De musica latine scribenda: How to approach a Latin text as a composer without summoning a demon in the process (2022) by Juan Carlos Aliaga del Bosque

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Entre práticas e discursos: Gilberto Mendes, Willy Corrêa de Oliveira e o campo da música erudita brasileira pós 1980 by Carla Delgado de Souza

“…The goal of this paper is to understand how some changes in the Brazilian classical music field since the late 1970s happened, through the analysis of the trajectory of two impor- tant Brazilian composers: Gilberto Mendes and Willy Corrêa de Oliveira. …”
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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

“…First of all, there are early studies from the 1930s, a period in which he was teaching at the Music School in Plzeň. …”
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AN EXAMINATION OF THE CONCEPT AND CLASSIFICATIONS OF MAQAM IN THE HISTORICAL PROCESS (13th-20th CENTURIES) by Emre Akgün

“…In the research, it is aimed to investigate the change in the concept of maqam in Classical Turkish music in the historical process and to see the theoretical approaches of theorists and composers to the concept of maqam. …”
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Piano Works by Dora Pejačević – A Personal Perspective of an Interpreter by Kyra Steckeweh

“…The discussion extends to the broader context of Pejačević’s piano compositions, which are categorized into three distinct phases: early works reflecting her Romantic and Classical influences, middle-period compositions showing a mature late-Romantic style, and late works characterized by far-reaching harmonies and formal freedom, marking a stylistic turning point in her oeuvre. …”
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The Facial approximation of the controversial skull attributed to Wolfgang Amadeus Mozart (1756–1791) by Cicero Moraes, Jiří Šindelář, Michael E. Habicht, Luca Sineo, Thiago Beaini, Elena Varotto, Francesco Maria Galassi

“…Wolfgang Amadeus Mozart (1756–1791) is considered as one of the greatest composers of the Classical Period of music (ca. 1750–1820). Gifted with an unparalleled precocity, which allowed him to play and compose at the highest levels from a very young age, he continued his studies until the end of his life. …”
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