págs. 1-8
págs. 9-22
Gerolamo Montesardo e il suo alfabeto: la strana nascita di un sistema di notazione musicale
págs. 23-32
The Musical Pumpkins Hut: poetical-musical interactions in Heinrich Albert’s monodic output
págs. 33-42
págs. 43-52
Io sono il Sole universal tesoro by Giovanni Lotti: an alchemical cantata?
págs. 53-70
págs. 71-80
Fleeting fortune: influence of Lutheran theologians on selected texts in Johann Sebastian Bach’s sacred cantatas
págs. 81-94
págs. 95-106
Girolamo Frigimelica Roberti’s Venetian tragicomedies (1704-1708): a compromise between literary aspirations and theatrical needs?
págs. 107-118
The originality of Maria Antonia Walpurgis’s Talestri in the context of opera seria: a contribution to the ‘Amazon’ tradition and the staging of her own political ambitions
págs. 119-130
La didattica musicale del partimento: a situazione del contesto romano tra figure chiave e nuove fonti
págs. 131-144
Il quartetto caratteristico nell’Italia di fine Settecento: influssi operistici in ambito strumentale
págs. 145-156
The appropriation of a French dance: the The Minué de la corte in Spanish stages at the beginning of 19 th century
págs. 157-170
págs. 171-184
An altar to their Gods: how musicians and artists establish pantheons of opera composers in 19th century Paris
págs. 185-198
págs. 199-210
Uncovering Mahler: the influence of Parsifal and 19th century Wagnerian culture in the life and late works of Gustav Mahler
págs. 211-220
págs. 221-230
págs. 231-240
Il dramma lirico Elen e Fuldano di Gian Francesco Malipiero: l’influenza dell’ambiente simbolista nelle opere ripudiate
págs. 241-250
Between Romanticism and Impressionism: Suton (‘The Twilight’) by Stevan Hristić
págs. 251-264
págs. 265-274
Pioneering early music recordings in Portugal: the impact of producer Simões da Hora and engineer Hugo Ribeiro in the ‘golden days’ of Valentim de Carvalho
págs. 275-286
págs. 287-296
Georg Büchner nel secolo delle avanguardie: un focus sullo Jakob Lenz di Wolfgang Rihm
págs. 297-308
págs. 309-318
págs. 319-328
Between East and West: Dragutin Gostuški’s musicological work
págs. 329-338
págs. 339-348
The ‘bland invention’ of Veljo Tormis: notions of complicity and resistance in art music of the ESSR
págs. 349-358
págs. 359-368
págs. 369-386
Jaka’s tale: a busker’s journey toward socio-economical emancipation
págs. 387-396
Nuove identità: il compositore nella musica gamelan balinese
págs. 397-406
The cultural context of Georgian traditional music revival: three distinct individuals from local ethno-fusion space
págs. 407-412
págs. 413-418
I maestri di canto nell’ecumene copto-ortodossa: alcune figure emblematiche
págs. 419-428
From Lviv to Rome: the influence of a new cultural context on the musical experience of Halena Hromeck
págs. 429-434
Il carisma di Marco: la costruzione di una preghiera ‘musicata’ e partecipata
págs. 435-442
Nocturnal practices in Penha Garcia, Idanha-a-Nova, Portugal: the importance of Catarina Sargenta and Maria Nabais in encomendação das almas
págs. 443-452
«Cantam coma podèm!»: il cantore Pèire Boissière e la tradizione musicale occitana
págs. 453-462
António Abrantes Almeida: maestro of Abrunhosa do Mato’s wind band
págs. 463-468
págs. 469-478
págs. 479-488
págs. 489-500
págs. 501-508
págs. 509-526
págs. 527-534
Suoni da Ferramonti: Lagermusik come esperienza ‘corale’ in un campo di internamento fascista
págs. 535-544
Flory Jagoda: transformer la tradition
págs. 545-556
Memory and obligation: South Korean musician diaspora in the formation of North Korean traditional music
págs. 557-576
Čelovek i ego ptica: un film d’animazione allegorico sulla libertà. Analisi della colonna sonora di Sofija Gubajdulina
págs. 577-586
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