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Images
Published: 01 June 2020
Figure 1 Course brochure for Copland's “Masterworks of Modern Music” lecture series, New School for Social Research, 1928–29, front cover. Aaron Copland Collection, Music Division, Library of Congress, Washington, DC. More
Images
Published: 01 June 2020
Figure 2 Course brochure for Copland's “Masterworks of Modern Music” lecture series, New School for Social Research, 1928–29, back cover. Aaron Copland Collection, Music Division, Library of Congress, Washington, DC. More
Images
Published: 01 June 2020
Example 1 Nat “King” Cole, “Unforgettable” (arr. Nelson Riddle), mm. 36–40 More
Images
Published: 01 June 2020
Example 1 Nat “King” Cole, “Unforgettable” (arr. Nelson Riddle), mm. 36–40 More
Images
Published: 01 June 2020
Figure 1 Screenshot from Sekuru's Stories, showing the home page, accessed March 17, 2020, https://sekuru.org/home/ More
Images
Published: 01 June 2020
Figure 2 Screenshot from Sekuru's Stories, showing the beginning of “Praying for Rain” (a subsection of the “Independence” section), accessed March 17, 2020, https://sekuru.org/praying-for-rain/ More
Images
Published: 01 June 2020
Figure 1 Screenshot from the NBN, showing the first page of the New Books in Music channel, accessed April 29, 2020, https://newbooksnetwork.com/category/music/ More
Images
Published: 01 June 2020
Figure 2a Screenshot from the NBN, showing the page for Carla Nappi's interview with Alexandra Hui about her book The Psychophysical Ear , accessed April 29, 2020, https://newbooksnetwork.com/alexandra-hui-the-psychophysical-ear-musical-experiments-experimental-sounds-1840-1910-mit-press-2013-3/... More
Images
Published: 01 June 2020
Figure 2b Screenshot from the NBN, showing the page for Kristen Turner's interview with Katherine Preston about her book Opera for the People , accessed April 29, 2020, https://newbooksnetwork.com/katherine-k-preston-opera-for-the-people-english-language-opera-and-women-managers-in-late-19th-cen... More
Images
Published: 01 June 2020
Figure 2c Screenshot from the NBN, showing the page for Kristen Turner's interview with Jennifer Ronyak about her book Intimacy, Performance, and the Lied in the Early Nineteenth Century , accessed April 29, 2020, https://newbooksnetwork.com/jennifer-ronyak-intimacy-performance-and-the-lied-in-t... More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 1 Louisa Wells's collection. Library of Congress, M1.A633 1769 Case. Photograph by the author. More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 2 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, title page More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 3 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 1–4 (annotated) More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 3 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 1–4 (annotated) More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 3 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 1–4 (annotated) More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 3 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 1–4 (annotated) More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 4 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 5 More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 5 The Comic Tunes in the Pantomime of “The Elopement” (London: John Johnston, [1768?]), title page. British Library, Music Collections g.79.c.(1.). © British Library Board. Used by permission. More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 6 The Comic Tunes in the Pantomime of “The Elopement” (London: John Johnston, [1768?]), 19. British Library, Music Collections g.79.c.(1.). © British Library Board. Used by permission. More
Images
in How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century
> Journal of the American Musicological Society
Published: 01 June 2020
Figure 7 “Rural Felicity,” in Thompson's Compleat Collection of 200 Favourite Country Dances (London: Charles and Samuel Thompson, [1775]) More