Renegotiating the Borders of National Culture: Polish Émigré Composers and National Music Histories in the Twentieth Century by Lisa Cooper Vest

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Sub-faculty of music theory, music history and instrument performing of the Khabarovsk State Institute of Arts and Culture: tendencies and prospects by U. I. Zasukha, S.YU. Lisenko

“…The article shows the history of organizing of the Sub-faculty of Music Theory, Music History and Instrument Performing at Khabarovsk State Institute of Arts and Culture. …”
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Zu Dahlhaus’ Historiographie der Musiktheorie im 19. Jahrhundert by Jan Philipp Sprick

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ELENA MARIA ŞORBAN – BOOK QUARTET: 1. THE HISTORY OF MUSIC AND US: CREATIVE PERMANENCIES, 2. THE OLD MUSIC. A CONCISE HISTORY, 3. CLASSICAL AND ROMANTIC MUSIC, 4. THE NEW MUSIC Eik... by Anamaria Mădălina HOTORAN

“… By the end of 2013 and the beginning of 2014, Elena Maria Şorban published a book tetralogy, a comprehensive compendium covering the entire music history, from the ancient music to the contemporary creations. …”
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PHILOKALIA IN MUSIC by Petruţa-Maria COROIU

“… I thought a view on music history based on the 30 stages of The Ladder written by Sf. …”
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GIUSEPPE VERDI IN VICTORIAN LONDON by Massimo ZICARI

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RALPH VAUGHAN WILLIAMS: “A CAMBRIDGE MASS”. ABOUT A NEWLY DISCOVERED MANUSCRIPT AND A WORLD PREMIERE, IN CONVERSATION WITH MAESTRO ALAN TONGUE by Bianca ŢIPLEA TEMEŞ

“… Acknowledged as one of the most prominent figures of British music history, the composer Ralph Vaughan Williams is well known to the world for pieces like Fantasia on a Theme of Thomas Tallis, A Sea Symphony, The Wasps and many others. …”
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Quantitative Analysis of Comprehensive Influence of Music Network Based on Logistic Regression and Bidirectional Clustering by Yi-Kun Zhao, Guo-Qing Wang, Xiao-Xiao Zhan, Peng-Hui Yang

“…Therefore, this paper uses network science to build a dynamic network to analyze the similarity of music, the evolution process, and the impact of music on culture, which has certain research significance and practical value in the fields of music, history, social science, and practice.…”
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Von unten und von oben? . Hugo Riemanns reflexive Theorie in der Moderne by Hermann Danuser

“…Hugo Riemann’s oeuvre surpasses the borders of music theory, musicology and music history and therefore represents a conception of scholarship that seems – after 100 years – not timely any more. …”
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Lilla’s Heritage. Cultural Sketches of the Vay Branch in Hungary by Lili Veronika Békéssy

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From Trinidad to Cyberspace: Reconsidering Ernst Toch’s “Geographical Fugue” by Carmel Raz

“…Perhaps uniquely in music history, this electronic work has had an almost exclusively acoustic performance history of more than eight decades. …”
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“… because there is nothing symbolic in the described phenomenon”. Asafyev’s Intonation Theory in the Early Soviet Union – Analytical Insights, Intellectual Contexts, and Semiotic... by Patrick Becker-Naydenov

“…In contrast to Western research, this contribution engages with an aspect of Asafyev’s theory that not only differs profoundly from his more prominent predecessors but also presents an original insight, combining contemporary European discourses and Asafyev’s understanding of Russian music history. Asafyev’s surprising rejection of semiotic terminology in the final paragraphs of his 1931 book Musical Form as a Process allows us to reframe intonation theory as a contribution to musical semiology. …”
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Karel Janeček − a leading figure in Czech Music Theory and Pedagogy: his theoretical writings from the 1930s and 1940s by Miloš Hons

“…Although he was active as a scholar and a composer, his place in Czech music history rests on his theoretical work. He was the originator of a new model for university-level music theory teaching, setting up a framework whose essence is still in use today. …”
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›Though this is madness, yet there’s method in it‹. Zur Einordnung harmonischer ›Bizarrerien‹ im Klavierwerk Carl Philipp Emanuel Bachs by Sören Sönksen

“…Eventually, it carves out to what extent the peculiarity attested to Bach can be abstracted from his personal style and be seen as a part of the general development of style and form in musical history.…”
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