Log in

Relevant bibliographies by topics / Composer / Journal articles

To see the other types of publications on this topic, follow the link: Composer.

Journal articles on the topic 'Composer'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Composer.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Stanley, Jane, and Judith Bishop. "‘I AM A TEXTURAL COMPOSER’: JANE STANLEY ON THE CREATIVE PROCESS, IMMERSIVE TEXTURES, GLOW AND A NEW SONG CYCLE." Tempo 78, no. 309 (2024): 6–21. http://dx.doi.org/10.1017/s0040298224000020.

Full text

Abstract:

AbstractThis is the transcript of an interview with Glasgow-based Australian composer Dr Jane Stanley. The interviewer is Dr Judith Bishop, an Australian poet and lyricist whose words appear in two of the works discussed: ‘14 Weeks’ (from Interval (UQP, 2018) and ‘The Indifferent’ (from Event (Salt Publishing UK, 2007)). The interview was recorded at the University of Glasgow on 29 May 2023 and edited for clarity, length and concision. It was recorded a day after the world premiere of Jane Stanley's 14 Weeks at the Glasgow School of Art Choir Composeher concert in City Halls, Glasgow. In respo

APA, Harvard, Vancouver, ISO, and other styles

2

Drajewski, Stefan. "Polskie kompozytorki baletów. Rekonesans." Polski Rocznik Muzykologiczny 20, no. 1 (2022): 205–22. http://dx.doi.org/10.2478/prm/2022-0002.

Full text

Abstract:

ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centurie

APA, Harvard, Vancouver, ISO, and other styles

3

Drajewski, Stefan. "Polskie kompozytorki baletów. Rekonesans." Polski Rocznik Muzykologiczny 20, no. 1 (2022): 205–22. http://dx.doi.org/10.2478/prm-2022-0002.

Full text

Abstract:

ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centurie

APA, Harvard, Vancouver, ISO, and other styles

4

May, Leopold. "The lesser known chemist-composers, past and present." Bulletin for the History of Chemistry 33, no. 1 (2008): 35–43. https://doi.org/10.70359/bhc2008v033p035.

Full text

Abstract:

The article presents short biogs. of various less known chemist-composers, including their chem. and music. These chemists include George Berg, amateur chemist-composer, Sir Edward W. Elgar, amateur chemist-composer, Georges Urbain, inorg. chemist-composer, and Emil Votocek, org. chemist-composer. There are also three contemporary chemist-composers, E. L. Bearer and Morris Kates, both biochemists, and Carlo Botteghi, industrial chemist.

APA, Harvard, Vancouver, ISO, and other styles

5

Duchen, Jessica. "Developments and Dangers: The Training of Young Composers." Tempo, no. 171 (December 1989): 4–11. http://dx.doi.org/10.1017/s004029820001994x.

Full text

Abstract:

As the 1980s draw to their close, contemporary music is becoming more eclectic than ever before. In the tremendous range of idioms, from symphonies to synthesizers via many ‘isms’ and ‘neos’, composers of the younger generation have a baffling choice of directions for their preferred moves. Ideologies have altered considerably during the past two decades; the demands of technology have left some institutions unable to keep up with the progress of electronic music in others; now the early musical experience of children in schools is changing too, with the introduction of GCSE placing emphasis o

APA, Harvard, Vancouver, ISO, and other styles

6

Scheuregger, Martin, and Litha Efthymiou. "Composer-composer collaboration and the difficulty of intradisciplinarity." Airea: Arts and Interdisciplinary Research, no. 2 (October 7, 2020): 23–35. http://dx.doi.org/10.2218/airea.5042.

Full text

Abstract:

Research and practice involving parties from different disciplines is of increasing importance in many fields. In the arts, this has manifested itself in both increasing attention on established collaborative partnerships – composers, for example, collaborating with writers, choreographers and directors – and a move towards more overtly cross-, multi-, inter- and/or trans-disciplinary forms of working – a composer working with a physicist, philosopher or psychologist. Composer-composer partnerships are far less common, meaning intradisciplinary collaboration is little explored in relation to p

APA, Harvard, Vancouver, ISO, and other styles

7

Xintong, Wang. "VIOLA MINIATURE BY REBECCA CLARKE." Arts education and science 2, no. 35 (2023): 76–83. http://dx.doi.org/10.36871/hon.202302076.

Full text

Abstract:

The work of English composers of the first half of the XXth century, who actively composed for viola, is little known to music lovers. The now popular English composers L. Tertis and W. Wilton were most prominent in large-form works for viola (primarily in the genres of sonata and concerto with orchestra). One of the pioneers of chamber music for this instrument is the talented, but now almost unknown composer and violist Rebecca Clarke, who established the viola miniature as a distinctive and striking artistic phenomenon. The relevance of the study lies in the urgent need to introduce into mu

APA, Harvard, Vancouver, ISO, and other styles

8

BRANSCOMBE, PETER, and Louise Collis. "Redoubtable Composer." Musical Times 127, no. 1715 (1986): 29. http://dx.doi.org/10.2307/965351.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Miller, Jim. "Personal Composer." Computer Music Journal 9, no. 4 (1985): 27. http://dx.doi.org/10.2307/3679620.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Minamitaka, Junichi. "Automatic composer." Journal of the Acoustical Society of America 90, no. 5 (1991): 2881–82. http://dx.doi.org/10.1121/1.401788.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Appleby, David P. "Brazil's Composer." Americas 52, no. 01 (1995): 85–86. http://dx.doi.org/10.1017/s0003161500023543.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Brian Hulse. "Becoming-Composer." Perspectives of New Music 53, no. 1 (2015): 219. http://dx.doi.org/10.7757/persnewmusi.53.1.0219.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Berry, R., M. Makino, and N. Hikawa. "Augmented Composer." IEEE Computer Graphics and Applications 24, no. 1 (2004): 1 pp. http://dx.doi.org/10.1109/mcg.2004.1273451.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Brian Hulse. "Becoming-Composer." Perspectives of New Music 53, no. 1 (2015): 219–37. http://dx.doi.org/10.1353/pnm.2015.0000.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Stephenson, Kimberly. "Recorder Composer." General Music Today 25, no. 3 (2011): 20–22. http://dx.doi.org/10.1177/1048371311407662.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Hutton, Jo. "Daphne Oram: innovator, writer and composer." Organised Sound 8, no. 1 (2003): 49–56. http://dx.doi.org/10.1017/s1355771803001055.

Full text

Abstract:

The main focus of this article is the work of Daphne Oram, composer of electronic music, who founded the BBC Radiophonic Workshop in 1958 and went on to run her own independent studio from where she composed several significant pieces of electronic music, designed and built a new audio recording machine, and lectured and wrote extensively on electronic and concrète music. The paper will endeavour to show that Ms Oram is deserving of recognition as an innovative composer of electronic and concrète music, as well as possessing interesting and valuable insight into the practice and theory of this

APA, Harvard, Vancouver, ISO, and other styles

17

Habibi, Ali, and Rizqy Khairuna. "EUPHEMISM AND GENDER: THE EUPHEMISM USED BY MALE AND FEMALE IN MINANGKABAU SONGS." AICLL: ANNUAL INTERNATIONAL CONFERENCE ON LANGUAGE AND LITERATURE 1, no. 1 (2018): 98–103. http://dx.doi.org/10.30743/aicll.v1i1.15.

Full text

Abstract:

This study aims to identify the differences types of euphemism as an expression in deriving meaning used by the composer of male and female Minangkabau in their song lyrics. The subjects of this research are male and female Minangkabau composers. Data taken from this study were downloaded from youtube and transcribed. The procedure of collecting the data was taken from two of song lyrics by the composers Ipank and Ria Amelia “Rantau Den Pajauh” and “Harok di Rantau urang”. The procedure of analyzing the data was descriptive qualitative method, by having the lyrics identified and underlined to

APA, Harvard, Vancouver, ISO, and other styles

18

Quinn, Peter. "Out with the Old and in with the New: Arvo Pärt's ‘Credo’." Tempo, no. 211 (January 2000): 16–20. http://dx.doi.org/10.1017/s004029820000735x.

Full text

Abstract:

The current standing of the Estonian-born composer Arvo Pärt (b.1935) rests almost exclusively on the works he has composed since 1976, the year the composer unveiled the first fruits of his newly-discovered modal formulae, or what has now become known as the ‘tintinnabuli’ style. There is, however, a large, important and up until now relatively unexplored series of experimental works that predate this seemingly radical change of style. For example, Pärt's first orchestral piece, Nekrolog (1960), was the very first piece of Estonian music to employ the 12-note technique, incurring the wrath of

APA, Harvard, Vancouver, ISO, and other styles

19

Maestri, Eric. "An Exploratory Inquiry into the Relationship between Temporality and Composition." Organised Sound 25, no. 2 (2020): 179–86. http://dx.doi.org/10.1017/s1355771820000084.

Full text

Abstract:

In this article, I explore the relationship between the temporality of the composer and that of the music composed. This investigation starts with a fundamental presumption: composers, generally speaking, think in the future – their compositions will be performed and perceived at a different and later time than that of the compositional act, and will be listened by other persons. The hypothesis I develop in this article is that the musical work determines a deferred relationship between the listener and the composer, and that the compositional act is basically a dialogical act. Paul Ricœur’s t

APA, Harvard, Vancouver, ISO, and other styles

20

CAZAN, Florinel-Ciprian. "THE SECULAR CREATION OF COMPOSER GHEORGHE DANGA." International Multidisciplinary Scientific Conferences on the Dialogue between Sciences & Arts, Religion & Education 6, no. 6 (2022): 60–68. http://dx.doi.org/10.26520/mcdsare.2022.6.60-68.

Full text

Abstract:

Gheorghe Danga is a well-known composer in our church for his religious works. A large part of his creațion includes many secular and patriotic compozițions. This article aims to detail this aspect, starting with the compozitions of his teenage years, since he begun to compose since the age of 16-17. He composed many reference folklore works that are sung a lot in our country and even in othersat various festivals or choral competitions. Also, patriotic compozitions had a special place in his work, the most important being the „Choral suite 190”, the largest among his creațions, a work who cap

APA, Harvard, Vancouver, ISO, and other styles

21

Pogrebnіak, Galyna. "Musical culture of screen direction." ART-platFORM 8, no. 2 (2023): 12–33. http://dx.doi.org/10.51209/platform.2.8.2023.12-33.

Full text

Abstract:

The article examines the phenomenon of music in audiovisual art. The work of Ennio Morricone in world cinema is analyzed. This approach made it possible to deeply reveal the role of music in the screen arts and to show the peculiarities of the collaboration between the director and the composer. Signs of collective authorship in the screen arts have been identified, which provoked the emergence of creative tandems, a director-composer. In addition, the director's creativity was studied in the context of the composer's practices of creating music for audiovisual art. Composer practices of Ennio

APA, Harvard, Vancouver, ISO, and other styles

22

Yip, Viola. "DARMSTADT 2014: THE COMPOSER-PERFORMER." Tempo 69, no. 271 (2015): 69–72. http://dx.doi.org/10.1017/s0040298214000679.

Full text

Abstract:

It seems clear that, by a certain point in the twentieth century, the roles of composer and performer had become increasingly separated, but when we think of composers such as JS Bach, Beethoven and Rachmaninov, we are reminded that the idea of the musician as composer-performer is not new. Today, we can see an increasing number of musicians running a double life as composer and performer. What does it mean to be a composer-performer in the twenty-first century? How does the relationship of compositions to their performances change when the composer is the performer?

APA, Harvard, Vancouver, ISO, and other styles

23

Schick, Kyle. "Improvisation: Performer as Co-composer." Musical Offerings 3, no. 1 (2012): 27–35. http://dx.doi.org/10.15385/jmo.2012.3.1.3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Pavlova-Borisova, Tat'yana Vladimirovna, and Milena Mikhailovna Kuz'mina. "Yakut national school of composers and works of the first Even composer P. M. Starostin: review experience." Философия и культура, no. 12 (December 2020): 1–10. http://dx.doi.org/10.7256/2454-0757.2020.12.34736.

Full text

Abstract:

This article is dedicated to the life and works of the first Even composer P. M. Starostin (1944-2013) in the context of evolution of the national school of composers in the East. The goal of this research consists in review of the life and works of the Even composer P. M. Starostin. The object of study is the professional musical art of the Evens, while the subject is the artistic heritage of the first Even composer. The article is based on the comparative and typological methods, with consideration of theoretical insights of the national musicologists dedicated to the development trends of y

APA, Harvard, Vancouver, ISO, and other styles

25

Wold, Erling. "Composer-to-Composer, Telluride, Colorado, 18-20 August 1989." Computer Music Journal 14, no. 1 (1990): 74. http://dx.doi.org/10.2307/3680118.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Hrabovskyi, Volodymyr. "A COMPOSER ABOUT A COMPOSER. NEW PUBLICATIONS ABOUT MUSIC." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, no. 48 (2022): 28–29. http://dx.doi.org/10.32782/2310-0583-2022-48.04.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Broad, Leah. "BBC Proms 2015: Gary Carpenter, Anders Hillborg, Ørjan Matre, Alissa Firsova, B Tommy Andersson." Tempo 70, no. 275 (2015): 84–85. http://dx.doi.org/10.1017/s0040298215000674.

Full text

Abstract:

Sibelius' and Nielsen's 150th anniversary year has prompted a proliferation of events to celebrate the music of the Nordic composers, from conferences to concert series. The Proms has been no exception, with an unusually high number of Nordic composers represented throughout the festival (although Glazunov, also in his 150th anniversary year, has been forgotten). British composer Gary Carpenter's Dadaville was premiered on the first night, which opened to the sounds of Nielsen's Maskarade and Sibelius's Belshazzar's Feast, while later concerts covered here presented premieres by the Swedish co

APA, Harvard, Vancouver, ISO, and other styles

28

Repp, Bruno H. "Further Perceptual Evaluations of Pulse Microstructure in Computer Performances of Classical Piano Music." Music Perception 8, no. 1 (1990): 1–33. http://dx.doi.org/10.2307/40285483.

Full text

Abstract:

This research continues the perceptual evaluation of "composers' pulses" begun by Repp (1989a) and Thompson (1989). Composers' pulses are patterns of expressive microstructure (i. e., timing and amplitude modulations) proposed by Clynes (1983). They are said to convey individual composers' personalities and to enhance their characteristic expression when implemented in computer performances of their music. For the present experiments, the initial bars of five piano pieces by each of four composers (Beethoven, Haydn, Mozart, and Schubert) were generated with each of four pulse microstructures s

APA, Harvard, Vancouver, ISO, and other styles

29

Palijama, Tirza Viona, Ni Wayan Ardini, and Desak Made Suarti Laksmi. "FOUR." MELODIOUS : JOURNAL OF MUSIC 3, no. 2 (2024): 169–74. http://dx.doi.org/10.59997/melodious.v3i2.3119.

Full text

Abstract:

FOUR is a composition inspired by the anxiety experienced by the composer. This work tells about the unrest experienced by the composer after his late father passed away on June 4, 2023. The composer felt a lot of emptiness and confusion in continuing his life after being left by his father. The efforts made to get through this grief, ended up returning to the same place and rotating only there. In this composition, the composer uses the concept of minimalist music, which has minimal musical elements with phrases that have a lot of repetition. This repetition interprets how the composer's life

APA, Harvard, Vancouver, ISO, and other styles

30

Pérez, Custodio Diana. ". De Pauline Viardot al paroxismo: Trop de femmes?" Música Oral del Sur, no. 19 (October 10, 2022): 33–50. https://doi.org/10.5281/zenodo.7181173.

Full text

Abstract:

This paper tells the gestation of the work for three humans beings and tape Trop de femmes? by the composer Diana Pérez Custodio. It’s a tribute to Pauline Viardot and it’s dedicated to the Zukan Trio. It was composed for the Women Composers Workshop of the Spanish Music Festival of Cádiz Manuel de Falla 2021.

APA, Harvard, Vancouver, ISO, and other styles

31

Fjeldsøe, Michael. "The Leipzig Model and its Consequences: Niels W. Gade and Carl Nielsen as European National Composers." Studia Musicologica 59, no. 1-2 (2018): 71–78. http://dx.doi.org/10.1556/6.2018.59.1-2.6.

Full text

Abstract:

The article discusses how the concept of “national composer” was established and developed in Central and Northern Europe by looking into the attempted international careers of two Danish composers in the nineteenth and early twentieth centuries. The analysis focuses on the appropriation of national composers in relation to international recognition in order to reflect on how this changing relationship might have influenced the conditions for international recognition of Zoltán Kodály. In the 1840s, Leipzig was the place to obtain international reputation. It was in Leipzig that Niels W. Gade

APA, Harvard, Vancouver, ISO, and other styles

32

Allphin, Penrose M. "Trans Sonorities in Grey Grant's “Drones for the In-Between Times”." TSQ: Transgender Studies Quarterly 8, no. 3 (2021): 394–402. http://dx.doi.org/10.1215/23289252-9009010.

Full text

Abstract:

Abstract Composer intent has generally been downplayed by contemporary music analysts, often being regarded as an example of an intentional fallacy at best and misleading at worst. This analysis of Grey Grant's choral work posits that such a dismissal not only ignores the potential for an enhanced expressive context afforded by composers' own assessments, but it also contributes to the silencing of already marginalized voices, such as in the case of transgender composers. The author proposes a methodology that incorporates the voices of living composers while circumventing concerns about confi

APA, Harvard, Vancouver, ISO, and other styles

33

Babayeva, Minakhanim. "AYAZ GAMBARLİ’ NİN PİYANO İÇİN “OBRAZLAR” ESERİ." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (2022): 34–42. http://dx.doi.org/10.31567/ssd.743.

Full text

Abstract:

The given article provides extensive information about the creativity of the composer A. Gambarli who is the laureate of International Competitions. Here we take a look at the examples of piano music which composer wrote in different years, especially the "Images" series. He tried his talent in several genres and forms of music. Piano music occupies a special place in the composer's career. A number of his works have been successfully performed at International Music Festivals and in many countries around the world. "Six Sketches" (piano, 2003), "Resistance of the Elements" (piano trio, 2013-2

APA, Harvard, Vancouver, ISO, and other styles

34

Teng, Haifeng. "The Application of Arch Structural Thinking in Walter Piston’s Three Pieces for Flute, Clarinet, and Bassoon." Yixin Publisher 1, no. 1 (2024): 35–44. http://dx.doi.org/10.59825/jet.2024.1.1.35.

Full text

Abstract:

Arch-like structures are common in both the natural world and human society, representing a classical mechanical framework. Many twentieth-century composers utilized this structure to compose music, aiming to achieve a certain level of control over the music. Walter Piston, a prolific composer, used arch structural thinking in many works, taking it as an integral part of both the overall structure and structural force.

APA, Harvard, Vancouver, ISO, and other styles

35

Prikhodovskaya, Ekaterina. "Dependent character personality from the personality of the soloist in the context of the composer’s creative process." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 16 (2023): 37–39. https://doi.org/10.17223/26188929/16/8.

Full text

Abstract:

The article describes the personal experience of the author as a composer, who composed two mono-operas based on one source text. The dependence of the semantic accents of the work on the personality of the soloist for whom this work is composed is shown - subject to the personal acquaintance of the composer and soloist in the field of vocal music.

APA, Harvard, Vancouver, ISO, and other styles

36

Eckert, Michael, and George Perle. "The Listening Composer." Antioch Review 49, no. 2 (1991): 296. http://dx.doi.org/10.2307/4612377.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

MacDonald, Hugh, and Ronald Smith. "Alkan as Composer." Musical Times 129, no. 1741 (1988): 129. http://dx.doi.org/10.2307/965275.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Nichols, Roger, and Robert Orledge. "Satie the Composer." Musical Times 132, no. 1782 (1991): 392. http://dx.doi.org/10.2307/965890.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Swed, Mark. "Schnabel the Composer." Musical Times 130, no. 1756 (1989): 332. http://dx.doi.org/10.2307/966028.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Nichols, Roger, and Arbie Orenstein. "The 'Strange' Composer." Musical Times 132, no. 1781 (1991): 346. http://dx.doi.org/10.2307/966290.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Carl, Robert, and George Perle. "The Listening Composer." Notes 48, no. 2 (1991): 506. http://dx.doi.org/10.2307/942055.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Lesure, François, Robert Orledge, and Francois Lesure. "Satie the Composer." Revue de musicologie 77, no. 1 (1991): 137. http://dx.doi.org/10.2307/947195.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Bernard, Jonathan W., and George Perle. "The Listening Composer." Journal of Music Theory 38, no. 1 (1994): 103. http://dx.doi.org/10.2307/843829.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Sellew, Philip, and David Barrett Peabody. "Mark as Composer." Journal of Biblical Literature 109, no. 3 (1990): 539. http://dx.doi.org/10.2307/3267076.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

DeVoto, Mark, and George Perle. "The Listening Composer." American Music 11, no. 3 (1993): 372. http://dx.doi.org/10.2307/3052510.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Robert, Alexandre. "Composer au pluriel." Ethnologie française Vol. 51, no. 1 (2021): 149–60. http://dx.doi.org/10.3917/ethn.211.0149.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Rogers. "John Blacking, Composer." Ethnomusicology 57, no. 2 (2013): 311. http://dx.doi.org/10.5406/ethnomusicology.57.2.0311.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Tirro, Frank, and Victor Fell Yellin. "Chadwick: Yankee Composer." Journal of American History 78, no. 3 (1991): 1106. http://dx.doi.org/10.2307/2078893.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

GOSSETT, P. "Donizetti: European Composer." Opera Quarterly 14, no. 3 (1998): 11–16. http://dx.doi.org/10.1093/oq/14.3.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Jackson, Julian. "Composer sous Vichy." Modern & Contemporary France 21, no. 2 (2013): 260–61. http://dx.doi.org/10.1080/09639489.2013.776202.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!