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Published online by Cambridge University Press: 01 January 2020
1 Sven Hostrup Hansell, ‘Orchestral Practice at the Court of Cardinal Pietro Ottoboni’, Journal of the American Musicological Society, 19 (1966), 398–403; Hans Joachim Marx, ‘Die Musik am Hofe Pietro Kardinal Ottobonis unter Arcangelo Corelli’, Analecta musicologica, 5 (1968), 104–77Google Scholar
2 Michael Talbot, ‘Vivaldi and Rome Observations and Hypotheses’, Journal of the Royal Musical Association, 113 (1988), 28–46Google Scholar
3 See especially Rasch, Rudolf, ‘De muziek oorlog tussen Estienne Roger en Pieter Mortier (1708–1711)’, De zeventiende eeuw, 6 (1990), 89–97; ‘Estienne Roger en Michel-Charles Le Cène: Europese muziekuitgevers te Amsterdam 1696–1743’, Holland, 26 (1994), 292–313, ‘La famosa mano di Monsieur Roger: Antonio Vivaldi and his Dutch Publishers’, Informazioni e studi vivaldiani, 17 (1996), 89–137; ‘Corelli's Contract: Notes on the Publication History of the Concerti grossi … opera sesta (1714)’, Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 56 (1996), 83–135Google Scholar
4 Bizzi, Giancarlo, Specchi invisibili dei suoni. La costruzione dei canoni. Risposta a un enigma (Rome, 1982), Il canone e la fuga: Logica di costruzione di due forme musicali (Ancona, 1990).Google Scholar