Journal articles: 'Dallapiccola'

1

Bayer, Francis, and Pierre Michel. "Luigi Dallapiccola." Revue de musicologie 83, no. 2 (1997): 318. http://dx.doi.org/10.2307/946932.

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Bochmann, Minari. "Musik und Politik im faschistischen Italien." arbeitstitel | Forum für Leipziger Promovierende 1, no. 1 (December 31, 2009): 29–47. http://dx.doi.org/10.36258/aflp.v1i1.3206.

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Der italienische Faschismus bestand aus einer vielschichtigen Struktur, die sich allen zeitgenössischen Musikströmungen näherte. Diese Arbeit befasst sich mit den für den italienischen Faschismus spezifischen Voraussetzungen. Das Jahr 1938 markiert in der italienischen Musikentwicklung eine Zäsur. Die erste musica impegnata Italiens, die zur musikalischen Begriffserneuerung in der Nachkriegszeit entscheidend beitrug, wurde anlässlich der antisemitischen Gesetzgebungen in Italien von Luigi Dallapiccola komponiert. Durch Dallapiccolas Komposition bekam die Reihentechnik in der italienischen Kompositionspraxis immer mehr Bedeutung und etablierte sich im Laufe der Zeit als Stimme des Antifaschismus. In dieser Arbeit wird der Verbreitungsprozess der Reihentechnik in Italien nicht nur aus ästhetischer Perspektive, sondern auch aus gesellschaftspolitischer betrachtet.

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3

Samuel, Jamuna. "Ethics and Musical Language: A Gramscian Reading of Dallapiccola’s Liriche greche and Their Influence." Articles 35, no. 1 (February 14, 2017): 123–53. http://dx.doi.org/10.7202/1038947ar.

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Luigi Dallapiccola (1904–75)—a pioneering figure as serialist, composer of protest music, and trailblazer for the avant-garde—wrote his Greek Lyrics song cycle (1942–5) as an escape from wartime anxiety. I locate the Lyrics within a nexus of technique, text setting, and ethical engagement. That complex resonated with the younger composers Berio, Nono, and Maderna, each responding in the postwar period with settings from the same collection, Quasimodo’s 1940 free translation of classic Greek lyrics. I examine Quasimodo’s ethics, placing his poetry and Dallapiccola’s settings within Gramsci’s notions of language and politics, which were highly influential on postwar Italian composers.

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Manghetti, Gloria. "THE LUIGI DALLAPICCOLA COLLECTION." Music and Letters 75, no. 1 (1994): 154—b—155. http://dx.doi.org/10.1093/ml/75.1.154-b.

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Burroughs, B. "Il prigioniero. Luigi Dallapiccola." Opera Quarterly 16, no. 4 (January 1, 2000): 686–93. http://dx.doi.org/10.1093/oq/16.4.686.

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Eckert, Michael, and Arrigo Quattrocchi. "Studi su Luigi Dallapiccola: un seminario." Notes 51, no. 2 (December 1994): 615. http://dx.doi.org/10.2307/898895.

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Heile, Björn. "Review: The Music of Luigi Dallapiccola." Music and Letters 86, no. 1 (February 1, 2005): 152–54. http://dx.doi.org/10.1093/ml/gci022.

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8

Phipps, Graham H. "The Music of Luigi Dallapiccola (review)." Notes 61, no. 1 (2004): 131–33. http://dx.doi.org/10.1353/not.2004.0112.

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Окунева, Е. Г. "Rhythm in the Works of Luigi Dallapiccola." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 6–24. http://dx.doi.org/10.26156/om.2020.12.1.001.

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Творчество Луиджи Даллапикколы 1950-1960-х годов отмечено активными экспериментами в области метра и ритма. У композитора сложилась концепция так называемого плавающего ритма (schwebender Rhythmus). В статье данное понятие интерпретируется как связанное со свободной метрикой, ритмической нерегулярностью, безакцентностью. К комплексу приемов, способствующих нарушению метроритмического равновесия, автор относит вуалирование сильных долей, использование внутритактовых и межтактовых синкоп, добавочной длительности, полиметрию. Принципы композиторской работы с ритмом демонстрируются на примере отдельных сочинений 1950-1960-х годов: Музыкальной тетради Анналиберы , вокальных циклов Песни на стихи Гёте и Пять песен , концерта для виолончели с оркестром Диалоги , оперы Улисс . Даллапиккола синтезирует достижения старых мастеров полифонии и композиторов новой венской школы. Он автономизирует звуковысотные и ритмические каноны, оперирует длительностями как конструктивными элементами, работает с ритмическими ячейками как синтаксическими единицами, ищет эквивалент звуковысотной инверсии в ритмическом параметре путем обращения долгих длительностей в короткие и наоборот. Автор проводит параллели между ритмическим мышлением Даллапикколы и ритмическими идеями Мессиана, Булеза, других сериальных композиторов. Прослеживается тенденция к усложнению ритмических структур: Даллапиккола обращается к разнообразным способам числовой организации ритма и наделяет его образно-символическим смыслом. The work of Luigi Dallapiccola of the 19501960s is characterized by active experiments in the field of meter and rhythm. The composer has developed the concept of the socalled floating rhythm (schwebender Rhythmus). In the article, this concept is interpreted as associated with a free metric, rhythmic irregularity, and lack of focus. The complex of techniques mentioned by the author as contributing to violation of the metro-rhythmic equilibrium, includes the veiling of accented beats, the use of in-bar and inter-bar syncopes, additional duration, polymetry. The principles of composers work with rhythm are demonstrated by particular compositions of the 19501960s: Quaderno musicale di Annalibera Musical Notebook of Annalibera, the vocal cycles Goethe-Lieder and Cinque canti, Five Songs, the concert for cello and orchestra Dialoghi Dialogues, and the opera Ulisse. Dallapiccola synthesizes the achievements of ancient polyphony and composers of the new Viennese school. It autonomizes pitch and rhythmic rules, operates with du-rations as constructive elements, works with rhythmic cells as syntactic units, searches for the equivalent of pitch inversion in the rhythmic parameter by converting long dura-tions into short ones and vice versa. The author draws parallels between the rhythmic thinking of Dallapiccola and the rhythmic ideas of Messian, Boulez and other compos-ers-serialists. There is a tendency toward complication of rhythmic structures: Dallapiccola re-fers to various methods of numerical organization of rhythm and gives it figurative and symbolic meaning.

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10

Bialosky, Marshall, and Rudy Shackelford. "Dallapiccola on Opera: Selected Writings, Vol. 1." Notes 46, no. 2 (December 1989): 393. http://dx.doi.org/10.2307/941081.

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11

Michel, Pierre. "Quelques aspects du timbre chez Luigi Dallapiccola." Revue de musicologie 78, no. 2 (1992): 307. http://dx.doi.org/10.2307/946988.

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12

Weiss, Piero. ""Sacred Bronzes": Paralipomena to an Essay by Dallapiccola." 19th-Century Music 9, no. 1 (1985): 42–49. http://dx.doi.org/10.2307/746240.

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13

Weiss, Piero. ""Sacred Bronzes": Paralipomena to an Essay by Dallapiccola." 19th-Century Music 9, no. 1 (July 1985): 42–49. http://dx.doi.org/10.1525/ncm.1985.9.1.02a00030.

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14

Mancini, David L. "Twelve-Tone Polarity in Late Works of Luigi Dallapiccola." Journal of Music Theory 30, no. 2 (1986): 203. http://dx.doi.org/10.2307/843575.

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15

Eckert, Michael. "Brian Alegant,The Twelve-Tone Music of Luigi Dallapiccola." Journal of Musicological Research 30, no. 3 (July 2011): 262–65. http://dx.doi.org/10.1080/01411896.2011.588164.

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16

Копосова, И. В. "Specifics of the Interpretation of the Canon in the Works of Luigi Dallapiccola in the 1940s and 1950s." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 141–58. http://dx.doi.org/10.26156/om.2020.12.5.009.

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В творчестве Луиджи Даллапикколы канон как форма и прием изложения занимает важнейшее место. Трактовка канона композитором рассматривается в статье на примере одного из ключевых этапов творчества, который связан с установлением собственного типа серийного письма, — десятилетия от начала 1940-х до начала 1950-х годов. Объектом анализа стали две сходных по своему составу пары сочинений Даллапикколы, возникшие в начале и в конце обозначенного этапа: «Каноническая сонатина» (1942–1945) и «Шесть песен Алкея» (1943), а также «Музыкальная тетрадь Анналиберы» (1952–1953) и «Песни на стихи Гёте» (1953). Их сравнение показало целый ряд отличий в подходе композитора к канону. В более ранних циклах каноническое изложение охватывает все части, а виды используемых канонов необычайно разнообразны; в более поздних на каноническое письмо опирается только часть номеров, сам канон представлен теми формами, структура которых связана с идеей полипараметровости (ракоходный, в увеличении, в обращении). Эти, а также другие особенности циклов начала 1950-х (изменение концепции вертикали в сторону диссонантности; появление канонических закономерностей в виртуальном слое фактуры, на уровне серийной диспозиции), демонстрируют овладение Даллапикколы серийным мышлением и типом письма. Canon as a form and principle occupied an important place in Luigi Dallapiccola’s creativity. In this paper the composer's interpretation of the canon is shown on the example of a pivotal moment of his creativity, which is related to establishment of his own type of 12-tone writing and spanned a decade from the early 1940s to the early 1950s. The object of the analysis is two similar pairs of works by Dallapiccola, which appeared at the beginning and at the end of the indicated stage: “Sonatina canonica” (1942–1945) and “Sex carmina Alcaei” (1943), “Quaderno musicale di Annalibera” (1952–1953) and “Goethe-Lieder” (1953). А comparison of these opuses showed a number of differences in the composer’s approach to the canon. The canonical exposition is present in all the movements; the types of canons are unusually diverse in the earlier cycles. In later works only a part of the movements is based on the canonical writing, the canon itself being represented by the forms, whose structure is associated with the idea of total serialism (in retrograde motion, in augmentation, in inversion). These and other features of the cycles of the early 1950s (for example, the change in the vertical towards the dissonance; the appearance of canonical principles in the texture and in serial disposition), show Dallapiccola’s mastery of serial thinking and type of composition.

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17

Ginot-Slacik, Charlotte. "Le Prisonnier de Luigi Dallapiccola : derrière le politique, le religieux." Articles 31, no. 2 (November 27, 2012): 65–78. http://dx.doi.org/10.7202/1013214ar.

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Composé pendant la seconde guerre mondiale, Le Prisonnier de Luigi Dallapiccola constitue un tournant pour la musique italienne : premier opéra sériel italien en un temps de réaction esthétique et charge contre le fascisme, il est un modèle pour des compositeurs engagés tels que Luigi Nono et Bruno Maderna. Par-delà sa charge politique, Le Prisonnier est également l’expression d’une crise religieuse et d’un doute existentiel. L’Inquisition, institution religieuse par excellence est aussi celle qui torture le croyant au nom de la foi. Le retournement diabolique fait par le Grand Inquisiteur des principales thématiques chrétiennes vise à détruire le libre arbitre de l’autre. La manipulation du prisonnier, Christ contemporain, démontre la vacuité, voire la dangerosité de l’espérance, au nom de laquelle a été abjuré le libre arbitre. Dans l’affrontement entre le geôlier et son prisonnier s’esquisse enfin une sombre définition de la liberté car la parole de celui qui enferme n’est pas plus libre que celle de celui qui est enfermé. La mère seule, unique personnage clairvoyant de l’opéra a pu conserver sa liberté, mais à quel prix : celui de ne pas entrer dans l’action. Le doute qui émerge du Prisonnier est aussi celui de Luigi Dallapiccola, en individu directement touché par la guerre et les lois raciales, et en compositeur humaniste. L’objet de ce texte sera d’étudier la façon dont le musicien décline les thématiques religieuses mais pour les retourner totalement. Car Le Prisonnier, immense oeuvre politique, est aussi celle de l’errance et du questionnement religieux.

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18

Eckert, Michael. "Between tradition and avant‐garde: The music of Luigi Dallapiccola." European Legacy 2, no. 1 (March 1997): 86–91. http://dx.doi.org/10.1080/10848779708579696.

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19

Whittall, A. "The Twelve-Tone Music of Luigi Dallapiccola. By Brian Alegant." Music and Letters 92, no. 4 (November 1, 2011): 685–87. http://dx.doi.org/10.1093/ml/gcr073.

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20

Eckert, Michael. "Ben Earle,Luigi Dallapiccola and Musical Modernism in Fascist Italy." Journal of Musicological Research 34, no. 4 (October 2, 2015): 352–54. http://dx.doi.org/10.1080/01411896.2015.1082384.

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21

Phipps, Graham H. "The Twelve-Tone Music of Luigi Dallapiccola (review)." Notes 68, no. 1 (2011): 102–5. http://dx.doi.org/10.1353/not.2011.0104.

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Pace, Ian. "Luigi Dallapiccola and Musical Modernism in Fascist Italy. By Ben Earle." Music and Letters 98, no. 1 (February 2017): 163–67. http://dx.doi.org/10.1093/ml/gcx013.

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23

Earle, Ben. "La giovinezza sommersa di un compositore: Luigi Dallapiccola. By Luciano Alberti." Music and Letters 98, no. 4 (November 1, 2017): 692–97. http://dx.doi.org/10.1093/ml/gcx097.

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24

Eckert, Michael. ": Gefangenschaft und Freiheit. Leben und Werk des Komponisten Luigi Dallapiccola . Dietrich Kamper." Journal of Musicology 5, no. 4 (October 1987): 562–71. http://dx.doi.org/10.1525/jm.1987.5.4.03a00060.

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Kozlowski, K. "Abnormal Skeletal Phenotypes: From Simple Signs to Complex Diagnoses - by A Castriota-Scanderbeg and B Dallapiccola." Australasian Radiology 51, no. 3 (June 2007): 302–3. http://dx.doi.org/10.1111/j.1440-1673.2007.01707.x.

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26

De Benedictis, Angela Ida, and Christoph Neidhöfer. "Luigi Dallapiccola, Massimo Mila, and the Journey of a Manuscript: An Analysis ofTre poemi(1949) in Context." Contemporary Music Review 36, no. 5 (September 3, 2017): 440–81. http://dx.doi.org/10.1080/07494467.2017.1401378.

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27

Impett, Jonathan. "The Music of Luigi Dallapiccola by Raymond Fearn. University of Rochester Press Eastman Studies in Music, Volume 23. £65.00." Tempo 59, no. 231 (January 2005): 62–63. http://dx.doi.org/10.1017/s0040298205230061.

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28

De Santis. "PER LO STUDIO DEI PROCESSI CREATIVI DI LUIGI DALLAPICCOLA. PRIMI APPUNTI SULLE CARTE MUSICALI DELL'ARCHIVIO CONTEMPORANEO «ALESSANDRO BONSANTI» DI FIRENZE." Revista de Musicología 16, no. 2 (1993): 1005. http://dx.doi.org/10.2307/20795950.

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29

MEAD, ANDREW. "Brian Alegant, The Twelve-Tone Music of Luigi Dallapiccola (Rochester, NY: University of Rochester Press, 2010), 978-1-58046-325-6." Twentieth-Century Music 8, no. 1 (March 2011): 119–24. http://dx.doi.org/10.1017/s1478572211000326.

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30

Michell, George. "South Indian Paintings: A Catalogue of the British Museum Collection. By A. L. Dallapiccola . pp. 320. London, The British Museum Press, 2010." Journal of the Royal Asiatic Society 22, no. 3-4 (October 2012): 610–12. http://dx.doi.org/10.1017/s1356186312000429.

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31

Carey, Christian. "Thomas DeLio, Analytical Studies of the Music of Ashley, Cage, Carter, Dallapiccola, Feldman, Lucier, Reich, Satie, Schoenberg, Wolff, and Xenakis. Edwin Mellen Press. $259.95." Tempo 72, no. 285 (June 19, 2018): 106–7. http://dx.doi.org/10.1017/s0040298218000232.

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32

Hannabuss, Stuart. "Dictionary of Hindu Lore and Legend2003298Anna L. Dallapiccola. Dictionary of Hindu Lore and Legend. London: Thames & Hudson 2002. 224 pp., ISBN: 0‐500‐51088‐1 £18.95; $31.95." Reference Reviews 17, no. 6 (June 2003): 17–18. http://dx.doi.org/10.1108/09504120310490453.

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33

Mayer, Adrian C. "B. N. Goswamy and A. L. Dallapiccola: A Place apart: Painting in Kutch, 1720/1820. xi, 95 pp. 30 col. Plates, 37 figs. Delhi: Oxford University Press, 1983. Rs. 400." Bulletin of the School of Oriental and African Studies 49, no. 3 (October 1986): 600–601. http://dx.doi.org/10.1017/s0041977x00045468.

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Behera, Subhakanta. "Sculpture at Vijayanagara: Iconography and Style. By L. Dallapiccola Anna and Verghese Anila. Vijayanagara Research Project Monograph Series, no. 6. New Delhi: Manohar, 1998. 390 pp. Rs 1100/$82.95 (cloth)." Journal of Asian Studies 63, no. 3 (August 2004): 822–23. http://dx.doi.org/10.1017/s0021911804002086.

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Willis, Michael. "Sculpture at Vijayanagara: iconography and style. By Anna Dallapiccola and Anila Verghese. pp. xxv, 156, 142 figs., 117 plates, 26 maps. New Delhi, Manohar for the American Institute of Indian Studies, 1998." Journal of the Royal Asiatic Society 9, no. 2 (July 1999): 311–13. http://dx.doi.org/10.1017/s1356186300011196.

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Archer, Mildred. "A place apart: painting in Kutch, 1720–1820. By B. N. Goswamy and A. L. Dallapiccola pp. xi, 95, map, front., 30 col., 37b. and w. pl. Delhi etc., Oxford University Press., 1983. £45.00." Journal of the Royal Asiatic Society of Great Britain & Ireland 118, no. 1 (January 1986): 143–44. http://dx.doi.org/10.1017/s0035869x00139577.

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Duckett, Bob. "South Indian Paintings: A Catalogue of the British Museum Collection2011188A.L. Dallapiccola. South Indian Paintings: A Catalogue of the British Museum Collection. London: British Museum Press 2010. 320 pp., ISBN: 978 0 7141 2424 7 £60." Reference Reviews 25, no. 4 (May 3, 2011): 52–53. http://dx.doi.org/10.1108/09504121111134188.

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Blurton, Richard. "The Great Platform at Vijayanagara. Architecture and Sculpture. By Anna L. Dallapiccola with a chapter by George Michell (Volume 12 of the Vijayanagara Research Project Monograph Series). pp. 95. Delhi, Manohar and the American Institute of Indian Studies, 2010." Journal of the Royal Asiatic Society 28, no. 2 (October 2, 2017): 392–95. http://dx.doi.org/10.1017/s1356186317000554.

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Mittmann, Jörg-Peter. "Der dodekaphone Impressionist. Zu Luigi Dallapiccolas Piccola musica notturna." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 7, no. 2 (2010): 135–50. http://dx.doi.org/10.31751/515.

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Laine, James W. "Islam and Indian Regions. Edited by Anna Libera Dallapiccola and Stephanie Zingel-Ave Lallement. Volume 1. Texts and Volume 2. References and Documentation. Stuttgart: Franz Steiner Verlag, 1993. xi, 535 pp. and vi, 118 pp., LIII pp., 107 photos. $167.50 (cloth)." Journal of Asian Studies 54, no. 2 (May 1995): 592–93. http://dx.doi.org/10.2307/2058811.

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alegant, brian, and john levey. "Octatonicism in Luigi Dallapiccola's Twelve-Note Music." Music Analysis 25, no. 1-2 (March 2006): 39–87. http://dx.doi.org/10.1111/j.1468-2249.2006.00233.x.

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Noller, Joachim. "Dodekaphonie via Proust und Joyce. Zur musikalischen Poetik Luigi Dallapiccolas." Archiv für Musikwissenschaft 51, no. 2 (1994): 131. http://dx.doi.org/10.2307/930999.

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43

Glynn, Catherine. "A Place Apart: Painting in Kutch, 1720–1820. By B. N. Goswamy and A. L. Dallapiccola. Delhi: Oxford University Press, 1983. xi, 95 pp. Notes, Catalogue, Color and Black-and-White Plates. Rs 400; $75. (Available in the U.S. from Oxford University Press, New York, N.Y.)." Journal of Asian Studies 45, no. 3 (May 1986): 627–28. http://dx.doi.org/10.2307/2056567.

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44

DeLio, Thomas. "A Proliferation of Canons: Luigi Dallapiccola's "Goethe Lieder No. 2"." Perspectives of New Music 23, no. 2 (1985): 186. http://dx.doi.org/10.2307/832730.

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45

Jackson, Peter. "Islam and Indian regions. Vol. I. Texts. Vol 2. References and documentation. Edited By Anna Libera Dallapiccola and Stephanie Zingel-Avé Lallemant. (Beiträge zur Südasienforschung, Südasien-Institut, Universität Heidelberg, Band 145.) pp. xi, 535, front.; vi. 118, 55 pi., 26 drawings. Stuttgart, Franz Steiner Verlag, 1993. DM 240." Journal of the Royal Asiatic Society 5, no. 2 (July 1995): 304–5. http://dx.doi.org/10.1017/s1356186300015650.

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46

Suvini-Hand, Vivienne. "Weaving Texts for a Twentieth-Century Ulysses: Dallapiccola's Religious Vision inUlisse." Italian Studies 60, no. 1 (March 2005): 71–98. http://dx.doi.org/10.1179/its.2005.60.1.71.

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47

Dzierżanowski, Lech. "Jak w bibliotece Gustawa Herlinga-Grudzińskiego znalazła się partytura opery Il Prigioniero Luigiego Dallapiccoli?" Roczniki Humanistyczne 69, no. 1 (March 11, 2021): 139–54. http://dx.doi.org/10.18290/rh21691-9.

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Artykuł opisuje epizod dotyczący współpracy dwóch wybitnych twórców emigracyjnych: kompozytora Romana Palestra i pisarza Gustawa Herlinga-Grudzińskiego, który o mały włos nie doprowadził do powstania wspólnego dzieła – opery opartej na opowiadaniu Grudzińskiego Wieża z muzyką Palestra. Punktem wyjścia jest fakt istnienia w bibliotece Herlinga partytury opery Luigi Dallapiccoli – Il Prigioniero. W rozwikłaniu zagadki, skąd w zbiorach pisarza znalazła się ta właśnie partytura, pomocna okazuje się korespondencja obu twórców. Po krótkiej charakterystyce perypetii życiowych i drogi twórczej obu artystów w momencie rozpoczęcia znajomości, autor przechodzi do zainteresowań operowych Palestra: przedstawia pokrótce historię niedokończonej opery Żywe kamienie, a także cytuje fragmenty jego korespondencji z różnymi pisarzami dotyczącymi poszukiwania odpowiedniego libretta operowego. Po rozpatrzeniu wielu różnych propozycji okazuje się, że najatrakcyjniejszym dla kompozytora materiałem jest opowiadanie Grudzińskiego Wieża, oczywiście po odpowiedniej adaptacji na libretto. To właśnie w tym celu, za sugestią Palestra, Herling kupuje partyturę, która do dziś zachowała się w jego bibliotece. Duży cytat z jego listu jest dowodem, jak daleko obaj twórcy zaangażowali się w potencjalną współpracę. Jednak ostatecznie do niej nie doszło. Autor opisuje perypetie tego projektu, próbując dociec, jakie ostateczne przyczyny sprawiły, że tandem twórczy Grudziński–Palester ostatecznie nie zaistniał. Wspomina też dalsze, również niezrealizowane plany operowe obu emigracyjnych twórców.

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Paul Sheehan. "Composing with a Multitude of Twelve-Tone Entities: Luigi Dallapiccola's Il prigioniero." Perspectives of New Music 51, no. 1 (2013): 99–134. http://dx.doi.org/10.1353/pnm.2013.0009.

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Michell, George. "Shastric traditions in Indian arts. Vol. i : Texts; Vol. 2: References and documentation. Edited by Anna Libera Dallapiccola in collaboration with Christine Walter-Mendy and Stephanie Zingel-Ave Lallemant. (Beitrāge zur Südasienforschung, Südasien-Institut, Universitāt Heidelberg, Band 125.) pp. xvi, 491, front.; xvii, 135, 54 figs., 189 photos. Stuttgart, Franz Steiner Verlag, 1989. DM 148." Journal of the Royal Asiatic Society 1, no. 3 (November 1991): 430–32. http://dx.doi.org/10.1017/s1356186300001449.

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earle, ben. "Dallapiccola's Early Synthesis: No. 1, ‘Vespro, Tutto Riporti’, from Cinque Frammenti di Saffo." Music Analysis 25, no. 1-2 (March 2006): 3–38. http://dx.doi.org/10.1111/j.1468-2249.2006.00232.x.

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Journal articles on the topic 'Dallapiccola'

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