![]() ![]() DURCHLAUCHT HABEN SELBST EINE HOHE STUFE DER AUSÜBENDEN KUNST ERSTIEGEN“ – VERSUCH ÜBER KOMPONIERENDE FÜRSTINNEN (Your High Princely Highness have Herself Climbed to a High Level of the Performing Arts) LADIES AND THE CONCERTINA IN VICTORIAN ENGLAND: SOME NOTES ON MANUFACTURERS’ MARKETING STRATEGIES 民族音乐学视阈中的音乐美学问题 ( Music Aesthetics from the Ethnomusicological Perspectives) IMMIGRANT MUSIC JOURNALS IN THE UNITED STATES SLOVENIAN MODERNISMS SINCE 1918: EVASIVE IDEA(L)S OF THE CLASSICAL ZNAČAJ SRPSKOG KNJIŽEVNOG GLASNIKA (1901–1941) U ISTORIJI SRPSKE MUZIKE (THE IMPORTANCE OF SRPSKI KNJIŽEVNI GLASNIK (1901–1941) IN THE HISTORY OF SERBIAN MUSIC) REFLECTIONS ON HUGO RIEMANN’S MUSIK-LEXIKON AND HIS MUSIC HISTORIOGRAPHY THE EDITION OF MARCUS MEIBOM’S ARISTOXENI HARMONICORUM ELEMENTORUM LIBRI TRES AND ITS CONTRIBUTION TO THE KNOWLEDGE OF ANCIENT GREEK MUSIC THEORY IN THE SEVENTEENTH CENTURY ![]() THE USE OF THE GREEK NATIONAL ANTHEM IN CHOISY’S EXILE DU PATRE AND KASASSOGLOU’S FOUR PRELUDES FOR THE RETURN FROM THE FRONT IDEOLOGICAL SCHEMES AND NATIONAL PERSPECTIVES. ![]() “CROATNESS” IN MUSIC: SONGFULLY ITALIAN, SOLIDLY GERMAN, A LITTLE BIT “ORIENTAL”, AND ABOVE ALL SLAVIC ANTONIO BALDASSARRE & TATJANA MARKOVIĆ Introduction
0 Comments
Leave a Reply. |