Relevant bibliographies by topics / Prelude (Music)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Prelude (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Prelude (Music).'

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.

Journal articles on the topic "Prelude (Music)"

1

Rudolph, Pascal, and Mats B. Küssner. "Visual figures of musical form between musicological examination and auditory perception based on Morgan’s analysis of the “Tristan” Prelude." Music & Science 1 (January 1, 2018): 205920431879436. http://dx.doi.org/10.1177/2059204318794364.

Full text
Abstract:
While Wagner and his music have been studied extensively from musicological and music-theoretical perspectives, recent scientific approaches shed light on perceptual processes implicated in the experience of Wagner’s music, yielding important insights into the (re)cognition of musical form. Since findings from such studies are mainly discussed within the realm of music psychology and rarely find their way (back) into musicological discourses, the starting point of the present study is a specific interpretation of form in the “Tristan” Prelude (Prelude to Tristan und Isolde) with a view to engaging in an exchange between music-theoretical and cognitive approaches (such as the theory of conceptual metaphor and image schema theory) to Wagner’s music. In his article “Circular form in the ‘Tristan’ Prelude”, Robert P. Morgan developed a new music-analytical approach to studying form in Wagner’s music, proposing that the musical form of the Prelude can be understood as a circle. Morgan provides an empirically-tractable hypothesis which was tested in a listening study with 45 participants to investigate the extent to which Morgan’s analytical shape is audibly perceived. Contrary to Morgan’s circular interpretation of form in the “Tristan” Prelude, the findings of our study suggest the primacy of a different visual figure, the spiral. However, recourse to the analytic discourse suggests that the spiral can be understood as a further development of Morgan’s figure of thought, synthesizing representations of the Prelude's repetition and development by capturing its unique coincidence of both linearity and circularity. This approach to understanding the “Tristan” Prelude demonstrates how applying music-theoretical and cognitive science approaches gives rise to a fruitful dialogue for both disciplines.
APA, Harvard, Vancouver, ISO, and other styles
2

Daugulis, Ēvalds. "Preludes and Fugues op. 82 by Nikolai Kapustin." Musicological Annual 56, no. 1 (June 30, 2020): 133–47. http://dx.doi.org/10.4312/mz.56.1.133-147.

Full text
Abstract:
The early 20th century witnessed growing interest in the Baroque polyphony genres: prelude and fugue in jazz. Preludes and fugues op. 82 (1997) by the Russian composer Nikolai Kapustin are particularly interesting. The way he integrates the expression of classical music and the specificity of jazz music is very original.
APA, Harvard, Vancouver, ISO, and other styles
3

Morgan, Robert P. "Circular Form in the "Tristan" Prelude." Journal of the American Musicological Society 53, no. 1 (2000): 69–103. http://dx.doi.org/10.2307/831870.

Full text
Abstract:
The music of the Prelude to Tristan und Isolde is in constant transformation, projecting a seemingly unbroken arc of intensification followed by release. It thus seems to defy traditional formal analysis, which aims to articulate music into discrete units with clearly differentiated functions. Yet the Prelude, despite its continuously developmental nature, is characterized by constant repetition of only three formal units, which are subjected to significant surface variation but retain their underlying melodic, harmonic, and linear identities. The article analyzes how this process, which would seem to be overly segmental, is reconciled with the ongoing quality of the music. It examines first the circular arrangement of the three repeating units, along with their relation to five brief passages that occur but once; it then analyzes the circularly repeating harmonic-linear pattern they project. It also considers how the Prelude's formal units differ from traditional ones in that they are designed to emerge out of those preceding them and flow into those that follow, avoiding strong segmentation. The music is thus revealed to have a unique, yet easily comprehensible, overall tonal and formal design that supports, rather than contradicts, its evolutionary nature.
APA, Harvard, Vancouver, ISO, and other styles
4

Rapoport, Paul. "Sorabji Piano Music." Tempo 59, no. 232 (April 2005): 55–56. http://dx.doi.org/10.1017/s0040298205250155.

Full text
Abstract:
SORABJI: Two Piano Pieces; Fantaisie espagnole; Valse-Fantaisie: Hommage à Johann Strauss; Three Pastiches; Le jardin parfumé; Nocturne Jami; Gulistan; Introito and Preludio corale from Opus clavicembalisticum; Prelude, Interlude, and Fugue; Fragment for Harold Rutland; Fantasiettina sul nome illustre dell'egregio poeta Christopher Grieve ossia Hugh M'Diarmid; Quære reliqua hujus materiei inter secretiora; St. Bertrand de Comminges: ‘He was Laughing in the Tower’. HABERMANN: À la manière de Sorabji: ‘Au clair de la lune’. Michael Habermann (pno). BMS 427CD–429CD (3-CD set).SORABJI: Piano Sonata No. 4. Jonathan Powell (pno). Altarus AIR-CD-9069(1)–9069(3) (3-CD set priced as 2).
APA, Harvard, Vancouver, ISO, and other styles
5

Loewy, J., and D. Aldridge. "Prelude to Music and Medicine." Music and Medicine 1, no. 1 (July 1, 2009): 5–8. http://dx.doi.org/10.1177/1943862109338696.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Hauptman, Fred, Elie Siegmeister, Blanche Abram, Naomi Drucker, Stanley Drucker, Alan Mandel, Clinton Ingram, et al. "Prelude, Blues, Finale." American Music 6, no. 1 (1988): 119. http://dx.doi.org/10.2307/3448362.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Moya, Liao. "Influence Of Preludes by G.Gershwin on Zhang Shuai's Composer’s Thinking." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 36–48. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233103.

Full text
Abstract:
The specifics of Zhang Shuai’s creative thinking are considered on the basis of drawing parallels between J. Gershwin’s Three Preludes and a similar cycle of Chinese composer’s Ppreludes according to the model and the ratio of ―Gershwin’s‖ and individual. It was found that Zhang Shuai’s creative thinking is manifested at the general compositional level, ie at the level of the cycle with the sequence ―fast — slow — fast‖ and the dominance of rhythmic energy in extreme preludes, and at the level of expressive melody and lyrical mood — in the central prelude. The ―Gershwin‖ influence on the specifics of Zhang Shuai’s creative thinking and on the stylistic level was revealed, in particular: the reliance on the model is manifested in the appeal to the jazz idiom, which affects the nature of rhythmic formulas, as well as harmony and order (combination of diatonic and chromatic structures, application of block chords, orientalism in the final prelude). If G. Gershwin’s creative thinking is characterized by the use of blues tones and chromatic moves, then Zhang Shuai’s creative thinking is characterized by a certain rationalism, due to the appropriate way of constructing new music according to the ―Gershwin‖ model. Analogies between the melodic and rhythmic formulas of the Second Preludes of J. Gershwin and Zhang Shuai, as well as analogies between the logic of the initial exposure of the elements of the theme — their First Preludes. It is proved that the most significant differences between the ―Gershwin‖ model and the music of Zhang Shuai appear at the level of ways of textural development of the material. G. Gershwin’s preludes usually contain two key layers of texture — melody and accompaniment, their texture is ―more graphic‖, more transparent, while in Zhang Shuai it is immediately condensed by a figurative undertone or an additional chord-rhythmic layer. Another difference is in the field of order, because Zhang Shuai has a desire to combine artificially symmetrical structures and the pentatonic basis of melody, which determines the stylistic originality of his music. Individual features of Zhang Shuai’s prelude interpretation as a sample of the pianist’s competitive repertoire are determined.
APA, Harvard, Vancouver, ISO, and other styles
8

Kinderman, William. "The Third-Act Prelude of WagnerÕs Parsifal: Genesis, Form, and Dramatic Meaning." 19th-Century Music 29, no. 2 (2005): 161–84. http://dx.doi.org/10.1525/ncm.2005.29.2.161.

Full text
Abstract:
The Prelude to the third act of Parsifal is one of Wagner's most advanced essays in expanded tonality. One author has described it as "set[ting] foot in atonal territory as it re-explores the melancholy, disjointed polytonal idiom of the introduction to the third act of Tristan," and a noted analyst has suggested that it is motion around the diminished-seventh chord including Bb rather than the tonic triad of Bb minor that defines the background structure of the Prelude. This music also raises issues of form and expressive meaning that have yet to be thoroughly addressed. A valuable means of approaching the Prelude is through Wagner's surviving compositional documents, particularly the individual sketches for the Prelude that preceded the writing-out of his first continuous draft for the third act (the Kompositionsskizze [Composition Draft]). These manuscripts are held in the Wagner-Archiv at Bayreuth. When these sketches are transcribed and compared with the detailed record contained in Cosima Wagner's diary entries, insight can be gained into the way that Wagner composed the Prelude, during late October 1878. This article shows in detail how the Prelude was composed on the basis of sketch sources that are virtually complete. It is supported by several facsimiles of Wagner's sketches, transcriptions, analytical graphs, and music examples. The study indicates that the "melancholy, disjointed polytonal" idiom of the Prelude is coordinated with a framework of associated tonalities reaching across vast stretches of musical time. These include not only the Bb-minor idiom of Titurel's burial, but also the associated tonality of Parsifal's Prophecy motive. The structural background of the Prelude to act III of Parsifal is not simply a diminished-seventh prolongation, but a tensional framework of motivic combinations and rotational cycles that effectively convey the bleak wandering and promise of deliverance that lie at the core of the drama.
APA, Harvard, Vancouver, ISO, and other styles
9

Long, Christopher P. "Socrates and the Politics of Music: Preludes of the Republic." Polis: The Journal for Ancient Greek Political Thought 24, no. 1 (2007): 70–90. http://dx.doi.org/10.1163/20512996-90000108.

Full text
Abstract:
At least since the appearance of Aristotle’s Politics, Plato’s Republic has been read as arguing for a politics of unity in which difference is understood as a threat to the polis. By focusing on the musical imagery of the Republic, and specifically on its compositional organization around three ‘preludes’, this essay seeks an understanding of Socratic politics that moves beyond the hypothesis of unity. In the first ‘prelude’, Thrasymachus and his insistence that justice is the self-interest of the stronger threatens to subject the harmony of the community to the tyrannical whims of the individual. In the second, the perfected justice of Adeimantus’s city threatens to destroy the erotic rhythm of difference that is the very condition for the possibility of the polis. It is only in the song of dialectic, which itself is called a ‘prelude’, that the tension between the rhythm of plurality and the rational homophony of unity is dynamically tuned in such a way that both the anarchic politics of self-interest and the totalitarian politics of rationalized oppression are equally muted. This conception of politics is embodied in the relationship that emerges between Glaucon and Socrates. Ultimately, the true political community is established here, between rational, erotic individuals seeking justice in concrete, living dialogue.
APA, Harvard, Vancouver, ISO, and other styles
10

Morgan, Robert P. "Circular Form in the "Tristan" Prelude." Journal of the American Musicological Society 53, no. 1 (April 2000): 69–103. http://dx.doi.org/10.1525/jams.2000.53.1.03a00030.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Prelude (Music)"

1

Strand, Kenneth Allan. "Big prelude : for orchestra /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/9166.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Williams, Evan Michael. "Prelude in Tempore Belli." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363527260.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Racadag, Alan. "One: Prelude And Partial Postlude." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428503782.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Howard, Chris 1967. "Prelude, chorale and fantasy : Ecclesiastes 12." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69607.

Full text
Abstract:
The Prelude, Chorale and Fantasy is a tonally conceived work for orchestra with a duration of approximately twenty minutes which uses as its inspiration the final chapter of Ecclesiastes. It is constructed from a relatively small number of germinal elements which function throughout the work as connecting forces and icons. In it can be found musical ideas used to represent the Trinity, the most significant of which are the quotations of the hymn "How Brightly Shines the Morning Star" which appear throughout.
A greater understanding of the work can be gained by approaching it first on a philosophical level, making connections between the Biblical text and the music and extrapolating from those connections. Following this, a step by step analysis will show the microscopic structure of the work and its relationship to the larger form.
APA, Harvard, Vancouver, ISO, and other styles
5

Edin, Martin. "Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel." Thesis, Örebro University, School of Music, Theatre and Art, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-8525.

Full text
Abstract:

This essay in musicology is combined with a CD-recording of piano improvisations. Its purpose is, on the one hand, to examine some of the ideas permeating piano improvisation during the first part of the nineteenth century, and, on the other, to find ways to apply these nineteenth century ideas of improvising to modern piano playing. The artistic part of the work is as important as the theoretical, and the two strands are supporting and reinforcing each other.

The first section of the text focuses on preluding – that is, a genre of improvisation. The second section investigates some aspects of the improvising of Franz Liszt – that is, different types of improvisation as practised by an important nineteenth century musician. The instructional music literature written by Carl Czerny is the basic source of reference in both portions.

The text and the recordings of my piano improvisations aim to show that monothematic strategies are simple and useful tools for improvising, regardless of tonal language used.

Half of the recordings consist of improvisations of separate pieces in a contemporary musical language. The other half are preludes, interludes and a cadenza improvised in the context of compositions by Liszt, Chopin, Mozart, Mendelssohn and Grieg.

APA, Harvard, Vancouver, ISO, and other styles
6

Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0052.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Beuerman, Eric G. "The evolution of the twenty-four prelude set for piano." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/289865.

Full text
Abstract:
The set of preludes containing twenty-four preludes is an important compositional form used throughout the Common Practice Period. The twenty-four prelude set generally includes preludes written in each key and mode. Early sets include preludes or fantasies composed in each mode. Composers exploited and advocated the advent of equal-temperament tuning (at the turn of the eighteenth century) by organizing preludes in each major and minor key. Since then, the number of prelude sets has increased greatly, particularly during the nineteenth and twentieth centuries. Although music today has moved beyond the confines or parameters of major and minor tonalities, composers continue to use the twenty-four prelude set to collect preludes, including some atonal sets. The twenty-four prelude set model extends to sets of twenty-five preludes that begin and end in the same key and twenty-four preludes without keys. Composers use different methods of tonal organization in their sets of preludes: two principal methods are progression through the chromatic scale and progression through the circle of fifths. Within those two methods are variations. Other composers use unique forms of organization, and some do not attempt a systematic method of organization. Several types of prelude sets appear, including preludes of virtuosity, preludes for pedagogical purposes, preludes as improvisatory warm-ups, preludes paired with fugues, and prelude sets that are performed as a whole. One must weigh various considerations when performing a set or smaller grouping of preludes. Over forty sets of preludes are surveyed, and four sets are examined in detail representing different methods of tonal organization, different types of prelude sets, and different historical periods: Fischer's Ariadne Musica, Hummel's Twenty-Four Preludes op. 67, Alkan's Twenty-Five Preludes op. 31, and Duckworth's The Time Curve Preludes.
APA, Harvard, Vancouver, ISO, and other styles
8

Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form." University of Western Australia. School of Music, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0052.

Full text
Abstract:
This thesis focuses on a group of keyboard pieces composed in the first half of the twentieth century entitled ‘prelude’, and explores the issue of genre, investigating the significance in the application of this generic title, and the development of the piano prelude in this period. The application of a generic title often invokes the expectation of its generic features its conventional and formal characteristics. Though the prelude is one of the oldest genres in the history of keyboard music, it has relatively few conventions, and hence, with the abandonment of its primary function the prefatory role in the nineteenth century, it has been considered an indeterminate genre. Rachmaninoff, however, asserted that a generic title should carry with it appropriate generic manifestations, which parallelled similar generic concepts in literature. This expectation of generic traits is like setting up a ‘generic contract’, offering an invitation to either conform or reform, and thus affecting its course of development. A survey of the prelude’s historical development points to six rather consistent generic conventional and formal characteristics: (i) tonality, (ii) pianistic/technical figuration, (iii) thematic treatment and formal structure, (iv) improvisatory style, (v) mood content, and (vi) brevity. Though these general characteristics may overlap with other genres, it is their collective characteristics that have contributed to the genre’s unique identity. These features form the basis for an exploration of the conformity to, or further evolution of, these characteristics in the preludes of the early twentieth century. From the substantial number of piano preludes composed in this period, selected sets, representative of the various stylistic manifestations of the period, are analysed in relation to the identified generic characteristics. The examination reveals that these preludes, though apparently diversified in style and outlook, exhibit affinity in one form or another to the generic characteristics. Each example exhibits different treatments of the generic characteristics reflective of twentieth-century developments, whilst retaining its generic identity. The prelude is thus an amalgamation of a tonal, technical and affective piece, which may be considered a combination of a tonal essay, a study/toccata, and a character piece; and collectively, a sequence of tonalities, a collection of pianistic technical studies, and a compendium of musical styles/genres in miniature.
APA, Harvard, Vancouver, ISO, and other styles
9

Stevens, Daniel Brent. "Rebecca Clarke: A Viola Duo Transcription of the Prelude, Allegro, and Pastorale." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30513/.

Full text
Abstract:
Throughout centuries of great classical music, many viola compositions have been crafted from a wealth of literature for instruments of similar range. Clarinet, violin, and cello concerti and ensemble literature often adapt into challenging literature for the viola. In November 2009, Oxford Music Publishing gave me permission to transcribe and perform the Prelude, Allegro, and Pastorale by Rebecca Clarke in New York's famed Carnegie Hall - Weill Recital Hall. This dissertation explains the process by which I transcribed the Prelude, Allegro, and Pastorale from an original Bb-clarinet/viola duo, to a new arrangement for two violas (approved by Oxford Music Press arrangement license #7007940), and discusses challenges faced throughout the transcription process.
APA, Harvard, Vancouver, ISO, and other styles
10

Lee, Jiyoung. "Dietrich Buxtehude's 'Nun freut euch, lieben Christen gmein' : the culmination of chorale fantasy /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11443.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Prelude (Music)"

1

Nancarrow, Conlon. Prelude and blues. Baltimore, MD: Smith Publications, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Hensel, Fanny Mendelssohn. Prelude for organ. Pullman, WA: Vivace Press, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

A, Leaver Robin, ed. J. S. Bach's "Leipzig" chorale preludes: Music, text, theology. Lanham, Md: Scarecrow Press, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Newman, Anthony. Prelude and contrapunctus for organ. [United States]: G. Schirmer, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Marshall, Philip. Prelude and chaconne: For organ. York: Banks, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Heinick, David. Prelude, song and dance: For unaccompanied trombone. [Cambridge, Mass.]: Nichols Music, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Ponce, Manuel M. Prelude para guitarra y clavecin. México, D.F: Ediciones Musicales Yolotl, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Starer, Robert. Synergy: A prelude for piano four-hands. Pullman, WA: Vivace Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

From postlude to prelude: Music ministry's other six days. Fenton, MO: MorningStar Music Publishers, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Costello, May. Prelude: An introduction to music for first year students. Dublin: Folens Publishers, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Prelude (Music)"

1

Desblache, Lucile. "Prelude." In Music and Translation, 1–13. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-54965-5_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Akuno, Emily Achieng’. "Prelude." In Music Education in Africa, 1–13. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in music education: Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Shevock, Daniel J. "Prelude." In Eco-Literate Music Pedagogy, 1–21. New York : Routledge, 2017. | Series: Routledge New Directions in Music Education Series: Routledge, 2017. http://dx.doi.org/10.4324/9781315211596-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Barrett, Margaret S., and Sandra L. Stauffer. "Prelude: Framing and Re-framing the Narrative Possibilities for Music Education." In Narrative Inquiry in Music Education, 33–34. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-9862-8_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Snart, Jason. "The Harmonic Conceit: Music, Nature and Mind in Wordsworth’s Prelude." In The Orchestration of the Arts — A Creative Symbiosis of Existential Powers, 197–207. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-3411-0_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kroonenberg, Pieter M. "Music appreciation: The Chopin Preludes." In Multivariate Humanities, 327–45. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69150-9_17.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Debussy, Claude. "“Canope,” No. 10 from Preludes, Book II (1910–13)." In Anthology of Post-Tonal Music, 6–7. 2nd ed. Second edition. | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Debussy, Claude. "“La Cathédrale Engloutie,” No. 10 from Preludes, Book I (1910)." In Anthology of Post-Tonal Music, 1–5. 2nd ed. Second edition. | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Korsyn, Kevin. "PRELUDE." In Decentering Music, 3–4. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195104547.003.0001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Korsyn, Kevin. "PRELUDE." In Decentering Music, 59–60. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195104547.003.0004.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Prelude (Music)' for particular source types:
Journal articles Dissertations / Theses Books
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!

To the bibliography