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A Harmony or Concord of Several and Diverse Voices«: Autonomy in 17th-century German Music Theory and Practice
A Harmony or Concord of Several and Diverse Voices«: Autonomy in 17th-century German Music Theory and Practice
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A Harmony or Concord of Several and Diverse Voices«: Autonomy in 17th-century German Music Theory and Practice

Chapin, Keith

International review of the aesthetics and sociology of music, 2011-12, Vol.42 (2), p.219-255

Zagreb: Department for Music and Musicology of the Croatian Academy of Sciences and Arts, Croatian Musicological Society, Music Academy of the University of Zagreb

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2
Courtly contexts for Moravian Hanák music in the 17th and 18th centuries
Courtly contexts for Moravian Hanák music in the 17th and 18th centuries
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Courtly contexts for Moravian Hanák music in the 17th and 18th centuries

Rawson, Robert G.

Early music, 2012-11, Vol.40 (4), p.577-591 [Periódico revisado por pares]

London: Oxford University Press

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3
TheHonnête hommeas Music Critic: Taste, Rhetoric, andPolitessein the 17th-Century French Reception of Italian Music
TheHonnête hommeas Music Critic: Taste, Rhetoric, andPolitessein the 17th-Century French Reception of Italian Music
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TheHonnête hommeas Music Critic: Taste, Rhetoric, andPolitessein the 17th-Century French Reception of Italian Music

FADER, DON

The Journal of musicology (St. Joseph, Mich.), 2003-01, Vol.20 (1), p.3-44 [Periódico revisado por pares]

University of California Press

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4
Rhetorical Personification of the Dead in 17th-Century German Funeral Music: Heinrich Schütz's Musikalische Exequien (1636) and Three Works by Michael Wiedemann (1693)
Rhetorical Personification of the Dead in 17th-Century German Funeral Music: Heinrich Schütz's Musikalische Exequien (1636) and Three Works by Michael Wiedemann (1693)
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Rhetorical Personification of the Dead in 17th-Century German Funeral Music: Heinrich Schütz's Musikalische Exequien (1636) and Three Works by Michael Wiedemann (1693)

Johnston, Gregory S.

The Journal of musicology (St. Joseph, Mich.), 1991-04, Vol.9 (2), p.186-213 [Periódico revisado por pares]

St. Joseph: University of California Press

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5
Lully, D'Anglebert and the Transmission of 17th-Century French Harpsichord Music
Lully, D'Anglebert and the Transmission of 17th-Century French Harpsichord Music
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Lully, D'Anglebert and the Transmission of 17th-Century French Harpsichord Music

Chung, David

Early music, 2003-11, Vol.31 (4), p.583-604 [Periódico revisado por pares]

Oxford University Press

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6
From Lübeck to Sweden: thoughts and observations on the Buxtehude sources in the Düben collection
From Lübeck to Sweden: thoughts and observations on the Buxtehude sources in the Düben collection
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From Lübeck to Sweden: thoughts and observations on the Buxtehude sources in the Düben collection

Wollny, Peter ; Rose, Stephen

Early music, 2007-08, Vol.35 (3), p.371-384 [Periódico revisado por pares]

Oxford: Oxford University Press

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7
Round Table IV: Production and Distribution of Music in 16th- and 17th-Century European Society
Round Table IV: Production and Distribution of Music in 16th- and 17th-Century European Society
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Round Table IV: Production and Distribution of Music in 16th- and 17th-Century European Society

Fenlon, Iain

Acta musicologica, 1987-01, Vol.59 (1), p.14-17 [Periódico revisado por pares]

Basel: Barenreiter

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8
Imitations of the Colascione in 17th-Century Keyboard Music
Imitations of the Colascione in 17th-Century Keyboard Music
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Imitations of the Colascione in 17th-Century Keyboard Music

Silbiger, Alexander

The Galpin Society journal, 1980-03, Vol.33, p.92-97 [Periódico revisado por pares]

West Sussex: The Galpin Society

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9
The Use of Instruments in Sacred Music in Italy 1560-1700
The Use of Instruments in Sacred Music in Italy 1560-1700
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The Use of Instruments in Sacred Music in Italy 1560-1700

Bonta, Stephen

Early music, 1990-11, Vol.18 (4), p.519-535 [Periódico revisado por pares]

Oxford: Oxford University Press

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10
'senza che il Maestro di Capella ne sappia cosa alcuna'—some new light on imperial court repertory in the collection of Karl von Liechtenstein-Castelcorno at Kroměříž
'senza che il Maestro di Capella ne sappia cosa alcuna'—some new light on imperial court repertory in the collection of Karl von Liechtenstein-Castelcorno at Kroměříž
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'senza che il Maestro di Capella ne sappia cosa alcuna'—some new light on imperial court repertory in the collection of Karl von Liechtenstein-Castelcorno at Kroměříž

Erhardt, Tassilo

Early music, 2012-11, Vol.40 (4), p.593-604 [Periódico revisado por pares]

London: Oxford University Press

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