 1964, 1971, 1978, 1989, 1989, vols. 7–10, Kürten, Stockhausen-Verlag, 1998Google Scholar
Stowell, R., Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries, Cambridge University Press, 1985Google Scholar
Stowell, R. (ed.), Performing Beethoven, Cambridge University Press, 1994
Stowell, R., Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries, Cambridge University Press, 1985Google Scholar
Stowell, R. (ed.), Performing Beethoven, Cambridge University Press, 1994
Stowell, R., Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries, Cambridge University Press, 1985Google Scholar
Stowell, R. ‘The nineteenth-century bravura tradition’, in Stowell, R. (ed.), The Cambridge Companion to the Violin, Cambridge University Press, 1992, pp. 61–78CrossRefGoogle Scholar
Stowell, R.The Early Violin and Viola: A Practical Guide, Cambridge University Press, 2001CrossRefGoogle Scholar
Stowell, R. ‘Henryk Wieniawski (1835–1880): Polish, French, Franco-Belgian, German, Russian, Italian or Hungarian?’, in Jabłoński, M. and Jasińska, D. (eds.), Henryk Wieniawski and the 19th-Century Violin Schools: Techniques of Playing, Performance, Questions of Sources and Editorial Issues, Poznań, Henryk Wieniawski Musical Society, 2006, pp. 9–28Google Scholar
Stravinsky, I., ‘Dialogues and a diary’, in Schwartz, E. and Childs, B. (eds.), Contemporary Composers on Contemporary Music, New York, Da Capo, 1978, pp. 48–58Google Scholar
Strelezki, A., Personal Recollections of Chats with Liszt, with Anecdotes of Schumann, Chopin, Mendelssohn, Wagner, &c., &c, London, Donajowski, 1893Google Scholar
Stresemann, W., The Berlin Philharmonic from Bülow to Karajan: Home and History of a World-Famous Orchestra, trans. Stresemann, J., Berlin, Stapp, 1979Google Scholar
Strohm, R., The Rise of European Music, 1380–1500, Cambridge University Press, 1993Google Scholar
Strohm, R., The Rise of European Music, 1380–1500, Cambridge University Press, 1993Google Scholar
Strohm, R., Music in Late Medieval Bruges, Oxford University Press, 1990Google Scholar
Strohm, R., The Rise of European Music 1380–1500, Cambridge University Press, 1993Google Scholar
Strohm, R., and Blackburn, B. J. (eds.), Music as Concept and Practice in the Late Middle Ages, Oxford University Press, 2001
Strohm, R., Dramma per musica: Italian Opera Seria of the Eighteenth Century, New Haven, Yale University Press, 1997Google Scholar
Strunk, O. (ed.), Source Readings in Music History, rev. edn, ed. Treitler, L., New York, Norton, 1998
Strunk, O. (ed.), rev. Treitler, L., Source Readings in Music History, New York and London, Norton, 1998
Suárez Martos, J. M., El libro de polifonía no 1 de la Catedral de Sevilla (E: Se; Ms 1). Edición completa de música para el Rito de la Salve. Obras de Josquín des Prez, Pedro Escobar, Pedro Fernández, Jachet de Mantua, Nicolás Gombert, Cristóbal de Morales, Francisco Guerrero y Rodrigo de Ceballos, Seville, the author, 2003Google Scholar
Suárez Martos, J. M., El rito de la Salve en la Catedral de Sevilla durante el siglo XVI. Estudio del repertorio musical contenido en los manuscritos 5–5–20 de la Biblioteca Colombina y el libro de polifonía no 1 de la Catedral de Sevilla. Estudio musicológico, Seville, the author, 2003Google Scholar
Suárez Martos, J. M., ‘El archivo musical de la Catedral de Sevilla en 1724: génesis y pervivencia de libros manuales y de facistol’, Musicalia (Revista del Conservatorio Superior de Música ‘Rafael Orozco’, Cordoba), 2004Google Scholar
Sugden, J., Niccolo Paganini; Supreme Violinist or Devil's Fiddler?Tunbridge Wells, Midas Books, 1980Google Scholar
Suger, , Vie de Louis VI le Gros, ed. and trans. Waquet, H., Paris, Champion, 1929Google Scholar
Sumner, W. L., The Organ. Its Evolution, Principles of Construction and Use, 3rd edn, London, Macdonald, 1962Google Scholar
Sydow, B. É. (ed.), Correspondance de Frédéric Chopin, in collaboration with S. and Chainaye, D., 3 vols., Saint-Herblain, Masse, 1981
Türk, D. G., Clavierschule, Leipzig and Halle, 1789, trans. Haggh, R. as School of Clavier Playing, Lincoln and London, University of Nebraska Press, 1982Google Scholar
Türk, D. G., Clavierschule, oder Anweisung zum Clavierspielen für Lehrer und Lernende, Leipzig and Halle, Schwickert, Hemmerde und Schwetschte, 1789, trans. Haggh, R. H. as School of Clavier Playing, or, Instructions in Playing the Clavier for Teachers and Students, Lincoln, University of Nebraska Press, 1982Google Scholar
Talbot, M., ‘Tenors and basses at the Venetian Ospedali’, Acta Musicologica, 66/2 (July–December 1994), 123–38CrossRefGoogle Scholar
Talbot, M. (ed.), The Business of Music, Liverpool University Press, 2002CrossRef
Talbot, M., Venetian Music in the Age of Vivaldi, Aldershot, Ashgate, 1999Google Scholar
Taplin, O., Comic Angels and Other Approaches to Greek Drama through Vase-painting, Oxford, Clarendon Press, 1993Google Scholar
Taplin, O., Pots and Plays: Interactions between Tragedy and Greek Vase-painting of the Fourth Century B.C., Los Angeles, J. Paul Getty Museum, 2007Google Scholar
Tarling, J., Baroque String Playing for Ingenious Learners, St Albans, Corda Music, 2000Google Scholar
Tartini, G., Traité des agréments de la musique, Paris, 1771, trans. Girdlestone, C. and ed. Jacobi, E. R., Celle and New York, Moeck, 1961Google Scholar
Taruskin, R., ‘Tradition and authority’, Early Music, 20 (1992), 311–25CrossRefGoogle Scholar
Taruskin, R., Text and Act: Essays on Music and Performance, Oxford University Press, 1995Google Scholar
Taruskin, R., The Danger of Music and Other Anti-Utopian Essays, Berkeley, University of California Press, 2009Google Scholar
Taruskin, R., Oxford History of Western Music, Oxford University Press, 2005, vol. 1Google Scholar
Taruskin, R.,(ed.), T ′andernaken: Ten settings in Three, Four and Five Parts, Miami, FL, Ogni Sorte Editions, 1981Google Scholar
Taylor, P. S., Anton Rubinstein: A Life in Music, Bloomington, Indiana University Press, 2007Google Scholar
Tchaikovsky, M., The Life and Letters of Peter Ilich Tchaikovsky, ed. Newmarch, R., London, John Lane, 1906Google Scholar
Tchaikovsky, P. I., Letters to his Family: An Autobiography, trans. Meck, G. with annotations by Young, P. M., New York, Stein & Day, 1981Google Scholar
Tchaikovsky, P. I., ‘To my best friend’: Correspondence between Tchaikovsky and Nadezhda von Meck 1876–1878, trans. Meck, G., ed. Garden, E. and Gotteri, N., Oxford, Clarendon Press, 1983Google Scholar
Temperley, N. (ed.), The Athlone History of Music in Britain, vol. 5: The Romantic Age, 1800–1914, London, Athlone Press, 1981
Temperley, N., Haydn: The Creation, Cambridge University Press, 1991CrossRefGoogle Scholar
Thacker, T., Music after Hitler, 1945–1955, Farnham, Ashgate, 2007Google Scholar
Thalberg, S., L'art du chant appliqué au piano, op. 70, four series, Paris, Heugel, 1853–68Google Scholar
Thayer, A. W., Thayer's Life of Beethoven, rev. and ed. Forbes, E., 2 vols., Princeton University Press, 1967Google Scholar
Ther, P., In der Mitte der Gesellschaft: Operntheater in Zentraleuropa, 1815–1914, Vienna, Oldenbourg, 2006Google Scholar
Thibaut, A. F., Über Reinheit der Tonkunst, Heidelberg, Mohr, 1825, rev. enlarged 2nd edn, Mohr, 1826Google Scholar
Thistlethwaite, N., The Making of the Victorian Organ, Cambridge University Press, 1990Google Scholar
Thomas, D. A., Aesthetics of Opera in the Ancien Régime, 1647–1785, Cambridge University Press, 2002Google Scholar
Thompson, E. P., The Making of the English Working Class, London, Penguin, 1963Google Scholar
Thomson, H. B., The Choice of a Profession: A Concise Account and Comparative Review of the English Professions, London, Chapman & Hall, 1857Google Scholar
Thomson, V., Music with Words, New Haven and London, Yale University Press, 1989Google Scholar
Tilney, C., The Art of the Unmeasured Prelude for Harpsichord: France 1660-1720, London, Schott, 1991Google Scholar
Timbrell, C., French Pianism: A Historical Perspective, 2nd edn, Portland, OR, Amadeus Press, 1999Google Scholar
Goff, J., Time, Work, and Culture in the Middle Ages, trans. Goldhammer, A., University of Chicago Press, 1980Google Scholar
Tinctoris, J., Liber de arte contrapuncti (1477), trans. Seay, A. as The Art of Counterpoint, Middleton, WI, American Institute of Musicology, 1961Google Scholar
Tinctoris, J., Terminorum Musicae Diffinitorum, Naples, 1474–6, trans. and ed. Parrish, C. as Dictionary of Musical Terms (Terminorum Musicae Diffinitorum), London, Collier Macmillan, 1963Google Scholar
Todd, R. L., and Williams, P. (eds.), Perspectives on Mozart Performance, Cambridge University Press, 1991
Todd, R. L., Mendelssohn: A Life in Music, Oxford University Press, 2003Google Scholar
Toelle, J., Oper als Geschäft: Impresari an italienischen Opernhäusern, 1860–1900, Kassel, Bärenreiter, 2007Google Scholar
Toews, J. E., Becoming Historical: Cultural Reformation and Public Memory in Early Nineteenth-Century Berlin, Cambridge University Press, 2004Google Scholar
Toft, R., Tune thy Musicke to thy Hart: The Art of Eloquent Singing in England 1597–1622, University of Toronto Press, 1993Google Scholar
Tolanski, J., ‘International case studies’, in Lawson, C. (ed.), The Cambridge Companion to the Orchestra, Cambridge University Press, 2003, pp. 126–54CrossRefGoogle Scholar
Tomasello, A., Music and Ritual at Papal Avignon, 1309–1403, Ann Arbor, MI, UMI Research Press, 1983Google Scholar
Tomes, S., Beyond the Notes, Woodbridge, Boydell Press, 2004Google Scholar
Tomlinson, G., Monteverdi and the End of the Renaissance, Oxford, Clarendon Press, 1987Google Scholar
Tosi, P. F., Opinioni de'cantori antichi e moderni, Bologna, Lelio dalle Volpe, 1723, facsimile edn, New York, Broude, 1968; trans. Galliard, J. as Observations on the Florid Song, London, J. Wilcox, 1743, facsimile edn, London, Reeves, 1967Google Scholar
Tosi, P. F., Opinioni de'cantori antichi e moderni, o sieno osservazioni sopra il canto figurato, Bologna, [Lelio dalla Volpe], 1723Google Scholar
Tovey, D., Studies in Musical Analysis, 5 vols., Oxford University Press, 1935Google Scholar
Treitler, L., Music and the Historical Imagination, Cambridge, MA, Harvard University Press, 1989Google Scholar
Troeger, R. W., ‘The French unmeasured harpsichord prelude: notation and performance’, Early Keyboard Journal, 10 (1992), 89–119Google Scholar
Tromlitz, J. G., Ausführlicher und gründlicher Unterricht die Flöte zu spielen, Leipzig, Böhme, 1791, trans. and ed. Powell, A. as The Virtuoso Flute Player, Cambridge University Press, 1991Google Scholar
Tunley, D., ‘Glimpses of performance practice in Lully's operas’, Early Music, 15 (1987), 361–4CrossRefGoogle Scholar
Turner, B., ‘Performing matters: Spanish liturgical hymns: a matter of time’, Early Music, 23 (1995), 472–84CrossRefGoogle Scholar
Vallas, L., Un siècle de musique de théâtre à Lyons 1688–1789, Lyon, Masson, 1932Google Scholar
Vanscheeuwijck, M., ‘Recent re-evaluations of the baroque cello and what they might mean for performing the music of J. S. Bach’, Early Music, 38 (2010), 181–92CrossRefGoogle Scholar
Varcoe, S., Sing English Song, Norwich, Thames Publishing, 2000Google Scholar
Veal, P., and Mahnkopf, C.-S., The Techniques of Oboe Playing, Kassel, Bärenreiter, 1994Google Scholar
Venables, L. C., Choral and Orchestral Societies: A Book of Hints on their Organisation, and Business and Musical Management, 3rd edn, London, Curwen & Sons, [1900]Google Scholar
Vial, S., The Art of Musical Phrasing in the Eighteenth Century, University of Rochester Press, 2008Google Scholar
Vicentino, N., L'antica musica, 1576, trans. and annotated Maniates, M. R., ed. Palisca, C. V. as Ancient Music Adapted to Modern Practice, New Haven and London, Yale University Press, 1996Google Scholar
Virdung, S., Musica getutscht, Basel, M. Furter, 1511, facsimile edn, Schrade, L., Kassel, Bärenreiter, 1931Google Scholar
Virgiliano, A., Il Dolcimelo, Bologna, c. 1600, facsimile edn, Florence, Studio per edizioni scelte, 1979Google Scholar
Wagner, R., On Conducting, New York, William Reeves, 1887, trans. Dannreuther, E., New York, Dover, 1989Google Scholar
Wagner, C., Cosima Wagner: Die Tagebücher 1869–83, ed. Gregor-Dellin, M. and Mack, D. (Munich, 1976–7), trans. Skelton, G. as Cosima Wagner's Diaries, 2 vols., New York and London, Harcourt Brace Jovanovich, 1978–80Google Scholar
Wagner, R., Űber das Dirigieren, Leipzig, Kahnt, 1870, trans. Dannreuther, E. as On Conducting: A Treatise on Style in the Execution of Classical Music, London, Reeves, 1887, repr. as Wagner on Conducting, New York, Dover, 1989Google Scholar
Wagner, R., Gesammelte Schriften und Dichtungen, 10 vols., 2nd edn, Leipzig, E. W. Fritzsch, 1887–8Google Scholar
Wagner, R., Richard Wagner's Prose Works, trans. Ellis, W. A., 8 vols., London, Kegan Paul, Trench, Trubner, 1893–9, vol. 1: The Artwork of the Future; vol. 2: Actors and SingersGoogle Scholar
Wagner, R., Sämtliche Briefe, ed. Strobel, G., Wolf, W. et al., Leipzig, Deutscher Verlag für Musik, 1967–2000; Wiesbaden, 1999–, trans. Hueffer, F. as Correspondence of Wagner and Liszt, 2nd edn, rev. W. A. Ellis, 2 vols., New York, Vienna House, 1973Google Scholar
Wagner, R., Das Braune Buch: Tagebuchaufzeichnungen, 1865–1882, ed. Bergfeld, J., Zurich and Freiburg, Atlantis, 1975, trans. Bird, G. as The Diary of Richard Wagner: The Brown Book, London, Gollancz, 1980Google Scholar
Wagstaff, G. G., ‘Mary's own: Josquin's five-part “Salve regina” and Marian devotions in Spain’, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 52 (2002), 3–35CrossRefGoogle Scholar
Wainwright, J. P., ‘From “Renaissance” to “Baroque”?’, in Wainwright, J. P. and Holman, P. (eds.), From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, Aldershot and Burlington, VT, Ashgate, 2005, pp. 1–21Google Scholar
Wainwright, J., and Holman, P. (eds.), From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, Aldershot, Ashgate, 2005
Walden, V., One Hundred Years of Violoncello: A History of Technique and Performance Practice, 1740–1840, Cambridge University Press, 1998Google Scholar
Walker, T., and Bianconi, L., ‘Production, consumption and political function of seventeenth-century opera’, Early Music History, 4 (1984), 209–96Google Scholar
Walker, D. P., Studies in Musical Science in the Late Renaissance, London, Warburg Institute, 1978Google Scholar
Walker, A., Franz Liszt: The Virtuoso Years 1811–1847, rev. edn, London, Faber, 1987Google Scholar
Walker, A., Franz Liszt: The Weimar Years 1848–1861, Ithaca, NY, Cornell University Press, 1989Google Scholar
Walker, A. (ed.), Living with Liszt from the Diary of Carl Lachmund, an American pupil of Liszt, 1882–84, Stuyvesant, NY, Pendragon Press, 1995
Walker, B., My Musical Experiences, new edn, London, Bentley, 1892Google Scholar
Walker, S. E., ‘The new English keyboard school: a second “golden age” ’, Leonardo Music Journal, 11 (2001), 17–23CrossRefGoogle Scholar
Walls, P., History, Imagination and the Performance of Music, Woodbridge and Rochester, NY, Boydell Press, 2003Google Scholar
Walls, P., ‘Violin fingering in the 18th century’, Early Music, 12 (1984), 300–15CrossRefGoogle Scholar
Walls, P., ‘“Ill-compliments and arbitrary taste”? Geminiani's directions for performers’, Early Music, 14 (1986), 221–35CrossRefGoogle Scholar
Walls, P., ‘Performing Corelli's Opus 5’, Early Music, 24 (1996), 133–42CrossRefGoogle Scholar
Walls, P., ‘Historical performance and the modern performer’, in Rink, J. (ed.), Musical Performance: A Guide to Understanding, Cambridge University Press, 2002, pp. 17–34CrossRefGoogle Scholar
Walls, P., History, Imagination and the Performance of Music, Woodbridge, Boydell Press, 2003Google Scholar
Walser, R., Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, Hanover, NH, University Press of New England, 1993Google Scholar
Walsh, S., ‘The chance to decide’, The Times, London, 6 September 1967Google Scholar
Walsh, S., Stravinsky: A Creative Spring: Russia and France, 1882–1934, London, Cape, 2000Google Scholar
Warrack, J. (ed.), Carl Maria von Weber: Writings on Music, trans. Cooper, M., Cambridge University Press, 1981
Wasserloos, Y., Das Leipziger Konservatorium der Musik im 19.Jahrhundert: Anziehungs- und Ausstrahlungskraft eines musikpädagogischen Modells auf das internationale Musikleben, Studien und Materialen zur Musikwissenschaft, vol. 33, Hildesheim, Georg Olms, 2004Google Scholar
Watson, D., Bruckner, London, Dent, 1975Google Scholar
Wearing, C., ‘Orlandus Lassus (1532–1594) and the Munich Kapelle’, Early Music, 10 (1982), 147–54CrossRefGoogle Scholar
Webb, R., ‘Female entertainers in late antiquity’, in Easterling, P. and Hall, E. (eds.), Greek and Roman Actors, Cambridge University Press 2002, pp. 282–303Google Scholar
Weber, W., The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual and Ideology, Oxford University Press, 1992Google Scholar
Weber, W., ‘Did people listen in the eighteenth century?’, Early Music, 25 (1997), 678–91CrossRefGoogle Scholar
Weber, W., The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms, Cambridge University Press, 2008Google Scholar
Weber, R. (ed.), Ambrossi Autperti Opera, Corpus Christianorum Continuatio Medaevalis XXVIIB, Turnholt, Brepols, 1979
Weber, W., The Rise of Musical Classics in Eighteenth-century England: A Study in Canon, Ritual, and Ideology, Oxford University Press, 1992Google Scholar
Weber, W., ‘Did people listen in the eighteenth century?’, Early Music, 25 (1997), 678–91CrossRefGoogle Scholar
Weber, W., The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms, Cambridge University Press, 2008Google Scholar
Weber, W., Music and the Middle Class. The Social Structure of Concert Life in London, Paris and Vienna, London, Croom Helm, 1975Google Scholar
Weber, W., ‘The history of the musical canon’, in Cook, N. and Everist, M. (eds.), Rethinking Music, Oxford University Press, 1999Google Scholar
Weber, W., ‘The rise of the classical repertoire’, in Peyser, J. (ed.), The Orchestra: Origins and Transformations, New York, Billboard, 2000, pp. 361–86Google Scholar
Weber, W., The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms, Cambridge University Press, 2008Google Scholar
Wegeler, F., and Ries, F., Remembering Beethoven: The Biographical Notes of Franz Wegeler and Ferdinand Ries, trans. Noonan, F., London, Deutsch, 1988Google Scholar
Wegman, R., ‘From maker to composer: improvisation and musical authority in the Low Countries, 1450–1500’, Journal of the American Musicological Society, 49 (1996), 409–79CrossRefGoogle Scholar
Wegman, R., The Crisis of Music in Early Modern Europe, 1470–1530, New York, Routledge, 2005Google Scholar
Wegman, R. C., Born for the Muses: the Life and Masses of Jacob Obrecht, Oxford University Press, 1994Google Scholar
Weingarten, J., ‘Interpreting Schumann's Piano Music’, in Walker, A. (ed.), Robert Schumann: The Man and his Music, London, Barrie & Jenkins, 1972, pp. 93–108Google Scholar
Weingartner, F., Bayreuth; ein Bericht (1876–96), Berlin, Fischer, 1896, 2nd edn, 1904Google Scholar
Weingartner, F., Die Symphonie nach Beethoven, Leipzig, Breitkopf & Härtel, 1898, trans. Crosland, J. as On the Performance of Beethoven's Symphonies, London, Breitkopf & Härtel, 1908Google Scholar
Weinreich, O., Epigrammstudien, I: Epigramm und Pantomimus nebst einem Kapitel über einige nicht-epigrammatische Texte für Denkmäler zur Geschichte des Pantomimus, Heidelberg, Winter, 1948Google Scholar
Weinzierl, S., Beethovens Konzerträume. Raumakustik und symphonische Aufführungspraxis an der Schwelle zum modernen Konzertwesen, Frankfurt, Bochinsky, 2002Google Scholar
Weiss, P. (ed.), Letters of Composers through Six Centuries, Philadelphia, PA, Chilton Books, 1967
Weiss, P., and Taruskin, R., Music in the Western World: A History in Documents, New York, Schirmer, 1984Google Scholar
Weiss, S., ‘Bologna Q18: some reflections on content and context’, Journal of the American Musicological Society, 41 (1988), 63–101CrossRefGoogle Scholar
Weissweiler, E. ed., Fritsch, H. and Crawford, R. L. trans., The Complete Correspondence of Clara and Robert Schumann, 3 vols., New York, Lang, 1994
Welker, L., ‘Alta capella: zur Ensemblepraxis der Blasinstrumente im 15. Jahrhundert’, Basler Jahrbuch für historische Musikpraxis, 7 (1983), 119–165Google Scholar
Welker, L., ‘ “Alta Capella” zur Ensemblepraxis der Blasinstrumente im 15. Jahrhundert’, Basler Jahrbuch für historische Musikpraxis, 7 (1983), 150–61Google Scholar
Werckmeister, A., Musicalische Temperatur, Frankfurt am Main and Leipzig, 1691Google Scholar
Werckmeister, A.Hypomnemata musica, Quedlinburg, 1697Google Scholar
West, M. L., ‘Stesichorus’, Classical Quarterly, 21 (1971), 302–14CrossRefGoogle Scholar
West, M. L., Ancient Greek Music, Oxford University Press, 1993Google Scholar
Westrup, J., An Introduction to Musical History, London, Hutchinson, 1955Google Scholar
Whenham, J., Monteverdi: Vespers (1610), Cambridge University Press, 1997CrossRefGoogle Scholar
Whenham, J., and Wistreich, R. (eds.), The Cambridge Companion to Monteverdi, Cambridge University Press, 2007CrossRef
Whistling, K. W., Statistik des Königlichen Conservatoriums der Musik zu Leipzig 1843–1883, Leipzig, Breitkopf & Härtel, 1883Google Scholar
Whittall, A., Musical Composition in the Twentieth Century, Oxford University Press, 1999Google Scholar
Wieck, F., Klavier und Gesang, Leipzig, Whistling, 1853, trans. Nichols, M. P. as Piano and Song: How to Teach, How to Learn and How to Form a Judgement of Musical Performances, Boston, Lockwood, Brooks, 1875Google Scholar
Wilkins, N., A Fourteenth-Century Repertory (52 Ballades, Virelais, Rondeaux) from the Codex Reina, Paris, Bibl. Nat., Nouv. Acq. Fr., 6771), Corpus Mensurablis Musicae, 36, Rome, American Institute of Musicology, 1966Google Scholar
Williams, C. F. A., A Short Historical Account of the Degrees in Music at Oxford and Cambridge, London, Novello, [1893]Google Scholar
Williams, G., Valleys of Song: Music and Society in Wales 1840–1914, Cardiff, University of Wales Press, 1998Google Scholar
Williams, P., The Organ in Western Culture, 750–1250, Cambridge University Press, 1993Google Scholar
Williams, S. J., ‘An author's role in fourteenth-century book production: Guillaume de Machaut's “Livre ou je met toutes choses” ’, Romania, 90 (1969), 433–54CrossRefGoogle Scholar
Williams, P., The European Organ: 1450–1850, London, Batsford, 1966Google Scholar
Williams, P., Figured Bass Accompaniment, 2 vols., Edinburgh University Press, 1970Google Scholar
Williams, A., Portrait of Liszt by Himself and his Contemporaries, Oxford University Press, 1990Google Scholar
Wilson, E., Mstislav Rostropovich: Cellist, Teacher, Legend, London, Faber, 2007Google Scholar
Wilson, D., Music of the Middle Ages: Style and Structure, New York, Schirmer, 1990Google Scholar
Wilson, P., ‘The musicians among the actors’, in Easterling, P. and Hall, E. (eds.), Greek and Roman Actors, Cambridge University Press, 2002, pp. 39–68Google Scholar
Wilson, B. M., Music and Merchants. The Laudesi Companies of Republican Florence, Oxford University Press, 1992Google Scholar
Wilson, B., ‘Ut oratoria musica in the writings of Renaissance theorists’, in Mathiesen, T. J. and Rivera, B. V. (eds.), Festa Musicologica: Essays in Honor of George J. Buelow, New York, Pendragon Press, 1995, pp. 341–68Google Scholar
Wilson, J. (ed.), Roger North on Music, Being a Selection of his Essays Written during the Years c. 1695–1728, London, Novello, 1959
Wilson, J. (ed.), Roger North on Music, Being a Selection of his Essays Written during the Years c. 1695–1728, London, Novello, 1959
Winklhofer, S., Liszt's Sonata in B Minor: A Study of Autograph Sources and Documents, Ann Arbor, MI, University of Michigan Research Press, 1980Google Scholar
Winter, R., ‘Orthodoxies, paradoxes, and contradictions: performance practices in nineteenth-century piano music’, in Todd, R. L. (ed.), Nineteenth-Century Piano Music, New York, Schirmer, 1990, pp. 16–54Google Scholar
Winter, R., ‘Performing the Beethoven quartets in their first century’, in Winter, R. and Martin, R. (eds.), The Beethoven Quartet Companion, Berkeley, University of California Press, 1994, pp. 29–57Google Scholar
Winternitz, E., Musical Instruments and their Symbolism in Western Art, New Haven and London, Yale University Press, 1979Google Scholar
Winternitz, E., Leonardo da Vinci as a Musician, New Haven and London, Yale University Press, 1982Google Scholar
Wishart, T., On Sonic Art, York, the author, 1985, 2nd rev. edn, London, Routledge, 1997Google Scholar
Wistreich, R., ‘ “La voce è grata assai, ma …”: Monteverdi on singing’, Early Music, 22 (1994), 7–19CrossRefGoogle Scholar
Wistreich, R., ‘Reconstructing pre-Romantic singing technique’, in Potter, J. (ed.), The Cambridge Companion to Singing, Cambridge University Press, 2000, pp. 178–91CrossRefGoogle Scholar
Wistreich, R., ‘Monteverdi in performance’, in Whenham, J. and Wistreich, R. (eds.), The Cambridge Companion to Monteverdi, Cambridge University Press, 2007, pp. 261–79CrossRefGoogle Scholar
Wolters, G. (ed.), Claudio Monteverdi: Vesperae Beatae Mariae Virginis 1610, Wolfenbüttel, Möseler Verlag, 1966
Wood, H., My Life of Music, London, Victor Gollancz, 1938Google Scholar
Woodfield, I., The Early History of the Viol, Cambridge University Press, 1984Google Scholar
Woodfield, I., The Early History of the Viol, Cambridge University Press, 1984Google Scholar
Woodfield, I., English Musicians in the Age of Exploration, Stuyvesant, NY, Pendragon Press, 1995Google Scholar
Woolridge, H. E., The Polyphonic Period, I: Method of Musical Art, 330–1400, The Oxford History of Music, Oxford, Clarendon Press, 1929, vol. 1Google Scholar
Wordsworth, W. A., A Treatise on Singing, London, Balls, 1837Google Scholar
Wraight, D., ‘Recent approaches in understanding Cristofori's fortepiano’, Early Music, 34 (2006), 635–44CrossRefGoogle Scholar
Wright, D., ‘The South Kensington music schools and the development of the British conservatoire in the late nineteenth century’, Journal of the Royal Musical Association, 130/2 (2005), 236–82CrossRefGoogle Scholar
Wright, D., ‘Situating Stainer’, Musical Times, 149 (2008), 95–103CrossRefGoogle Scholar
Wright, D., ‘Concerts for coteries, or concerts for all? Glock's Proms reconsidered’, Musical Times, 149 (2008), 3–34CrossRefGoogle Scholar
Wright, C., Music at the Court of Burgundy, 1364–1419: A Documentary History, Ottawa, The Institute of Mediaeval Music, 1979Google Scholar
Wright, L., ‘The Medieval gittern and citole: a case of mistaken identity’, Galpin Society Journal, 30 (1977), 8–42CrossRefGoogle Scholar
Wright, C., ‘Performance practices at the cathedral of Cambrai 1475–1550’, Musical Quarterly, 64 (1978), 295–328CrossRefGoogle Scholar
Wright, C., Music at the Court of Burgundy 1364–1419: A Documentary History, Henryville, PA, Institute of Mediaeval Music, 1979Google Scholar
Yudkin, J., Music in Medieval Europe, Englewood Cliffs, NJ, Prentice Hall, 1989Google Scholar
Yudkin, J. (ed.), The Music Treatise of Anonymous IV: A New Translation, Musicological Studies and Documents, 41, Rome, American Institute of Musicology, 1985
Zacconi, L., Prattica di musica, 2 vols., Venice, 1592, facsimile edn, Bologna, Forni, 1967Google Scholar
Zacconi, L., Prattica di musica, Venice, 1592, facsimile edn, Bologna, Forni, 1983Google Scholar
Zarlino, G., Le istitutioni harmoniche, Venice 1558, facsimile edn, New York, Broude, 1965, and Bologna, Forni, 1999Google Scholar
Zarlino, G., Dimostrationi harmoniche, Venice, 1571Google Scholar
Zaslaw, N., ‘Ornaments for Corelli's violin sonatas, Op. 5’, Early Music, 24 (1996), 95–115CrossRefGoogle Scholar
Zaslaw, N., ‘Toward the revival of the classical orchestra’, Proceedings of the Royal Musical Association, 103 (1976), 158–87CrossRefGoogle Scholar
Zaslaw, N., ‘When is an orchestra not an orchestra?’, Early Music, 16 (1988), 483–95CrossRefGoogle Scholar
Zaslaw, N., Mozart's Symphonies: Context, Performance Practice, Reception, OxfordUniversity Press, 1989Google Scholar
Zaslaw, N., ‘A working stiff’, in Morris, J. M. (ed.), On Mozart, Cambridge University Press, 1994, pp. 102–12Google Scholar
Zaslaw, N., ‘Ornaments for Corelli's violin sonatas, Op. 5’, Early Music, 24 (1996), 95–118CrossRefGoogle Scholar
Zaslaw, N., ‘One more time: Mozart and his cadenzas’, in Gallagher, S. and Kelly, T. F. (eds.), The Century of Bach and Mozart, Cambridge, MA, Harvard University Department of Music, 2008, pp. 239–49Google Scholar
Zenkin, K., ‘The Liszt tradition at the Moscow Conservatoire’, Studia Musicologica Academiae Scientiarum Hungaricae, T. 42, Fasc. 1/2 (2001), pp. 93–108Google Scholar
Zenobi, L., ‘letter’, trans. and discussed in Blackburn, B. J. and Lowinsky, E., ‘Luigi Zenobi and his letter on the perfect musician’, Studi Musicali, 22 (1993), 61–114Google Scholar
Zimdars, R. L. (ed. and trans.), The Piano Master Classes of Hans von Bülow, Bloomington, Indiana University Press, 1993
Zimdars, R. L.The Piano Masterclasses of Franz Liszt, 1884–6: Diary Notes of August Göllerich, Edited by Wilhelm Jerger, Bloomington, Indiana University Press, 1996Google Scholar
Zink, M., Les chansons de toile, Paris, Champion, 1977Google Scholar
Ziolkowski, J., ‘Women's lament and the neuming of the Classic’, in Haines, J. and Rosenfeld, R. (eds.), Music and Medieval Manuscripts: Paleography and Performance, Aldershot, Ashgate, 2004, pp. 128–50Google Scholar
Zon, B. (ed.), Nineteenth-Century British Music Studies, vol. 1, Aldershot, Ashgate, 1999
Zuckerman, E., The First Hundred Years of Wagner's Tristan, New York, Columbia University Press, 1964Google Scholar
Zuckermann, K., ‘Improvisation in der mittelalterlichen Musik – eine Suche nach Lernmodellen’, Basler Jahrbuch f ür historische Musikpraxis, 7 (1983), 65–83Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Select bibliography
  • Edited by Colin Lawson, Robin Stowell, Cardiff University
  • Book: The Cambridge History of Musical Performance
  • Online publication: 28 March 2012
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521896115.034
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Select bibliography
  • Edited by Colin Lawson, Robin Stowell, Cardiff University
  • Book: The Cambridge History of Musical Performance
  • Online publication: 28 March 2012
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521896115.034
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Select bibliography
  • Edited by Colin Lawson, Robin Stowell, Cardiff University
  • Book: The Cambridge History of Musical Performance
  • Online publication: 28 March 2012
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521896115.034
Available formats
×