Das Menschliche in der Musik . August Halms prozessuale Metaphorik im Brennpunkt analysetheoretischer Fragestellungen by Astrid Bolay

“…To justify his formal-aesthetic position, however, he is forced in his analysis of the Tempest Sonata – in contrast to a content-focused aesthetic interpretation of the same piece by Paul Bekker – to define the boundary between a “permissible” and a “no longer permissible,” overly “humanising” metaphor. …”
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Advances in the understanding and therapeutic manipulation of cancer immune responsiveness: a Society for Immunotherapy of Cancer (SITC) review by Francesco M Marincola, Alessandra Cesano, Yana G Najjar, Davide Bedognetti, Marco Ruella, Sarah Warren, Christine Spencer, Elad Ziv, Tomas Kirchhoff, Jennifer McQuade, Tullia C Bruno, Jakob Nikolas Kather, Allison Betof Warner, Christian Hammer, Alberto Carturan, Ryan Augustin, Rhine Shen, Winson S Ho, Rongze O Lu, Luigi Barrea, Violena Pietrobon, Laura Soldati

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Form und Dramaturgie in Beethovens Violinkonzert . Zur Interpretation des Kopfsatzes durch Rudolf Kolisch und René Leibowitz by Jan Philipp Sprick

“…Against this background, my own reflections on the formal concept of the violin concerto focus on the relation of ritornello-like recurrence and cyclic sonata form. Since the long tutti passages in the orchestra pose a challenge to performers, it is no surprise that questions of performance play an important role in analytical studies on the concerto. …”
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Recognizing structure in novel tunes: differences between human and rats by Paola Crespo-Bojorque, Elodie Cauvet, Christophe Pallier, Juan M. Toro

“…Structured melodies were excerpts of Mozart's sonatas. Unstructured melodies were created by the recombination of fragments of different sonatas. …”
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Arturo Cova, un Bradomín selvático by Ana Vigne Pacheco

“…Comparative study between the main character of José Eustasio Rivera’s novel La vorágine, Arturo Cova, and the Marquis of Bradomín, the main character of Ramón del Valle Inclán’s Sonatas. The construction of both characters is based on the model of a fin de siècle’s hero developed from European models belonging to that period. …”
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THE GENESIS OF THE PIANO TRIO by Marta CÎRLEJAN

“…Guillemain with their accompanied sonatas, J. Haydn and specially W. A. Mozart, introducing the technique of multiple thematic development marked the path of the piano trio becoming a concert genre in its own right. …”
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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

“…The following article tries to concretize the aesthetic judgement of ‘bizarreness’; for that purpose it depicts surprising harmonic configurations in several of Bach’s piano sonatas as well as their respectively (un-)expected characteristics and examines them against their historical backdrop. …”
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