Early music

• 

  Año 1997, Vol. 25, Número 4

  • A love affair

    Tess Knighton

    págs. 548-549

    

  • Early Music--100 issues!

    John Mansfield Thomson

    págs. 549-551

    

  • The survivor speaks

    Arthur Boyars

    pág. 553

    

  • Time to talk back to treatises!

    Nicholas Kenyon

    págs. 555-556

    

  • Early music yesterday, today and tomorrow

    Howard Schott

    pág. 557

    

  • Early music: Listening practice and living museums

    Curtis Price

    págs. 559-560

    

  • A sense of place

    Julie Anne Sadie

    págs. 561-562

    

  • Early music--observations and predictions

    Daniel Leech-Wilkinson

    págs. 563-564

    

  • Two early music revolutions

    David Fallows

    págs. 564-565

    

  • `Authentic' listening?

    Margaret Bent

    pág. 567

    

  • In vino veritas

    Neal Zaslaw

    págs. 568-569

    

  • A political dimension

    Cezary Zych

    pág. 569

    

  • A listener's odyssey

    Clemens Goldberg

    págs. 571-572

    

  • 25 years of early music in Italy

    Dinko Fabris

    págs. 573-574

    

  • Be in my video

    Fabrice Fitch

    págs. 577-581

    

  • The passing of time

    John Milsom

    págs. 583-588

    

  • Listening practice--an introduction

    Christopher Page

    pág. 591

    

  • For whom do the singers sing?

    Bonnie J. Blackburn

    págs. 593-606

    

  • Listening to sacred polyphony c.1500

    Jeffrey Dean

    págs. 611-629

    

  • Listening to the trouveres

    Christopher Page

    págs. 639-655

    

  • Spaces and contexts for listening in the 15th-century Castile: The case of the Constable's palace

    Tess Knighton

    págs. 661-675

    

  • Did people listen in the 18th century?

    William Weber

    págs. 678-690

    

  • In quest of the period ear

    Shai Burstyn

    págs. 692-701

    

  • `Something utterly new': Listening to Schubert Lieder

    Eric Van Tassel

    págs. 702-714

    

  • The future of Schubert interpretations: What is really needed?

    Malcolm Bilson

    págs. 715-722

    

  • Performance prerogatives in Schubert

    Robert D. Levin

    págs. 723-727

    

  • Page turns, players and ripieno parts: More questions of scoring in Bach's vocal music

    Joshua Rifkin

    págs. 728-734