List of bibliographic references indexed by 0027-4631
Number of relevant bibliographic references: 593.
[0-50] [
0 - 20][
0 - 50][
50-70]
| Ident. | Authors (with country if any) | Title |
|---|
| 000117 (2010) |
Robert Samuels [Royaume-Uni] | The Double Articulation of Schubert: Reflections on Der Doppelgänger |
| 000131 (2010) |
Carl B. Schmidt [États-Unis] | Francis Poulenc and Robert Shaw: A Remarkable Symbiotic Relationship |
| 000196 (2009) |
Leonora Saavedra [États-Unis] | Manuel M. Ponce's Chapultepec and the Conflicted Representations of a Contested Space |
| 000207 (2009) |
Cristina Magaldi [États-Unis] | Cosmopolitanism and World Music in Rio de Janeiro at the Turn of the Twentieth Century |
| 000271 (2008) |
Philip Rupprecht [États-Unis] | “Something Slightly Indecent”: British Composers, the European Avant-garde, and National Stereotypes in the 1950s |
| 000275 (2008) |
Jann Pasler | Theorizing Race in Nineteenth-Century France: Music as Emblem of Identity |
| 000277 (2008) |
Jenny Doctor | The Parataxis of “British Musical Modernism” |
| 000280 (2008) |
Jonathan Kregor [États-Unis] | Stylistic Reconstructions in Liszt's Late Arrangements |
| 000281 (2008) |
H. Colin Slim | Stravinsky's Four Star-Spangled Banners and His 1941 Christmas Card |
| 000282 (2008) |
Jeremy Barham [Royaume-Uni] | Scoring Incredible Futures: Science-Fiction Screen Music, and “Postmodernism” as Romantic Epiphany |
| 000298 (2008) |
Charles Edward Mcguire | Edward Elgar: “Modern” or “Modernist?” Construction of an Aesthetic Identity in the British Music Press, 1895–1934 |
| 000336 (2007) |
Ralph P. Locke | Unacknowledged Exoticism in Debussy: The Incidental Music for Le martyre de saint Sébastien (1911) |
| 000346 (2007) |
Alexander Rothe | Rethinking Postwar History: Munich's Musica Viva during the Karl Amadeus Hartmann Years (1945–63) |
| 000357 (2007) |
James R. Noyes | Debussy's Rapsodie pour orchestre et saxophone Revisited |
| 000603 (2005) |
Lynn Hooker | Modernism on the Periphery: Béla Bartók and the New Hungarian Music Society of 1911–1912 |
| 000604 (2005) |
Julie Hubbert | Modernism at the Movies: The Cabinet of Dr. Caligari and a Film Score Revisited |
| 000756 (2004) |
Leslie A. Sprout | Messiaen, Jolivet, and the Soldier–Composers of Wartime France |
| 000758 (2004) |
Daniel Harrison | Max Reger Introduces Atonal Expressionism |
| 000762 (2004) |
Leon Botstein | History and Max Reger |
| 000771 (2004) |
Carl Leafstedt [États-Unis] | Asheville, Winter of 1943–44: Béla Bartók and North Carolina |
| 000772 (2004) |
Reinhold Brinkmann [États-Unis] | A “Last Giant in Music”: Thoughts on Max Reger in the Twentieth Century |
| 000875 (2002) |
Jane F. Fulcher | The Politics of Transcendence: Ideology in the Music of Messiaen in the 1930s |
| 000916 (2002) |
Anya Suschitzky | Debussy's Rameau: French Music and Its Others |
| 000918 (2002) |
| Contributors to This Issue |
| 000953 (2001) |
Leon Botstein | Pfitzner and Musical Politics |
| 000957 (2001) |
Pauline Fairclough | Mahler Reconstructed: Sollertinsky and the Soviet Symphony |
| 000962 (2001) |
Leon Botstein | In the Shadows of September 11, 2001 |
| 000970 (2001) |
| Contributors to This Issue |
| 000973 (2001) |
Robert Craft | Bungled Biography |
| 000980 (2001) |
Leon Botstein | Analysis and Criticism |
| 000A10 (2000) |
Howard Pollack | Samuel Barber, Jean Sibelius, and the Making of an American Romantic |
| 000A27 (2000) |
Caroline Potter | Nadia and Lili Boulanger: Sister Composers |
| 000A29 (2000) |
Leon Botstein | Memory and Nostalgia as Music-Historical Categories |
| 000A31 (2000) |
Arved Ashby | Frank Zappa and the Anti-Fetishist Orchestra |
| 000A33 (2000) |
| Contributors to This Issue |
| 000A34 (2000) |
James Porter | Bartók and Janáček: Ideological Convergence and Critical Value |
| 000A37 (2000) |
Tammy L. Kernodle | Arias, Communists, and Conspiracies: The History of Still's Troubled Island |
| 000A74 (1999) |
Austin E. Clarkson | Stefan Wolpe in Conversation with Eric Salzman |
| 000A75 (1999) |
Allen Forte | Reflections upon the Gershwin-Berg Connection |
| 000A90 (1999) |
Mary E. Davis | Modernity àla mode: Popular Culture and Avant-Gardism in Erik Satie’s Sports et divertissements |
| 000A97 (1999) |
Sabine M. Feisst | Arnold Schoenberg and the Cinematic Art |
| 000B38 (1998) |
Jane F. Fulcher | The Concert as Political Propaganda in France and the Control of “Performative Context” |
| 000B67 (1998) |
Derek B. Scott | Orientalism and Musical Style |
| 000B71 (1998) |
Luke B. Howard | Motherhood, Billboard, and the Holocaust: Perceptions and Receptions of Górecki's Symphony No. 3 |
| 000B76 (1998) |
Jeffrey Taylor | Louis Armstrong, Earl Hines, and “Weather Bird” |
| 000C69 (1997) |
Michael V. Pisani | A Kapustnik in the American Opera House: Modernism and Prokofiev’s Love for Three Oranges |
| 000C93 (1996) |
Scott De Veaux | What Did We Do to Be So Black and Blue? |
| 000C94 (1996) |
David Nicholls | Transethnicism and the American Experimental Tradition |
| 000C96 (1996) |
Suzanne R. Stewart | The Theft of the Operatic Voice: Masochistic Seduction in Wagner's Parsifal |
| 000D52 (1995) |
Jane F. Fulcher | The Preparation for Vichy: Anti-Semitism in French Musical Culture Between the Two World Wars |
| 000D56 (1995) |
Irving Fine | REVIEWS OF RECORDS |
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