BIBLIOGRAPHY – BIBLIOGRAFIJA 1970- INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC

ORIGINAL SCIENTIFIC PAPERS – IZVORNI ZNANSTVENI ČLANCI

REVIEW PAPERS – PREGLEDNI ČLANCI

CONFERENCE PAPERS – REFERATI

DISCUSSIONS – RASPRAVE

REVIEWS AND INFORMATION ON BOOKS – RECENZIJE I OBAVIJESTI O KNJIGAMA

REPORTS AND NEWS – IZVJEŠTAJI I NOVOSTI

MISCELLANEA – MISCELLANEA

BIBLIOGRAPHIES – BIBLIOGRAFIJE

1.   ORIGINAL SCIENTIFIC PAPERS  –  IZVORNI ZNANSTVENI ČLANCI

ADILEH, Mu’tasem: Arabic Music between the Hammer of Technological Creativity and the Anvil of Cultural Identity (A Critical Study) (Sažetak: Arapska glazba između čekića tehnološke kreativnosti i nakovnja kulturnog identiteta. Kritička studija), 42/1 (2011) 145-163.

ALBERSHEIM, Gerhard: On the Psychology of Music (Sažetak: O psihologiji glazbe), 4/2 (1973) 213-227.

ALBINSSON,  Staffan:  Early  Music  Copyrights:  Did  They  Matter  for  Beethoven  and Schumann? (Sažetak: Što su značila rana glazbena autorska prava za Beethovena i Schumanna?), 43/2 (2012) 265-302.

ALBINSSON,  Staffan:  The  Paris  Opera  in  1750–1751.  An  Attempt  at  an  Annual  Report

(Sažetak: Pariška opera 1750.-1751. Pokušaj godišnjeg izvješća), 49/2 (2018) 191-216.

ALFONSO-GOLDFARB, Ana Maria – BROMBERG, Carla: A Preliminary Study of the Origin of Music in Cinquecento Musical Treatises (Sažetak: Uvodna studija o podrijetlu glazbe u glazbenim traktatima 16. stoljeća), 41/2 (2010) 161-183.

ANASTASIU, Ioana – LORENZO, Oswaldo – HERRERA, Lucía: Social Duffusion of Music in Spain Through the Popular Press (Sažetak:  Društveno širenje glazbe u Španjolskoj putem popularnog tiska), 38/1 (2007) 71-89.

APPEL, Bernhard: Grossstädtische Wahrnehmungsmuster in Gustav Mahlers Symphonien. Ein soziologischer Versuch (Summary: Urban Big-City Views as Elements of Gustav Mahler’s Symphonies; Sažetak: Uzorak velegradskog shvaćanja u simfonijama Gustava Mahlera), 16/1 (1985) 87-102.

ARBO, Alessandro: Entendre comme. Réflexions sur un thème de Wittgenstein (Summary: «Hearing (Something) as». Comments on a Wittgenstein’s Remark; Sažetak: Čuti kao. Razmišljanja na jednu Wittgensteinovu temu), 33/2 (2002) 149-169.

ARBO,  Alessandro:  Herméneutique  de  la  musique?  (Summary:  Hermeneutics  of  Music?; Sažetak: Hermeneutika glazbe?), 31/1 (2000) 53-66.

ARBO, Alessandro: Jugement esthétique et ontologie musicale (Summary Aesthetic Judgement and the Musical Ontology, Sažetak: Estetički sud i glazbena ontologija), 45/1 (2014) 3-19.

ARBO, Alessandro: On Appreciating the Aesthetic Properties of Musical Works (Sažetak: O percepciji estetičkih svojstava glazbenih djela), 49/2 (2018) 161-174.

ARBO, Alessandro: Quelques réflexions sur le statut de la performance musicale (Summary: Some Remarks on the Roles of Musical Performance; Sažetak: Nekoliko misli o statusu glazbene izvedbe), 50/1-2 (2019) 123-142.

ARBO, Alessandro: Typologie et fonctions de l’“entendre comme“ (Summary: Typology and Functions of „Hearing-as“, Sažetak: Tipologija i funkcije „čuti kao“), 43/1 (2012) 95-106.

ARCE, Daniel Mendoza de: Contemporary Sociological Theories and the Sociology of Music (Summary: Suvremene sociološke teorije i sociologija glazbe), 5/2 (1974) 232-249.

ARICAN, Tunca: Dance Culture in Turkey: A Case Study in Ankara and Istanbul (Sažetak: Plesna kultura u Turskoj: Primjer Ankare i Istanbula), 43/1 (2012) 209-225.

ARNOLD, Ben: Music, Meaning, and War: The Titles of War Compositions (Sažetak: Glazba, značenje, rat: naslovi ratnih kompozicija), 22/1 (1991) 19-28.

AUBINET, Stéphane – MALAY, Olivier: Transition and Resilience in Music: Insights from Folk Bals (Sažetak: Tranzicija i fleksibilnost u glazbi iz vizure narodnih balova), 52/1 (2021) 147-164.

AUDBOURG-POPIN, Marie-Danielle: La place de la musique dans un manuel d’enseignement général: le Paedagogus de Thomas Freigius (Summary: The Place of Music in a Manual of General  Education:  The  Paedagogus  by  Thomas  Freigius;  Sažetak:  Mjesto  glazbe  u jednom udžbeniku opća nastave: Paedagogus Thomasa Freigiusa), 24/1 (1993) 45-57.

AYDOĞAN, Cemre: ‘I Do Not Like that Noise’: The Case of İstiklal Street in Turkey (Sažetak: ‘Ne volim tu buku’: slučaj ulice İstiklal u Turskoj), 54/2 (2023) 299-321.

AZADEHFAR, Mohammad Reza: Domination of Social and Cultural Inhabitancies over Music Training School: the Case of Western Music Performers Living in Iran (Sažetak: prevlast društvenih i kulturnih boravaka nad glazbeno-obrazovnim školama: slučaj zapadnih glazbenih izvođača koji žive u Iranu), 45/2 (2014) 261-273.

BABAOUĞLU BALKIŞ, Lale: Definig the Turk: Construction of Meaning in Operatic Orientalism  (Sažetak:  Definiranje  Turčina:  konstruiranje  značenja  u  opernom orijentalizmu), 41/2 (2010) 185-193.

BAČIĆ, Marcel: Klangraum – Raumklang (Summary: The Space of Music – Music of Space; Sažetak: Prostor glazbe – glazba prostora, 11/2 (1980) 197-217.

BAILEY, Candace: Orlando Gibbons, Keyboard Music, and the Beginnings of the Baroque: New Considerations of a Musical Style (Sažetak: Orlando Gibbons, glazba za instrumente s tipkama i početci baroka: nova razmatranja o glazbenom stilu), 37/2 (2006) 135-156.

BAIN, David Lance: An Oblique Introduction into the Music of Africa (Sažetak: Jedan posredni uvod u glazbu Afrike), 14/1 (1983) 23-31.

BARKER, Thomas: The Social and Aesthetic Situation of Olivier Messiaen’s Religious Music: Turangalîla Symphonie (Sažetak: Društvena i estetička situacija sakralne glazbe Oliviera Messiaena: simfonija Turangalîla), 43/1 (2012) 53-70.

BARRON, Lee – INGLIS, Ian: (Re)constructing the Carnival: Continuity and Change in Contemporary British Popular Music (Sažetak: (Re)konstrukcija karnevala: kontinuitet i promjene u suvremenoj britanskoj popularnoj glazbi), 33/1 (2002) 95-112.

BARROW, Lee G.: Guilt by Association: The Effect of Attitudes toward Fascism on the Critical Assessment  of  the  Music  of  Ottorino  Respighi  (Sažetak:  Kriv  zbog  veze:  posljedica stavova prema fašizmu na kritičku prosudbu glazbe Ottorina Respighija), 42/1 (2011) 79-95.

BARRY, Barbara R.: Chronicles and Witnesse: A Survivor from Warsaw through Adorno’s Broken  Mirror  (Sažetak:  Kronike  i  svjedoci:  Preživjeli  iz  Varšave  kroz  Adornovo slomljeno zrcalo), 41/2 (2010) 265-291.

BARRY, Barbara R.: In Adorno’s Broken Mirror: Towards a Theory of Musical Reproduction (Sažetak:  U  Adornovu  slomljenom  zrcalu:  prema  teoriji  glazbene  reprodukcije),  40/1 (2009) 81-98.

BARRY, Barbara: Is Anybody There? Texting in Schubert’s Musical Stratosphere (Sažetak: ima li tamo koga? Tekstiranje u Schubertovoj glazbenoj stratosferi), 46/2 (2015) 273-289.

BARRY, Barbara: Mind-Games: Blake, Adorno and Modeling in Schubert „quasi una fantasia“ (Sažetak: Igre uma: Blake, Adorno i modeliranje u Schubertovoj „quasi una fantasia“), 53/2 (2022) 299-331.

BARRY, Barbara: Multiple ‘Personas‘ in Parallel Worlds: Shakespeare’s Ghosts and the Return of Schubert’s ‘Doppelgänger‘ (Sažetak: Višestruke ‘persone’ u paralelnim svjetovima: Shakespeareovi duhovi i povratak Schubertova ‘dvojnika’), 48/2 (2017) 187-206.

BARRY, Barbara: The Mirror and the Lamp: Contexts of Poetic Iconology and the Structure of Das  Lied  von  der  Erde  (Sažetak:  Zrcalo  i  svjetiljka:  kontekst  poetičke  ikonologije  i struktura Mahlerova djela Das Lied von der Erde), 52/2 (2021) 251-302.

BARRY,  Barbara:  Under  Threat:  Tactics,  Strategies,  and  ‘Ways  of  Seeing’  (Sažetak:  Pod prijetnjom: taktike, strategije i ‘načini viđenja’), 54/2 (2023) 183-200.

BAR-YOSHAFAT, Yonatan: Kenner und Liebhaber – Yet Another Look (Sažetak: Znalci i ljubitelji – Drugi pogled), 44/1 (2013) 19-47.

BAUER, Hans-Joachim: Statistik, eine objektive Methode zur Analyse von Kunst? (Summary: Statistics as an Objective Method of Art Analysis?; Sažetak: Statistika, objektivna metoda analize umjetnosti?), 7/2 (1976) 249-263.

BEAUD,  Paul:  Musiques,  Masses,  Minorités,  Marginaux  (Summary:  Kinds  of  Music,  the Masses, Minorities and Fringe Groups; Sažetak: Muzika, mase, manjina, periferne grupe), 5/1 (1974) 155-167.

BEAUFILS, Marcel: Musique et nuit (Sažetak: Muzika i noć), 1/1 (1970) 69-82.

BEK,  Josef:  Die  tschechische  Musik-Avantagarde  (Summary:  Czech  Music  Avant-garde;

Sažetak: Češka glazbena avangarda), 14/1 (1983) 79-92.

BENIĆ ZOVKO, Marija: Twelve-Tone Technique and Its Forms: Variation Techniques of Arnold Schoenberg’s Variations for Orchestra Op. 31 (Sažetak: Dvanaesttonska tehnika i njezine   forme:   varijacijske   tehnike   u   Varijacijama   za   orkestar   op.   31   Arnolda Schönberga), 38/1 (2007) 39-53.

BENITEZ,  Joaquim  M.:  Avant-garde  or  Experimental?  Classifying  Contemporary  Music

(Sažetak: Avangardno ili eksperimentalno? Klasificiranje suvremene glazbe, 9/1 (1978)

53-77.

BENNETT, Fionn: Can an „Anthropological Ontology“ Supply Music with an Acceptable Semiology?: A Philosophical Appraisal of Musicology According to Jean Molino & Jean- Jacques Nattiez (Sažetak: Može li „antropološka ontologija“ pružiti glazbi prihvatljivu semiologiju?: Filozofska procjena muzikogije prema Jeanu Molinou i Jean-Jacquesu Nattiezu), 44/1 (2013) 119-136.

BERGAMO, Marija: Versuch zum musikalisch Nationalen (Summary: Some Ideas about the

National in Music; Sažetak: Promišljanje o glazbeno nacionalnom), 20/2 (1989) 169-181.

BERGER, Gertrud: Die historische Dimension im musikphilosophischen Denken von Andreas Liess und Theodor W. Adorno (Sažetak: Historijska dimenzija u muzičko-filozofskom mišljenju Andreasa Liessa i Th. W. Adorna), 2/1 (1971) 5-35.

BÉRIACHVILI, Georges: Frisson esthétique: à la recherche d’une explication théorique (Summary: Aesthetic Frisson: in Search of Theoretical Explanation, Sažetak: Estetički drhtaj: u potrazi za teorijskim objašnjenjem), 47/1 (2016) 63-85.

BERTHIER, Nicole: L’amateur de musique. Une approche sociologique (Summary: The Amateur  in  Music.  A  Sociological  Approach;  Sažetak:  Ljubitelj  glazbe.  Sociološki pristup), 8/1 (1977) 23-38.

BEZIĆ, Jerko: Die Akkulturation als eine Fortbestandsmöglichkeit der Volksmusik (Summary: Acculturation as a Possibility for the Survival of Folk Music; Sažetak: Akulturacija kao mogućnost daljeg življenja folklorne glazbe), 5/1 (1974) 209-215.

BIRENBAUM-CARMELI, Daphna: Overtones: The Social World of the Israeli Philharmonic

Orchestra (+ Sažetak), 22/1 (1991) 81-98.

BLACKSTONE, Lee: Remixing the Music of the Spheres: Listening to the Relevance of an Ancient Doctrine for the Sociology of Music (Sažetak: Novo preslagivanje glazbe sfera: osluškivanje važnosti stare doktrine za sociologiju glazbe), 42/1 (2011) 3-31.

BLAUKOPF, Kurt: Musical Institutions in a Changing World (Sažetak: Glazbene ustanove u svijetu koji se mijenja), 3/1 (1972) 35-42.

BLAUKOPF, Kurt: Tonsysteme und ihre gesellschaftliche Geltung in Max Webers Musiksoziologie (Sažetak: Tonski sustavi i njihov društveni značaj u sociologiji muzike Maxa Webera), 1/2 (1970) 159-167.

BLAUKOPF, Kurt: Westernisation, Modernisation, and the Mediamorphosis of Music (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 20/2 (1989) 183-192) (Sažetak: Pozapadnjenje, modernizacija i mediamorfoza glazbe), 25/1-2 (1994) 337-345.

BLAŽEKOVIĆ,  Zdravko:  Einige  musikalische  Ereignisse  im  Zagreb  der  sechziger  und siebziger Jahre des 19. Jahrhunderts in ihrer Abhängigkeit von den politischen Verhältnissen (Summary: Certain Events in the Zagreb Music World of the 1860s and 70s as Dependent on the Political Situation; Sažetak: Neka glazbena događanja u Zagrebu šezdesetih i sedamdesetih godina 19. stoljeća u ovisnosti od političkih prilika), 18/1 (1987)

31-50.

BLAŽEKOVIĆ, Zdravko: The Economic Position of Zagreb Musicians in the Sixties and Seventies of the Nineteenth Century (Sažetak: Materijalni položaj zagrebačkih glazbenika druge polovice 19. stoljeća), 15/2 (1984) 129-140.

BOGOJEVIĆ, Dragan – MARTINOVIĆ-BOGOJEVIĆ, Jelena: Récits exotiques représentant le Monténégro dans les opéras français du xixe siècle Les Monténégrins et La Montagne noire (Summary: Montenegro as an Exotic Theme in the 19th-Century French Operas Les Monténégrins and La Montagne Noire; Sažetak: Crna Gora kao egzotična tema u francuskim operama 19. stoljeća Les Monténégrins i La Montagne Noire), 55/1 (2024) 45-

68.

BOHLMAN, Philip: On Non-Jewish Music (Sažetak: O nežidovskoj glazbi), 50/1-2 (2019) 105-

122.

BONTINCK, Irmgard: Mass Media and New Types of Youth Music. Methodological and Terminological Problems (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 6/1 (1975) 47-56) (Sažetak: Masovni mediji i nove vrste omladinske glazbe. Metodološki i terminološki problemi), 25/1-2 (1994) 165-

174.

BOOTH, Gregory D.: Traditional Practice and Mass Mediated Music in India (Sažetak: Tradicionalna praksa i glazba posredovana masovnim medijima u Indiji), 24/2 (1993) 159-

174.

BORYSENKO, Marya – CHERNYAVSKA, Marianna – OCHERETOVSKA, Neonila: Composer’s Dialogue with Beethoven: Modern Stylistic Dimensions of Musical Classics (Sažetak: Skladateljev dijalog s Beethovenom: moderne stilističke dimenzije glazbenih klasika), 53/1 (2022) 37-55.

BOSE, Madelon: The Sound and the Theory. A Novel Look at Word and Music (Sažetak: Zvuk i teorija. Novi pogled na riječ i glazbu), 10/1 (1979) 57-71.

BRINCA, Ana: Reading Germaine Tillion’s Operetta Le Verfügbar aux Enfers as a ‘Testimony’ of  Women’s  Differential  Experience  in  Ravensbrück  (Sažetak:  Čitanje  operete  Le Verfügbar aux Enfers Germaine Tillion kao ‘svjedočanstva’ o ženskom razlikovnom iskustvu u Ravensbrücku), 48/1 (2017) 101-131.

BRIX, Lothar: Gedanken zur Musiksoziologie (Summary: Some Thoughts about the Sociology of Music; Sažetak: Razmišljanja o sociologiji glazbe), 9/2 (1978) 311-345.

BROMBERG, Carla – ALFONSO-GOLDFARB, Ana Maria: A Preliminary Study of the Origin of Music in Cinquecento Musical Treatises (Sažetak: Uvodna studija o podrijetlu glazbe u glazbenim traktatima 16. stoljeća), 41/2 (2010) 161-183.

BROOK, Barry S.: The Symphonie Concertante: Its Musical and Sociological Bases (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of  Music,  6/1  (1975)  9-28)  (Sažetak:  Koncertantna  simfonija:  glazbene  i  sociološke osnove) , 25/1-2 (1994) 131-148.

BROWN, Leslie Ellen: Thomas Reid and the Reception of Music: Sense vs. Reason (Sažetak:

Thomas Reid i glazbeno primalaštvo: osjećaj protiv razuma), 20/2 (1989) 121-140.

BUCH, Esteban: Critique de la faculté de juger de la Musique (Summary: Kant’s Critique of Judgement on Music; Sažetak: Kantova Kritika rasudne moći o glazbi), 24/1 (1993) 59-68. BUELOW, George J.: Originality, Genius, Plagiarism in English Criticism of the Eighteenth Century (Sažetak: Originalnost, genij i plagijatorstvo u engleskoj kritici u 18. stoljeću),

21/2 (1990) 117-128.

BUETTNER, Stewart: Cage (Sažetak: Cage), 12/2 (1981) 141-151.

BUJIĆ, Bojan: «Navigating through the Past»: Issues Facing an Historian of Music in Bosnia (Sažetak:  «Plovljenje  po  prošlosti»:  problemi  s  kojima  se  susreće  historičar  glazbe  u Bosni), 37/1 (2006) 67-84.

BUJIĆ, Bojan: Josquin, Leonardo, and the Scala Peccatorum (Sažetak: Josquin, Leonardo i

Scala Peccatorum), 4/2 (1973) 145-163.

BURKATSKYI, Zinovii – VOLKOVA, Galyna – KADANTSEVA, Nataliia – SAPSOVYCH, Oleksandra – FILATOVA, Olha: Theory of Musical Content: A Triune Role Complex of Composer – Performer – Teacher (Sažetak: Prema teoriji glazbenog sadržaja: uloga trostrukog kompleksa skladatelj – izvođač – učitelj), 55/1 (2024) 181-194.

BUŽAROVSKI, Dimitrije: Generative Ideas in the Aesthetics of Music (Sažetak: Generativne ideje u estetici glazbe), 17/2 (1986) 163-184.

CABALLERO,  Carlo:  Dancing out  of  Formalism:  On Peter Kivy’s  Theory and  Its  Limits

(Sažetak: Poigravanje s formalizmom: o teoriji Petera Kivyja i njezinim ograničenjima),

44/2 (2013) 277-301.

CALKINS, Susan: Modernism in Music and Erik Satie’s Parade (Sažetak: Modernizam u glazbi i Parade Erika Satiea), 41/1 (2010) 3-19.

CAMARA,  Evandro  –  DASILVA,  Fabio  B.:  Music  and  Society  in  Brazil:  the  Recent

Experience (Sažetak: Glazba i društvo u Brazilu: suvremeno iskustvo), 15/1 (1984) 15-29.

CANGUILHEM, Philippe: Tel père, tel fils? Les opinions esthétiques de la famille Galilei (Summary: Father and Son: Aesthetic Views of the Galilei Family; Sažetak: Kakav otac takav sin? Estetički nazori obitelji Galilei), 23/1 (1992) 27-42.

CANONNE, Clément: Du concept d’improvisation à la pratique de l’improvisation libre (Summary: From the Concept of Improvisation to the Practice of Free Improvisation, Sažetak: Od pojma improvizacije do prakse slobodne improvizacije), 47/1 (2016) 17-43.

CARLTON, Richard A.: Changes in Status and Role-Play: The Musician at the End of the Eighteenth Century (Sažetak: Promjene u statusu i ulozi: glazbenik krajem osamnaestog stoljeća), 37/1 (2006) 3-16.

CARLTON, Richard A.: Florentine Humanism and the Birth of Opera: The Roots of Operatic

«Conventions»  (Sažetak:  Firentinski   humanizam   i   rođenje  opere:   korijeni   opernih

«konvencija»), 31/1 (2000) 67-78.

CARLTON, Richard A.: Folk-Song, Chant, and the English Symphonic Renaissance. A Case

Study of Ethnic Musical Identity (Sažetak: Narodna pjesma, crkveno pjevanje i engleska

simfonijska renesansa. Studij jednog slučaja etničkog glazbenog identiteta), 24/2 (1993)

129-142.

CARLTON, Richard A.: Man as a Musical Animal (Sažetak: Čovjek kao glazbena životinja),

27/1 (1996) 79-86.

CARLTON, Richard A.: The «Satanic» in Opera and in Popular Belief (Sažetak: «Sotonsko» u

operi i popularnom vjerovanju), 35/2 (2004) 139-149.

CARLTON, Richard A.: The Pedagogical Dilemma of Expressive Arts (Sažetak: Pedagoška dilema izražajnih umjetnosti), 30/1 (1999) 15-25.

CARLTON, Richard A.: The Public Marketing of Music (Sažetak: Javno trženje glazbe), 26/1

(1995) 123-132.

CARLTON, Richard A.: The Symphony in Sunset (Sažetak: Simfonija u sumraku), 34/1 (2003)

45-56.

CARRAS,  Christos:  Sonic  Counterpublics  and  Commoning  Practices  (Sažetak:  Zvukovne

protupublike i uobičajenja praksi), 51/1 (2020) 3-17.

CASTELŌES, Luiz E.: A Catalogue of Music Onomatopoeia (Sažetak: Katalog glazbene onomatopeje), 40/2 (2009) 299-347.

CAVALLINI, Ivano: L’idée d’histoire et d’harmonie du Padre Martini et d’autres penseurs de son temps (Summary: The Ideas of History and Harmony of Padre Martini and Other Thinkers of his Age; Sažetak: Ideja povijesti i hramonije kod Padre Martinija i drugih mislilaca njegova doba), 21/2 (1990) 141-159.

CAZDEN,  Norman:  The  Definition  of  Consonance  and  Dissonance  (Sažetak:  Određenje

konsonance i disonance), 11/2 (1980) 123-168.

CAZDEN, Norman: The Systemic Reference of Musical Consonance Response (Sažetak: Sistemski odnos u prijemljivosti glazbene konsonance), 3/2 (1972) 217-245.

CERIBAŠIĆ, Naila: Music as Recording, Music in Culture, and the Study of Early Recording Industry in Ethnomusicology: A Take on Edison Bell Penkala Ltd. (Sažetak: Glazba kao snimka, glazba u kulturi i istraživanje rane diskografske industrije u etnomuzikologiji: primjer tvrtke Edison Bell Penkala), 52/2 (2021) 323-354.

CERVANTES, Xavier: Les arias de comparaison dans les opéras londoniens de Handel: Variations sur un thème baroque (Summary: The Similar Arias in Handel’s Operas: Variations on Baroque Theme; Sažetak: Varijacije na baroknu temu: Aria di Paragone u Händelovim londonskim operama), 26/2 (1995) 147-166.

CHANTLER,  Abigail:  Revisiting  E.  T.  A.  Hoffmann’s  Musical  Hermeneutics  (Sažetak: Ponovno razmatranje glazbene hermeneutike E. T. A. Hoffmanna), 33/1 (2002) 3-30.

CHANTLER, Abigail: The Sturm und Drang Style Revisited (Sažetak: Ponovno razmatranje pokreta Sturm und Drang), 34/1 (2003) 17-31.

CHAPLIN, Keith: „A Harmony or Concord of Several and Diverse Voices“: Autonomy in 17th- Century  German  Music  Theory  and  Practice  (Sažetak:  „Harmonija  ili  složnost  više različitih glasova“: Autonimija u njemačkoj glazbenoj teoriji i praksi 17. stoljeća), 42/2 (2011) 219-255.

CHEN, Lin – LIU, Chang: Intercultural Aesthetics in Traditional Chinese Dance Performance (Sažetak:  Interkulturalna  estetika  u  izvedbama  tradicionalnog  kineskog  plesa),  54/1 (2023) 129-145.

CHERNYAVSKA, Marianna – OCHERETOVSKA, Neonila – BORYSENKO, Marya: Composer’s Dialogue with Beethoven: Modern Stylistic Dimensions of Musical Classics (Sažetak: Skladateljev dijalog s Beethovenom: moderne stilističke dimenzije glazbenih klasika), 53/1 (2022) 37-55.

CHOE, Soyoung: The Evolution of Musical Style in the Piano Work of George Rochberg

(Sažetak: Evolucija glazbenog stila u klavirskom opusu Georgea Rochberga), 53/1 (2022)

235-265.

CIPRA,  Milo:  Die  Analyse  im  Musikunterricht  (Summary:  Analysis  in  Teaching  Music: Informal Notes and Reflections; Sažetak: Analiza u muzičkoj nastavi: neobavezne primjedbe), 5/1 (1974) 85-90.

COESSENS, Kathleen: Musical Performance and „Kairos“: Exploring the Time and Space of Atristic Resonance (Sažetak: Glazbena izvedba i kairos: istraživanje vremena i prostora umjetničke rezonancije), 40/2 (2009) 269-281.

COLLINS, Timothy A.: «Reactions Against the Virtuoso». Instrumental Ornamentation Practice and the Stile Moderno (Sažetak: «Reakcije protiv virtuoza»: praksa instrumentalne ornamentacije i stile moderno), 32/2 (2002) 137-152.

COLLINS, Timothy A.: Musica secreta strumentali. The Aesthetics and Practice of Private Solo Instrumental Performance in the Age of Monody (ca. 1580-ca. 1610) (Sažetak: Musica secreta strumentali. Estetika i praksa privatnih solističkih izvedbi u razdoblju monodije (oko 1580. – oko 1610)), 35/1 (2004) 47-62.

CORCORAN,  Frank:  Two  Hardy  Referentialists  and  the  Debate  on  Expression  in  Music

(Sažetak: Dva smiona referencijalista i rasprava o izrazu u glazbi), 18/2 (1987) 237-245.

CÔTÉ, Thierry: Les anciens ont-ils noté musicalement la déclamation? Enjeux esthétiques et anthropologiques d’un problème des Lumières (Summary: Have the Ancients Notated the Declamation? Aesthetic and Anthropological Participation in an Enlightenment Problem;

Sažetak:    Jesu    li   stari    glazbeno    notirali   deklamaciju?    Udio   jednog   estetičkog   i antropološkog problema Prosvjetiteljstva), 51/2 (2020) 165-184.

CÔTÉ,  Thierry:  Les  lois  de  la  perception  musicale  dans  La  Recherche  du  temps  perdu (Summary: The Laws of Musical Perception in Marcel Proust’s La Recherche du temps perdu; Sažetak: Zakoni glazbene percepcije u djelu Potraga za izgubljenim vremenom Marcela Prousta), 53/2 (2022) 371-399.

CREMADES, Roberto – LORENZO, Oswaldo – HERRERA, Lucia: Mass Media Influence on the Musical Preferences of Spanish Adolescents: A Sociological Analysis (Sažetak: Utjecaj masovnih medija na glazbene preferencije španjolskih adolescenata: sociološka analiza),

42/1 (2011) 125-144.

CREMADES, Roberto – LORENZO, Oswaldo – TURCU, Ioana Ruxandra: Raï Music as a Generator of Cultural Identity among Young Maghrebies (Sažetak: Raï glazba kao proizvođač kulturnog identiteta mladih stanovnika Magreba), 46/1 (2015) 175-184.

CUPERS,  Jean-Louis:  Le termes  en  -isme et  les  mouvements  musicaux  (Summary:  Terms

Ending in -ism and Musical Movements; Sažetak: «-izmi» i glazbeni pokreti), 2/2 (1971)

231-242.

CURESES, Marta: Geometric Perspective, Structure and Proportion in Carlos Cruz de Castro’s Compositions (Sažetak: Geometrijska perspektiva, struktura i proporcija u skladbama Carlosa Cruza de Castra), 44/1 (2013) 169-188.

CVETKO, Dragotin: Die soziologischen und nationalen Bedingungen für die Wandlungen in der  musikalischen  Situation  bei  den  Südslawen  im  19.  Jahrhundert.  Versuch  eines Umrisses (Summary: Sociological and National Conditions of Changes in the Musical Situation of South Slavs in the Nineteenth Century (An Attempt at a Survey); Sažetak: Sociološki i nacionalni uvjeti promjena u položaju muzike kod južnih Slavena u 19. st. (pokušaj pregleda), 5/1 (1974) 125-137.

CVETKO, Dragotin: Probleme und Leistungen der slowenischen Musikwissenschaft (Sažetak:

Problemi i dostignuća slovenske glazbene znanosti), 7/1 (1976) 89-101.

CVETKO, Dragotin: The Present Relationship between the Historiography of Music in Eastern and Western Europe (Sažetak: Glazbena historiografija u Istočnoj i Zapadnoj Europi), 9/2 (1978) 151-160.

CVETKO, Dragotin: Zum Problem der Wertung der Neuen Musik (Summary: On the Problem of Evaluating New Music; Sažetak: O problemu vrednovanja nove glazbe), 4/1 (1973) 5-

16.

CYPESS, Rebecca: The Community as Ethnographer: Views of Classical Music in the English- Speaking Orthodox Jewish Comunnity (Sažetak: Zajednica kao etnograf: pogledi na klasičnu glazbu u ortodoksnoj židovskoj zajednici engleskog govornog izričaja), 41/1 (2010) 117-139.

ČIĆ, Emil: Das Zwiete Vatikanum und die liturgische Idee über die sakrale Musik in Kroatien (Summary: The Second Vatican Council and the Liturgical Idea of Sacral Music in Croatia; Sažetak: Drugi vatikanski koncil i liturgijska ideja sakralne glazbe u Hrvatskoj), 29/1 (1998) 75-90.

DAHL, Per: Poco pesante. About Notation and Articulation (Sažetak: Poco pesante. O notaciji i artikulaciji), 54/2 (2023) 225-251.

DAHLHAUS, Carl: Das musikalische Kunstwerk als Gegenstand der Soziologie (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music,

5/1 (1974) 11-26) (Summary: The Musical Work of Art as an Object of the Sociology of

Music; Sažetak: Glazbeno umjetničko djelo kao objekt sociologije muzike), 25/1-2 (1994)

115-130.

DAHLHAUS, Carl: Formästhetik und Nachahmungsprinzip (Summary: Form-Aesthetics and the

Principle of Mimicry; Sažetak: Estetika forme i princip oponašanja), 4/2 (1973) 165-174.

DAHLHAUS, Carl: Karl Philipp Moritz und das Problem einer klassischen Musikästhetik (Summary: Karl Philipp Moritz and the Problem of a Classical Aesthetics of Music; Sažetak: Karl Philipp Moritz i problem klasične estetike glazbe), 9/2 (1978) 279-294.

DAHLHAUS, Carl: Soziologische Dechiffrierung von Musik. Zu Theodor W. Adornos Wagnerkritik (Sažetak: Sociološko tumačenje muzike. Uz Adornovu kritiku Wagnera), 1/2 (1970) 137-147.

DALMONTE, Rossana: Towards a Semiology of Humour in Music (Sažetak: Prema semiologiji humora u glazbi), 26/2 (1995) 167-187.

DAMNJANOVIĆ, Milan: Susanne K. Langer: Die Kunst als symbolische Form. Mit besonderer Berücksichtigung der Musiktheorie (Summary: Susanne K. Langer: Art as a Symbolic Form. With a Special Regard to the Theory of Music; Sažetak: Susanne K. Langer: umjetnost kao simbolička forma sa posebnim osvrtom na teoriju muzike), 18/2 (1987) 217-

236.

DASILVA,  Fabio  B.  –  CAMARA,  Evandro:  Music  and  Society  in  Brazil:  the  Recent

Experience (Sažetak: Glazba i društvo u Brazilu: suvremeno iskustvo), 15/1 (1984) 15-29.

DASILVA, Fabio B.: Misleading Discourse and the Message of Silence. An Adornian Introduction to Villa-Lobos’ Music (Sažetak: Zavaravajući govor i poruka tišine. Adornovski uvod u Villa-Lobosa), 10/2 (1979) 167-180.

DAVIDOVIĆ, Dalibor: Signs… Fragments… Some Observations on the Music of Milo Cipra

(1906-1985) (Sažetak: Znakovi… fragmenti… Neke napomene uz glazbu Mila Cipre (1906-

1985)), 32/1 (2001) 93-132.

DE CLERCQ, Jacqueline: Le public des concerts à Bruxelles (Summary: The Audience of

Concerts in Brussels; Sažetak: Koncertna publika u Bruxellesu), 3/1 (1972) 43-60.

DE CLERCQ, Jacqueline: Les Rencontres Musicales. Une expérience de rénovation du concert (Summary: «Musical Meetings». An Attempt to Renew the Concert; Sažetak: «Muzički susreti». Pokušaj obnove koncerta), 4/1 (1973) 69-80.

DE COSTER, Michel: L’art mass-médiatisé. L’exemple de la musique classique enregistreé (Summary: The Mass-Mediatized Art. The Example of the Recorded Classical Music; Sažetak: Umjetnost pod utjecajem masovnih medija. Primjer snimljene klasične glazbe),

6/2 (1975) 255-268.

DE   SURMONT,   Jean-Nicolas:   From   Oral   Tradition   to   Commercial   Industry:   The Misunderstood Path of Popular Song (Sažetak: Od usmene tradicije do komercijalne industrije: krivo shvaćeni putevi popularne pjesme), 39/1 (2008) 73-92.

DEĞIRMENCI, Koray: ‘Local Music from out There’: Roman (Gypsy) Music as World Music in  Turkey (Sažetak:  ‘Domaća  glazba  odnekuda’:  romska  (ciganska)  glazba  kao  glazba svijeta u Turskoj), 42/1 (2011) 97-124.

DEGIRMENCI, Koray: On the Pursuit of a Nation: The Construction of Folk and Folk Music in the  Founding  Decades  of  the  Turkish  Republic  (Sažetak:  U  potrazi  za  nacijom: konstrukcija naroda i folklorne glazbe u osnivačkim desetljećima turske republike), 37/1 (2006) 47-65.

DEGMEČIĆ, Dunja – POŽGAIN, Ivan – FILAKOVIĆ, Pavo: Music as Therapy (Sažetak: Glazba kao terapija), 36/2 (2005) 287-300.

DELAERE, Mark: Mutations in Systems in the Natural Sciences and Music in the First Half of the Twentieth Century (Sažetak: Mutacije u sistemima u prirodnim znanostima i glazbi u prvoj polovini 20. stoljeća), 21/1 (1990) 3-28.

DELIÈGE,   Célestin:   Indétermination   et   improvisation   (Summary:   Indetermination   and

Improvisation; Sažetak: Neodređenost i improvizacija), 2/2 (1971) 155-191.

DELIÈGE,   Célestin:    Les    techniques    du   rétrospectivisme     (Summary:    Techniques    of

Retrospectivism; Sažetak: Tehnike retrospektivizma), 5/1 (1974) 27-41.

DENISOV, Andrey V.: The Parody Principle in Music Art (Sažetak: Načelo parodije u umjetnosti glazbe), 46/1 (2015) 55-72.

DESCHÊNES, Bruno: Apprécier la musique aujourd’hui (Summary: Appreciation of Music

Today; Sažetak: Ocjenjivanje glazbe danas), 27/2 (1996) 139-154.

DESCHÊNES, Bruno: Bi-musicality or Transmusicality: The Viewpoint of a Non-Japanese Shakuhachi Player (Sažetak: Bi-muzikalnost ili transmuzikalnost: gledište nejapanskog svirača šakuhačija), 49/2 (2018) 275-294.

DESCHÊNES, Bruno: Musique : De la médiation à la médiance (Summary: Music – From Mediation  to  ‘Médiance’;  Sažetak:  Glazba  –  od  posredovanja  do  ‘médiance’),  54/2 (2023) 201-223.

DESCHÊNES,   Bruno:   Toward   an   Anthropology   of   Music   Listening   (Sažetak:   Prema

antropologiji glazbenog slušanja), 29/2 (1998) 135-153.

DESCHÊNES, Bruno: World Music: Appropriation or Transpropriation? (Sažetak: Glazbe svijeta: Prisvajanje ili transproprijacija?), 52/1 (2021) 3-22.

DI  PASQUALE,  Marco:  Patterns  of  Musical  Patronage  at  the  Accademia  Filarmonica  of Verona in the Early Modern Age (Sažetak: Modeli glazbenog pokroviteljstva u društvu Accademia Filarmonica u Veroni u ranom novome vijeku), 52/2 (2021) 221-250.

DIEEN, Murray: The „Cellist’s Predicament, or Imagination, Ethics, and Musical Performance

(Sažetak: Violončelistova neprilika, ili zamišljaj, etika i glazbeno izvođenje), 40/2 (2009)

283-297.

DIESEN, Rolf – HOLEN, Arne – SELVIK, Randi Margrete: Das Musikleben in einer Landgemeinde (Summary: Musical Culture in a Norwegian Rural District; Sažetak: Glazbena kultura u jednom seoskom predjelu Norveške), 5/1 (1974) 191-207.

DINEEN, Murray: Lexicon for a Leftist Aesthetics of Music: Hand Wind’s Chart of the Gesetze der Kunst (Sažetak: Leksikon ljevičarske estetike glazbe: nacrt Hansa Winda za zakone umjetnosti), 41/2 (2010) 265-291.

DINIZ, Alexandre – PINHEIRO, Ricardo: Brad Mehldau, Jazz and the Pop-Rock Repertoire: Highbrow and Lowbrow (Sažetak: Brad Mehldau, jazz i pop-rock repertoar: intelektualno ili priprosto), 53/2 (2022) 455-488.

DITZLER,  Kirk:  Tradition  ist  Schlamperei:  Gustav  Mahler  and  the  Vienna  Court  Opera

(Sažetak: Tradicija je nemarnost: Gustav Mahler i bečka dvorska opera), 29/1 (1998) 11-

28.

DOBROTA, Snježana: Cultural Intelligence, Intercultural Efficacy and Age as Predictors of

Students’  Musical  Preferences  –  the  Role  of  Intercultural  Music  Education  (Sažetak:

Kulturna inteligencija, interkulturna efikasnost i dob kao prediktori glazbenih preferencija studenata – mjesto i uloga interkulturnoga glazbenog obrazovanja), 55/1 (2024) 159-180.

DOĞRUSÖZ, Nilgün – ERGUR, Ali: Resistance and Adoption towards Written Music at the Crossroads of Modernity: Gradual Passage to Notation in Turkish Makam Music (Sažetak: Otpor i prihvaćanje pisane glazbe na raskrižjima moderniteta: postupni prijelaz na notaciju u turskoj maqam glazbi), 46/1 (2015) 145-174.

DOJA, Albert: Socializing Enchantment: A Socio-Anthropological Approach to Infant-Directed Singing, Musical Education and Cultural Socialization (Sažetak: čarolija socijalizacije: socio-antropološki pristup na djecu usmjerenog pjevanja, glazbenog odgoja i kulturne socijalizacije), 45/1 (2014) 115-147.

DOLINER, Gorana: The Folk Idiom in Croatian Music of the 20th Century (Sažetak: Folklorni

idiom u hrvatskoj glazbi 20. stoljeća), 18/1 (1987) 51-73.

DOLINSZKY, Miklós: La certitude du possible. L’éthique du non engagement dans l’art de Barnabás Dukay (Summary: The Certainty of the Possible. The Ethics of Uncommittedness in the Art of Barnabás Dukay, Sažetak:Izvjesnost mogućega. Etika neangažiranosti u umjetnosti Barnabása Dukaya), 46/1 (2015) 117-133.

DÖMLING, Wolfgang: Musikgeschichte als Stilgeschichte. Bemerkungen zum musikhistorischen Konzept Guido Adlers (Summary: The History of Music as the History of Styles; Sažetak: Povijest glazbe kao povijest stilova), 4/1 (1973) 35-50.

DOUBRAVOVÁ,   Jarmila:   Musical   Semiotics   in   Czechoslovakia   and   an   Interpersonal Hypothesis of Music (Sažetak: Glazbena semiotika u Čehoslovačkoj i interpersonalna hipoteza o glazbi), 15/1 (1984) 31-38.

DOUBRAVOVÁ, Jarmila: Sound and Structure in Josef Suk’s Zrání (Sažetak: Zvuk i struktura u skladbi Zrání Josefa Suka), 7/1 (1977) 73-87.

DRAŽIĆ, Lena: Inclusions/Exclusions: The Field of ‘New Music’ in Europe and its Boundaries

(Sažetak: Uključivanja/isključivanja: područje ‘nove glazbe’ u Europi i njezine granice),

53/1 (2022) 187-206.

DRENNAN, Ian – PAKENDORF, Gunther – VILJOEN, Nicol: From Claudius to Schubert.

Some Thoughts on the Transformation of Words into Music (Sažetak: Od Claudiusa do

Schuberta. Neke ideje o transformaciji riječi u glazbu), 50/1-2 (2019) 143-173.

DREWETT, Michael: The Road From Crisis to Catharsis in the Songs of Roger Lucey (Sažetak: Put od krize do katarze u pjesmama Rogera Luceya), 42/2 (2011) 379-396.

DU,  Liang:  The  Impact  of  Musical  Literacy on  Skills  in  Exact  Sciences  (Sažetak:  Utjecaj

glazbene pismenosti na vještine u egzaktnim znanostima), 52/1 (2021) 65-81.

DUJMIĆ, Dunja: The Musical Transcendatalism of Charles Ives (Sažetak: Glazbeni transcendentalizam Charlesa Ivesa), 2/1 (1971) 89-95.

DUMBAR-HALL, Peter: Semiotics as a Method for the Study of Popular Music (Sažetak:

Semiotika kao metoda za proučavanje popularane glazbe), 22/2 (1991) 127-132.

DURAKOVIĆ, Lada – VIDULIN, Sabina: Music-publicist Discourse in Croatia from the Students’ Perspective: Usefulness and Credibility of Music-analytical Texts (Sažetak: Glazbeno-publicistički diskurs u Hrvatskoj iz studentske perspektive: korisnost i vjerodostojnost glazbeno-analitičkih tekstova), 48/2 (2017) 281-301.

EINARSDÓTTIR, Sigrún Lilja: ‘I Certainly Couldn’t Be a Soloist and I Really Struggle with Auditions’: The Vocal Identity of the Female Choral Alto Voice (Sažetak: ‘Ja sigurno ne bih mogla biti solistica i ja se stvarno borim s audicijama’: vokalni identitet ženskog zborskog alta), 53/1 (2022) 139-159.

EINARSDÓTTIR, Sigrún Lilja: ‘I Didn’t Like Gilbert and Sullivan … Then I Found They Were Really Very Good’ – ‘Learned Musical Taste’ in the Context of an Amateur Choral Ensemble (Sažetak: ‘Nisam voljela Gilberta i Sullivana … a onda sam shvatila da su vrlo dobri’ – ‘Učeni glazbeni ukus’ u kontekstu amaterskog zborskog ansambla), 51/2 (2020)

205-222.

EINARSDÓTTIR, Sigrún Lilja: Constructing ‘My Bach’. Relevance of Historical Constructions of Bach for Members ina n English Amateur ‘Art Music’ / Composer-oriented Bach Choir (Sažetak: Konstruirajući ‘mojeg Bacha’. Relevantnost povijesnih konstrukcija Bacha za članove jednog engleskog amaterskog ‘glazbeno-umjetničkog’ Bachova zbora orijentiranog na skladatelja), 46/1 (2015) 95-116.

ENGEL, Gerhard: Zur Aktualität der Musiksoziologie Max Webers (+ Summary; Sažetak), 22/1

(1991) 3-17

ERGUR, Ali – DOĞRUSÖZ, Nilgün: Resistance and Adoption towards Written Music at the Crossroads of Modernity: Gradual Passage to Notation in Turkish Makam Music (Sažetak: Otpor i prihvaćanje pisane glazbe na raskrižjima moderniteta: postupni prijelaz na notaciju u turskoj maqam glazbi), 46/1 (2015) 145-174.

ESCAL, Françoise: Le corps social du musicien (Sažetak: The Social Body of the Musician;

Sažetak: Društveno tijelo glazbenika), 22/2 (1991) 165-186.

ESCAL, Françoise: Les concertos-pastiches de Mozart, ou la citation comme procès d’appropriation du discours (Summary: Mozart’s Concertos-pasticcios. The Citation as a Process of Accommodation to the Discourse; Sažetak: Mozartovi koncerti-pasticcia. Citat kao proces prilagođavanja izričaja), 12/2 (1981) 117-139.

ESCAL, Françoise: Musique et science: D’Alambert contre Rameau (first published in: / prvi put

objavljeno u: International Review of the Aesthetics and Sociology of Music, 14/2 (1983)

167-190)  (Summary:  Music  and  Science:  D’Alambert  vs.  Rameau;  Sažetak:  Glazba  i znanost: D’Alambert protiv Rameaua), 25/1-2 (1994) 271-293.

ESCAL,  Françoise:  Musique et  science:  D’Alembert  contre  Rameau  (Summary:  Music and

Science: D’Alembert vs. Rameau; Sažetak: Glazba i znanost: D’Alembert protiv Rameaua),

14/2 (1983) 167-190.

ETZION, Judith: Spanish Music as Perceived in Western Music Historiography: A Case of the Black Legend (Sažetak: Percepcija španjolske glazbe u zapadnoj glazbenoj historiografiji: slučaj crne legende?), 29/2 (1998) 93-120.

ETZKORN, K. Peter: On Music, Social Structure and Sociology (Sažetak: O glazbi, društvenoj strukturi i sociologiji), 5/1 (1974) 43-49.

EURICH, Johannes: Sociological Aspects and Ritual Similarities in the Relationship between Pop Music and Religion (Sažetak: Sociološki aspekti i ritualne sličnosti u odnosu između pop glazbe i religije), 34/1 (2003) 57-70.

EVERETT,  William  A.:  Demystifying  Opera  in  Early  Hollywood  Film:  A  Tale  of  Three

Singers (Sažetak: Demistificiranje opere u ranom holivudskom filmu: priča o tri pjevača),

50/1-2 (2019) 271-295.

EVERETT,  William  A.:  National  Themes  in  Scottish  Art  Music,  ca.  1880-1990  (Sažetak:

Nacionalne teme u škotskoj umjetničkoj glazbi od oko 1880. do 1990. godine), 30/2 (1999)

151-171.

EVERETT, William A.: Opera and National Identity in Nineteenth-Century Croatian and Czech

Lands (Sažetak: Opera i nacionalni identitet u 19. stoljeću u hrvatskim i češkim zemljama),

35/1 (2004) 63-69.

FABIAN, Dorottya: The Meaning of Authenticity and the Early Music Movement – A Historical Review (Sažetak: Značenje autentičnosti i pokret rane glazbe – povijesni pregled), 32/2 (2001) 153-167.

FABIAN, Dorottya: The Recording of Joachim, Ysaÿe and Sarasate in Light of Their Reception by  Nineteenth-Century  British  Critics  (Sažetak:  Snimke  Josepha  Joachima,  Eugènea Ysaÿea i Pabla Sarasatea u svijetlu njihove recepcije kod britanskih kritičara 19. stoljeća),

37/2 (2006) 189-211.

FALTIN,  Peter:  Musikalische  Bedeutung.  Grenzen  und  Möglichkeiten  einer  semiotischen

Ästhetik (Summary: The Meaning of Music; Sažetak: Značenje glazbe), 9/1 (1978) 5-33.

FALTIN, Peter: Über den Verlust des Subjekts in der neuen Musik. Anmerkungen zum Komponieren am Ausgang der 70er Jahre (Summary: Remarks on Composing at the End of the 70s; Sažetak: Napomene o komponiranju pri kraju 70-ih godina), 10/2 (1979) 181-198.

FALTIN, Peter: Über Gegenstand und Sinn der philosophischen Ästhetik (Summary: On the Object and Sense of Philosophical Aesthetics; Sažetak: O predmetu i smislu filozofske estetike), 11/2 (1980) 169-195.

FALTIN, Peter: Widersprüche bei der Interpretation des Kunstwerkes als Zeichen. Drei monistische Modelle zur Erklärung der Bedeutung von Musik (Summary: Contradictions in the Interpretation of the Work of Art as a Sign; Sažetak: Protuslovlja u interpretaciji umjetničkog djela kao znaka), 3/2 (1972) 199-215.

FEDERHOFER, Hellmut: Karlheinz Stockhausens Mozartdeutung. Ein Beitrag zur Ästhetik Serieller Musik (Summary: K. Stockhausen’s Interpretation of Mozart. A Contribution to the Aesthetics of Serial Music; Sažetak: K. Stockhausenovo tumačenja Mozarta. Prilog estetici serijelne glazbe), 6/2 (1975) 229-240.

FEDERHOFER, Hellmut: Musikgeschichtsschreibung und Musiksoziologie (Summary: Music History Writing and Sociology of Music; Sažetak: Pisanje povijesti glazbe i sociologija glazbe), 26/2 (1995) 135-146.

FEDERHOFER, Hellmut: Neue Musik und moderne Demokratie (Summary: New Music and Modern Democracy; Sažetak: Nova glazba i moderna demokracija), 30/1 (1999) 3-13. FEDERHOFER,  Hellmut:  Theodor  W.  Adornos  Beethoven-Deutung  (Sažetak:  Beethoven-

Meaning  by Theodor  W.  Adorno;  Sažetak:  Beethovenovo značenje kod  Theodora W.

Adorna), 35/2 (2004) 127-137.

FEDERHOFER, Hellmut: Zur Rezeption Neuer Musik (Summary: On the Reception of New

Music; Sažetak: Uz recepciju nove glazbe), 3/1 (1972) 5-34.

FELLERER, Karl Gustav: Affectus und effectus in der italienischen Monodie (I) (Summary: Affectus and Effectus in Italian Monody (I); Sažetak: Affectus i effectus u talijanskoj monodiji (I)), 14/1 (1983) 3-21.

FELLERER, Karl Gustav: Affectus und effectus in der italienischen Monodie (II) (Summary: Affectus and Effectus in Italian Monody (II); Sažetak: Affectus i effectus u talijanskoj monodiji (II)), 14/2 (1983) 119-146.

FELLERER,  Karl  Gustav:  Kreation  und  Rezeption  der  Musik  (Summary:  Creation  and

Reception of Music; Sažetak: Stvaralaštvo i primalaštvo glazbe), 6/2 (1975) 201-228.

FERRAZ, Silvio – TEIXEIRA, William: Contemporary Musical Logos (Sažetak: Suvremeni glazbeni logos), 52/2 (2021) 173-201.

FEYS, Cedric: The Great Highland Bagpipe and the Orchestra: Tradition vs Hybridity in Works by  Sally  Beamish,  Edward  McGuire  and  Matthew  Welch  (Sažetak:  Velike  škotske gorštačke gajde i orkestar: tradicija nasuprot hibridnosti u djelima Sally Beamish, Edwarda McGuirea i Matthewa Welcha), 52/2 (2021) 355-390.

FIGAREDO, Rubén: Today’s Dissonance, Tomorrow’s Consonance: A New Pact between Composers and Public (Sažetak: Današnja disonanca, sutrašnja konsonanca: novi dogovor između skladatelja i publike), 41/1 (2010) 91-116.

FILAKOVIĆ, Pavo – DEGMEČIĆ, Dunja – POŽGAIN, Ivan: Music as Therapy (Sažetak: Glazba kao terapija), 36/2 (2005) 287-300.

FILATOVA, Olha – BURKATSKYI, Zinovii – VOLKOVA, Galyna – KADANTSEVA, Nataliia  –  SAPSOVYCH,  Oleksandra:  Theory  of  Musical  Content:  A  Triune  Role Complex of Composer – Performer – Teacher (Sažetak: Prema teoriji glazbenog sadržaja: uloga trostrukog kompleksa skladatelj – izvođač – učitelj), 55/1 (2024) 181-194.

FINK,  Monika:  Ballszenen  i  Operetten  (Summary:  The  Ball  Scenes  in  Operettas;  Sažetak: Balske scene u operetama), 29/1 (1998) 3-9.

FINK, Monika: Ballszenen i Opern (Summary: The Ball Scenes in Operas; Sažetak: Balske scene u operama), 28/2 (1997) 169-188.

FINSCHER, Ludwig: Die «Entstehung des Komponisten». Zum problem Komponisten- Individualität  und  Individualstil  in  der  Musik  des  14.  Jahrhunderts  (Summary:  «The Making  of  the  Composer».  The  Problem  of  the  Composer’s  Individuality  and  the Individual Style of Fourteenth Century Music; Sažetak: «Pojava skladatelja». Prilog problemu individualnosti skladatelja i individualnog stila u glazbi četrnaestog stoljeća), 6/1 (1975) 29-45.

FINSCHER, Ludwig: Die «Entstehung des Komponisten». Zum problem Komponisten- Individualität und Individualstil in der Musik des 14. Jahrhunderts Bases (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music,

6/1  (1975)  29-45)  (Summary:  «The  Making  of  the  Composer».  The  Problem  of  the

Composer’s Individuality and the Individual Style of Fourteenth Century Music; Sažetak:

«Pojava skladatelja». Prilog problemu individualnosti skladatelja i individualnog stila u glazbi četrnaestog stoljeća), 25/1-2 (1994) 149-164.

FISCHER, Kurt von: Das Neue in der europäischen Kunstmusik als soziokulturelles Problem.

Ein Essai. (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 2/2 (1971) 141-154.) (Summary: Novelty in European Art Music

as  a  Socio-Cultural  Problem;  Sažetak:  Novo  u  evropskoj  umjetničkoj  glazbi  kao sociološko-kulturni problem), 25/1-2 (1994) 19-32.

FLOTZINGER, Rudolf: Zum Topos von der Völker und Stände verbindenden Wirkung der Musik (Summary: On the «Topos» of the Effects of Music Linking Together Nations and Strata; Sažetak: O toposu djelovanja glazbe kao veze između naroda i staleža), 12/2 (1981)

91-101.

FOCHT, Ivan: Adornos gnoseologistische Einstellung zur Musik (Summary: Adorno’s Gnoseological Attitude Towards Music; Sažetak: Adornov gnoseologistički stav prema muzici), 5/2 (1974) 265-276.

FOCHT, Ivan: La notion pythagoricienne de la musique: contribution à sa détermination (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 3/2 (1972) 161-172) (Summary: A Contribution to the Definition of the Pythagorean Concept of Music; Sažetak: Prilog određenju pitagorejskog pojma glazbe),

25/1-2 (1994) 51-62.

FÖLLMI, Beat A.: «Schönberg ist Theosoph». Anmerkungen zu einer wenig beachteten Beziehung (Summary: «Schönberg is Theosoph». Remarks on a Little Known Relationships;  Sažetak:  «Schönberg  je  teozof».  Napomene  uz  jedan  manje  uvažavan odnos), 30/1 (1999) 55-63.

FRANKOVIĆ,  Dubravka:  «Sĕdiljke» ou  «besĕde»  (soirées  ou  cercles)  à  Zagreb  en  1844.

Caractères socio-historiques et musicaux (Summary: Sĕdiljke or Besĕde (Gathering or Conversations) in Zagreb in 1844. Socio-Historical and Musical Characteristics; Sažetak: Sĕdiljke ili besĕde u Zagrebu 1844. godine. Društveno-povijesne i glazbene značajke), 23/2 (1992) 171-176.

FREDERICKSON, Jon – ROONEY, James F.: How the Music Occupation Failed to Become a Profession  (Sažetak:  Kako  je  zanimanje  glazbom  propustilo  postati  profesijom),  21/2 (1990) 189-206.

FREDERICKSON, Jon: Technology and Music Performance in the Age of Mechanical Reproduction (Sažetak: Tehnologija i glazbena izvedba u razdoblju mehaničke reprodukcije), 20/2 (1989) 193-220.

FRISHBERG SALOMAN, Ora: Chabanon and Chastullux on Music and Language, 1764-1773 (Sažetak: Chabanon i Chastellux o glazbi i jeziku u razdoblju 1764-1773. godine), 20/2 (1989) 109-120.

FRØKJÆR BAUNVIG, Katrine – WIERØD BORČAK, Lea: Medial Conditions For Social Bonding in Singing (Sažetak: Medijalni uvjeti za društveno povezivanje u pjevanju), 52/2 (2021) 391-416.

FRONEMAN,  Willemien:  „Composing  According  to  Silence“:  Undecidability  in  Derrida Cage’s Roaratorio (Sažetak: „Skladanje prema tišini“: neodredljivost u Derridainu i Cageovu djelu Roaratorio), 41/2 (2010) 293-317.

FRONEMAN, Willemien – RHYN, Chris van: Is There a Sonic Climate of Zulu History? (Sažetak: Is There a Sonic Climate of Zulu History?), 55/2 (2024) 335-353.

FRUEHWALD, Scott: Saint-Saëns’s Views on Music and Musicians (Sažetak: Saint-Saënsovi

pogledi na glazbu i glazbenike), 15/2 (1984) 159-174.

FUBINI, Enrico: Implicazioni sociologiche nella creazione e nella fruizione della musica d’avanguardia  (Summary:  Sociological  Implications  of  the  Creation  and  Reception  of Avant-Garde Music; Sažetak: Sociološke implikacije u stvaranju i potrošnji avangardne muzike), 5/1 (1974) 169-179.

FUBINI, Enrico: Yves-Marie André e la tradizione pitagorica nella musica (Sažetak: Yves-

Marie Andrê i pitagorejska tradicija u muzici), 2/1 (1971) 37-47.

FULCHER, Jane: Melody and Morality: Rousseau’s Influence on French Music Criticism (Sažetak: Melodija i moralnost: Rousseauov utjecaj na Francusku glazbenu kritiku), 11/1 (1980) 45-57.

FULCHER, Jane: The Orphéon Societies: «Music for the Workers» in Second-Empire France

(Sažetak: Društva Orphéon – «Glazba za radnike» u Drugom carstvu), 10/1 (1979) 47-56.

GAONA, Saúl: Perturbation Theory: A New Answer to Some of the Most Enduring Dilemmas of the Theory of Consonance and Dissonance (Sažetak: Teorija perturbacije: novi odgovor na neke od najtrajnijih dilema u teoriji konsonance i disonance), 49/2 (2018) 175-190.

GARNETT, Liz: Choral Singing as Bodily Regime (Sažetak: Zborsko pjevanje kao zborski

režim), 36/2 (2005) 249-269.

GARTMANN, Thomas – PFLEGER, Tobias – GURTNER, Andrea: Wie funktionieren, kommunizieren und interagieren Spezialisten-Teams? Drei Fallstudien zur Hochleistung (Summary: How do Specialist Teams Function, Communicate and Interact? Three Case Studies on Achieving a Top Performance; Sažetak: Kako funkcioniraju, komuniciraju i međusobno djeluju specijalistički timovi? Tri studije slučaja postizanja vrhunske izvedbe),

50/1-2 (2019) 337-364.

GEENBERG, Yoel: „These Are Your Gods, Oh Israel“: Chosenness in Schoenberg’s Moses und

Aron as a Response to Houston Stewart Chamberlain’s Foundations (Sažetak: „Ovo su

tvoji bogovi, o Izraele“: izabranost u Schönbergovoj operi Mojsije i Aron kao odgovor na djelo Temelji devetnaestog stoljeća Houstona Stewarta Chamberlaina), 48/1 (2017) 71-99.

GHANI, Dahlan Bin Abdul: The Art of Noise: Understanding Digital Sound Effects in Wayang Kulit (Shadow Puppets) (Sažetak: Umjetnost buke: razumijevanje digitalnih zvukovnih efekata u Wayang Kulitu (lutkarsko kazalište sjena), 47/1 (2016) 137-149.

GHAZAL, Ahmed – TANTAWI, Passent: Reshaping Popular Music Culture Via Digital Technologies:  The  Case  of  Mahraganat  in  Egypt  (Sažetak:  Ponovno  oblikovanje popularne glazbene kulture putem digitalnih tehnologija: slučaj Mahraganat glazbe u Egiptu), 54/1 (2023) 107-128.

GIGER, Andreas: Tradition in the Post World-War-I Vienna: The Role of the Vienna State Opera from 1919-1924 (Sažetak: Tradicija u Beču poslije Prvog svjetskog rata. Uloga Bečke državne opere od 1991. do 1924. godine), 28/2 (1997) 189-211.

GILBERT, Shirli: Music as Historical Source: Social History and Musical Texts (Sažetak: Glazba kao povijesni izvor: socijalna povijest i glazbeni tekstovi), 36/1 (2005) 117-134.

GILL, Russell B.: Romance as Performance: The Case of The Magic Flute (Sažetak: Romanca

kao izvedba: slučaj Čarobne frule), 42/2 (2011) 257-266.

GILLESPIE, Luke O.: Literacy, Orality, and the Parry-Lord «Formula»: Improvisation and the Afro-American Jazz Tradition (Sažetak: Pismenost, usmenost i Parry-lordova «formula»: improvizacija i afro-američka jazz tradicija), 22/2 (1991) 147-164.

GIMÉNEZ-RODRÍGUEZ, Francisco J.: What Spanishness? Avant-garde Vs. Nationalism, Neopopularism and Espagnolade in El Amor Brujo de Manuel de Falla (1915-1923) (Sažetak: Kakva španjolskost? Avangarda protiv nacionalizma, neopopularizma i espagnolade u El Amor Brujo Manuela de Falle (1915.-1923.)), 49/1 (2018) 95-114.

GIULIANI, Elizabeth: Le public de l’Opéra de Paris de 1750 à 1760. Mesure et définition (Summary: The Public of the Opéra de Paris from 1750 till 1760. Measure and Definiton; Sažetak: Publika Pariške Opere od 1750. do 1760. – mjerenje i određenje), 8/2 (1977) 159-

181.

GLIGO, Nikša: Die Zeit als ein beitragendes Element zur Werkdetermination in der Neuen Musik (Summary: The Time as a Contribution to the Work Determination in the New Music; Sažetak: Vrijeme kao doprinos determinacije djela u novoj glazbi), 28/1 (1997) 19-

36.

GLIGO, Nikša: Klang – Zeichen – Wert. Die musikalische Semiotik und ästhetische Wertung

(Summary:  Sound  –  Sign  –  Value.  Musical  Semiotics  and  the  Aesthetic  Evaluation;

Sažetak: Zvuk – znak – vrijednost. Glazbena semiotika i estetičko vrednovanje), 31/2 (2000) 185-202.

GLIGO,  Nikša:  Musical  Emblems  in  Croatian  Cell  Phones:  A  Repertoire  for  Identity Formation? (Sažetak: Glazbeni amblemi na hrvatskim mobitelima: repertoar stvaranja identiteta?), 46/1 (2015) 135-144.

GLIGO, Nikša: Schrift ist Musik? Ein Beitrag zur Aktualisierung eines nur anscheinend veralteten Widerspruchs (I) (Summary: Notation is Music? A Contribution to the Actualization of an Only Apparently Obsolete Contradiction (I); Sažetak: Zapis je glazba? Prilog aktualizaciji jedne samo prividno zastarjele kontradikcije (I)), 18/1 (1987) 145-162.

GLIGO, Nikša: Schrift ist Musik? Ein Beitrag zur Aktualisierung eines nur anscheinend veralteten Widerspruchs (II) (Summary: Notation is Music? A Contribution to the Actualization of an Only Apparently Obsolete Contradiction (II); Sažetak: Zapis je glazba? Prilog aktualizaciji jedne samo prividno zastarjele kontradikcije (II)), 19/1 (1988) 75-115.

GLIGO, Nikša: Über die Wissenschaftlichkeit der Musikwissenschaft: die Analyse als ihre Gewährleistung (mit besonderer Berücksichtigung der Analyse Neuer Musik) (Summary: On  the  Scientific  Characters  of  Musicology:  Analysis  as  Its  Guarantee  (with  Special Regard to the Analysis of New Music; Sažetak: O znanstvenosti muzikologije: analiza kao njezina garancija (s posebnim obzirom na analizu nove glazbe)), 23/2 (1992) 189-206.

GOŁAB, Maciej: Analyse und Werk – Zu den Polemiken über Heinrich Schenkers Theorie (Summary:  Analysis  and  Work  –  Polemics  on  Heinrich  Schenker’s  Theory;  Sažetak: Analiza i djelo – polemike o teoriji Heinricha Schenkera), 19/2 (1988) 197-215.

GOLUB, Ivan: Juraj Križanić and João IV, or Križanić’s Supervision of the Printing of João’s

Music and Works about Music (Sažetak: Juraj Križanić i João IV), 11/1 (1980) 59-86.

GOLUB,   Ivan:   Juraj  Križanić’s   «Asserta  Musicalia»  in   Caramuel’s   Newly  Discovered Autograph of «Musica» (Sažetak: Križanićeva Asserta Musicalia u Caramuelovu djelu Musica), 9/2 (1978) 219-278.

GOMES RIBERO, Paula: Interface opéra technologie. Réflexio sur les politiques de la différence dans les dramaturgies de la convergence (Summary: Interface opera Technology. On the Politics of Difference in the Dramaturgies of Convergence, Sažetak: Međusklop operne tehnologije. O politici razlike u dramaturgijama konvergencije), 44/1 (2013) 137-

148.

GOSTUŠKI, Dragutin: Réalité, musique, langage. Contribution a l’etude du probleme de la signification  (Summary:  Reality,  Music,  Language;  Sažetak:  Realnost,  muzika,  jezik (prilog proučavanju problema značenja), 8/1 (1977) 49-72.

GOTHAM, Mark: Coherence in Concert Programming: A View from the U.K. (Sažetak: Koherentnost u programiranju koncerata: pogled iz Ujedinjenog Kraljevstva), 45/2 (2014)

293-309.

GOVENDER, Praneschen – RUGGUNAN, Shaun: An Exploratory Study into African Drumming  as  an  Intervention  in  Diversity  Training  (Sažetak:  Istraživačka  studija  o afričkom bubnjanju kao intervenciji u izobrazbu raznolikosti), 44/1 (2013) 149-168.

GRANT, Morag Josephine: Experimental Music Semiotics (Sažetak: Eksperimentalna glazbena semiotika), 34/2 (2003) 173-191.

GRAY, Catherine T.: Patterns of Textual Recurrence in Kiganda Song (Sažetak: Obrasci tekstualnog ponavljanja u pjesmi Kiganada), 23/1 (1992) 85-100.

GRAZIANO, Amy – JOHNSON, Julene K.: The Influence of Scientific Research on Nineteenth-Century Musical Thought: The Work of Richard Wallaschek (Sažetak: Utjecaj znanstvenog istraživanja na glazbenu misao 19. stoljeća: djelo Richarda Wallascheka),

37/1 (2006) 17-32.

GREEN, Edward: »Lovely Ritmos, Meter Mad« – Irregular Hypermeter, Aesthetic Realism, and the Joyous Artistry of the Beatles (Sažetak: »Dražesni ritmovi, ludi metar« – Nepravilni hipermetar, estetički realizam i radosna umjetnost Beatlesa), 50/1-2 (2019) 319-335.

GREEN, Edward: Biography as Ethics: A Study in the Combat between Respect and Contempt in the Mind of Felix Mendelssohn (Sažetak: Biografija kao etika. Istraživanje sukoba između poštovanja i prijezira u svijesti Felixa Mendelssohna), 37/2 (2006) 157-166.

GREEN, Edward: Donald Francis Tovey, Aethetic Realism, and the Need for a Philosophic Musicology (Sažetak: Donald Francis Tovey, estetički realizam i potreba za filozofijskom muzikologijom), 36/2 (2005) 227-248.

GREEN, Edward: Greatness in Music, Aesthetic Realism, and Chopin’s Waltz in Ab, Op. 69, #1

(Uzvišenost u glazbi, estetičkom realizmu i Chopinovu Valceru u As-duru, op. 69, br. 1),

41/2 (2010) 379-388.

GREEN, Edward: Music and the Victorian Mind: The Musical Aesthetics of the Rev. H.R.

Haweis (Sažetak: Glazba i viktorijanski um: estetika glazbe Vlč. H. R. Haweisa), 39/2

(2008) 239-256.

GREEN, Edward: Steiner, Korngold and the Musical Expression of Physical Space – A Preliminary Note (Sažetak: Max Steiner, Wolfgang Erich Korngold i glazbeno izražavanje fizičkog prostora. Uvodna napomena), 42/1 (2011) 59-78.

GREEN, Edward: Tonal Symmetry in Leonore: An Instance of an Enduring Principale in Beethoven’s Compositional Method (Sažetak: Tonalna simetrija u Leonori: primjer jednog trajnog načela u Beethovenovoj skladateljskoj metodi), 46/2 (2015) 291-320.

GREEN, Edward: What Is Chapter 17 of Guido’s Micrologus About? – A Proposal for a New Answer (Sažetak: O čemu se radi u 17. poglavlju Guidova Micrologusa? Prijedlog za novi odgovor), 38/2 (2007) 143-170.

GRGURIĆ, Diana – JANKOVIĆ-PAUS, Svjetlana: A Popular Music Form in the Construction of Identity. Historical Discourse Analysis of Canzonetta Fiumana (Sažetak: Popularno- glazbena forma u konstrukciji identiteta. Povijesno-diskurzna analiza riječke pjesme (canzonetta fiumana)), 49/2 (2018) 295-310.

GRIMES, Nicole: In Search of Absolute Inwardness and Spiritual Subjectivity? The Historical and Ideological Context of Schumann’s „Neue Bahnen“ (Sažetak: U potrazi za apsolutnom biti i duhovnom subjektivnošću? Povijesni i ideologijski kontekst Schumannova članka

„Novi putevi“ („Neue Bahnen“)), 39/2 (2008) 139-163.

GRLIĆ, Danko: Autonome oder gesellschaftsbedingte Musik. Versuch eines marxistischen Zugangs (Summary: Autonomuos or Socially Conditioned Music; Sažetak: Autonomna ili društveno uvjetovana glazba), 7/1 (1976) 125-145.

GRLIĆ, Danko: Philosophie und Musik (Summary: Philosophy and Music; Sažetak: Filozofija i glazba), 9/1 (1978) 35-52.

GROSSI, Pietro: Computer and Music (Sažetak: Elektronsko računalo i glazba), 4/2 (1973) 279-

286.

GUCZALSKI, Krzysztof: «Allerhöchste Allgemeinheit» und «Genaueste Bestimmtheit» musikalischer Bedeutungen. Ein Versuch, die Paradoxa Felix Mendelssohn-Bartholdys, Arthur Schopenhauers und Susanne Langers aufzulösen (Summary: «The Utmost Generality» and «The Most Precise Distinctness» of Musical Meanings. An Attempt at a Solution of the Paradoxes of Felix Mendelssohn-Batholdy, Arthur Schopenhauer and Susanne Langer; Sažetak: «Najviša općenitost» i «najtočnija određenost» glazbenih značenja. Pokušaj razješenja paradoksa Felixa Mendelssohna-Bartholdyja, Arthura Schopenhauera i Susanne Langer), 34/2 (2003) 103-126.

GUR, Golan: The Spectre of the End: Musical Avant-Gardism and the Philosophical Turn

(Sažetak: Spektar kraja: glazbeni avangardizam i filozofijski obrat), 42/2 (2011) 267-284.

GURTNER, Andrea – GARTMANN, Thomas – PFLEGER, Tobias: Wie funktionieren, kommunizieren und interagieren Spezialisten-Teams? Drei Fallstudien zur Hochleistung (Summary: How do Specialist Teams Function, Communicate and Interact? Three Case

Studies on Achieving a Top Performance; Sažetak: Kako funkcioniraju, komuniciraju i međusobno  djeluju  specijalistički  timovi?  Tri  studije  slučaja  postizanja  vrhunske izvedbe), 50/1-2 (2019) 337-364.

GUT, Serge: Le phénomène répétitif chez Maurice Ravel. De l’obsession à l’annihilation incantatoire (Summary: The Phenomenon of Repetition in Maurice Ravel’s Opus. From Obsession to Incantative Annihilation; Sažetak: Pojava repetitivnosti kod Mauricea Ravela. Od začaravajuće opsesivnosti do uništenja), 21/1 (1990) 29-46.

HAAR, James: Classicism and Mannerism in 16th-Century Music (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 1/1 (1970)

55-68) (Sažetak: Klasicizam i manirizam u muzici 16. stoljeća), 25/1-2 (1994) 5-18.

HAFEZ-ERGAUT,  Agnès  –  YEOLAND,  Rosemary:  Camille  Mauclair:  Critique  et compétences (Summary: Camille Mauclair: Critique and Competences; Sažetak: Camille Mauclair: kritika i kompetencije), 37/2 (2006) 213-224.

HAMES, Annette – INGLIS, Ian: «And I Will Lose My Mind…». Images of Mental Illness in the Songs of the Beatles (Sažetak: «I izgubit ću pamet…». Slike duševnog oboljenja u pjesmama Beatlesa), 30/2 (1999) 173-188.

HAMMEL, Stephan – PARKHURST, Bryan J.: On Theorizing a „Properly Marxist“ Musical

Aesthetics (Sažetak: Teoretizirajući o „pravoj marksističkoj“ estetici glazbe), 48/1 (2017)

33-55.

HANOCH-ROE, Galia: Beethoven’s Ninth: An «Ode to Choice» As Presented in Stanley Kubrick’s A Clockwork Orange (Sažetak: Beethovenova Deveta: «Oda izboru» kako je predstavljena u filmu Paklena naranča Stanleya Kubricka), 33/2 (2002) 171-179.

HANOCH-ROE, Galia: Musical Space and Architectural Time: Open Scoring versus Linear Processes (Sažetak: Glazbeni prostor i arhitektonsko vrijeme: otvorena partitura nasuprot linearnih procesa), 34/2 (2003) 145-160.

HANŽEK, Branko – ROGINA, Mladen – MALETIĆ, Mladen: Vinko Dvořák Sliding Tones:

Do They Exist? (Sažetak: Postoje li klizni tonovi Vinka Dvořáka), 37/2 (2006) 225-232.

HANŽEK, Branko – ROGINA, Mladen: Development of Croatian Acoustics till 1954. On the legacy of Vinko Dvořák (Sažetak: Razvitak hrvatske akustike do 1954. O ostavštini Vinka Dvořáka), 42/2 (2011) 331-354.

HANŽEK, Branko: The Genealogy of Science and Acoustics – A Supplement to the Description of the Role of Vinko Dvořák (Sažetak: Genealogija znanosti i akustika uz prikaz uloge Vinka Dvořáka), 35/2 (2004) 183-210.

HARTMANN, Andreas: Affektdarstellung und Naturbeherrschung in der Musik des Barocks (Summary:  Presentation  of  Affections  and  Mastering  of  Nature  in  the  Music  of  the Baroque; Sažetak: Prikazivanje afekata i ovladavanje prirodom u glazbi baroka), 11/1 (1980) 25-44.

HARWEG, Roland: Kann Man Musik Verstehen? (Summary: Can One Understand Music?;

Sažetak: Može li se muziku razumjeti?, 3/2 (1972) 173-186.

HARYONO, Slamet – WIYOSO, Joko – SHABRINA, Gita Surya – WADIYO, Wadiyo: Aesthetic Features and Ethnic Music Style in Social and Cultural Life of the Modern Era (Sažetak: Estetičke karakteristike i stil etničke glazbe u društvenom i kulturnom životu modernoga doba), 52/1 (2021) 83-100.

HAUG, Andreas: Zu einer Beudeutungsgeschichte des Lauten: das Crescendo in Beethovens Leonoren-Ouvertüren (Summary: Towards a History of Meaning of Loudness: Crescendo in Beethoven’s Leonora Ouvertures; Sažetak: K povijesti značenja glasnoće: crescendo u Beethovenovim Leonora uvertirama), 28/1 (1997) 3-18.

HAUGE, Peter: Robert Fludd (1574-1637) – A Musical Charlatan? A Contextual Study of His Temple of Music (1617-18) (Sažetak: Robert Fludd (1574-1637) – Glazbeni šarlatan? Kontekstualno istraživanje njegova djela Temple of Music (1617-18)), 39/1 (2008) 3-29.

HEHR, Elizabeth: How the French Viewed the Differences between French and Italian Singing Styles of the 18th Century (Sažetak: Kako su francuzi shvaćali razlike između francuskog i talijanskog stila pjevanja u 18. stoljeću), 16/1 (1985) 73-85.

HEISLER, Paul K.: A Theoretical Comparison of Certified Piano Teacher’s Claim to Professional Status with the Sociological Definition of Profession (Sažetak: Teorijska usporedba zahtjeva zaprisegnutih učitelja glasovira za profesionalnim statusom sa sociološkom definicijom profesije), 26/2 (1995), 239-249.

HEISTER, Hanns-Werner – SINGER, Deborah: Mimetische Zeremonien und andere gewaltarme Herschaftsmethoden. Zur Rolle der Musik in den Guaraní-Reduktionen der Jesuiten in Paraguay im 17. und 18. Jahrhundert (Summary: Mimetic Ceremonies and Other Non-violent Methods of Ruling. On the Role of Music in the Guarani-Reducciones of Jesuits in 17th- and 18th-century Paraguay, Sažetak: Mimetičke ceremonije i druge nenasilne metode vladanja. O ulozi glazbe u isusovačkim misijama (reducciones) Guaraní naroda u Paragvaju u 17. i 18. stoljeću), 44/2 (2013) 213-238.

HEISTER, Hanns-Werner: Geldloses Geschenk und archaisches Zeremoniell. Der Konzert- Beifall  als  Honorar-  und  Aktivitätsform  (Summary:  Audience  Applause  at  Concerts;

Sažetak: Besplatni pokloni i arhaički ceremonijal. Prihvaćanje koncerta kao oblik honorara

i aktivnosti), 15/2 (1984) 91-128.

HEISTER, Hanns-Werner: Hände und Stimme. Zum Verhältnis von instrumentaler und vokaler Musik (Summary: Hands and Voice. On the Relationship between Instrumental and Vocal Music; Sažetak: Ruke i glas. O odnosu između instrumentalne i vokalne glazbe), 50/1-2 (2019) 87-104.

HEISTER, Hanns-Werner: Musikprozess und Fuzzy Logic (Summary: Music and Fuzzy Logic,

Sažetak: Glazba i ‘fuzzy’ logika), 43/2 (2012) 377-401.

HEISTER, Hanns-Werner: Spiel und Musik. Eine systematische Skizze (Summary: Play and Music. A Systematical Sketch; Sažetak: Igra i glazba. Skica sustava), 47/2 (2016) 171-194. HEISTER,     Hanns-Werner:          Zwischen             Physik,       Psysiologie                    und   Philosophie.    Die    fünf grundlegenden  Fragestellungen  der  Musikwissenschaft  (Summary:  Between  Physics, Physiology and Philosophy. The Five Fundamental ‚Questions‘ of Musicology, Sažetak: Između fizike, fiziologije i filozofije. Pet fundamentalnih ‘pitanja’ muzikologije), 45/2

(2014) 213-242.

HELMAN, Zofia: Von Heinrich Schenkers analytischer Methode bis zur generativen Theorie der tonalen Musik (Summary: From Heinrich Schenker’s Analytical Method to the Generative Theory of Tonal Music; Sažetak: Od analitičke metode Heinricha Schenkera do generativne teorije tonalne glazbe), 19/2 (1988) 181-195.

HENRY, Edward O.: Social Structure and Music: Correlating Musical Genres and Social Categories in Bhojpuri-Speaking India (Sažetak: Društvena struktura i glazba: korelacija glazbenih žanrova i društvenih kategorija u indijskom jezičnom području Bhojpuri), 19/2 (1988) 217-227.

HERRERA, Lucía – ANASTASIU, Ioana – LORENZO, Oswaldo: Social Duffusion of Music in Spain Through the Popular Press (Sažetak:  Društveno širenje glazbe u Španjolskoj putem popularnog tiska), 38/1 (2007) 71-89.

HERRERA, Lucia – CREMADES, Roberto – LORENZO, Oswaldo: Mass Media Influence on the Musical Preferences of Spanish Adolescents: A Sociological Analysis (Sažetak: Utjecaj masovnih medija na glazbene preferencije španjolskih adolescenata: sociološka analiza),

42/1 (2011) 125-144.

HOLEN, Arne – SELVIK, Randi Margrete – DIESEN, Rolf: Das Musikleben in einer Landgemeinde (Summary: Musical Culture in a Norwegian Rural District; Sažetak: Glazbena kultura u jednom seoskom predjelu Norveške), 5/1 (1974) 191-207.

HONEGGER, Mare: La place de Strasbourg dans la musique au XVIe siècle (first published in:

/ prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 13/1 (1982) 5-19) (Summary: The Place of Strasbourg in the 16th-Century Music; Sažetak: Mjesto Strasbourga u glazbi 16. stoljeća), 25/1-2 (1994) 233-249.

HOOGERWERF, Frank W.: Cage contra Stravinsky, or Delineating the Aleatory Aesthetic

(Sažetak: Cage nasuprot Stravinskom ili nacrt aleatoričke estetike), 7/2 (1976) 235-247.

HOOPER, Giles: A Popular Postmodern or a Postmodern Popular? (Sažetak: Popularno postmoderno ili postmoderno popularno?), 43/1 (2012) 187-207.

HOOPER, Giles: Nevermind Nirvana: A Post-Adornian Perpective (Sažetak: Postadornovska perspektiva Nirvanina Albuma Nevermind), 38/1 (2007) 91-107.

HOSOKAWA, Shuhei: Considérations sur la musique mass-médiatisée (Summary: Thoughts on Mass-mediated  music;  Sažetak:  Razmatranja  o  masovnim  glazbenim  medijima),  12/1 (1981) 21-50.

HOSOKAWA, Shuhei: Distance, Gestus, Quotation: Aufstieg und Fall der Stadt Mahagonny of Brecht and Weill (Sažetak: «Distanca», gesta, citat: Uspon i pad grada Mahagonnyaja Brechta i Weilla), 16/2 (1985) 181-199.

HRVATIN, Klara: Exception to Tōru Takemitsu’s Oeuvre: Theater Piece Blue Aurora (Sažetak: Iznimka u opusu Tōrua Takemitsua: kazališni komad Blue Aurora (Plava aurora)), 52/1 (2021) 133-146.

HRVATIN, Klara: The Collaboration behind Takemitsu’s Film Music for Otoshiana (1962) (Sažetak: Suradnja u pozadini glazbe Tóru Takemitsua za film Otoshiana (1962.)), 54/1 (2023) 87-106.

HUGHES, Jenny: Idealist Thought and Music Theory in Nineteenth-Century Germany: K. C. F.

Krause, Dissonance, and «Coming-To-Be» (Sažetak: Idealistička misao i glazbena teorija u

Njemačkoj u 19. stoljeću: K. C. F. Krause, disonanca i «nastajanje»), 27/1 (1996) 3-12.

HUI, Keri: Kreutzer Sonata’s Rousseauian Gospel: Leo Tolstoy’s Artistic Asceticism (Sažetak: Rousseauovsko evanđelje Kreutzerove sonate: Umjetnički asketizam Lava Tolstoja), 53/1 (2022) 77-107.

HURST, Andrea: Derrida’s Quasi-Transcendental Interweaving of Invention and Interpretation

(Sažetak: Kvazi transcendentalna protkanost invencije i interpretacije Jacquesa Derridae),

36/1 (2005) 159-178.

IMBERTY, Michel: Introduction à une sémantique musicale de la musique vocale (Summary: Introduction to a musical semantics of vocal music; Sažetak: Uvod u muzičku semantiku vokalne glazbe), 4/2 (1973) 175-196.

INGLIS, Ian – BARRON, Lee: (Re)constructing the Carnival: Continuity and Change in Contemporary British Popular Music (Sažetak: (Re)konstrukcija karnevala: kontinuitet i promjene u suvremenoj britanskoj popularnoj glazbi), 33/1 (2002) 95-112.

INGLIS, Ian – HAMES, Annette: «And I Will Lose My Mind…». Images of Mental Illness in the Songs of the Beatles (Sažetak: «I izgubit ću pamet…». Slike duševnog oboljenja u pjesmama Beatlesa), 30/2 (1999) 173-188.

INGLIS, Ian: Ideology, Trajectory & Stardom: Elvis Presley & The Beatles (Sažetak: Ideologija, putanja i sustav zvijezda: Elvis Presley i The Beatles), 27/1 (1996) 53-78.

INGLIS, Ian: The Politics of Stardust or the Politics of Cool: Popular Music and the British Honours System (Sažetak: Politika zvjezdane prašine ili politika „cool“ stava: popularna glazba i sustav britanskih počasti), 41/1 (2010) 51-71.

INGLIS, Ian: Variations on a Theme: The Love Songs of the Beatles (Sažetak: Varijacije na temu: ljubavne pjesme Beatlesa), 28/1 (1997) 37-62.

IRVING, Howard: «The Necessity of Giving Continual and Fatiguing Lessons»: William Crotch on Music Teaching in London (Sažetak: «Nužnost davanja stalnih i zamarajućih satova»: William Crotch o podučavanju glazbe u Londonu), 35/2 (2004) 151-167.

IRVING, Howard: Richard Mackenzie Bacon and the Royal Academy of Music (Sažetak: Richard Mackenzie Bacon i Kraljevska akademija za glazbu), 21/1 (1990) 79-90.

ISHERWOOD,  Robert  M.:  Popular  Musical  Entertainment  in  Eighteenth-Century  Paris

(Sažetak: Pučka zabavna glazba u Parizu u 18. stoljeću), 9/2 (1978) 295-310.

JANKOVIĆ-PAUS, Svjetlana – GRGURIĆ, Diana: A Popular Music Form in the Construction of Identity. Historical Discourse Analysis of Canzonetta Fiumana (Sažetak: Popularno- glazbena forma u konstrukciji identiteta. Povijesno-diskurzna analiza riječke pjesme (canzonetta fiumana)), 49/2 (2018) 295-310.

JAUK, Werner: Sprache und Musik: der angebliche Sprachcharakter von Musik (Summary: Language and Music: Allegedly Linguistic Character of Music; Sažetak: Jezik i glazba: tobožnji jezični karakter glazbe), 26/1 (1995) 97-106.

JAYAKRISHNAN, Narayanan – VELAYUTHAM, Chandrasekaran: A Study on the Framing of ‘Margazhi’/December Music Festival in the English and Regional Language Newspapers in Tamil Nadu (Sažetak: Istraživanje o izvještavanju s prosinačkog (‘Margazhi’) glazbenog festivala u Chennaiju u novinama na engleskom i regionalnom jeziku u Tamil Nadu), 45/1 (2014) 77-98.

JEREMIĆ MOLNAR, Dragana – MOLNAR, Aleksandar: Historical Truthfulness of Parsifal.

The  Legacy  of  Adorno’s  Reconciliation  with  Wagner  (Sažetak:  Povijesna  istinitost

Parsifala. Naslijeđe Adornove pomirbe s Wagnerom), 53/1 (2022) 161-186.

JOCHYMCZIK, Maciej: Musical Rhetoric in the Oeuvre of Father Amando Ivanschiz on Example of Selected Works (Sažetak: Glazbena retorika u opusu oca Amanda Ivančića (Amando Ivanschiz) na primjeru nekih odabranih djela), 40/1 (2009) 3-29.

JOHANSSON, Mats Sigvard: Making Sense of Genre and Style in the Age of Transcultural

Reproduction (Sažetak: Osmišljavanje žanra i stila u razdoblju transkulturne reprodukcije),

47/1 (2016) 45-62.

JOHANSSON, Mats: The Gendered Fiddle: On the Relationship between Expressive Coding and Artistic Identity in Norwegian Folk Music (Sažetak: Rodni fiddle: o odnosu između ekspresivnog kodiranja i umjetničkog identiteta u norveškoj folklornoj glazbi), 44/2 (2013)

361-384.

JOHANSSON, Wictor: Avanti and the Young Communist League of Sweden: Using the Recording Industry to Produce Political Ideology (Sažetak: Avanti i Savez mladih komunista Švedske: upotreba diskografske industrije za proizvodnju političke ideologije),

55/2 (2024) 305-333.

JOHNSON, Julene K. – GRAZIANO, Amy: The Influence of Scientific Research on Nineteenth-Century Musical Thought: The Work of Richard Wallaschek (Sažetak: Utjecaj znanstvenog istraživanja na glazbenu misao 19. stoljeća: djelo Richarda Wallascheka),

37/1 (2006) 17-32.

JOHNSTON, Thomas F.: Contemporary Emphases in Northern Eskimo Dance (Sažetak: Suvremeni naglasci u sjevernoeskimskom plesu), 22/1 (1991) 47-79.

JOHNSTON, Thomas F.: The Role of Music within the Context of an African Social Beer-drink

(Sažetak: Afrički običaji uživanja pive i uloga glazbe), 5/2 (1974) 291-311.

JOHNSTON, Thomas F.: The Social Context of Irish Folk Instruments (Sažetak: Društveni

kontekst irskih folklornih glazbala), 26/1 (1995) 35-59.

JONES, Gaynor G.: Weber’s «Secondary Worlds»: The Later Operas of Carl Maria von Weber

(Sažetak: Weberov Sekundarni svijet: Kasnije opere C. M. von Weber), 7/2 (1976) 219-

233.

JOSIPOVIĆ, Ivo: The Mass Media and Musical Culture (Sažetak: Masovni mediji i glazbena kultura), 15/1 (1984) 39-51.

JOST,   Ekkehard:   Anmerkungen   zur   Rolle  der   Versuchsperson   in   der   experimentellen

Musikpsychologie (first published in: / prvi put objavljeno u: International Review of the

Aesthetics and Sociology of Music, 4/2 (1973) 229-244) (Summary: Notes on the Role of Respondents in the Experimental Psychology of Music; Sažetak: Napomene o ulozi ispitanika u eksperimentalnoj psihologiji glazbe), 25/1-2 (1994) 63-78.

JULIEN, Jean-Rémy: L’influence des crieurs de Paris sur le récitatif debussyste: une hypothèse (Summary: The Influence of Parisian Street «Shouters» on Debussy’s Recitative: A Hypopthesis; Sažetak: Utjecaj pariških uličnih izvikivača na Debussyjev recitativ), 15/2 (1984) 141-157.

JUNGMANN,   Irmgard:   Gesang   im   Mittelalter   –   Zur   Revision   eines   Geschichtsbildes

(Summary: Singing in the Middle Ages – Towards a Revision of the Historical Image),

32/1 (2001) 3-32.

JUREK, Bohumil: Le Baroque et le Rococo en musique (Summary: Baroque and Rococo in

Music; Sažetak: Barok i rokoko u glazbi), 10/2 (1979) 207-214.

JURIĆ,  Monika:  Paideia  and  the  Neo-Platonic  Ideas  on  Music  Education  and  Culture  in

Renaissance Dubrovnik in the Works by Niccolò Vito di Gozze (Nikola Vitov Gučetić,

1549-1610)  (Sažetak:  Paideia  i  neoplatoničke  ideje  o  glazbenom  odgoju  i  kulturi  u renesansnom Dubrovniku u djelima Nikole Vitova Gučetića (1549.-1610.)), 44/1 (2013) 3-

17.

JŮZL,  Miloš:  Music  and  the  Totalitarian  Regime  in  Czechoslovakia  (Sažetak:  Glazba  i

totalitarni režim u Čehoslovačkoj), 27/1 (1996) 31-51.

KADANTSEVA, Nataliia – SAPSOVYCH, Oleksandra – FILATOVA, Olha – BURKATSKYI, Zinovii – VOLKOVA, Galyna: Theory of Musical Content: A Triune Role Complex of Composer – Performer – Teacher (Sažetak: Prema teoriji glazbenog sadržaja: uloga trostrukog kompleksa skladatelj – izvođač – učitelj), 55/1 (2024) 181-194.

KADEN, Christian: Musikalische Normenbildung und ihre sozialen Grundlagen (Summary: The Formation of Musical Norms and Their Social Foundations; Sažetak: Stvaranje glazbenih normi i njihove društvene osnove), 6/1 (1975) 57-66.

KADEN,  Christian:  Sozialstrukturen  als  Bewegungsmomente  des  Musikhörens  (Summary: Social Structures as Impetuses of Music Hearing; Sažetak: Društvene strukture kao pokretački momenti glazbenog slušanja), 15/2 (1984) 175-202.

KAEMMER, John E.: Elements of Research in Aesthetics (Sažetak: Elementi istraživanja u

estetici), 9/1 (1978) 121-130.

KAJANOVÁ, Yvetta: Crossing Borders Between Traditions and a Global Approach to Music

Culture in Central Europe as Exemplified by Klezmer and Flamenco (Sažetak: Prelazeći

granice  između  tradicijâ  i  globalnog  pristupa  glazbenoj  kulturi  srednje  Europe  na

primjerima klezmera i flamenca), 51/2 (2020) 247-257.

KAJANOVÁ,  Yvetta:  The  Rock,  Pop  and  Jazz  in  Contemporary  Musicological  Studies

(Sažetak: Rock, pop i jazz glazba u suvremenim muzikološkim istraživanjima), 44/2 (2013)

343-359.

KAJKOV, Michael: Three Etudes Op. 65: Alexander Scriabin’s Late Period Harmonic Innovations (Sažetak: Tri etide op. 65: harmonijske inovacije u kasnom razdoblju Aleksandra Skrjabina), 51/2 (2020) 223-245.

KALISCH, Volker: Mozart und Kitsch: «Ein musikalischer Spass»? (Summary: Mozart and

Kitsch: «A Musical Joke»; Sažetak: Mozart i kič: «glazbena šala»?), 23/1 (1992) 43-60.

KALISCH, Volker: Zur Rezeption der Max Weberschen Musiksoziologie – aus musiksoziologischer Sicht (Summary: On the Reception of Max Weber’s Sociology of Music – From the Musico-sociological View; Sažetak: Uz recepciju sociologije glazbe Maxa Webera – s glazbeno-sociološkog stajališta), 12/2 (1981) 165-180.

KAMINSKI, Joseph S.: Sound Barrage: Threshold to Asante Sacred Experience through Music (Sažetak: Zvučni zid: prag iskustva svetosti u Asantea putem glazbe), 45/2 (2014) 345-371. KAMINSKI,   Joseph   S.:   Symbolic  Changes   in   Modern   Chinese   Military  Bands   from Westernization  to  Revolution  (c.  1895  to  c.  1937)  (Sažetak:  Simboličke  promjene  u modernim kineskim vojnim sastavima od pozapadnjenja do revolucije (oko 1895. do oko

1937.)), 55/2 (2024) 283-303.

KAMINSKI, Joseph S.: The Theory of Folk Brass Bands in the Modern World: A Twenty-first Century Perspective (Sažetak: Teorija narodnih limenih glazbi u modernom svijetu: perspektive u 21. stoljeću), 53/2 (2022) 401-422.

KAPKO-FORETIĆ, Zdenka: Komponieren nach Bildern: Botticelli Vertonungen (Summary: Composing Pictures: Settings to Music Botticelli; Sažetak: Komponiranje po slikama: uglazbljenje Botticellija), 29/1 (1998) 29-40.

KARPF, Juanita: The Early Years of African Amarican Music Periodicals, 1886-1922: History, Ideology, Context (Sažetak: Rano doba afro-američke glazbene periodike (1886-1922): povijest, ideologija, konteks), 28/2 (1997) 143-168.

KARWASZEWSKA, Monika: Cantata about Stalin by Alfred Gradstein and by Aleksandr W.

Aleksandrow. Polish and Russian Documents of Ideology (Sažetak: Kantata o Staljinu

Alfreda Gradsteina i Aleksandra V. Aleksandrova. Poljski i ruski dokumenti o ideologiji),

49/2 (2018) 243-273.

KARWASZEWSKA, Monika: Intermedial References to Music in Literature and to Literature in Music in Selected Sonnets (Sažetak: Intermedijalne reference na glazbu u književnosti i na književnost u glazbi u izabranim sonetima), 54/2 (2023) 253-268.

KASEM-BEK, Jan: Über die Nachahmung räumlicher Erscheinungen in der Musik (Summary: On Imitation of the Phenomena of Space in Music; Sažetak: O oponašanju prostornih pojava u glazbi, 9/1 (1978) 79-98.

KASTEN,  Anna:  Erzählte  Geschichten  und  geschichtete  Erzälungen  –  Georg  Büchners Fragment Woyzeck und seine musikalischen Adaptionen (Summary: Narrated Stories and Stratified Narrations – Georg Büchner’s Fragment Woyzeck and its Musical Adaptations, Sažetak: Ispričane pripovijetke i raslojene priče – Fragment Woyzeck Georga Büchnera i njegove glazbene adaptacije), 43/2 (2012) 303-324.

KATALINIĆ, Vjera: Zu einigen Popularthemen im Jarnovick’s Violinkonzerten (Summary: About Some Popular Themes in Giornovichi’s Violin Concertos; Sažetak: Oko nekih popularnih tema u Jarnovićevim violinskim koncertima), 18/1 (1987) 19-30.

KAUTNY, Oliver: Technoide Zeiparasiten – Die Überlastung der beschleunigten Welt (Summary: Technoid Parasites of Time – Outwitting the Speed-up World; Sažetak: Tehnoidni vremenski paraziti – nadmudrivanje jednog ubrzavajućeg svijeta), 40/1 (2009)

129-154.

KAYHAN, Aslı: Musical Changes of Rural to Urban in Popular Culture. A Case Study: Türkü Bar sin Istanbul (Sažetak: Glazbene promjene ruralnog u urbano u popularnoj kulturi. Studija slučaja: türkü barovi u Istambulu), 45/1 (2014) 149-166.

KENNAWAY, George: Bookcases, Fish Pie and My Piñata: Musical Scores Considered as Sets of Instructions (Sažetak: Police za knjige, riblja pita i moja piñata: notna izdanja kao upute za nastavu), 42/2 (2011) 355-377.

KIM, Jin-Ah: „Cross-Cultural Music Making“: Concepts, Conditions and Perspectives (Sažetak:

„Međukulturalno muziciranje“: koncepti, uvjeti i perspektive), 48/1 (2017) 19-32.

KIM, Jin-Ah: Cultural Transfer as a Branch of Research for Music Sociology and Music Anthropology (Sažetak: Kulturni transfer kao istraživačko područje sociologije glazbe i glazbene antropologije), 46/1 (2015) 43-53.

KLITZ, Brian: Black and Pre-Jazz Instrumental Music in America (Sažetak: Crnci i instrumentalna glazba prije Jazza u Americi), 20/1 (1989) 43-60.

KLUGE, Reiner: Anmerkungen zur Rolle des  Recheverfahrens im musikwissenschaftlichen

Experiment  (Summary:  On  the  Role  of  Computing  Procedure  in  the  Musicological

Experiment; Sažetak: O ulozi računskog postupka u glazbenoznanstvenom eksperimentu),

7/1 (1976) 5-42.

KLÜPPELHOLTZ, Werner: Zur Soziologie der Neuen Musik (Summary: On the Sociology of

New Music; Sažetak: O sociologiji nove glazbe), 10/1 (1979) 73-87.

KNEIF, Tibor: Bedeutung, Struktur, Gegenfigur. Zur Theorie des musikalischen «Meinens» (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 2/2 (1971) 213-229) (Summary: Meaning, Structure and Counter- Figure. The Theory of Musical Thinking; Sažetak: Značenje, struktura i «protuoblik» – uz teoriju muzičkog mišljenja), 25/1-2 (1994) 33-49.

KNEIF, Tibor: Ideen zu einer dualistischen Musikästhetik (Sažetak: Ideje o dualističkoj estetici

muzike), 1/1 (1970) 15-34.

KNEIF, Tibor: Rockmusik und Bildungsmusik (Summary: Rock Music and Educational Music;

Sažetak: Rock glazba i obrazovna glazba), 8/2 (1977) 237-251.

KNEIF, Tibor: Some Non-Communicative Aspects in Music (Sažetak: Neki nekomunikacijski aspekti u glazbi), 5/1 (1974) 51-59.

KOGLER,  Susanne:  «Die  Geige  Spricht» –  Zur  Aktualität  des  Komponisten  Louis  Spohr (Summary: «The Violin is Talking» – On the Topicality of the Composer Louis Spohr; Sažetak: «Violina govori» – o aktualnosti skladatelja Louisa Spohra), 32/2 (2001) 169-177. KOLLAND, Hubert: Zur Semantik der Leitmotive in Richard Wagners Ring des Nibelungen (Summary: On the Semantics of the Leading Motive in Richard Wagner’s Ring of the Nibelungen;  Sažetak:  O  semantici  provodnog  motiva  u  Prstenu  Nibelunga  Richarda

Wagnera), 4/2 (1973) 197-212.

KOLLERITSCH,  Otto:  Franz  Schuberts  literarische  Kultur  (Summary:  Franz  Schubert’s

Culture of Literature; Sažetak: Književna kultura Franza Schuberta), 32/1 (2001) 33-46.

KONOLD, Wulf: Peter Cornelius und die Liedästhetik der Neudeutschen Schule (Sažetak: Peter

Cornelius i estetika pjesme novonjemačke škole), 1/2 (1970) 187-194.

KOS, Koraljka: Darstellung musikalischer «Alltagsgeschichte» am Beispiel einer Beschreibung

aus 1863. (Summary: A Presentation of Musical «Everyday Life» on an Example from a

1863 Description; Sažetak: Prikaz glazbene «svakidašnjice» na primjeru jednog opisa iz

1863.), 34/2 (2003) 127-143.

KOS, Koraljka: Dora Pejačević und Rainer Maria Rilke (Summary: Dora Pejačević and Rainer

Maria Rilke, Sažetak: Dora Pejačević i Rainer Maria Rilke), 43/1 (2012) 3-22.

KOS, Koraljka: Dora Pejačević, Karl Kraus und Arnold Schönberg (Summary: Dora Pejačević, Karl Kraus and Arnold Schönberg; Sažetak: Dora Pejačević, Karl Kraus i Arnold Schönberg), 50/1-2 (2019) 255-270.

KOS, Koraljka: Geschichte, Stand und Perspektiven der Forschungen zur mittelalterlichen Kirchenmusik in Kroatien (Summary: The Present Status and Perspectives of Research in Medieval Church Music in Croatia; Sažetak: Povijest, stanje i perspektive istraživanja srednjovjekovne crkvene glazbe u Hrvatskoj), 6/2 (1975) 289-306.

KOS, Koraljka: New Dimensions in Folk Music. A Contribution to the Study of Musical Tastes in Contemporary Yugoslav Society (Sažetak: Nova dimenzija u folklornoj muzici), 3/1 (1972) 61-73.

KOS, Koraljka: Style and Sociological Background of Croatian Renaissance Music (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 13/1 (1982) 55-82) (Sažetak: Stil i sociološka pozadina hrvatske renesansne glazbe), 25/1-2 (1994) 203-231.

KOTEK, Josef: Die Rezeption der funktionalen Musik als gesellschaftlicher Aneignungsprozess (Summary: The Reception of Functional (Light) Music as a Social Assimilation Process; Sažetak: Primalaštvo funkcionalne (razonodne) glazbe kao društveni proces usvajanja), 9/2 (1978) 183-218.

KOTNIK, Vlado: The Adaptability of Opera: When Different Social Agents Come to Common Ground (Sažetak: Prilagodljivost opere: kada različiti društveni čimbenici dođu do zajedničkog interesa), 44/2 (2013) 303-342.

KOTNIK, Vlado: The Idea of Prima Donna: the History of a Very Special Opera’s Institution

(Sažetak: Ideja primadone: povijest jedne vrlo posebne operne institucije), 47/2 (2016)

237-287.

KOVALEFF BAKER, Nancy: The Aesthetic Theories of Heinrich Christoph Koch (Sažetak:

Estetičke teorije Heinricha Christopha Kocha), 8/2 (1977) 183-202.

KOZEL, David: Archetypal Symbols in Forms and Principles in Music (Sažetak: Arhetipski

simboli u glazbenim oblicima i načelima), 53/2 (2022) 353-370.

KOZEL, David: Mythological Archetype in Music and Principles of its Interpretation (Sažetak:

Mitološki arhetip u glazbi i načela njegove interpretacije), 47/1 (2016) 3-15.

KRAMER, Lawrence: Sacred Matter: Stravinsky’s Symphonies of Wind Instruments (Sažetak:

Posvećena stvar: Symphonies of Wind Instruments Igora Stravinskog), 50/1-2 (2019) 71-

86.

KRAVAR, Zoran: Esquisses pour une poétique historique du livret (Summary: An Outline of a

Historical Poetics of Libretto; Sažetak: Skice za povijesnu poetiku libreta), 31/2 (2000)

111-125.

KREMER, Joachim: Kantorat und Musikunterricht zwischen 1766 und 1815 (Summary: The

«Kantorat» and the Music Education between 1766 and 1815; Sažetak: Kantautorstvo i

poduka glazbe između 1766. i 1815. godine), 22/1 (1991) 29-46.

KROIER, Johann: Music, Global History, and Postcoloniality (Sažetak: Glazba, globalna povijest i postkolonijalizam), 43/1 (2012) 139-186.

KŘUPKOVÁ, Lenka: The City of Olomouc and Theatre Directors. Model Example of the Operation of the Austro-Hungarian City Theatre (Sažetak: Grad Olomouc i kazališni ravnatelji. Jedan primjer funkcioniranja austro-ugarskog gradskog kazališta), 45/2 (2014)

275-291.

KUCHERENKO, Stanislav – SEDIUK,  Ihor:  Aesthetic Experience and  Its Expressions in Music Performance (Sažetak: Estetičko iskustvo i njegovi izrazi u glazbenoj izvedbi), 51/1 (2020) 19-28.

KUČUKALIĆ, Zija: Die Identität des künstlerischen Musikwerks (Summary: The Identity of the Work of Art in Music; Sažetak: Identitet muzičkog umjetničkog djela), 18/2 (1987)

181-204.

KUČUKALIĆ, Zija: Romantic Solo-song in Serbia, 7/1 (1976) 103-112.

KUTSCHKE, Beate: Johann Mattheson’s Writings on Music and the Ethical Shift around 1700 (Summary: Napisi Johanna Matthesona o glazbi i etički pomak oko 1700. godine), 38/1 (2007) 23-38.

KUTSCHKE,  Beate:  Protest  Music,  Urban  Contexts  and  Global  Perspectives  (Sažetak: Protestna glazba, urbani konteksti i globalne perspektive), 46/2 (2015) 231-354.

KUZMINA, Oleksandra: Opera for Children-listeners as a Means for Aesthetic and Emotional Education (Sažetak: Opera za djecu slušatelje kao sredstvo estetičkog i emocionalnog odgoja), 53/2 (2022) 423-437.

LADJILI, Myriam: La musique arabe chez les compositeurs français du XIXe siècle saisis d’exotisme (1844-1914) (Summary: Arab Music by 19th Century French Composers Seized by Exoticism (1844-1914); Sažetak: Arapska glazba u francuskih skladatelja 19. stoljeća obuzetih egzotičnošću (1844-1914)), 26/1 (1995) 3-33.

LANZILOTTA, Pierluca: Eine unvollendete Reise durch die Materie: zu Fausto Romitellis An

Indeks of Metals (Summary: An Unfinished Journey through the Materials with Fausto

Romitellis An Indeks of Metals, Sažetak: Nepotpuno putovanje kroz građu: An Indeks of

Metals Fausta Romitellija), 45/1 (2014) 99-114.

LASKE, Otto E.: On Psychomusicology (Sažetak: O psihomuzikologiji), 6/2 (1975) 269-281.

LASKE, Otto E.: On some Developmental Problems of Auditory Imagery (Sažetak: O nekim

razvojnim problemima slušne slikovnosti), 7/1 (1976) 77-82.

LASKE, Otto E.: Verification and Sociological Interpretation in Musicology (Sažetak: Provjera i sociološka interpretacija u muzikologiji), 8/2 (1977) 212-236.

LAUDON,  Robert  Tallant:  The  Elements  of  Expression  in  Music.  A  Psychological  View (Sažetak: Elementi ekspresije u glazbi. Psihologijsko stajalište), 37/2 (2006) 123-133. LAZZARO, Federico: ‘Grab the Listener by the Guts’: The Poetics and Practice of André

Jolivet’s  Musical  ‘Renewal’  (Sažetak:  ‘Zgrabi  slušatelja  za  gušu’:  poetika  i  praksa

glazbene ‘obnove’ Andréa Joliveta), 53/1 (2022) 109-138.

LENOIR, Yves: Folklore et transcendance dans l’oeuvre américaine de Béla Bartók (Summary: Folklore and Transcendentalism in the American Opus of Béla Bartók; Sažetak: Folklor i transcendentalnost u američkom opusu Béle Bartóka), 16/1 (1985) 211-220.

LEONI, Stefano A. E.: Kanz al-Tuhaf (Al-Musiqi). Tha Casket of (Music) Rarities: Ars Musica and Musica Practica between Islam amd Christianity (Sažetak: Kanz al-Tuhaf (Al-Musiqi)

–  kutija  s  (glazbenim)  rijetkostima:  Ars  musica  i  Musica  practica  između  islama  i kršćanstva), 27/2 (1996) 167-183.

LEONI,  Stefano  A.  E.:  Western  Middle-East  Music  Imagery  in  the  Face  of  Napoleon’s Enterprise in Egypt: From Mere Eurocentric Exocitism, to Very Organized Orientalistic Ears (Sažetak: Zapadne glazbene slike Srednjeg istoka u svjetlu Napoleonova pohoda na Egipat: od obične eurocentrične egzotike do vrlo organiziranih istočnjačkih ušiju), 38/2 (2007) 171-196.

LESSEM, Alan: Bridging the Gap: Contexts for the Reception of Haydn and Bach (Sažetak:

Premoštavanje jaza: konteksti za primalaštvo Haydna i Bacha), 19/2 (1988) 137-148.

LEWIS, George H.: Commitment and Involvement in Popular Music: An Argument for a Mass Behavioral Approach (Sažetak: Predavanje i uključenost u popularnu glazbu: predmet pristupa masovnom ponašanju), 11/2 (1980) 229-237.

LEWIS,  George  H.:  Interpersonal  Relations  and  Sex-Role  Conflict  in  Modern  American Country Music (Sažetak: Međuljudski odnosi i problematika uloge spolova u suvremenoj američkoj country glazbi), 20/2 (1989) 229-237.

LEWIS, George H.: Popular Music: Symbolic Resource and Transformer of Meaning in Society

(Sažetak: Pop glazba: simboličko utočište i mjenjač značenja u društvu), 13/2 (1982) 183-

189.

LEWIS, George H.: Taste Cultures and Culture Classes in Mass Society. Shifting Patterns in American Popular Music (Sažetak: Kulture ukusa i kulturne klase u masovnom društvu. Promjenjivi obrasci u američkoj pop glazbi), 8/1 (1977) 39-48.

LEWIS, George H.: The Creation of Popular Music: A Comparison of the «Art Worlds» of American  Country  Music  and  British  Punk  (Sažetak:  Stvaranje  popularne  glazbe: usporedba  «umjetničkih  svjetova»  američke  country  music  i  britanskog  punka),  19/1 (1988) 35-51.

LEWIS, George H.: The Role of Music in Popular Social Movements: a Theory and Case Study of the Island State of Hawaii, USA (Sažetak: Uloga glazbe u popularnim društvenim kretanjima: teorija i obrada slučaja otočne države Hawaii, SAD), 16/2 (1985) 153-162.

LEWIS, George H.:Folk and Traditional Elements in an Emerging Professional Art World: Regional Music in the American State of Maine (Sažetak: Folklorni i tradicionalni elementi u jednom nastajućem profesionalnom umjetničkom svijetu: regionalna glazba u američkoj državi Maine), 21/2 (1990) 207-218.

LISSA, Zofia: Einige kritische Bemerkungen zur Ingardenschen Theorie des musikalischen Werkes (Summary: Remarks on R. Ingarden’s Conception of Musical Work; Sažetak: Napomene uz Ingardenovo shvaćanje glazbenog djela), 3/1 (1972) 75-95.

LISSA, Zofia: Historical Awareness of Music and its Role in Present-day Musical Culture (Sažetak: Povijesna svijest glazbe i njezina uloga u suvremenoj muzičkoj kulturi), 4/1 (1973) 17-33.

LISSA, Zofia: Musik und Revolution (Summary: Music and Revolution, Sažetak: Muzika i revolucija), 5/1 (1974) 113-123.

LISSA,  Zofia:  Prolegomena  to  the  Theory  of  Musical  Tradition  (Sažetak:  Uvod  u  teoriju

muzičke tradicije), 1/1 (1970) 35-54.

LIU, Chang – CHEN, Lin: Intercultural Aesthetics in Traditional Chinese Dance Performance (Sažetak:  Interkulturalna  estetika  u  izvedbama  tradicionalnog  kineskog  plesa),  54/1 (2023) 129-145.

LIU, Jingshu: Introduction to the Structural History of Music (Sažetak: Uvod u strukturalnu povijest glazbe), 41/1 (2010) 73-89.

LIU, Shaohui: Aesthetic Principles in Dance Performance in China and Japan: A Comparative Analysis (Sažetak: Estetička načela u izvedbi plesa u Kini i Japanu: Komparativna analiza), 53/2 (2022) 439-453.

LOO, Fung Ying – YAP, Jin Hin: Kuala Lumpur City Opera and Opera Revival in Malaysia: A Communal Approach to Undoig Hierarchy and Elitism (Sažetak: Gradska opera u Kuala Lumpuru i preporod opere u Maleziji: pristup zajednice uklanjanju hijerarhije i elitizma),

51/2 (2020) 185-204.

LORENZO, Oswaldo – HERRERA, Lucía – ANASTASIU, Ioana: Social Duffusion of Music in Spain Through the Popular Press (Sažetak:  Društveno širenje glazbe u Španjolskoj putem popularnog tiska), 38/1 (2007) 71-89.

LORENZO, Oswaldo – HERRERA, Lucia – CREMADES, Roberto: Mass Media Influence on the Musical Preferences of Spanish Adolescents: A Sociological Analysis (Sažetak: Utjecaj masovnih medija na glazbene preferencije španjolskih adolescenata: sociološka analiza),

42/1 (2011) 125-144.

LORENZO, Oswaldo – TURCU, Ioana Ruxandra – CREMADES, Roberto: Raï Music as a Generator of Cultural Identity among Young Maghrebies (Sažetak: Raï glazba kao proizvođač kulturnog identiteta mladih stanovnika Magreba), 46/1 (2015) 175-184.

LUKAS, Sunčica: Charles Koechlin’s Poetics in the Light of Carl Gustav Jung’s Analytical Psychology (Sažetak: Poetika Charlesa Koechlina u svjetlu analitičke psihologije Carla Gustava Junga), 51/1 (2020) 49-57.

LUPPI, Andrea: A Myth Debunked: Music Subjected to Politics in Francesco Bocchi’s View (1581) (Sažetak: Razgolićen mit: glazba podređena politici u nazorima Francesca Bocchija (1581)), 21/2 (1990) 129-139.

LUPPI,  Andrea:  Music  and  Poetry  in  Vincenzio  Martinelli’s  Lettere  familiari  e  critiche (London, 1758) (Sažetak: Glazba i pjesništvo u Lettere familiari e critiche (London, 1758) Vincenzija Martinellija), 19/2 (1988) 149-160.

LUPPI, Andrea: The Role of Music in Francis Bacon’s Thought: A Survey (Sažetak: Uloga glazbe u misli Francisa Bacona: pregled), 24/2 (1993) 99-111.

LYON, Elizabeth Lucia: Affection, Attention, and the Will: Medieval Models of Devout Chant (Sažetak: Afektivnost, pozornost i htijenje: srednjovjekovni modeli pobožnog pjeva), 49/1 (2018) 3-28.

MACKENSEN, Karsten: Gestural Agency and Gender Identity in Leoš Janáček’s String Quartet Intimate  Letters  (Sažetak:  Gestualno  djelovanje  i  rodni  identitet  u  gudaćem  kvartetu Intimna pisma Leoša Janáčeka), 52/2 (2021) 303-322.

MACKENSEN, Karsten: System und Kritik. Zur Krise des Musikwissens bei Johann Mattheson (Summary: System and Critique. The Crisis of Musical Knowledge in the Writings of Johann Mattheson; Sažetak: Sistem i kritika. Kriza znanja o glazbi u Johanna Matthesona),

40/2 (2009) 179-205.

MAGNANI, Luigi: Beethoven and the Aesthetic Thought of His Time (Sažetak: Beethoven i estetska misao njegova vremena), 1/2 (1970) 125-136.

MAJER-BOBETKO,  Sanja:  Croatian  Musical  Criticism  between  the  Two  World  Wars

(Sažetak: Hrvatska glazbena kritika između dva svjetska rata), 18/1 (1987) 75-95.

MAJER-BOBETKO, Sanja: Croatian Musical Journals between the Two World Wars and the Musical Criticism (Sažetak: Hrvatski glazbeni časopisi između dva svjetska rata i glazbena kritika), 23/2 (1992) 177-188.

MAJER-BOBETKO, Sanja: Musico-Historical Themes in the Aesthetical System of the Croatian Philosopher Franjo Marković (1845-1914) (Sažetak: Glazbeno-povijesne teme u estetičkom sustavu hrvatskog filozofa Franje Markovića (1845-1914), 34/1 (2003) 33-44.

MAJER-BOBETKO, Sanja: Words on Music in Northern Croatia and Slavonia During the 19th Century and Until the World War I (Sažetak: Riječi o glazbi u sjevernoj Hrvatskoj i Slavoniji tijekom 19. stoljeća i do Prvog svjetskog rata), 38/2 (2007) 197-216.

MAJEWSKI, Paweł: Nationality Issues at the 3rd International Chopin Piano Competition (1937) (Sažetak: Problemi nacionalnosti na 3. Međunarodnom Chopinovom klavirskom natjecanju 1937. godine), 54/1 (2023) 69-86.

MALAY, Olivier – AUBINET, Stéphane: Transition and Resilience in Music: Insights from Folk Bals (Sažetak: Tranzicija i fleksibilnost u glazbi iz vizure narodnih balova), 52/1 (2021) 147-164.

MALETIĆ, Mladen –- HANŽEK, Branko – ROGINA, Mladen: Vinko Dvořák Sliding Tones:

Do They Exist? (Sažetak: Postoje li klizni tonovi Vinka Dvořáka), 37/2 (2006) 225-232.

MANI, Charulatha: Singing across Cultures: an Auto-ethnographic Study (Sažetak: Pjevanje kroz kulture: jedna autoetnografska studija), 48/2 (2017) 245-264.

MANUEL, Peter: Formal Structure in Popular Music as a Reflection of Socio-Economic Change (Sažetak: Formalna struktura u popularnoj glazbi kao odraz društveno-ekonomskih promjena), 16/2 (1985) 163-180.

MARK, Desmond: John H. Mueller und sein Beitrag zur Musiksoziologie (Summary: John H.

Mueller and His Contribution to the Sociology of Music; Sažetak: John H. Mueller i njegov doprinos sociologiji glazbe), 7/2 (1976) 187-202.

MARKS, Paul F.: The Rhetorical Element in Musical Sturm und Drang: Christian Gottfried Krause’s Von der musikalischen Poesie (Sažetak: Retorički element u muzičkom Sturm und Drangu – Christian Gottfried Krause: Von der musikalischen Poesie), 2/1 (1971) 49-64.

MAROŠEVIĆ, Grozdana: Culture as a Determinant of Folk-Singing-Style – Group and Solo Singing  in  the  Karlovačko  Pokuplje  Region  (Sažetak:  Kultura  kao  odrednica  stila folklornog pjevanja – grupno i solo pjevanje u Karlovačkom pokuplju), 23/2 (1992) 207-

221.

MARTINELLI, Dario: Communicating and Playing »Independence«: The Role of Antis in the Lithuanian Singing Revolution (Sažetak: Komuniciranje i igranje „nezavisnosti»: uloga Antisa u litvanskoj ‘Pjevajućoj revoluciji’), 50/1-2 (2019) 297-317.

MARTINOVIĆ-BOGOJEVIĆ, Jelena – BOGOJEVIĆ, Dragan: Récits exotiques représentant le Monténégro dans les opéras français du xixe siècle Les Monténégrins et La Montagne noire (Summary: Montenegro as an Exotic Theme in the 19th-Century French Operas Les Monténégrins and La Montagne Noire; Sažetak: Crna Gora kao egzotična tema u francuskim operama 19. stoljeća Les Monténégrins i La Montagne Noire), 55/1 (2024)

45-68.

MARTORELLA, Rosanne: Occupational Specialization and Aesthetic Change in Opera. Some Historical Inquiries (Sažetak: Stručna specijalizacija i estetičke promjene u operi. Neka povijesna istraživanja), 10/1 (1979) 89-98.

MARTORELLA, Rosanne: The Structure of the Market and Musical Style. The Economics of Opera Production and Repertoire: An Exploration (Sažetak: Struktura tržišta i glazbeni stil), 6/2 (1975) 241-254.

MASTNAK, Wolfgang: Non-Western Practices of Healing-Music and Applications for Modern Psychotherapy (Sažetak: Nezapadne prakse liječenja glazbom i primjene u modernoj psihoterapiji), 24/1 (1993) 77-84.

MATSUBARA,   Kaoru:   Strict   Style   in   Hans   Georg   Nägeli’s   Aesthetics:   Musikalische Kunstwerke im strengen Style von J. S. Bach und andern Meistern Revisited (Sažetak: Strogi stil u estetici Hansa Georga Nägelija: ponovni susret s Musikalische Kunstwerke im strengen Style von J. S. Bach und andern Meistern), 53/2 (2022) 333-352.

McAULAY, Karen E.: The Accomplished Ladies of Torloisk (Sažetak: Dobro obrazovane i odgojene dame iz Torloiska), 44/1 (2013) 57-78.

McCOLL, Sandra: Gerontius in the City of Dreams: Newman, Elgar, and the Viennese Critics

(Sažetak: Gerontius u gradu snova: Newman, Elgar i bečki kritičari), 32/1 (2001) 47-64.

McCOLL, Sandra: Richard Wallaschek: Vienna’s Most Uncomfortable Music Critic (Sažetak:

Richard Wallaschek: najneugodniji glazbeni kritičar Beča), 29/1 (1998) 41-73.

McCREDIE, Andrew D.: Some Concepts, Constructs nad Techniques in Comparative Literature and Their Interface with Musicology (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 14/2 (1983) 147-165) (Sažetak: Neke ideje, konstrukcije i tehnike u komparativnoj književnosti i njihov odnos s muzikologijom), 25/1-2 (1994) 251-269.

McKERRELL, Simon: Sound Performing: Sound Aesthetics among Competitive Pipers (Sažetak: Zvukovna izvedba – zvukovna estetika među gajdašima natjecateljima), 42/1 (2011) 165-187.

McMAHON, Shane: Atoms and Aggregates: the Great War and the Imagined Communities of Heinrich Schenker and Charles Ives (Sažetak: Atomi i agregati: Veliki rat i zamišljene zajednice Heinricha Schenkera i Charlesa Ivesa), 50/1-2 (2019) 191-219.

MELING, Ådne: Social Mechanisms, Social Inequalities and Classical Music: A Discussion of Key Concepts and Prospective Operationalisations (Sažetak: Društveni mehanizmi, društvene nejednakosti i klasična glazba: rasprava o ključnim konceptima i predvidivim operacionalizacijama), 52/1 (2021) 39-64.

MENDOZA DE ARCE, Daniel: Contemporary Sociological Theories and the Sociology of

Music (Sažetak: Suvremene sociološke teorije i sociologija glazbe), 5/2 (1974) 231-249.

MENDOZA DE ARCE, Daniel: On Some of the Sociocultural Factors Affecting the General Characterictics of the Western Musical Styles During the Low Middle Ages (Sažetak: O utjecaju nekih društveno-kulturnih faktora na opće značajke stilova zapadne glazbe u doba kasnog srednjeg vijeka), 12/1 (1981) 51-63.

MICZNIK, Vera: Textual and Contextual Analysis: Mahler’s Fifth Symphony and Scientific Thought (Sažetak: Tekstualna i kontekstualna analiza: Mahlerova Peta simfonija i znanstvena misao), 27/1 (1996) 13-29.

MILOŠEVIĆ, Miloš: Les Bugarštica à Perast (Summary: The Bugarštica at Perast. The Oldest Preserved Melographical Record of Folk Song in Boka Kotorska; Sažetak: Bugarštice u Perastu.  Najstariji  sačuvani  melografski  zapis  narodne pjesme  u  Boki  Kotorskoj), 8/2 (1977) 255-261.

MILOŠEVIĆ, Miloš: Les plus ancient documents sur le passé musical de Kotor. Construction d’orgues du 15e au 17e siècles (Summary: The Earliest Archival Data Regarding Kotor’s Musical Past. Organ Building form the 15th to 17th Century; Sažetak: Najstariji arhivski

podaci iz muzičke prošlosti Kotora. Izgradnja orgulja od XV. do XVII. stoljeća), 10/1 (1979) 113-132.

MIYAMOTO, Naomi: Concerts and the Public Sphere in Civil Society Through Rethinking Habermas’s Concept of Representative Publicness (Sažetak: Koncerti i javna sfera u civilnom društvu na temelju ponovnog promišljanja Habermasova pojma reprezentativne javnosti), 44/1 (2013) 101-118.

MOLNAR, Aleksandar – JEREMIĆ MOLNAR, Dragana: Historical Truthfulness of Parsifal.

The  Legacy  of  Adorno’s  Reconciliation  with  Wagner  (Sažetak:  Povijesna  istinitost

Parsifala. Naslijeđe Adornove pomirbe s Wagnerom), 53/1 (2022) 161-186. MONELLE, Raymond: Music and the Peircean Trichotomies (+ Sažetak), 22/1 (1991) 99-108. MONSON,  Dale  E.:  The  Classic-Romantic  Dichotomy,  Franz  Grillparzer,  and  Beethoven

(Sažetak: Klasičko-romantička dihotomija, Franz Grillparzer i Beethoven), 13/2 (1982)

161-175.

MONTAGNIER, Jean-Paul: Julien Tiersot: Ethnomusicologue a l’Exposition Universelle de

1889.  Contribution  à  une  histoire  française  de  l’ethnomusicologie  (Summary:  Julien Tiersot: An Ethnomusicologist a the 1889. «Exposition Universelle». A Contribution to the French   History   of   Ethnomusicology;   Sažetak:   Julien   Tiersot:   etnomuzikolog   na

«Exposition Universelle» godine 1889. Doprinos povijesti francuske etnomuzikologije),

21/1 (1990) 91-100.

MOORE, Alan F.: Serialism and Its Contradictions (Sažetak: Serijalnost i njezina protuslovlja),

26/1 (1995) 77-95.

MOORE, Robin: The Decline of Improvisation in Western Art Music: An Interpretation of Change (Sažetak: Sumrak improvizacije u zapadnoj umjetničkoj glazbi: interpretacija promjene), 23/1 (1992) 61-84.

MORANT  NAVASQUILLO,  Remigi  –  PORTA,  Amparo  –  PEÑALVER  VILAR,  José María: Music of the Inaugural Ceremony of London 2012: A Performance among Bells (Sažetak: Glazba inauguralne ceremonije u Londonu 2012: izvedba među zvonima), 44/2 (2013) 253-276.

MORRIS, Edwin Kent: „Destroying America“: Phish, Music, and Spaces of Aesthetic and Social Exception (Sažetak: „Razarajući Ameriku“: Phish, glazba i prostori za estetičke i društvene iznimke), 45/1 (2014) 167-181.

MOSER, Daniel: To What Extent Did the Music of the 1960s Counterculture Influence the

Frame Enlightenment of Second-Wave Environmentalist Organizations (Sažetak: Do koje

je  mjere  glazba  kontrakulture  1960-ih  utjecala  na  okvirno  prosvjetljenje  drugog  vala

organizacija za zaštitu okoliša), 55/1 (2024) 91-138.

MOTTE, Helga de la: Über die Gegenstände und Methoden der Musikpsychologie. Ein geschichtlicher Überblick (Sažetak: O predmetima i metodama psihologije muzike. Povijesni pregled), 1/1 (1970) 83-89.

MOUKARZEL, Richard: Semiotic Perspectives on the Ring’s Motivic Idiom and the Bases of Wagnerian Verfremdung (Sažetak: ‘Semiološki pogledi na motivski idiom Ringa i temelji wagnerovskog otuđenja), 55/1 (2024) 3-43.

MUES, Albert: Zur Begründung des Oktavphänomens, der Konsonanz und Dissonanz. Die Herkunft der Ästhetik des Hörens (Sažetak: Uz utemeljenje fenomena oktave, konsonance i disonance. Podrijetlo estetike sluha), 17/1 (1986) 91-110.

MULLER,  Stephanus  J.  v.  Z.:  Music  Criticism  and  Adorno  (Sažetak:  Glazbena  kritika  i

Adorno), 36/1 (2005) 101-116.

MÜLLER, Sven Oliver: Distinktion, Demonstration und Disziplinierung: Veränderungen im Publikumsverhalten in Londoner und Berliner Opernhäusern im 19. Jahrhunderts (Summary: Distinction, Demonstration and Enforcement of Discipline: Changes in Audience Behaviour in London and Berlin Opera Houses in the 19th Century; Sažetak: Distinkcija, predstavljanje i discipliniranje: promjene u ponašanju publike u opernim kućama Londona i Berlina u 19. stoljeću), 37/2 (2006) 167-187.

MÜLLER, Sven Oliver: Political Pleasures with Old Emotions? Performances of the Berlin Philharmonic in the Second World War ( Sažetak: Politički užitci sa starim emocijama? Izvedbe Berlinske filharmonije u doba Drugog svjetskog rata), 43/1 (2012) 35-52.

MÜLLER, Ulrich: Musikverstehen und Musikstruktur. Eine systematisch-hermeneutische Untersuchung zum Problem der Objektivität iin der Musikästhetik (Summary: Understanding Music and Musical Structure. A Systematical and Hermeneutical Investigation of the Problem of Objectivism in the Aesthetics of Music; Sažetak: Glazbeno razumijevanje i glazbena struktura. Sistematičko-hermeneutičko istraživanje problema objektivizma u glazbenoj estetici), 21/1 (1990) 47-69.

NAPIER, John: A «Failed» Unison or Conscious Differentiation: The Notion of «Heterophony» in North Indian Vocal Preformance (Sažetak: «Neuspjeli» unisono ili svjesno razlikovanje: pojam «heterofonije» u vokalnom izvodilaštvu Sjeverne Indije), 37/1 (2006) 85-108.

NATTIEZ,  Jean-Jacques:  Linguistics:  A  New  Approach  for  Musical  Analysis?  (Sažetak:

Lingvistika: novi put za muzičku analizu?, 4/1 (1973) 51-68.

NATTIEZ, Jean-Jacques: Sur les relations entre sociologie et sémiologie musicale (Summary: On the Relations between the Sociology and the Semiology of Music; Sažetak: O odnosima muzike i muzičke semiologije), 5/1 (1974) 61-75.

NERCESSIAN,  Andy:  A  Look  at  the  Emergence  of  the  Concept  of  National  Culture  in Armenia:  The  Former  Soviet  Folk  Ensemble  (Sažetak:  Pogled  na  pojavu  ideje  o nacionalnoj kulturi u Armeniji: bivši sovjetski folklorni ansambl), 31/1 (2000) 79-94.

NETTHEIM, Nigel: How Musical Rythm Reveals Human Attitudes: Gustav Becking’s Theory, (Sažetak: Kako glazbeni ritam otkriva ljudske stavove: teorija Gustava Beckinga), 27/2 (1996) 101-122.

NEVES, Maria João: The Dehumanization of Art. Ortega y Gasset’s Vision of New Music

(Sažetak: Dehumanizacija umjetnosti. Vizija nove glazbe Ortege y Gasseta), 43/2 (2012)

365-376.

NEVES, Mauro: Croatia in the Eurovision Song Contest: From an Anti-War Message to the Recognition of a Cultural Tradition (Sažetak: Hrvatska na festivalu Pjesma Eurovizije: od proturatne poruke do priznanja kulturne tradicije), 48/1 (2017) 133-147.

NEWELL, Robert: Four Tiers on the Foundation of Time (Sažetak: Četiri načela utemeljenosti

vremena), 7/2 (1976) 147-174.

NORRIS, Christopher: Music Theory, Analysis and Deconstruction: How They Might (Just) Get Along  Together  (Sažetak:  Teorija  glazbe,  analiza  i  dekonstrukcija:  kako  bi  se  mogle (barem) slagati), 36/1 (2005) 37-82.

NOSKE, Frits: Forma formans (Sažetak: Forma formans), 7/1 (1976) 43-62.

NOWACK, Natalia: Vereinzelte Entwürfe oder Zeitgeist? Eine alternative Sicht auf den Beginn musiksoziologischer Forschung (Summary: Isolated Concepts or Zeitgeist? An Alternative View on the Beginning of Sociology of Music, Sažetak: Izolirane ideje ili duh vremena. Alternativni pogled na početke sociologije glazbe), 46/2 (2015) 245-271.

NOWICKA-CIECIERSKA, Magdalena: A Guide to the „Hell of the Avant-garde“. About Andrzej Chłopecki’s Music Criticism (Sažetak: Vodič po ‘paklu avangarde’. O glazbenoj kritici Andrzeja Chłopeckog), 53/1 (2022) 207-234.

NTOUVOS, Panos: Georg Lukács’ Contribution to the Theory of Musical Mimesis (Sažetak.

Doprinos Georga Lukácsa teoriji glazbenog mimesisa), 55/1 (2024) 69-89.

NUTTING, Geoffrey: The Logic of Renaissance Harmony (Sažetak: Logika renesansne harmonije), 5/2 (1974) 251-263.

OCHERETOVSKA, Neonila – BORYSENKO, Marya – CHERNYAVSKA, Marianna:

Composer’s Dialogue with Beethoven: Modern Stylistic Dimensions of Musical Classics

(Sažetak: Skladateljev dijalog s Beethovenom: moderne stilističke dimenzije glazbenih

klasika), 53/1 (2022) 37-55.

OFFER, John: An Exemination of Spencer’s Sociology of Music and Its Impact on Music Historiography in Britain (Sažetak: Ispitivanje Spencerove sociologije glazbe i njezina utjecaja na glazbenu historiografiju u Velikoj Britaniji), 14/1 (1983) 33-52.

OFUANI, Sunday – OKORO, Justice Chukwudi: The Social Responsibility and Aesthetic Efficacy  of  Abigbo  Music  (Sažetak:  Društvena  odgovornost  i  estetička  djelotvornost abigbo glazbe), 51/2 (2020) 275-300.

OH, Hee Sook: ‘Das abgelehnte Genie’ – Betrachtungen zur Kritik an der musikalischen Genieästhetik im 20. Jahrhundert (Summary: „The Denied Genius“: A Study on the 20th- century Criticism of the Aesthetics of the Musical Genius, Sažetak: „Poricani genij – Razmatranja uz kritiku estetike glazbenog genija u 20. stoljeću), 44/1 (2013) 79-99.

OH, Hee Sook: Is AI Music Beautiful? A Study of the AI Composition Model EVOM (Sažetak: Je li glazba umjetne inteligencije lijepa? Studija kompozicijskog modela umjetne inteligencije EVOM), 55/1 (2024) 139-158.

OKORO, Justice Chukwudi – OFUANI, Sunday: The Social Responsibility and Aesthetic Efficacy  of  Abigbo  Music  (Sažetak:  Društvena  odgovornost  i  estetička  djelotvornost abigbo glazbe), 51/2 (2020) 275-300.

OKUBO, Ken: On the Musical Work Game. An Essay on the Concept of the Musical Work

(Sažetak: O igri glazbenog djela. Esej o pojmu glazbenog djela), 32/1 (2001) 65-92.

OLIVIER, Bert: Lacan and Critical Musicology (Sažetak: Lacan i kritička muzikologija), 36/1

(2005) 135-158.

OLVER,  Thomas:  Underground  on  the  Highveld:  a  Journey  through  Techno  and  Excess

(Sažetak: Underground u Highveldu: putovanje kroz tehno i ekscese), 53/2 (2022) 489-

528.

ONO IMAAH, Napoleon: Music: A Source of Inspiration and Harmony in Architecture – An African View (Sažetak: Glazba kao izvor nadahnuća i harmonije u arhitekturi – jedan afrički pogled), 35/2 (2004) 169-182.

ORDÓÑES FLORES, Eva: La plasticité identitaire des genres dans la danse flamenca (Summary: Identifying Plasticity of the Genres in the Flamenco Danse, Sažetak: Identificiranje pomičnosti žanrova u plesu flamenco), 42/2 (2011) 317-330.

ORTAKOV, Dragoslav: Approaches to the Study of Macedonian Musical History (Sažetak:

Prilog istraživanju makedonske glazbene povijesti), 6/2 (1975) 307-317.

OTTA, Mineo: Why is the «Spirit» of Folk Music so Important? On the Historical Background of Béla Bartók’s Views of Folk Music (Sažetak: Zašto je «duh» folklorne glazbe tako važan? O povijesnoj pozadini nazora Béle Bartóka o folklornoj glazbi), 37/1 (2006) 33-46.

OTTENBERG, June C.: Musical Currents of the Scottish Enlightenment (Sažetak: Glazbeni tokovi škotskog prosvjetiteljstva, 9/1 (1978) 99-109.

OTTENBERG, June C.: Popularity of the Two Operas in Philadelphia in the 1970s (Sažetak: Popularnost dviju opera u Philadelphiji u devedesetim godinama 18. stoljeća), 18/2 (1987)

205-216.

PABJAN,  Barbara:  The  reception  of  Chopin  and  His  Music  in  Polish  Society  (Sažetak: Recepcija Chopina i njegove glazbe u Poljskoj), 41/2 (2010) 343-378.

PADOAN, Maurizio: Music, Language and Society in Antonio Planelli (Sažetak: Glazba, jezik i

društvo u djelu Antonija Planellija), 19/2 (1988) 161-179.

PADOAN, Maurizio: Nature and Artifice in G. B. Doni’s Thought (Sažetak: Priroda i umjetno u misli G. B. Donija), 23/1 (1992) 5-26.

PADOAN, Maurizio: Tradition and «Modernity» in Il corago (Sažetak: Tradicija i «modernost»

u Il corago), 24/2 (1993) 113-127.

PAKENDORF, Gunther – VILJOEN, Nicol – DRENNAN, Ian: From Claudius to Schubert.

Some Thoughts on the Transformation of Words into Music (Sažetak: Od Claudiusa do

Schuberta. Neke ideje o transformaciji riječi u glazbu), 50/1-2 (2019) 143-173.

PALAZZETTI, Nicolò: The Bartók Myth. Fascism, Modernism and Resistence in Italian Musical Culture (Sažetak: Mit o Bartóku. Fašizam, modernizam i otpor u talijanskoj glazbenoj kulturi), 47/2 (2016) 289-314.

PANAIOTIDI, Elvira G.: The Myth of the Isomorphism (Sažetak: Mit o izomorfnosti), 38/2 (2007) 133-142.

PANAIOTIDI, Elvira: Eduard Hanslick’s On the Musically Beautiful: Towards Alexandr Mikhailov’s Reverse Translation (Sažetak: O glazbeno lijepom Eduarda Hanslicka: uz reverzibilni prijevod Aleksandra Mihailova), 49/1 (2018) 53-94.

PARDO SALGADO, Carmen: Voices in Nature: Vox Balaenae by George Crumb (Sažetak: Glasovi u prirodi: Vox Balaenae Georgea Crumba), 54/1 (2023) 147-169.

PARKER, Beverly Lewis: Art, Culture and Authenticity in South African Music (Sažetak:

Umjetnost, kultura i autentičnost u južnoafričkoj glazbi), 39/1 (2009) 57-71.

PARKER, Mara: „Le plus dous moment de ma vie“: Carlo Graziani and the Quest for Ideal Employment (Sažetak: „Najslađi trenutak mojega života“: Carlo Graziani i potraga za idealnim zaposlenjem), 39/1 (2009) 31-56.

PARKER, Mildred: Some Speculations on the French Keyboard Suites of the Seventeenth and

Early Eighteenth Centuries (Sažetak: Neke ideje o francuskoj suiti za glazbala s tipkama),

7/2 (1976) 203-218.

PARKHURST, Bryan J. – HAMMEL, Stephan: On Theorizing a „Properly Marxist“ Musical

Aesthetics (Sažetak: Teoretizirajući o „pravoj marksističkoj“ estetici glazbe), 48/1 (2017)

33-55.

PASCUAL LEÓN, Nieves: Campofiorito, Corradini and the Arrival of Italian Opera: A New Contribution to the Development of Opera in Valencia (Spain) at the Beginning of the 18th Century (Sažetak: Campofiorito, Corradini i dolazak talijanske opere. Novi doprinos razvitku opere u Valenciji (Španjolska) na početku 18. stoljeća), 52/1 (2021) 101-132.

PAULUS, Irena: Du rôle de la musique dans le cinéma hollywoodien classique. Les fonctions de la musique dans le film Casablanca (1943) de Michael Curtiz) (Summary: The Role of the Music in a Classical Hollywood Film: Function of Music in Casablanca (1943) by Michael Curtiz; Sažetak: Uloga glazbe u klasičnom holivudskom filmu: funkcije glazbe u filmu Casablanca (1943) Michaela Curtiza)), 28/1 (1997) 63-110.

PAULUS, Irena: Music in Krzysztof Kieślowski’s Film Three Colors: Blue. A Rhapsody in Shades of Blue: The Reflections of a Musician (Sažetak: Glazba u filmu Krzysztofa Kieślowskog Tri boje: Plavo. Rapsodija u nijansama plavog: razmišljanja jednog glazbenika), 30/1 (1999) 65-91.

PAULUS, Irena: Stanley Kubrick’s Revolution in the Usage of Film Music: 2001: A Space Odyssey (1968) (Sažetak: Revolucija Stanleya Kubricka u uporabi filmske glazbe: 2001: Odiseja u svemiru (1968)), 40/1 (2009) 99-126.

PAULUS, Irena: Williams Versus Wagner or an Attempt at Linking Musical Epics (Sažetak:

Williams protiv Wagnera ili pokušaj povezivanja glazbenih epova), 31/2 (2000) 153-184.

PAUSET, Eve-Norah: „Réenchanter la musicologie: un problème français?“ (Summary: Re- enchanting Musicology: a French Problem?; Sažetak: Ponovno očarati muzikologiju: je li to francuski problem?), 38/2 (2007) 217-228.

PAUSET, Eve-Norah: Proust musicologue? Le positivisme ambigu ou: De sentir pour ecrire à

sentir est ecrire (Summary: Proust as Musicologist? An Ambiguous Positivism or from a

„Feeling  for  Writing’  to  a  „Feeling  is  Writing“;  Sažetak:  Proust  kao  muzikolog?

Dvosmisleni pozitivizam ili: od osjećaja za pisanjem do osjećanja kao pisanja), 40/1 (2009)

63-79.

PEARSON, Ian D.: What Johann Mattheson Said about the French Royal Academy of Sciences in  Das  forschende  Orchestre  to  Vindicate  his  Practical  and  Aesthetic  Approach  to

Musicianship for the Galant Homme (Sažetak: Što je Johann Mattheson rekao o francuskoj Kraljevskoj akademiji znanosti u djelu Das forschende Orchestre da bi opravdao svoj praktički i estetički pristup muziciranju za ‘galantnog gospodina’ (galant homme)), 48/2 (2017) 169-185.

PELLIZZONI,  Luigi:  Fruition  of  the  Musical  Message  and  Perception  of  Its  Structures

(Sažetak: Ostvarenje glazbene poruke i percepcija struktura), 17/1 (1986) 73-90.

PEÑALVER  VILAR,  José  María  –  MORANT  NAVASQUILLO,  Remigi  –  PORTA, Amparo: Music of the Inaugural Ceremony of London 2012: A Performance among Bells (Sažetak: Glazba inauguralne ceremonije u Londonu 2012: izvedba među zvonima), 44/2 (2013) 253-276.

PERKOLA, Kristina: Music and Politics in Kosovo: Three Lives of the City Symphony Orchestra in Prishtina, 1950-2020 (Sažetak: Glazba i politika na Kosovu: tri života gradskog simfonijskog orkestra u Prištini, 1950.-2020.), 54/2 (2023) 323-356.

PETROVIĆ, Radmila: Folk Music of Eastern Yugoslavia: A Process of Acculturation (Sažetak:

Narodna muzika istočne Jugoslavije: proces akulturacije), 5/1 (1974) 217-224.

PFLEGER, Tobias – GURTNER, Andrea – GARTMANN, Thomas: Wie funktionieren, kommunizieren und interagieren Spezialisten-Teams? Drei Fallstudien zur Hochleistung (Summary: How do Specialist Teams Function, Communicate and Interact? Three Case Studies on Achieving a Top Performance; Sažetak: Kako funkcioniraju, komuniciraju i međusobno  djeluju  specijalistički  timovi?  Tri  studije  slučaja  postizanja  vrhunske izvedbe), 50/1-2 (2019) 337-364.

PICHAULT, Françoise: Vers une théorie sociologique de l’art. Elaboration d’un modèle d’explication et application à l’oeuvre musicale de Karlheinz Stockhausen (Summary: Towards a Musicological Theory of Art: Elaboration of an Explanatory Model and Its Application to the Musical Work of Karlheinz Stockhausen; Sažetak: Prema sociološkoj teoriji umjetnosti: razrada modela izlaganja i primjena na glazbenom djelu Karlheinza Stockhausena), 14/1 (1983) 53-77.

PICKERT, Dietmar: Ensembleaktivitäten in Musikleben. Strukturen nichtprofessioneller Musikausübung in der Öffentlichkeit (Summary: Activities of the Music Ensembles in Musical Life. Structures of Non-Professional Practice in Public; Sažetak: Aktivnosti ansambala u glazbenom životu. Strukture neprofesionalne glazbene prakse u javnosti),

28/1 (1997) 111-121.

PINHEIRO, Ricardo – DINIZ, Alexandre: Brad Mehldau, Jazz and the Pop-Rock Repertoire: Highbrow and Lowbrow (Sažetak: Brad Mehldau, jazz i pop-rock repertoar: intelektualno ili priprosto), 53/2 (2022) 455-488.

PINHEIRO, Ricardo F.: The Jam Session and Jazz Studies (Sažetak: Jam sesija i studije o jazzu), 45/2 (2014) 335-344.

PINHEIRO, Ricardo Nuno Futre: Freedom in Music, Freedom in Life: Miles Davis, Stella By Starlight, Harmony, and the Advent of the Second Great Quintet (Sažetak: Sloboda u glazbi, sloboda u životu: Miles Davis,  Stella By Starlight, harmonija i uspon Drugog velikog kvinteta), 51/2 (2020) 259-273.

PINHEIRO, Ricardo Nuno Futre: Past, Present and Future Jazz: Scholarship, Historiography, Education and Performance (Sažetak: Jazz u prošlosti, sadašnjosti i budućnosti: znanost, historiografija, odgoj i izvođenje), 54/2 (2023) 269-297.

PIOTROWSKA, Anna G.: About Twin Song Festivals in Eastern and Western Europe: Intervision  and  Eurovision  (Sažetak:  Intervizija  i  Eurovizija:  o  dvojnim  festivalima pjesama u istočnoj i zapadnoj Europi), 47/1 (2016) 123-135.

PIOTROWSKA,  Anna  G.:  Embodying  ‘Socialist  Emotions’  via  Music  and  Image  on  the Example of Polish Folk Ensembles „Mazowsze“ and „Śląsk“ (Sažetak: Utjelovljenje ‘ socijalističkih emocija’ putem glazbe i slike na primjeru poljskih folklornih ansambala

„Mazowsze“ i „Śląsk“), 48/2 (2017) 265-280.

PIOTROWSKA, Anna G.: Expressing the Inexpressible: The Issue of Improvisation and the European Fascination with Gypsy Music in the 19th Century (Sažetak: Izražavanje neizrecivog: improvizacija i europska fasciniranost ciganskom glazbom u 19. stoljeću),

43/2 (2012) 325-341.

PIOTROWSKA, Anna G.: Individual Strategies of Seeking Employment Among Early 20th- century American and European Composers (Sažetak: Pojedinačne strategije u traženju zaposlenja među američkim i europskim skladateljima početkom 20. stoljeća), 41/1 (2010)

21-36.

PIOTROWSKA, Anna G.: Modernist Composers and the Concept of Genius (Sažetak: Skladatelji Moderne i pojam genija), 38/2 (2007) 229-242.

PIOTROWSKA, Anna G.: Zofia Lissa on Popular Music or How the Influence of Marxist Ideology Impacted the Research on Pop Music in Socijalist Poland (Sažetak: Zofia Lissa o popularnoj glazbi ili kako je utjecaj marksističke ideologije utjecao na istraživanja pop glazbe u socijalističkoj Poljskoj), 51/1 (2020) 101-120.

PLATT, Heather: Probing the Meaning of Brahms’s Allusions To Haydn (Sažetak: Istraživanje značenja Brahmsovih aluzija na Haydna), 42/1 (2011) 33-58.

PLAVŠA, Dušan: Intentionality in Music (Sažetak: Intencionalnost u muzici), 12/1 (1981) 65-

74.

PLLANA, Shefqet: Das albanische Volkslied in Kosovo (Summary: On Folk Singing by the

Albanians in Kosovo; Sažetak: O narodnom pevanju Albanaca na Kosovu), 10/2 (1979)

215-236.

PLOSILA, Vera: »Hidden in the Rules of Beauty« – Multiplicity in Berlin Montagsklub Duets and Its Meaning to the Performer (Sažetak: »Hidden in the Rules of Beauty« – Multiplicity in Berlin Montagsklub Duets and Its Meaning to the Performer), 55/2 (2024) 239-266.

POLEDNÁK, Ivan: Zum Problem der Apperzeption der Musik (Summary: Around the Problem of Music Apperceptions; Sažetak: Uz probleme glazbene percepcije), 16/1 (1985) 43-56.

POLKA, Brayton: Liebestod. On Love and Death in Wagner’s Tristan und Isolde (Sažetak:

Liebestod: O ljubavi i smrti u Wagnerovu Tristanu i Izoldi), 44/2 (2013) 239-252.

PONTARA, Tobias – VOLGSTEN, Ulrik: Music as Embodied and Emergent: Expanding on a Theme by Joseph Margolis (Sažetak: Glazba kao utjelovljenje i pojavnost: proširenje na temu Josepha Margolisa), 54/1 (2023) 27-47.

PONTARA, Tobias: Interpretation, Imputation, Plausibility: Towards a Theoretical Model for Musical  Hermeneutics  (Sažetak:  Interpretacija,  pripisivanje,  plauzibilnost:  prema teorijskom modelu glazbene hermeneutike), 46/1 (2015) 3-41.

PORTA,  Amparo  –  PEÑALVER  VILAR,  José  María  –  MORANT  NAVASQUILLO, Remigi: Music of the Inaugural Ceremony of London 2012: A Performance among Bells (Sažetak: Glazba inauguralne ceremonije u Londonu 2012: izvedba među zvonima), 44/2 (2013) 253-276.

PORTA, Amparo: The Music that Children Listen to in Movies, Series and TV Documentaries.

An Empirical Study on its Meaning (Sažetak: Glazba koju djeca slušaju u filmovima,

serijama i televizijskim dokumentarcima. Empirijska studija njezina značenja), 49/2 (2018)

311-332.

POŽGAIN, Ivan – FILAKOVIĆ, Pavo – DEGMEČIĆ, Dunja: Music as Therapy (Sažetak: Glazba kao terapija), 36/2 (2005) 287-300.

PREMUDA,   Noemi:   Luchino   Visconti’s   «Musicism»  (Sažetak:   «Muzicizam»   Luchinija

Viscontija), 26/2 (1995) 189-210.

PRINZ, Mario: Der Orchestermusiker in historischen Kontext (Summary: The Orchestra Musician  in  the  Historical  Context;   Sažetak:  Orkestralni   glazbenik  u  povijesnom kontekstu), 26/1 (1995) 61-76.

RA, Julie – YOON, Hyunjoo: The First Appearance of the Clarinet in the Mannheim Orchestra and Symphonies: Its Historical Significance and Effects (Sažetak: Prva pojava klarineta u Mannheimskom orkestru i simfonijama: njegovo povijesno značenje i učinci), 55/2 (2024)

219-237.

RANKOVIĆ, Milan: On the Unpopularity of New Music (Sažetak: O nepopularnosti nove muzike), 10/2 (1979) 199-206.

RAZUMOVSKAYA, Maria: Heinrich Neuhaus: A Performer’s Views on the Realisation of

Music (Sažetak: Heinrich Neuhaus: pogledi izvođača na ostvarenje glazbe), 46/2 (2015)

355-369.

REINECKE, Hans-Peter: «Swingkultur» als «doppelter Boden» jugendlichen Lebensgefühls unter der NS-Diktatur – Hintergründe (Summary: The «Culture of Swing» as a «Double- Bottom» of Youthfull Feeling of Life Under the Nazi Dictatorship; Sažetak: «Kultura swinga» kao  «dvostruko dno» mladenačkog životnog osjećaja  pod nacističkom diktaturom), 34/1 (2003) 3-15.

REINECKE, Hans-Peter: Hermann von Helmholtz, Carl Stumpf und die Folegen. Von der musikalischen Akustik zur Tonpsychologie. Ganz persönliche Anmerkungen zu einem Kapitel  Berliner  Wissenschaftsgeschichte  (Summary:  Hermann  von  Helmholtz,  Carl Stumpf and the Consequences. From Musical Acoustics to Tonal Psychology. Very Personal Remarks to One Chapter of Science History in Berlin; Sažetak: Hermann von Helmholtz, Carl Stumpf i posljedice. Od glazbene akustike do tonske psihologije. Vrlo osobne primjedbe na jedno poglavlje berlinske povijesti znanosti), 30/2 (1999) 95-109.

REINECKE, Hans-Peter: Über Musik, Partituren and das Recht ihrer Autoren. Anmerkungen zu Erich Schulzes Lebenswerk (Summary: On Music, Scores and Rights of Their Authors. Remarks Concerning the Life Work of Erich Schulze; Sažetak: O glazbi, partiturama i pravima njihovih autora. Napomene uz životno djelo Ericha Schulzea), 29/2 (1998) 121-

134.

RENZO, Adrian: Musicology Meets Samantha Fox: Exploring an Everyday Aesthetics of Popular Music (Sažetak: Susret muzikologije i Samanthe Fox: istraživanje svakodnevne estetike popularne glazbe), 49/2 (2018) 333-349.

RHYN, Chris van – FRONEMAN, Willemien: Is There a Sonic Climate of Zulu History? (Sažetak: Is There a Sonic Climate of Zulu History?), 55/2 (2024) 335-353.

RIJAVEC, Andrej: Notes towards the National and International in Music (Sažetak: Bilješke o

nacionalnom i internacionalnom u glazbi), 7/1 (1976) 83-87.

RIJAVEC,  Andrej:  The Dimensions  of Darijan  Božič’s  Creativity (Sažetak:  Kompozicijske

tvorevine Darijana Božića), 10/2 (1979) 237-248.

RINGER, Alexander L.: Musical Taste and the Industrial Syndrome. A Socio-Musicological Problem in Historical Analysis (Sažetak: Glazbeni ukus i industrijski sindrom. Sociološko- muzikološki problem u povijesnoj analizi), 5/1 (1974) 139-153.

RINGER, Alexander L.: Musical Taste and the Industrial Syndrome. A Socio-Musicological Problem in Historical Analysis (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 5/1 (1974) 139-153) (Sažetak: Glazbeni ukus i industrijski sindrom. Sociološko-muzikološki problem u povijesnoj analizi), 25/1-2 (1994) 79-92.

ROGINA, Mladen – HANŽEK, Branko: Development of Croatian Acoustics till 1954. On the legacy of Vinko Dvořák (Sažetak: Razvitak hrvatske akustike do 1954. O ostavštini Vinka Dvořáka), 42/2 (2011) 331-354.

ROGINA, Mladen – MALETIĆ, Mladen – HANŽEK, Branko: Vinko Dvořák Sliding Tones:

Do They Exist? (Sažetak: Postoje li klizni tonovi Vinka Dvořáka), 37/2 (2006) 225-232.

ROMAN, Zoltan: (Musical) Jugendstil Revisited: Interspecific Conceptual Modelling and the Turn-of-the-Century «Peripheral» Arts (Sažetak: Ponovno o (glazbenom) Jugendstilu: interspecifično pojmovno modeliranje i «periferne» umjetnosti na razmeđi stoljeća), 30/2 (1999) 111-149.

ROMAN, Zoltan: The Rainbow at Sunset: The Quest for Renewal, and Musico-Poetic Exoticism in the Viennese Orbit from the 1890s to the 1920s (Sažetak: Duga na zalasku: zahtjev za obnovom i glazbeno-pjesnički egzoticizam u bečkom krugu u godinama 1890-1920.), 39/2 (2008) 165-238.

ROONEY, James F. – FREDERICKSON, Jon: How the Music Occupation Failed to Become a Profession  (Sažetak:  Kako  je  zanimanje  glazbom  propustilo  postati  profesijom),  21/2 (1990) 189-206.

RÖSING, Helmut: Der Musikalitätsbegriff und seine Abhängigkeit von kulturgeschichtlichen Normen. Zur Geschichte der Musikalitätstests (Summary: The Concept of Musical Talent and Its Dependence on Cultural-Historical Norms; Sažetak: Pojam muzikalnosti i njegova ovisnost o kulturno-povijesnim normama), 9/2 (1978) 161-181.

RÖSING, Helmut: Musik und bildende Kunst. Über Gemeinsamkeiten und Unterschiede beider

Medien (Sažetak: Muzika i likovna umjetnost. O zajedničkom i različitom obih medija),

2/1 (1971) 65-76.

RÖSING, Helmut: Musik und ihre Wirkungen auf den Rezipienten. Versuch einer Standortbestimmung (Summary: Music and Its Effects on the Recipient. An Attempt at a Definition of the Present State of Research; Sažetak: Glazba i njezino djelovanje na primaoca. Pokušaj određenja sadašnjeg stanja istraživanja), 12/1 (1981) 3-20.

ROSS,  Barry:  The  Causal-manipulative  Approach  to  Musical  Meaning  (Sažetak:  Uzročno-

manipulacijski pristup glazbenom značenju), 48/1 (2017) 3-17.

RUGGUNAN, Shaun – GOVENDER, Praneschen: An Exploratory Study into African Drumming  as  an  Intervention  in  Diversity  Training  (Sažetak:  Istraživačka  studija  o afričkom bubnjanju kao intervenciji u izobrazbu raznolikosti), 44/1 (2013) 149-168.

RUT,  Josef:  Die  Musik  ind  ihre  Perspektive  vom  Gesichtspunkt  der  Reletivitätstheorie (Summary: Music and Its Perspective from the Standpoint of the Theory of Relativity; Sažetak: Glazba i njezina perspektiva sa stajališta teorije relativiteta), 11/1 (1980) 103-119. SABBE,  Herman:  Musiques  Savantes,  Musiques  Populaires  (de  Zappa  à  Zimmermann) (Summary:   Art   Musics,   Popular   Musics   (from   Zappa   to   Zimmermann);   Sažetak:

Umjetničke glazbe, popularne glazbe (od Zappe do Zimmermanna), 34/2 (2003) 161-172.

SÁEZ, Daniel Martin: The Expression „Philosophy of Music“ A Brief History and Some Philosophical Considerations (Sažetak: Izraz ‘filozofija glazbe’: kratka povijest i neka filozofijska razmatranja), 52/2 (2021) 203-219.

SAFFLE, Michael – YANG, Hon-Lun: Aesthetic and Social Aspects of Emerging Utopian Musical   Communities  (Sažetak:   Estetički   i   društveni   aspekti   nastajućih   utopijskih glazbenih zajednica), 41/2 (2010) 319-341.

SAGRILLO,  Damien:  Joseph  Haydns  Volksliedbearbeitungen.  Stilistische  Beobachtungen.

Bedeutung für sein Gesamtwerk (Summary: Joseph Haydn’s Folksong Arrangements. Stylistic  Remarks  and  Their  Meaning  within  the  Totality  of  His  Oeuvre;  Sažetak: Haydnove  obradbe  narodnih  napjeva.  Stilske  napomene  i  njihovo  značenje  u  cjelini njegova opusa), 40/1 (2009) 31-62.

SANGA, Imani: Marimba and the Musical Figuring of Desire and Postcolonial National Identity in Edwin Semzaba’s Novel Marmba ya Majaliwa (Sažetak: Marimba i glazbeno shvaćanje žudnje i postkolonijalnog nacionalnog identiteta u romanu Marimba ya Majaliwa Edwina Semzabe), 46/2 (2015) 401-421.

SANGA, Imani: Musical Figuring of Postcolonial Urban Segmentarity and Marginality in Selected Bongo Fleva Songs in Dar es Salaam, Tanzania (Sažetak: Glazbeni izgled postkolonijalne urbane segmentiranosti i marginaliziranosti u odabranim Bongo Fleva pjesmama u Dar es Salaamu, Tanzanija), 44/2 (2013) 385-405.

SANGA, Imani: Mzungu Kichaa and the Figuring of Identity in Bongo Fleva Music in Tanzania, (Sažetak: Mzungu Kichaa i oblikovanje identiteta u glazbi Bongo Fleva u Tanzaniji), 42/1 (2011) 189-208.

SAPSOVYCH, Oleksandra – FILATOVA, Olha – BURKATSKYI, Zinovii – VOLKOVA, Galyna – KADANTSEVA, Nataliia: Theory of Musical Content: A Triune Role Complex of Composer – Performer – Teacher (Sažetak: Prema teoriji glazbenog sadržaja: uloga trostrukog kompleksa skladatelj – izvođač – učitelj), 55/1 (2024) 181-194.

SAPUNDZIJEV, Mary: Motivation, Function and Value: The Choral Miniature Repertoire of First  Generation  Macedonian  Composers  (Sažetak:  Motivacija,  funkcija  i  vrijednost: repertoar zborskih minijatura prve generacije makedonskih skladatelja), 33/1 (2002) 57-93. SARKISJAN, Swetlana (vidi SARKISYAN, Svetlana): Die Streichquartette Sofia Gubaidulinas als Versuch der Erschliessung des sonoristischen Raumes (Summary: String Quartets by

Sofia Gubaidulina as a Attempt of Opening a Sonoric Space; Sažetak: Gudaći kvarteti

Sofije Gubaiduline kao pokušaj otvaranja zvukovnog prostora), 36/2 (2005) 271-286.

SARKISYAN, Svetlana (vidi SARKISJAN, Swetlana): Le phénomène musical des films de Serguei Paradjanov (Summary: The Musical Phenomenon in the Films of Sergey Paradianov; Sažetak: Glazbeni fenomen u filmovima Sergeja Paradjanova), 38/1 (2007)

55-69.

SCHÄFER,  Thomas:  Anti-Moderne  oder  Avantgarde-Konzept?  Überlegungen  zur musikalischen Postmoderne (Summary: Reflections on Musical Postmodern: An Antimodern or Avantgarde Concept; Sažetak: Razmišljanja o glazbenoj postmoderni: nacrt za antimodernu ili avangardu), 26/2 (1995) 211-238.

SCHREIBER, Ewa: In the Face of the Other: Contemporary Composers’ Reflections on the (Ideal) Listener (Sažetak: Licem u lice s Drugim: razmišljanja suvremenih skladatelja o (idealnom) slušatelju), 48/2 (2017) 225-244.

SCHROEDER, David. P.: Audience Reception and Haydn’s London Symphonies (Sažetak:

Prihvaćanje publike i Haydnove londonske simfonije), 16/1 (1985) 57-72.

SCHUBERT,   Giselher:    Aspekte   der    Bekkerschen    Musiksoziologie    (Sažetak:    Gledišta

Bekkerove sociologije glazbe), 1/2 (1970) 179-186.

SCHUTTE, Charla – VISAGIE, Johann: „Lieder sind Brüder der Revolution“: An Ideology- critical Approach to the Use of Song as a Vehicle for Propaganda (Sažetak: „Pjesme su braća   revolucije“:   Ideologijsko-kritički   pristup   uporabi   pjesme   kao   promidžbenog sredstva), 43/1 (2012) 107-138.

SCHUTTE, Charla: Figurative Semiotics: A Textual Analysis of FAK Songs (Sažetak: Figurativna semiotika: tekstualna analiza pjesama FAK-a (Federasie van Afrikaner Kultuurvereniginge), 46/2 (2015) 371-400.

SCHUTTE, Sabine: Kunstmusik und Trivialmusik (Summary: Art Music and «Trivial Music».

A  Sketch  of  the  Problem;  Sažetak:  Umjetnička  i  «trivijalna»  glazba.  Skica  jednog problema), 4/1 (1973) 81-94.

SCHVARZER, Alicia: L’industrie du disque en France (Summary: The Gramophone Record

Industry in France; Sažetak: Industrija gramofonskih ploča u Francuskoj), 4/2 (1973) 257-

277.

SEDAK, Eva: Das Zeitgenössische als Episode: zum Begriff des Fortschritts in der Musik am südlichen Rand Mitteleuropas zwischen den beiden Weltkriegen (Summary: Contemporary as an Episode: A Contribution to the Idea of Progress in the Music of the Central-European Southern Edge between Two World Wars; Sažetak: Suvremenost kao epizoda. prilog za poimanje napretka u međuratnoj glazbi s južnog ruba Srednje Europe), 24/2 (1993) 143-

158.

SEDAK, Eva: Eine Ästhetik im Übergang. Versuch einer hypothetischen Gegenüberstellung: F.

Busoni – J. Š. Slavenski (Summary: Slavenski and the Aesthetics of Music at the Turn of the Century; Sažetak: Slavenski i glazbena estetika s početka 20. stoljeća), 18/1 (1987) 97-

116.

SEDAK, Eva: Some Problems in Contemporary Musical Criticism (Sažetak: Neki problemi

suvremene muzičke kritike), 1/2 (1970) 169-177.

SEDAK, Eva: Zeichen einer kleinen Geschichte. Einige einführende Bemerkungen zur Geschichte  der  kroatischen  Musik  im  20.  Jahrhundert  (Summary:  Signs  of  «Small History».  Some  Introductory  Remarks  to  the  History  of  Croatian  Music  in  the  20th Century; Sažetak: Znakovi male povijesti. Neke uvodne napomene uz povijest hrvatske glazbe 20. stoljeća), 31/2 (2000) 127-151.

SEDIUK,  Ihor –  KUCHERENKO, Stanislav: Aesthetic Experience and  Its Expressions in Music Performance (Sažetak: Estetičko iskustvo i njegovi izrazi u glazbenoj izvedbi), 51/1 (2020) 19-28.

SEGOND-GENOVESI, Charlotte: La question du sens dans les passacailles de Chostakovitch: vers une interprétation sociopolitique (Summary: The Problem of Sense in the Passacaglias by Shostakovich: Towards a Socio-Political Interpretation; Sažetak: Pitanje smisla u passacagliama Dmitrija D. Šostakoviča: prema jednoj društveno-političkoj interpretaciji),

40/2 (2009) 235-268.

SEIDEL, Wilhelm: Moritz Hauptmanns organische Lehre. Tradition, Inhalt und Geltung ihrer Prämisse (Summary: Moritz Hauptmann’s Organic Learning. The Tradition, Content and Value of its Premise; Sažetak: Organsko učenje Moritza Hauptmanna. Tradicija, sadržaj i vrijednosti njegove perspektive), 2/2 (1971) 243-266.

SELFRIDGE-FIELD,  Eleanor:  Canzona  and  Sonata:  Some  Differences  in  Social  Identity

(Sažetak: Canzona i sonata), 9/1 (1978) 111-119.

SELVIK, Randi Margrete – DIESEN, Rolf – HOLEN, Arne: Das Musikleben in einer Landgemeinde (Summary: Musical Culture in a Norwegian Rural District; Sažetak: Glazbena kultura u jednom seoskom predjelu Norveške), 5/1 (1974) 191-207.

SHABRINA, Gita Surya – WADIYO, Wadiyo – HARYONO, Slamet – WIYOSO, Joko: Aesthetic Features and Ethnic Music Style in Social and Cultural Life of the Modern Era (Sažetak: Estetičke karakteristike i stil etničke glazbe u društvenom i kulturnom životu modernoga doba), 52/1 (2021) 83-100.

SHELDON, David A.: The Fugue as an Expression of Rationalist Values (Sažetak: Fuga kao

izraz racionalističkih vrijednosti), 17/1 (1986) 29-51.

SHEPHERD, Gregory: «Nihonjinron»: Challenge to Academia (Sažetak: «Nihonjinron»: izazov akademskoj misli), 22/2 (1991) 187-192.

SHEPHERD, John: Un modèle théorique pour une analyse socio-musicologique des musiques populaires (Summary: A Sociological Theory for the Analysis of Afro-American Musics; Sažetak: Sociološka teorija za analizu afro-američkih glazbi), 15/2 (1984) 203-214.

SINGER, Deborah – HEISTER, Hanns-Werner: Mimetische Zeremonien und andere gewaltarme Herschaftsmethoden. Zur Rolle der Musik in den Guaraní-Reduktionen der Jesuiten in Paraguay im 17. und 18. Jahrhundert (Summary: Mimetic Ceremonies and Other Non-violent Methods of Ruling. On the Role of Music in the Guarani-Reducciones of Jesuits in 17th- and 18th-century Paraguay, Sažetak: Mimetičke ceremonije i druge nenasilne metode vladanja. O ulozi glazbe u isusovačkim misijama (reducciones) Guaraní naroda u Paragvaju u 17. i 18. stoljeću), 44/2 (2013) 213-238.

SIOPSI, Anastasia: The Notion of ‘Community’: A Comparative Study of the Political Issues in the Theories of the Early Romantics and of Richard Wagner (Sažetak: Pojam ‘zajednice’:

poredbena studija političkih tema u teorijama ranih romantičara i Richarda Wagnera), 42/2

(2011) 285-315.

SMITH, David: Colonial Encounters Through the Prism of Music: A Southern African Perspective (Sažetak: Kolonijalni susreti kroz prizmu glazbe: pogled iz Južne Afrike), 33/1 (2002) 31-55.

SPENCER-ESPINOSA, Christian: Music and Social Change. Reflections on the Relationship between Sound and Society (Sažetak: Glazba i društvene mijene. Razmišljanja o odnosu zvuka i društva), 53/1 (2022) 57-75.

SPIETH-WEISSENBACHER, Christiane: Prosodes et symboles mélodiques dans le récitatif de Pelléas et Mélisande ou place du figuralisme dans l’écriture vocale de Debussy (Summary: Melodic Prosodes and Symbols in the Recitative of Pelleas et Melisande or the Place of Figuralism in Debussy’s Vocal Writing; Sažetak: Melodijski prozodi i simboli u recitativu Pelleasa i Melisande ili mjesto figuralizma u Debussyjevu vokalizmu), 13/1 (1982) 83-92.

STAUBMANN, Helmut: The Concept of Norm in Sociological Theory and Its Application to Music (Sažetak: Pojam  norme u sociološkoj teoriji i njezina primjena u glazbi), 22/2 (1991) 119-125.

STEFANI, Gino: Progetto semiotico di una musicologia sistematica (Summary: A Semiotical

Project of Systematic Musicology; Sažetak: Semiološki projekt sistematske muzikologije),

5/2 (1974) 277-289.

STEFANI, Gino: Sur l’approche fonctionnelle des pratiques musicales (Summary: On the Functional Approach to Musical Practice; Sažetak: O funkcionalnom pristupu muzičkoj praksi), 5/1 (1974) 77-83.

STIPČEVIĆ,  Ennio:  La cultura musicale in  Istria e in  Dalmazia nel  XVI e  XVII secolo.

Principali caratteristiche storiche, geopolitiche e culturali (Summary: Musical Culture in Istria and Dalmatia during the 16th and 17th Centuries: Its Basic Historical, Geo-political and Culturological Determinants; Sažetak: Glazbena kultura u Istri i Dalmaciji tijekom 16. i 17. stoljeća: temeljne povijesne, geopolitičke i kulturološke odrednice), 23/2 (1992) 141-

152.

STIPČEVIĆ, Ennio: La serenissime, l’Istra e la Dalmazia – Contatti e interferenze musicali nel Cinque e Seicento (Summary: The Serenissima, Istria, and Dalmatia – Musical Contacts and Permeations of the 16th and 17th Centuries; Sažetak: Serenissima, Istra i Dalmacija – glazbeni kontakti i prožimanja (16-17. st.)), 24/1 (1993) 23-44.

STIPČEVIĆ, Ennio: The Social and Historical Status of Music and Musicians in Croatia in the Early Baroque Period (Sažetak: Društveno-povijesni položaj glazbe i glazbenika u Hrvatskoj u vrijeme ranog Baroka), 18/1 (1987) 3-17.

STOCKMANN, Doris: Musik – Sprache – Tierkommunikation (Summary: Music – Language –

Animal Communication; Sažetak: Glazba – jezik – komunikacija u životinjskom svijetu),

10/1 (1979) 5-45.

STRATILKOVÁ, Martina: Husserlian Notion of Inner Perception, Sound Qualities and the Philosophy of Music in Geiger (Sažetak: Husserlov pojam unutarnje percepcije, zvukovnih kvaliteta i filozofije glazbe u Geigera), 47/2 (2016) 207-222.

STRØM-OLSEN, Rolf: Music, Poetry, and Modernity: Shaping a Musical Public in Early Nineteenth-century Germany (Sažetak: Glazba, pjesništvo i modernost: oblikovanje glazbene publike u ranom 19. stoljeću u Njemačkoj), 55/2 (2024) 267-281.

STRYKOWSKI, Derek R.: The Negotiation of Nineteenth-Century Style: A Case Study in Composer–Publisher Relations (Sažetak: Posredovanje u stilu 19. stoljeća: studija slučaja odnosa skladatelj–izdavač), 49/2 (2018) 217-242.

SUPIČIĆ, Ivan (vidi SUPIČIĆ, Ivo): De la Renaissance au Baroque. Quelques propos d’histoire sociale (Summary: From Renaissance to Baroque Times. Some Considerations of Social History; Sažetak: Od renesanse do baroka. Napomene iz socijale povijesti glazbe), 28/2 (1997) 133-142.

SUPIČIĆ,  Ivo  (vidi  SUPIČIĆ,  Ivan):  Esthétique  et  art  musical  (Summary:  Aesthetics  and

Musical Art; Sažetak: Estetika i glazbena umjetnost), 19/1 (1988) 3-34.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Expression and Meaning in Music (Sažetak: Izražaj i značenje u glazbi), 2/2 (1971) 193-212.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Instead of an Introductory Word (Sažetak: Umjesto uvodne

riječi), 1/1 (1970) 3-14.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Les approches socio-historiques de l’oeuvre musicale (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 17/2 (1986) 223-238) (Summary: Sociohistorical Approach of Musical Work; Sažetak: Socijalnopovijesni pristup glazbenom djelu), 25/1-2 (1994) 321-335.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Matter and Form in Music (Sažetak: Materija i forma u muzici), 1/2 (1970) 149-158.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Music and Ceremony. Another Aspect (Sažetak: Glazba i ceremonija. Drugi aspekt), 13/1 (1982) 21-38.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Musique et fête: note sur le sacré et le profane (Summary: Music and Festivity: a Note on Sacred and Secular; Sažetak: Glazba i svečanost: bilješka o sakralnom i svjetovnom), 21/2 (1990) 179-187.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Perspectives pluridisciplinaries: difficultés d’approache (Summary: Plury-Disciplinary Perspectives: Difficulties of Approach; Sažetak: Pluridisciplinarne perspektive: poteškoće pristupa), 16/2 (1985) 125-151.

SUPIČIĆ,  Ivo  (vidi  SUPIČIĆ,  Ivan):  Sens  et  non-sens  en  musique  (Summary:  Sense  and

Nonsense in Music; Sažetak: Smisao i besmisao u glazbi), 3/2 (1972) 187-197.

SWINKIN, Jeffrey: Paratactic Performance: Toward an Adornian Theory of Musical Interpretation (Sažetak: Parataksička izvedba: prema adornovskoj teoriji glazbene interpretacije), 50/1-2 (2019) 221-253.

ŠEŠKAUSKAITĖ, Daiva: Sutartinės and Balkan Diaphonic Songs (Sažetak: Sutartinės i balkanske dijafonijske pjesme), 35/1 (2004) 71-92.

ŠIMUNDŽA, Mirjana: Messiaen’s Rhythmical Organisation and Classical Indian Theory of Rhythm (I) (Sažetak: Organizacija ritma Oliviera Messiaena i klasična indijska teorija ritma (I)), 18/1 (1987) 117-144.

ŠIMUNDŽA, Mirjana: Messiaen’s Rhythmical Organisation and Classical Indian Theory of Rhythm (II) (Sažetak: Organizacija ritma Oliviera Messiaena i klasična indijska teorija ritma (II)), 19/1 (1988) 53-73.

ŠKUNCA, Mirjana: Politische Aspekte des musikalischen Lebens von Split zur Zeit der kroatischen Wiedergeburt (1860-1882) (Summary: Political Aspect of Split Music Life in the Period of the National Revival in Dalmatia (1860-1882); Sažetak: Politički aspekti glazbenog života Splita u preporodno doba u Dalmaciji (1860-1882)), 20/2 (1989) 141-

167.

TANTAWI, Passent – GHAZAL, Ahmed: Reshaping Popular Music Culture Via Digital Technologies:  The  Case  of  Mahraganat  in  Egypt  (Sažetak:  Ponovno  oblikovanje popularne glazbene kulture putem digitalnih tehnologija: slučaj Mahraganat glazbe u Egiptu), 54/1 (2023) 107-128.

TÄNZER, Peter: Orientierung in der Musik (Summary: Orientation in Music; Sažetak: Orijentacija u glazbi), 7/2 (1976) 175-183.

TARASTI, Eero: Music Models trough Ages: A Semiotic Interpretation (Sažetak: Glazbeni

modeli kroz razdoblja: semiotička interpretacija), 17/1 (1986) 3-28.

TARASTI, Eero: Music Models trough Ages: A Semiotic Interpretation (first published in: /

prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 17/1

(1986) 3-28) (Sažetak: Glazbeni modeli kroz razdoblja: semiotička interpretacija), 25/1-2 (1994) 295-320.

TARASTI, Eero: Pour une narratologie de Chopin (Summary: For a Narratology of Chopin;

Sažetak: Za jednu naratologiju Chopina), 15/1 (1984) 53-75.

TARASTI, Eero: Pour une narratologie de Chopin Interpretation (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 15/1 (1984)

53-75) (Summary: For a Narratology of Chopin; Sažetak: Za jednu naratologiju Chopina),

25/1-2 (1994) 295-320.

TARUSKIN, Richard: How to Win a Stalin Prize: Shostakovich and His Piano Quintet in G- minor (1940) (Sažetak: Kako dobiti Staljinovu nagradu: Šostakovič i njegov Klavirski kvintet u g-molu (1940.)), 50/1-2 (2019) 19-46.

TAYLOR, Benedict: The Lost Chord: Sentimentality, Sincerity, and the Search for „Emotional Depth’ in 19th-Century Music (Sažetak: Izgubljeni akord – Sentimentalnost, iskrenost i potraga za „osjećajnom dubinom“ u glazbi 19. stoljeća), 40/2 (2009) 207-233.

TEIXEIRA, William – FERRAZ, Silvio: Contemporary Musical Logos (Sažetak: Suvremeni glazbeni logos), 52/2 (2021) 173-201.

TESSAROLO, Mariselda: Experiencing Dance (Sažetak: Doživljavanje plesa), 16/2 (1985) 201-

210.

THOMPSON, Michael J.: Th. W. Adorno Defended against His Critics, and Admirers: A Defense  of  the  Critique  of  Jazz  (Sažetak:  Th.W.  Adorno  obranjen  pred  njegovim kritičarima i poštovateljima: obrana kritike jazza), 41/1 (2010) 37-49.

TICK, Judith: Musician and Mécène: Some Observations on Patronage in Late 18th-Century France (Sažetak: Muzičar i mecena. Neke napomene uz patronatstvo u Francuskoj u 18. stoljeću), 4/2 (1973) 245-256.

TISCHLER, Hans: A Proposal for a Multi-Relational Aesthetics (Sažetak: Prijedlog jedne multirelacione estetike), 3/2 (1972) 141-160.

TITLESTAD, Michael – VILJOEN, Martina: Festive Critique and Agency in Felix Laband’s

4/4 Down the Stairs (Sažetak: Svečarska kritika i djelovanje u djelu 4/4 Down the Stairs

Felixa Labanda), 36/1 (2005) 199-220.

TOSCANO, Maria Manuela: Chemins vers une esthétique de l’inquiétude dans la musique de Gesualdo (Summary: Towards an Aesthetics of Disquietness in the Music of Gesualdo; Sažetak: Prema estetici nemira u Gesualdovoj glazbi), 30/1 (1999) 27-53.

TRÂN VÂN KHÊ: L’acculturation dans les traditions musicales de l’Asie (Summary: Acculturation in the Musical Traditions of Asia; Sažetak: Akulturacija u glazbenim tradicijama Azije), 5/1 (1974) 182-190.

TRILLO, Roberto Alonso: Enescu Performs Enescu: Glissandi in the Sonata op. 25 ‘dans le caractère populaire roumain (Sažetak: Enescu izvodi Enescua: glisandi u Sonati op. 25 ‘u rumunjskom narodnom duhu’), 49/1 (2018) 115-135.

TSETSOS, Markos: Die Kunst des tönenden Verhaltens. Helmuth Plessners Beitrag zur Musikästhetik  und  Musikanthropologie  (Summary:  The  Art  of  Sounding  Behavior. Helmuth Plessner’s Contribution to the Aesthetics and Anthropology of Music; Sažetak: Umjetnost  zvukovnog  ponašanja.  Prilog  Helmutha  Plessnera  estetici  i  antropologiji glazbe), 51/2 (2020) 145-164.

TUKSAR, Stanislav: Bedeutungstheorie in der Musik in Irene, ovvero della bellezza (1599) von Miho Monaldi. Ein Beitrag zur Geschichte der semiologischen Doktrinen in der Musik (Summary: The Theory of Meaning in Music in Irene, ovvero della bellezza (1599) by Miho Monaldi. A Contribution to the History of Semiological Doctrines; Sažetak: Teorija značenja u glazbi u Irene, ovvero della bellezza (1599) Mihe Monaldija. Prilog povijesti semioloških doktrina), 8/2 (1977) 264-272.

TUKSAR, Stanislav: From Metaphysical Irrationalism to Contemporary Empiricism: An Aspect of Music (Sažetak: Od metafizičkog iracionalizma do suvremenog empirizma: jedan glazbeni aspekt), 2/1 (1971) 77-87.

TUKSAR, Stanislav: Music Research Libraries, Archives and Collections in Croatia (Sažetak:

Glazbene knjižnice, arhivi i zbirke u Hrvatskoj), 23/2 (1992) 119-140.

TUKSAR, Stanislav: Musico-theoretical Fragments by Two Mediaeval Scholars: Herman Dalmatinac and Petar Pavao Vergerije, Sr. (Sažetak: Glazbeno-teoretski fragmenti dvaju autora srednjeg vijeka: Hermana Dalmatinca i Petra Pavla Vergerija St.), 13/1 (1982) 93-

105.

TUKSAR, Stanislav: Musique et politique à Dubrovnik à l’epoque de la Renaissance (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 10/1 (1979) 99-111) (Summary: Music and Politics in Dubrovnik during the Renaissance; Sažetak: Politika i glazba u renesansnom Dubrovniku), 25/1-2 (1994) 191-

202.

TURCU, Ioana Ruxandra – CREMADES, Roberto – LORENZO, Oswaldo: Raï Music as a Generator of Cultural Identity among Young Maghrebies (Sažetak: Raï glazba kao proizvođač kulturnog identiteta mladih stanovnika Magreba), 46/1 (2015) 175-184.

TURLEY, Alan C.: The Ecological and Social Determinations of the Production of Dixieland Jazz in New Orleans (Sažetak: Ekološke i društvene odrednice proizvodnje Dixieland jazza u New Orleansu), 26/1 (1995) 107-121.

USHCHAPIVSKA, Olena: The Representation of Female Characters in the Music of Russian Ballet (Sažetak: Prikazivanje ženskih likova u glazbi ruskih baleta), 48/1 (2017) 57-69. VAILLANCOURT, Michael: Brahms and the Historical Sublime (Sažetak: Brahms i povijesno

sublimno), 46/1 (2015) 73-94.

VAILLANCOURT, Michael: Furtwängler and Brahms: Performing Sublime History in the

„Germaniasymphonie“ (Sažetak: Furtwängler i Brahms: izvođenje sublimirane povijesti u

„Germaniasymphonie“), 54/1 (2023) 49-68.

VALIQUET, Patrick: The Spatialisation of Stereophony: Taking Positions in Post-War Electroacoustic Music (Sažetak: Spacijalizacija stereofonije: zauzimanje pozicija u poslijeratnoj elektroakustičnoj glazbi), 43/2 (2012) 403-421.

VAN EECKE, Livine: Adorno’s Listening to Stravinsky – Towards a Deconstruction of Objectivism  (Sažetak:  Adornovo  slušanje  Straviskog  –  Prema  dekonstrukciji objektivizma), 45/2 (2014) 243-260.

VAN EECKE, Livine: The Adornian Reception of (the) Child(hood) in Helmut Lachenmann’s Ein Kinderspiel (Sažetak: Adornovska recepcija djeteta/djetinjstva u djelu Ein Kinderspiel Helmuta Lachenmanna), 47/2 (2016) 223-235.

VASCONCELOS NETO, Agenor: Kuximawara Music among the Yepamahsā: This Electric Guitar Has „Spirit“ (Sažetak: Glazba kuximawara kod naroda Yepamahsā: ova električna gitara ima „dušu“), 51/1 (2020) 121-131.

VELAYUTHAM, Chandrasekaran – JAYAKRISHNAN, Narayanan: A Study on the Framing of ‘Margazhi’/December Music Festival in the English and Regional Language Newspapers in Tamil Nadu (Sažetak: Istraživanje o izvještavanju s prosinačkog (‘Margazhi’) glazbenog festivala u Chennaiju u novinama na engleskom i regionalnom jeziku u Tamil Nadu), 45/1 (2014) 77-98.

VENDRIX, Philippe: Proportions harmoniques et proportions architecturales dans la théorie française des XVIIe et XVIIIe siècles (Summary: Harmonic and Architectural Proportions in the 17th and 18th-Century French Theory; Sažetak: Harmonijske i arhitekturalne proporcije u francuskoj teoriji 17. i 18. stoljeća), 20/7 (1989) 3-10.

VENTER, Carina: ‘While This Happened Here, That Happened There’: Different Trains, Musical Document and Musical Reality (Sažetak: ‘Dok se ovo događalo ovdje, ono se

događalo  ondje’:  Different  trains  (Različiti  vlakovi),  glazbeni  dokument  i  glazbena

stvarnost), 52/1 (2021) 23-38.

VIDULIN, Sabina – DURAKOVIĆ, Lada: Music-publicist Discourse in Croatia from the Students’ Perspective: Usefulness and Credibility of Music-analytical Texts (Sažetak: Glazbeno-publicistički diskurs u Hrvatskoj iz studentske perspektive: korisnost i vjerodostojnost glazbeno-analitičkih tekstova), 48/2 (2017) 281-301.

VILLIERS HUMAN, Suzanne de: Explosions in Visual Art, Literature and Music (Sažetak:

Prskanja u likovnim umjetnostima, književnosti i glazbi) 36/1 (2005) 179-197.

VILJOEN, Martina – TITLESTAD, Michael: Festive Critique and Agency in Felix Laband’s

4/4 Down the Stairs (Sažetak: Svečarska kritika i djelovanje u djelu 4/4 Down the Stairs

Felixa Labanda), 36/1 (2005) 199-220.

VILJOEN,  Martina  –  VILJOEN,  Nicol:  Amadeus:  A  Vision  of Musical  Genius  (Sažetak:

Amadeus: vizija glazbenog genija), 49/1 (2018) 29-51.

VILJOEN, Martina: Ideology and Interpretation: A Figurative Semiotics of Musical Discourse

(Sažetak: Ideologija i interpretacija: figurativna semiotika glazbenog diskursa), 36/1 (2005)

83-99.

VILJOEN, Martina: Is Interdisciplinarity Enough? Critical Remarks on Some ‘New Musicological’ Strategies from the Perspective of the Thought of Christopher Norris (Sažetak: je li interdisciplinarnost dovoljna? Kritičke primjedbe o nekim strategijama Nove muzikologije iz perspektive misli Christophera Norrisa), 43/1 (2012) 71-94.

VILJOEN, Martina: Questions of Musical Meaning: An Ideology-Critical Approach (Sažetak:

Problemi glazbenog značenja: ideološko-kritički pristup), 35/1 (2004) 3-28.

VILJOEN, Nicol – DRENNAN, Ian – PAKENDORF, Gunther: From Claudius to Schubert.

Some Thoughts on the Transformation of Words into Music (Sažetak: Od Claudiusa do

Schuberta. Neke ideje o transformaciji riječi u glazbu), 50/1-2 (2019) 143-173.

VILJOEN,  Nicol  –  VILJOEN,  Martina:  Amadeus:  A  Vision  of Musical  Genius  (Sažetak:

Amadeus: vizija glazbenog genija), 49/1 (2018) 29-51.

VIRET, Jacques: Mélodie et «Gestalt». Pour une nouvelle approche de l’analyse mélodique (Summary:  Melody  and  «Gestalt».  Towards  a  New  Approach  to  Melodic  Analysis; Sažetak: Melodija i «Gestalt». Za novi pristup melodijskoj analizi), 13/1 (1982) 39-53.

VIRET, Jacques: Musique, nombres, cosmos:  quelques réflexions  «pythagoriciennes» (Summary: Music, Numbers, Space: Some «Pythagorean» Meditations; Sažetak: Glazba, brojevi, svemir: neka «pitagorejska» razmišljanja), 17/2 (1986) 147-161.

VISAGIE, Johann – SCHUTTE, Charla: „Lieder sind Brüder der Revolution“: An Ideology- critical Approach to the Use of Song as a Vehicle for Propaganda (Sažetak: „Pjesme su braća   revolucije“:   Ideologijsko-kritički   pristup   uporabi   pjesme   kao   promidžbenog sredstva), 43/1 (2012) 107-138.

VISAGIE, Johann: Applying Critical Tools to Critical Theory – With Some Remarks on the Implications for Musicology (Sažetak: Primjenjujući kritička sredstva na kritičku teoriju. Uz nekoliko primjedbi na implikacije u muzikologiji), 36/1 (2005) 11-36.

VOIGT,  Boris:  Arbeitergesang  zwischen  bildungsbürgerlichem  Ideal, Gemeinschaftskonstitution und proletarischem Kampf. Die Liedersammlungen des deutschen Arbeiter-Sängerbundes in der Zeit der Weimarer Republik (Summary: Workers’ Songs between Bourgeois Ideals, Community Building and Proletarian Battle. The Collections of Songs of the German Workers’ Singing Associations in the Period of the Weimar Republic; Sažetak: Radnički napjevi između građansko-obrazovnog ideala, konstituiranja zajednice i proleterske borbe. Zbirke pjesama njemačkog radničkog pjevačkog saveza u doba Weimarske Republike), 51/1 (2020) 59-99.

VOIGT, Boris: Das Scherzo der fünften Symphonie Gustav Mahlers als Reflexion auf die gesellschaftliche Moderne (Summary: Gustav Mahler’s Fifth Symphony Scherzo as a Reflection of the Social Modernity; Sažetak: Scherzo Pete Simfonije Gustava Mahlera kao odraz društvenog moderniteta), 41/2 (2010) 195-239.

VOLGSTEN, Ulrik – PONTARA, Tobias: Music as Embodied and Emergent: Expanding on a Theme by Joseph Margolis (Sažetak: Glazba kao utjelovljenje i pojavnost: proširenje na temu Josepha Margolisa), 54/1 (2023) 27-47.

VOLGSTEN, Ulrik: Work, Form and Phonogram. On the Significance of the Concept of Communication for the Modern Western Concept of Music (Sažetak: Djelo, forma i fonogram. O značenju pojma komunikacije za moderni zapadni koncept glazbe), 46/2 (2015) 207-232.

VOLKOVA, Galyna – KADANTSEVA, Nataliia – SAPSOVYCH, Oleksandra – FILATOVA, Olha – BURKATSKYI, Zinovii: Theory of Musical Content: A Triune Role Complex of Composer – Performer – Teacher (Sažetak: Prema teoriji glazbenog sadržaja: uloga trostrukog kompleksa skladatelj – izvođač – učitelj), 55/1 (2024) 181-194.

WADIYO, Wadiyo – HARYONO, Slamet – WIYOSO, Joko – SHABRINA, Gita Surya: Aesthetic Features and Ethnic Music Style in Social and Cultural Life of the Modern Era (Sažetak: Estetičke karakteristike i stil etničke glazbe u društvenom i kulturnom životu modernoga doba), 52/1 (2021) 83-100.

WAGNER,  Günther:  Exaktwissenschaftliche  Musikanalyse  und  Informationsästhetik (Summary: Scientific Musical Analysis and Informational Aesthetics; Sažetak: Egzaktnoznanstvena muzička analiza i informacijska estetika), 7/1 (1976) 63-76.

WANG,  Juan:  Classical  Music:  a  Norm  of  ‘Common’  Culture  Embedded  in  Cultural Consumption and Cultural Diversity (Sažetak: Klasična glazba: norma ‘opće’ kulture ugrađena u kulturnu potrošnju i kulturnu raznolikost), 47/2 (2016) 195-205.

WANGERMÉE, Robert: Notes sur l’économie des institutions musicales non-lucratives (Summary: Notes on the Economy of Non-Commercial Musical Institutions; Sažetak: Bilješke o ekonomiji nekomercijalnih glazbenih institucija), 13/2 (1982) 141-160.

WAREN, Warren: Theories of the Singing Revolution: An Historical Analysis of the Role of Music in the Estonian Independence Movement (Sažetak: Teorije pjevajuće revolucije: povijesna analiza uloge glazbe u estonskom pokretu za neovisnost), 43/2 (2012) 439-451.

WARREN, Matthew: Agency and Control in the Compositional Process (Sažetak: Djelovanje i kontrola u skladateljskom procesu), 54/1 (2023) 3-26.

WEBER, William: Mass Culture and the Reshaping of European Musical Taste, 1770-1870, (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology  of  Music,  8/1  (1977)  5-22)  (Sažetak:  Masovna  kultura  i  preoblikovanje evropskog glazbenog ukusa u razdoblju od 1770. do 1870. godine), 25/1-2 (1994) 175-190. WELBURN, Ron: Duke Ellington’s Music: The Catalyst for a True Jazz Criticism (Sažetak:

Glazba Dukea Ellingtona: katalizator istinske jazz kritike), 17/1 (1986) 111-122.

WENK, Brian J.: Speech Patterns in Music: The French (Rythmic) Connection (Sažetak: Jezični obrasci u glazbi: francuska (ritmička) veza), 13/2 (1982) 191-197.

WESSEL, Jan: The Teacher and the Mirror: The Old Testament in Seventeenth-century Music Historiography (Sažetak: Učitelj i zrcalo: Stari Zavjet u glazbenoj historiografiji 17. stoljeća), 55/2 (2024) 203-218.

WHITE, Harry: ‘After Long Silence’: Examining Paradigms for an Unwritten History (Sažetak:

‘Nakon duge šutnje’: ispitivanje paradigma za jednu nepisanu povijest), 50/1-2 (2019)

47-69.

WHITE, Harry: Art Music and the Question of the Ethnicity: The Slavic Dimension of Czech Music from an Irish Point of View (Sažetak: Umjetnička glazba i problem etniciteta: slavenska dimenzija češke glazbe s irskog gledišta), 35/1 (2004) 29-46.

WHITE, Harry: Beethoven’s Ghosts: Twelve Generic Variations (Sažetak: Beethovenovi

duhovi: dvanaest generičkih varijacija), 53/1 (2022) 3-35.

WHITE, Harry: Is This Song about You? Some Reflections on Music and Nationalism in Germany and Ireland (Sažetak: Je li ova pjesma o tebi? Neka razmišljanja o glazbi i nacionalizmu u Njemačkoj i Irskoj), 33/2 (2002) 131-147.

WHITE, Harry: The Need for a Sociology of Irish Folk Music. A Review of Writings on

«Traditional» Music in Ireland, with some Responses and Proposals (Sažetak: Potrebe za sociologijom irske narodne glazbe. Pregled napisa o «tradicionalnoj» glazbi u Irskoj s nekoliko odgovora i prijedloga), 15/1 (1984) 3-13.

WHITE, Harry: The Preservation of Music and Irish Cultural History (Sažetak: Očuvanje glazbe

i irska kulturna povijest), 27/2 (1996) 123-138.

WIERØD BORČAK, Lea – FRØKJÆR BAUNVIG, Katrine: Medial Conditions For Social Bonding in Singing (Sažetak: Medijalni uvjeti za društveno povezivanje u pjevanju), 52/2 (2021) 391-416.

WIERZBICKI, James: Inventive Listening: The Aesthetics of Parataxis (Sažetak: Inventivno

slušanje: estetika paratakse), 45/1 (2014) 21-46.

WILFING, Alexander: »Absolute« Aesthetics in Context: The Sociopolitical Fundamentals of Eduard Hanslick’s Scholarly Activities; Towards a Cultural Turn in Hanslick Scholarship (Sažetak: »Apsolutna« estetika u kontekstu: društveno-politički temelji znanstvenih aktivnosti Eduarda Hanslicka – prema kulturnom zaokretu u znanosti o Hanslicku), 50/1-

2 (2019) 175-190.

WILLGOSS,   Richard:    Creativity   in    Contemporary   Art   Music    Composition   (Sažetak:

Kreativnost u komponiranju suvremene umjetničke glazbe), 43/2 (2012) 423-437.

WILSON,  Dora:  Löhlein’s  Klavierschule:  Toward  an  Understanding  of  the  Galant  Style (Sažetak: Klavirska škola Georga S. Lohleina: prema razumijevanju galantnog stila), 12/2 (1981) 103-115.

WILSON, Samuel: After Beethoven, After Hegel: Legacies of Selfhood in Schnittke’s String Quartet No. 4 (Sažetak: Nakon Beethovena, nakon Hegela: Baština vlastitosti u Gudačkom kvartetu br. 4 Alfreda Schnittkea), 45/2 (2014) 311-334.

WINISZEWSKA, Hanna: Dedicated Works in the Context of Eighteenth-Century Musical Life (Sažetak: Djela s posvetama u kontekstu glazbenog života 18. stoljeća), 51/1 (2020) 29-41. WIORA,  Walter:  Der  Grundbegriff  Kunstwerk.  Versuch  einer  wissenschaftlichen  Klärung (Summary:  A  Fundamental  Notion:  The  Work  of  Art.  An  Attempt  of  a  Scholarly Explanation;       Sažetak:    Temeljni                        pojam        umjetničkog            djela.               Pokušaj                 znanstvenog

objašnjenja), 31/1 (2000) 7-51.

WIORA, Walter: Der musikalische Ausdruck von Ständen und Klassen in eigenen Stilen (first published in: / prvi put objavljeno u: International Review of the Aesthetics and Sociology of Music, 5/1 (1974) 91-112) (Summary: The Musical Expression of Different Estates and Social Classes in Their Own Individual Styles; Sažetak: Glazbeni izraz različitih društvenih staleža i klasa u njihovim individualnim stilovima), 25/1-2 (1994) 93-113.

WIYOSO, Joko – SHABRINA, Gita Surya – WADIYO, Wadiyo – HARYONO, Slamet: Aesthetic Features and Ethnic Music Style in Social and Cultural Life of the Modern Era (Sažetak: Estetičke karakteristike i stil etničke glazbe u društvenom i kulturnom životu modernoga doba), 52/1 (2021) 83-100.

WULFF, Hans J.: Von Tanzkarten und Damenspenden: Rituale des Ball-Walzers (Summary: On Dancing Cards and Spending Gifts: Rituals at Waltz Balls; Sažetak: O plesnim karticama i besplatnim darovima: rituali valcerskih balova), 51/1 (2020) 43-48.

YAKO, Masato: Possible Worlds in Musical Theory and Practice (Sažetak: Moguću svjetovi u glazbenoj teoriji i praksi), 33/2 (2002) 181-196.

YAKO,  Masato:  Recognition  of  Music  and  Beauty  by  the  Language  Game  (Sažetak:

Prepoznavanje glazbe i ljepote jezičnom igrom), 38/1 (2007) 3-21.

YAN, Hektor K. T.: The Jewish Question Revisited: Anti-Semitism and ‘Race’ in Wagner’s Parsifal (Sažetak: Ponovno o židovskom pitanju: antisemitizam i ‘rasa’ u Wagnerovom Parsifalu), 43/2 (2012) 343-363.

YAN, Hektor King Tak: On Bruckner and Ideology (Sažetak: O Bruckneru i ideologiji), 47/1 (2016) 87-108.

YANG, Hon-Lun – SAFFLE, Michael: Aesthetic and Social Aspects of Emerging Utopian Musical   Communities  (Sažetak:   Estetički   i   društveni   aspekti   nastajućih   utopijskih glazbenih zajednica), 41/2 (2010) 319-341.

YAP, Jin Hin – LOO, Fung Ying: Kuala Lumpur City Opera and Opera Revival in Malaysia: A Communal Approach to Undoig Hierarchy and Elitism (Sažetak: Gradska opera u Kuala Lumpuru i preporod opere u Maleziji: pristup zajednice uklanjanju hijerarhije i elitizma),

51/2 (2020) 185-204.

YARUSTOVSKI, Boris: Quelques réflexions sur la musique et la société (Summary: Some

Reflections About Music and Society), 6/2 (1975) 283-287.

YE, Bai: Conceptual Models of Chinese Piano Music Integration into the Space of Modern Music (Sažetak: Pojmovni modeli integracije kineske klavirske glazbe u moderni glazbeni prostor), 49/1 (2018) 137-147.

YEOLAND,  Rosemary  –  HAFEZ-ERGAUT,  Agnès:  Camille Mauclair:  Critique  et compétences (Summary: Camille Mauclair: Critique and Competences; Sažetak: Camille Mauclair: kritika i kompetencije), 37/2 (2006) 213-224.

YEOLAND, Rosemary: Camille Mauclair, Ernest Chausson and the Trois Lieder (Sažetak: Camille Mauclair, Ernest Chausson i Trois Lieder), 47/1 (2016) 109-122.

YEOLAND, Rosemary: Nadia Boulander et Camille Mauclair (Summary: Nadia Boulanger and Camille Mauclair, Sažetak: Nadia Boulanger i Camille Mauclair), 45/1 (2014) 63-76. YEOLAND, Rosemary: Robert Schumann and the French lied (Sažetak: Robert Schumann i

francuski lied), 48/2 (2017) 207-224.

YOFFE, Aron M.: Plotinus’s Theory of Mimesis, and Its Implications for the Actual Composing of Music (Sažetak: Plotinova teorija Mimezisa i njezine implikaciije za komponiranje glazbe), 11/1 (1980) 87-91.

YOON, Hyunjoo – RA, Julie: The First Appearance of the Clarinet in the Mannheim Orchestra and Symphonies: Its Historical Significance and Effects (Sažetak: Prva pojava klarineta u Mannheimskom orkestru i simfonijama: njegovo povijesno značenje i učinci), 55/2 (2024)

219-237.

YOON, Sunny: Tuning in Sacred: Youth Culture and Contemporary Christian Music (Sažetak: Intoniranje u svetom: kultura mladih i suvremena kršćanska glazba), 47/2 (2016) 315-342.

YOSHIDA, Hiroshi: Eduard Hanslick and the Idea of «Public» in Musical Culture: Towards a

Socio-Political  Context  of  Formalistic  Aesthetics  (Sažetak:  Eduard  Hanslick  i  ideja

«publike» u glazbenoj kulturi: k društveno-političkom kontekstu formalističke estetike),

32/2 (2001) 179-199.

YOUNG, James O.: On the Enshrinement of Musical Genius (Sažetak: O posvećenju glazbenoga

genija), 45/1 (2014) 47-62.

YOUNG, james O.: Was There a ‘Great Divide’ in Music? (Sažetak: Je li postojala „velika razdjelnica“ u glazbi), 46/2 (2015) 233-244.

ZAGORSKI,  Marcus:  Hearing  Beethoven,  Truth,  and  „New  Music“  (Sažetak:  Slušanje

Beethovena, istina i „Nova glazba“), 44/1 (2013) 49-56.

ZENCK, Martin: Auswirkungen einer «musique informelle» auf die neue Music. Zu Theodor W. Adornos Formvorstellung (Summary: Influences of «musique informelle» on New Music. On Adorno’s Concept of Form; Sažetak: Utjecaji «musique informelle» na novu glazbu. Uz Adornov pojam forme), 10/2 (1979) 137-165.

ZVARA, Vladimír: Leoš Janáček and the „Slavic Catharsis“ (Sažetak: Leoš Janáček i „slavenska katarza“), 43/1 (2012) 23-34.

2.   REVIEW PAPERS – PREGLEDNI ČLANCI

DESCHNÊS, Bruno: Music and the New Scientific Theories (Sažetak: Glazba i nove znanstvene teorije), 22/2 (1991) 193-202.

DOUBRAVOVÁ, Jarmila: Music and Visual Art – Their Relation as a Topical Problem of the Contemporary Music in Czechoslovakia (Sažetak: Glazba i likovne umjetnosti. Njihov odnos kao aktualni problem suvremene glazbe u Čehoslovačkoj), 11/2 (1980) 219-228.

ESCAL, Françoise: Les «portraits» dans les quatre Livres de clavecin de Couperin (Summary: The «Portraits» in the Four Livres de clavecin by Couperin (Sažetak: «Portreti» u četiri Livres de clavecin F. Couperina), 11/1 (1980) 5-23.

GREEN, Edward: Did Ellington Truly Believe in an „Afro-Eurasian Eclipse?“ (Sažetak: Je li

Duke Ellington stvarno vjerovao u „afro-azijsku pomrčinu“?), 43/1 (2012) 227-236.

HALBSCHEFFEL, Bernward: Zur Ontologie der Rockmusik, 14/1 (1983) 99-105.

HEBERT, David G.: Reflections on Teaching and Sociology of Music Online, 39/1 (2009) 93-

103.

ILLIASIEWICZ, Elżbieta: Polish Composers as a Social Group (Sažetak: Poljski kompozitori

kao društvena grupa), 11/2 (1980) 239-251.

JAUK, Werner: Neue Musik und Musikkritik. Eine Längsschnittuntersuchung zur empirischen Rezeptionsgeschichte des Musikprotokolls seit dessen Bestehen (Summary: New Music and Musical Criticism. A Longitudinal Investigation of the Empirical History of the Calendar of Musical Events (Musikprotokoll) in Graz; Sažetak: Nova glazba i glazbena kritika.   Uzdužni   presjek   u   istraživanju   empirijske   povijesti   primalaštva   festivala

«Musikprotokoll» u Grazu od njegova nastanka), 15/2 (1984) 215-236.

MARK, Desmond: Pop and Folk as a Going Concern for Sociological Research, 14/1 (1983) 93-

98.

PEJOVIĆ, Roksanda: A Historical Survey of Musical Instruments as Portrayed in Mediaeval Art in Serbia and Macedonia (Sažetak: Povijesni pregled glazbenih instrumenata prikazan u srednjovjekovnoj umjetnosti u Srbiji i Makedoniji), 13/2 (1982) 177-182.

PLAVŠA, Dušan: La naissance de la musique de film avant l’apparition de l’art du film sonore (Summary: The Birth of Film Music before the Appearance of the Art of Sound Movie; Sažetak: Rađanje filmske glazbe prije nastanka tonfilmske umjetnosti), 20/2 (1989) 211-

228.

PRINZ, Mario: Wenn ich die 7. Beethoven-Symphonie nicht mehr Spiele, ist es noch immer zu viel. Kreativität im grossen Orchester (Summary: Wenn ich die 7. Beethoven-Symphonie nicht mehr Spiele, ist es noch immer zu viel. Creativity in the Big Orchestra; Sažetak: Kada više ne sviram Beethovenovu 7. simfoniju, i tada je još previše. Kreativitet u velikom orkestru)), 24/1 (1993) 69-76.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): L’histoire sociale de la musique en France: Quelques apsects de base (I) (Summary: Social History of Music in France: Some Basic Aspects (I); Sažetak: Socijalna povijest glazbe u Francuskoj: nekoliko temeljnih aspekata (I)), 19/2 (1988) 229-258.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): L’histoire sociale de la musique en France: Quelques apsects de base (II) (Summary: Social History of Music in France: Some Basic Aspects (II); Sažetak: Socijalna povijest glazbe u Francuskoj: nekoliko temeljnih aspekata (II)),

20/1 (1989) 61-102.

TESSAROLO, Mariselda: The Musical Experience. The Semantic Differential as a Research

Instrument (Sažetak: Glazbeni doživljaj), 12/2 (1981) 153-164.

3.   CONFERENCE PAPERS – REFERATI

BAES, Jonas: Marayaw and the Changing Context of Power among the Iraya of Mindoro, Philippines (Sažetak: Marayaw i promjenjivi kontekst moći u filipinskoj manjini Iraya u Mindoru), 19/2 (1988) 259-267.

BEN-PERETZ, Miriam – KALEKIN-FISHMAN, Devorah – BRUEN, Hanah: Perception and Interpretation of Vocal Music: Constructions of Social Groups (Sažetak: Percepcija i interpretacija vokalne glazbe: konstrukcije društvenih grupa), 17/1 (1986) 53-72.

BRANDL, Rudolf: Some Aspects of Oral History in the Consideration of Musical Traditions from Africa and Levante, Based on a Neurosemiotical Approach (Sažetak: Neki aspekti oralne povijesti s obzirom na glazbene tradicije Afrike i Levanta temeljeni na neurosemiotičkom pristupu), 16/1 (1985) 3-42.

BRUEN, Hanah – BEN-PERETZ, Miriam – KALEKIN-FISHMAN, Devorah: Perception and Interpretation of Vocal Music: Constructions of Social Groups (Sažetak: Percepcija i interpretacija vokalne glazbe: konstrukcije društvenih grupa), 17/1 (1986) 53-72.

CVETKO, Dragotin: Notes sur la transplantation de la tradition musicale, populaire et atristique, des Slaves du Sud (Summary: Notes Towards the Question of the Transplantation of the South-Slavic Folk and Artistic Music Tradition; Sažetak: Bilješke o pitanju presađivanja južnoslavenske narodne i umjetničke glazbene tradicije), 11/1 (1980) 93-101.

KALEKIN-FISHMAN, Devorah – BRUEN, Hanah – BEN-PERETZ, Miriam: Perception and Interpretation of Vocal Music: Constructions of Social Groups (Sažetak: Percepcija i interpretacija vokalne glazbe: konstrukcije društvenih grupa), 17/1 (1986) 53-72.

KALISCH, Volker: Brauchen Wir Musik? (Summary: Do We Need Music?; Sažetak: Trebamo li glazbu?), 22/2 (1991) 133-145.

KATALINIĆ, Vjera: Croatian Musical Culture between 1750 and 1820: A Central-European and/or Mediterranean Issue? (Sažetak: Hrvatska glazbena kultura između 1750. i 1820. Srednjoeuropski i/ili mediteranski krug), 24/1 (1993) 3-12.

KEMPF, Davorin: What is Symmetry in Music (Sažetak: Simetrija u glazbi), 27/2 (1996) 155-

165.

KOLLERITSCH,  Otto:  Total  Quality  in  Teaching  and  Its  Control  –  An  Interdisciplinary

Approach, 32/2 (2001) 201-207.

KOS, Koraljka: Aspekte des Volksmusizierens in der bildenden Kunst des 19. Jahrhunderts (Summary: Views of Folk Music Making in 19th-Century Visual Arts; Sažetak: Prizori narodnog muziciranja u likovnoj umjetnosti 19. stoljeća), 23/2 (1992) 153-169.

LAMBLIN, André: L’analyse tonale selon Schenker (Summary: Tonal Analysis According to

Schenker; Sažetak: Tonalna analiza prema Schenkeru), 17/2 (1986) 187-202.

LORTAT-JACOB, Bernard: Méthodes d’analyse en ethnomusicologie (Summary: Methods of

Analysis in Ethnomusicology; Sažetak: Metode analize u etnomuzikologiji), 17/2 (1986)

239-257.

MÂCHE, François-Bernard: L’analyse mélodique (Summary: The Melodic Analysis; Sažetak: Melodijska analiza), 17/2 (1986) 259-272.

MÂCHE, François-Bernard: Les procédures d’analyse sémiologique (Summary: Methods in a semiological analysis; Sažetak: Postupci u semiološkoj analizi), 17/2 (1986) 203-214.

MOLES, Abraham A.: Approche informationnelle de la perception et de la création musicale (Summary: Informational Approach of Perception and Creation in Music; Sažetak: Informatički pristup percepciji i stvaranju glazbe), 17/2 (1986) 273-297.

OSBORNE, Nigel: La forme musicale comme processus (Summary: Musical Form as Process;

Sažetak: Glazbena forma kao proces), 17/2 (1986) 215-222.

REINECKE,    Hans-Peter:     «Musiktherapie»     oder     «Musiktherapeut»:     Versuch     einer

kulturkritischen Ortsbestimmung, 18/2 (1987) 247-258.

REINECKE, Hans-Peter: Cybernetics and Musical Consciousness (Sažetak: Kibernetika i glazbena svijest), 24/1 (1993) 13-22.

RÖSING, Helmut: Populäre Musik und ihr Publikum (Summary: Popular Music and Its Public;

Sažetak: Popularna glazba i njezina publika), 20/1 (1989) 11-42.

SADAĬ, Yizhak: Les aspects systémiques et énigmatiques de la musique tonale (Summary: The Systemic and Enigmatic Aspects of Tonal Music; Sažetak: Sistemički i enigmatski aspekti tonalne glazbe), 17/2 (1986) 299-332.

SUPIČIĆ, Ivo: Les approches socio-historiques de l’oeuvre musicale (Summary: Sociohistorical Approach of Musical Work; Sažetak: Socijalnopovijesni pristup glazbenom djelu), 17/2 (1986) 223-238.

TAYLOR, Timothy D.: Aesthetics and Cultural Issues in Schumann’s Kinderszenen (Sažetak:

Estetički i kulturni aspekti Schumannovih Kinderszenen), 21/2 (1990) 161-178.

TUKSAR,  Stanislav:  Eduard  Hanslick,  Franjo  Ksaver  Kuhač  et  alii  and  the  «National-

International» Relationship in the Croatian Fin-de-Siècle Musical Culture (Sažetak: Eduard

Hanslick, Franjo Ksaver Kuhač i drugi te odnos «nacionalno-internacionalno» u hrvatskoj

glazbenoj kulturi fin-de-sièclea), 29/2 (1998) 155-164.

VEBER,  Zdenka  (vidi  WEBER,  Zdenka):  The  Contemporary  Musical  Environment  as  an

Impetus for the Development of Musical Creativity, 18/2 (1987) 269-275.

VENDRIX, Philippe: La notion de révolution dans les écrits théoriques concernant la musique avant 1789 (Summary: The Concept of Revolution in the Theoretical Writings on Music before 1789; Sažetak: Pojam revolucije u teorijskim zapisima o glazbi prije 1789. godine),

21/1 (1990) 71-78.

WILLMS, Harm: Vom musikalisch Schönen und seiner Bedeutung für die menschliche Seele,

18/2 (1987) 259-268.

4.   DISCUSSIONS – RASPRAVE

ADAMIČ, Bojan: One of the Problems of Popular Music, 2/2 (1971) 290-291.

ALBERSHEIM, Gerhard: Reflexionen über Musikwissenschaft und Soziologie, 1/2 (1970) 200-

208.

ALBERSHEIM, Gerhard: Zusätzliches zum Begriff des musikalischen Sinnes, 3/1 (1972) 97-

109.

BEAUD, Paul: Musique, Masses, Minorités, Marginaux, 6/1 (1975) 159-167.

BEAUFILS, Marcel: Questions, 1/1 (1970) 101-104.

BENGTSSON, Ingmar: Some Comments and Another Discussion, 1/2 (1970) 195-199.

BEZIĆ, Jerko: Die Akkulturation als eine Fortbestandsmöglichkeit der Volksmusik, 6/1 (1975)

172-174.

BROECKX,  Jan  L.:  Music  and  Langugage.  On  the  Pretended  Inadequacy of  Music  As  a

Language of Feeling, 27/1 (1996) 87-93.

BROOK, Barry S.: The Symphonie Concertante: Its Musical and Sociological Bases, 6/1 (1975)

114-125.

BROWN, A. Malcolm: Teaching Music in the Twenty-First Century: The Questionable Fourth

Ingredient (Sažetak: Glazbeni odgoj u dvadeset i prvom stoljeću), 4/2 (1973) 307-316.

BUJIĆ, Bojan: Letter to the Editor, 5/2 (1974) 331.

CIPRA, Milo: Discussion, 2/2 (1971) 288-290.

CORRÊA DE AZEVEDO, Luis Heitor: Le national dans la création musicale, 1/1 (1970) 99-

101.

CUPERS, Jean-Louis: De la nécessité de la sympathie critique ou quelques considérations sur des opinions émises à propos de Félix Mendelssohn (Summary: About the Necessity for Sympathy in Criticism, or Opinions about Felix Mendelssohn; Sažetak: Potreba razumijevanja u kritici ili mišljenja o Felixu Mendelssohnu), 5/2 (1974) 311-325.

CVETKO, Dragotin: Die sociologischen und nationalen Bedingungen für die Wandlungen in

der musikalischen Situation bei den Südslawen im 19. Jahrhundert, 6/1 (1975) 111-114.

DAHLHAUS, Carl: Das musikalische Kunstwerk als Gegenstand der Soziologie, 6/1 (1975) 67-

79.

DE JAGER, Hugo: Some Sociological Remarks on Innovaiton in Musik, 3/2 (1972) 252-258.

DELIÈGE, Célestin: Les techniques du rétrospectivisme, 6/1 (1975) 99-100.

DESCHÊNES, Bruno: Un processus d’identification, 21/2 (1990) 219-222.

DETONI, Dubravko: The Value of Artistic Experiment in Modern Times, 2/1 (1971) 111-113. DEVČIĆ, Natko: Some Problems in Developing Young Composers, 2/2 (1971) 285-287. DIESEN,  Rolf  –  HOLEN,  Arne  –  SELVIK,  Randi  Margrete:  Das  Musikleben  in  einer

Landgemeinde, 6/1 (1975) 152-159.

DUNSBY, Jonathan: Reply to André Lamblin, 19/1 (1988) 117-119.

ENRIKO, Josif: Music Teaching as the Foundation of the Development of Musical Creativity,

2/2 (1971) 287.

ETZKORN, K. Peter: On Music, Social Structure and Sociology, 6/1 (1975) 79-90.

FINSCHER, Ludwig: Die «Entstehung des Komponisten», 6/1 (1975) 135-142.

FIRCA,  Clémence-Liliane:  La  culture  et  la  disponibilité  psycho-esthétique.  Facteurs  de

l’accessibilité en musique, 5/2 (1974) 325-328.

FIRCA, Gheorghe: Struktur und Strukturalismus in der Musikforschung, 3/2 (1972) 247-252.

FUBINI,  Enrico:  Estetica  e  sociologia  della  musica  nell’  Università  italiana  (Summary.

Aesthetics and Sociology of Music in the Italian University; Sažetak: Estetika i sociologija glazbe na talijanskom sveučilištu), 4/1 (1973) 95-99.

FUBINI, Enrico: Implicazioni sociologiche nella creazione e nella fruizione della musica d’avanguardia, 6/1 (1975) 142-146.

FUBINI, Enrico: Music Aesthetics and Philosophy, 1/1 (1970) 94-97. GAGNARD, Madeleine: Le discours des compositeurs, 12/2 (1981) 189-198. HARDMAN, C. B.: «Josquin, Leonardo and the Scala Peccatorum», 5/2 (1974) 329-331.

HOLEN,  Arne  –  SELVIK,  Randi  Margrete  –  DIESEN,  Rolf:  Das  Musikleben  in  einer

Landgemeinde, 6/1 (1975) 152-159.

JUVARA, Filippe: Interpretazione e storia: un rapporto problematico (Summary: Interpretation and  History:  A  Problematic  Relation;  Sažetak:  Interpretacija  i  povijest:  problematski odnos), 4/1 (1973) 99-103.

KADEN, Christian: Musikalische Normenbildung und ihre sozialen Grundlagen, 6/1 (1975)

174-181.

KNEIF, Tibor: Some Non-Communicative Aspects in Music, 6/1 (1975) 95-99.

KOSTIĆ, Vojislav: From the Introduction, 2/2 (1971) 267-268.

KREK, Uroš: Organization of Work in the Association of Slovene Composer, 2/2 (1971) 298.

KREMLEV, Julij A.: A propos de quelques problèmes des «Discussions» exposés dans le 1er

No, 1/2 (1970) 208-209.

KUČUKALIĆ, Zija: Contemporary Trends in Yugoslav Music, 2/2 (1971) 271-273.

LAMBLIN, André: Réplique à Jonathan Dunsby, 19/1 (1988) 119.

LESURE, François: Un moteur pour la musicologie, 1/1 (1970) 91-92.

LIPPMAN, Edward A.: The Dilemma of Musical Meaning, 12/2 (1981) 181-189.

MAHLING, Christoph-Hellmut: Soziologie der Musik und musikalische Sozialgeschichte, 1/1 (1970) 92-94.

MIHELČIĆ, Pavel: Musical Criticism and Modern Music, 2/2 (1971) 280.

MILOŠEVIĆ,  Predrag:  Music  Broadcast  on   Yugoslav  Radio  Stations  in  Figures  and

Percentages, 2/2 (1971) 291-293.

NATTIEZ, Jean-Jacques: Sur les relations entre sociologie et sémiologie musicales, 6/1 (1975)

90-95.

NOSKE, Frits: «Art Music» and «Trivial Music»: Anatomy of a False Argument (Sažetak:

«Umjetnička  glazba»  i  «trivijalna  glazba».  Anatomija  jedne  krive  argumentacije),  4/2 (1973) 287-293.

OSMOND-SMITH, David: Music as Communication: Semiology or Morphology?, 2/1 (1971)

108-111.

PAVLOVIĆ, Aleksandar: Composers, Interpreters and Musical Institutions, 2/2 (1971) 281-282.

Perspectives in the Sociology of Music, 6/1 (1975) 182-193.

PETRIĆ, Ivo: The Musician and His Role in the Establishment of Yugoslav Music, 2/2 (1971)

284-285.

PETROVIĆ, Radmila: Folk Music of Eastern Yugoslavia: A Process of Acculturation, 6/1 (1975) 167-172.

PROŠEV, Toma: Composers, Performers and Musical Institutions, 2/2 (1971) 282-284.

RAČIĆ, Ladislav: On the Aesthetics of Rock-Music, 12/2 (1981) 199-202.

RADOVANOVIĆ, Vladan: Theory and Criticism with Reference to Creativity in Music, 2/2 (1971) 275-280.

RINGER, Aleksander L.: Musical Taste and the Industrial Syndrome, 6/1 (1975) 125-135.

SAKAČ, Branimir: The Status of a Composer and His Work, 2/2 (1971) 268-271.

SELVIK,  Randi  Margrete  –  DIESEN,  Rolf  –  HOLEN,  Arne:  Das  Musikleben  in  einer

Landgemeinde, 6/1 (1975) 152-159.

SOURIAU, Ettiene: La musique est-elle un langage?, 1/1 (1970) 97-99.

STEFANOVIĆ, Pavle: Autour de la Tribune musicale yougoslave, 2/1 (1971) 107-108

SUPIČIĆ, Ivo: Aesthetic Attitudes in Croatian Music… and a Talk with Milo Cipra, 2/1 (1971)

97-107.

ŠIPUŠ, Krešimir: A. D. 1973: Music on the Threshold of Nothingness. Has Music Any Meaning

Today? (Sažetak: A: D. 1973: Glazba na pragu ništavila. Ima li glazba danas neki smisao?),

4/2 (1973) 293-307.

TRÂN VÂN KHÊ: L’acculturation dans les traditions musicales de i’Asie, 6/1 (1975) 146-152.

TURKALJ, Nenad: Discussion, 2/2 (1971) 274-275.

UKMAR, Vilko: Stylistic and Aesthetic Questions in Modern Music, 3/1 (1972) 109-117.

ULRICH, Boris: Organizational Problems of Contemporary Yugoslav Music, 2/2 (1971) 294-

295.

VULJEVIĆ, Ivo: Some Organizational Problems in Contemporary Yugoslav Music, 2/2 (1971)

295-298.

WIORA, Walter: Der musikalische Ausdruck von Ständen und Klassen in eigenen Stilen, 6/1 (1975) 100-111.

5.   REVIEWS AND INFORMATION ON BOOKS  – RECENZIJE I OBAVIJESTI O KNJIGAMA

ANDREIS, Josip

      Epochen der Musikgeschichte in Einzeldarstellungen, Vorwort F. Blume, Bärenreiter- Verlag  –  Deutscher  Taschenbuch  Verlag,  Kassel  –  München  1974,  pp.  468,  5/2

(1974) 344-345.

      TUKSAR,  Stanislav:  Croatian  Renaissance Music  Theorists  (originally published under the title Hrvatski renesansni teoretičati glazbe by the Yugoslav Academy of

Science and Arts, Zagreb 1978), Music Information Center, Zagreb 1980, pp. 151,

13/1 (1982) 122-124.

BADURINA, Natka

      CAVALLINI, Ivano (ed.): Nation and/or Homeland. Identity in 19th Century Music and Literature between Central and Mediterranean Europe, Milano-Udine: Mimesis,

2012, 45/1 (2014) 183-187.

BEBAN, Hrvoje

      TUKSAR,  Stanislav  (ed.):  Ivan  Zajc  (1832-1914):  Glazbene  migracije  i  kulturni

transferi u srednjoj Europi i šire u ‘dugom’ 19. stoljeću / Musical Migrations and Cultural  Transfers  in  the  ‘Long’  19th  Century  in  Central  Europe  and  Beyond, Croatian Musicological Society, Zagreb 2016, 48/1 (2017) 156-161.

BENIĆ ZOVKO, Marija

      DUDEQUE,  Norton:  Music  Theory  and  Analysis  in  the  Writings  of  Arnold

Schoenberg (1874-1951), Ashgate, Aldershot – Burlington 2006, 38/2 (2007) 265-

268.

BITI, Ozren

      FRITH, Simon: Taking Popular Music Seriously, Ashgate, Hampshire – Burlington

2007, 39/2 (2008) 264-265.

BLAŽANOVIĆ, Marta

      CHANTLER, Abigail: E. T. A. Hoffmann’s Musical Aesthetics, Ashgate, Aldershot –

Burlington 2006, 39/1 (2008) 112-115.

      HALFYARD,   Janet    K.   (ed.):    Berio’s    Sequenzas.    Essays    on    Performance, Composition  and  Analysis,  Ashgate, Aldershot  –  Burlington  2007,  pp.  338,  41/1

(2010) 141-143.

BLAŽEKOVIĆ, Zdravko

      LIPOVČAN, Srećko (ed.): Glazbena baština naroda i narodnosti Jugoslavije od 16.

do 19. stoljeća (The Musical Heritage of the Nations and Nationalities of Yugoslavia from the 16th to the 19th Centuries), vol. I, Music Information Center – Varaždin Baroque Evenings, Zagreb – Varaždin 1980, pp. 251 + XXII (bilingual, Craotian – English), 13/1 (1982) 125-126.

      TUKSAR, Stanislav (ed.): Ivan Mane Jarnović- hrvatski skladatelj (Ivan Mane

Jarnović  –  A  Croatian  Composer),  vol.  II,  Music  Information  Center  –  Music Evenings in Osor, Zagreb – Osor 1980, pp. 227 (bilingual, Craotian – English), 13/1 (1982) 131-132.

      ŽUPANOVIĆ, Lovro (ed.): Spomenici hrvatske glazbene prošlosti (Monuments of

Croatian Musical Past), vols. 1-10, Zagreb 1970-1979, 13/1 (1982) 126-127.

BOSANAC, Jana

      MOORE, Allan F. (ed.): Critical Essays in Popular Musicology, Ashgate, Aldershot

– Burlington 2007, 39/2 (2008) 266-269.

BREITENFELD, Darko

      GOUK, Penelope (ed.): Musical Healing in Cultural Context, Ashgate Publishing, Aldershot – Brookfield – Singapore – Sydney 2000, 31/2 (2000) 206-209.

      HORDEN, Peregrine (ed.): Music as Medicine. The History of Music Therapy since

Antiquity, Ashgate, Aldershot – Brookfield – Singapore – Sydney 2000, 31/1 (2000)

100-101.

BREKO KUSTURA, Hana

      KLAPER,  Michael:  Die  Musikgeschichte  der  Abtei  Reichenau  im  10.  und  11.

Jahrhundert. Ein Versuch (Beihefte zum Archiv für Musikwissenschaft, Bd. 52, Hrsg. Albrecht Riethmüller), Franz Steiner Verlag, Wiesbaden 2003, 35/2 (2004) 214-216.

BRELET, Gisèle

      BOUCOURECHLIEV,  André:  Beethoven  («Solfeges»),  Editions  du  Seuil,  Paris

1963, pp. 189, 1/2 (1970) 214-218.

BUCHNER, Antoni

      LISSA, Zofia: Aufsätze zur Musikästhetik, Henschelverlag, Berlin 1969, S. 299, 1/2 (1970) 221-228.

      KELEMEN, Milko: Klanglabyrinthe – Reflexionen eines Komponisten über die Neue

Musik (mit einem Interview von Joachim Kaiser), R. Pipet & Co. Verlag, München

1981, pp. 186, 12/1 (1981) 78-81.

      SCHENK, Erich: Mozart / Sein Leben – Seine Welt, Amalthea-Verlag, Wien 1975, S.

748, 6/2 (1975) 318-320.

CAVALLINI, Ivano

      KATALINIĆ, Vjera: Violinski koncerti Ivana Jarnovića: glazbeni aspekt i društveni

kontekst  njihova  uspjeha  u  18.  Stoljeću  =  Violin  Concertos  by  Ivan Jarnović/Giovanni Giornovichi: Musical Aspects and the Social Context of their Success in the 18th Century, Hrvatsko muzikološko društvo (Croatian Musicological Society), Zagreb 2006, 39/2 (2008) 257-261.

      MAJER-BOBETKO,  Sanja  –  DOLINER,  Gorana  –  BLAŽEKOVIĆ,  Zdravko:

Hrvatska  glazbena  historiografija  u  19.  stoljeću  (Croatian  19th-Century  Music

Historiography), Zagreb: Croatian Musicological Society, 2009, 43/1 (2012) 245-

248.

CERIBAŠIĆ, Naila

      RAYKOFF, Ivan – TOBIN, Robert (eds.): A Song for Europe. Popular Music and

Politics in the Eurovision Song Contest, Ashgate, 2007, pp. 126, 41/1 (2010) 144-

146.

      VIGNAU,  Charlotte:  Modernity,  Complex  Societies,  and  the  Alphorn,  Lexington

Books, 2013 45/1 (2014) 197-200.

CURAMING, Rommel A. – LI, Hongzhu

    SYED MOHAMMED, Sharifah Faizah: Musical Nationalism in Indonesia: The Rise and

Fall of Lagu Seriosa, Singapore: Springer, 2021. [249. pages, with Indec and appendices. ISBN 978-981-33-6950-4], 53/1 (2022) 275-278.

CVETKO, Dragotin

      HELM, Everett: Composer – Performer – Public. A Study in Communication, Leo

Olschki, Florence 1970, pp. 212, 2/1 (1971) 135-137.

ČALOPEK, Nina

      CELESTINI, Federico: Die Unordnung der Dinge: Die musikalische Groteske in der

Wiener Moderne (1885-1914) (Beihefte zum Arhiv für Musikwissenschaft, Bd. 56),

Franz Steiner Verlag, Stuttgart 2006, 294 S., 39/1 (2009) 119-121.

      HILL, Peter – SIMEONE, Nigel: Olivier Messiaen: Oiseaux exotiques. Landmarks in

Music since 1950, pp. 140, Ashgate, Hamphire 2007, 39/2 (2008) 261-263.

ĆURKOVIĆ, Ivan

      LEOPOLD, Silke: Händel. Die Opern, Kassel: Bärenreiter, 2009, 43/2 (2012) 457-

461.

      SHENTON,    Andrew:   Olivier    Messiaen’s    System    of    Signs.    Notes    Towards

Understanding His Music, Aldershot: Ashgate, 2008, 43/1 (2012) 242-244.

      STROHM, Reinhard: The Operas of Antonio Vivaldi, Firenze: Leo S.Olschki, 2008,

43/2 (2012) 461-465.

      TOMLINSON, Gary:  Music  and  Historical  Critique. Selected  Essays,  Aldershot: Ashgate, 2007, 43/1 (2012) 237-241.

DAHLHAUS, Carl

      KNEIF, Tibor: Musiksoziologie (Theoretica, Bd. 9), Musikverlag Hans Gerig, Köln

1971, S. 152, 2/1 (1971) 137.

DAVIDOVIĆ, Dalibor

      THORAU,   Christian:    Semantisierte    Sinnlichkeit:    Studien    zur    Rezeption    und

Zeichenstruktur  der  Leitmotivtechnik  Richard  Wagners  (Beihefte  zum  Archiv  für

Musikwissenschaft, Bd. 50), Franz Steiner, Stuttgart 2003, S. 296, 36/2 (2005) 305-

312.

      WIGHTMAN, Alistair: Karol Szymanovski: His Life and Work, Ashgate, Aldershot – Brookfield – Singapore – Sydney 1999, 31/1 (2000) 101-103.

      WILLIAMS,  Alistair:  Constructing  Musicology,  Ashgate  Publishing  Company, Aldershot – Burlington 2000, 34/1 (2003) 79-88.

DE CLERCQ, Jacqueline

      THOVERON, Gabriel: Radio et télévision dans la vie quotidienne, Editions de l’Institut  de  Sociologie,  Centre  d’etude  des  techniques  de  diffusion  collective,

Bruxelles 1971, pp. 882, 3/1 (1972) 133-136.

DELAMARCHE, Claire

    PALAZZETTI, Nicolò: Béla Bartók in Italy. The Politics of Myth-making, Woodbridge: The Boydell Press, 2022, pp. 302, ISBN 978-1-78327-620-2, 53/2 (2022) 529-532.

ĐEKIĆ, Danijel

BIDDLE,  Ian:  Music,  Masculinity  and  the  Claims  of  History.  The  Austro-German

Tradition from Hegel to Freud, Farnham-Burlington: Ashgate, 2011, 43/2 (2012) 455-

457.

Editorship

      BAINCONI, Lorenzo e coll.: La drammaturgia musicale, Il Mulino, Bologna 1986, pp. 450, 19/2 (1988) 280.

      BLAUKOPF, Kurt: Beethoven Erben in der Mediamorphose. Kulture- und

Medienpolitik für die elektronische Ära, Verlag Arthur Niggli AG, CH-9410 Heiden

1989, pp. XII + 175, 20/2 (1989) 239.

      BLAUKOPF, Kurt: Musik im Wandeln der Gesellschaft, Piper, München – Zürich

1982, S. 383, 19/1 (1988) 131-132.

      BRODY, Elaine:  The Musical  Kaleidoscope (1870-1925),  George Braziller,  New

York 1987, pp. XVI + 360, 20/2 (1989) 241-242.

      HASELAUER, Elisabeth: Handbuch der Musiksoziologie, Herman Böhlaus Nachf., Wien – Köln – Graz 1980, S. 232, 19/2 (1988) 278.

      KELKEL, Manfred: Naturalisme, vérisme et réalisme dans l’opéra de 1890 à 1930, LIbrairie J. Vrin, Paris 1984, pp. 529, 19/2 (1988) 278.

      LE MOIGNE-MUSSAT, Marie-Cleire: Musique et Société à Rennes aux XVIIIe et

XIXe siècles, Editions Minkoff, Genève 1988, pp. 448, ill. 142, 20/2 (1989) 240-241.

      LEPPERT, Richard D.: Arcadia at Versailles. Noble Amateur Musicians and Their

Musettes and Hurdy-gurdies at the French Court (c. 1660-1789). A Visual Study, Swets & Zeitlinger B. V., Amsterdam – Lisse 1978, pp. VIII + 137, ill. 60, bbg., 19/2 (1988) 277.

      LIPPMAN, Edward A.: A Humanistic Philosophy of Music, New York Press, New

York 1977, pp. X + 356, 19/1 (1988) 132-133.

      RUMMENHÖLLER,  Peter:  Einführung  in  die  Musiksoziologie,  Heinrichshofen’s

Verlag, Wilhelmshaven 1978, S. 280, 19/2 (1988) 278.

      SALMEN, Walter: Das Konzert. Eine Kulturgeschichte, Verlag C. H. Beck, München

1988, S. 245, ill., Bbg., 19/2 (1988) 279.

      SUPIČIĆ, Ivo: Music in Society. A Giude to the Sociology of Music (Sociology of

Music Series, No. 4), Pendragon Press, New York 1987, pp. XIV + 488, 19/1 (1988)

133-134.

      VANHULST, Henri – HAINE, Malou (éd.): Musique et Sociéte. Hommages à Robert

Wangermée, Editions de l’Université de Bruxelles, Bruxelles 1988, pp. 278, 19/2 (1988) 280.

      WIORA, Walter: Das musikalische Kunstwerk, Schneider, Tutzing 1983, S. 168, 19/1

(1988) 133.

ESCAL, Françoise

      KINTZLER,  Catherine:  Poétique  de  l’opéra  français  de  Corneille  à  Rousseau,

(collections «Voies de l’histoire», série «Culture et sociéte»), Éditions Minerve, 1991,

pp. 583, 22/1 (1991) 109-111.

EVERETT, William A.

      NORTON, Kay, Singing and Wellbeing: Ancient Wisdom, Modern Proof, New York and London: Routledge, 2016, 47/1 (2016) 160-162.

FÉDOROV, Vladimir

      CVETKO,  Dragotin   (ed.):   Reports   on   the   Tenth   Congress,   Ljubljana   1967,

Intenational Musicological Society, Bärenreiter – University of Ljubljana, Kassel –

Ljubljana 1970, pp. 508, pl. h. t., fig., musique, 2/1 (1971) 131-135.

FERREIRA DE CASTRO, Paulo

      NOSKE, Frits: The Signifier and the Signified. Studies in the Operas of Mozart and

Verdi, Martinus Nijhoff, The Hague 1977, pp. XII + 418, 15/1 (1984) 77-79.

FLOTZINGER, Rudolf

      BLAUKOPF,   Kurt:   Beethovens    Erben    in    der   Mediamorphose.    Kultur    und

Medienpolitik für die elektronische Ära, Arthur Niggli, Heiden 1989, S. 175, 21/2 (1990) 225-228.

FOCHT, Ivan

      LIESS, Andreas: Der Weg nach innen (Ortung ästhetischen Denkens heute), Verlag

San Michele, Zürich 1973, pp. 134, 5/2 (1974) 346-350.

FULCHER, Jane

      Review Essay: the sociological and the Empirical prespective on the «Social History» of Music. BLOOM, Peter (ed.): Music in Paris in Eighteen Thirties, Pendragon Press, New York 1987, 21/1 (1990) 101-113.

GANCARCZYK, Paweł

        JEŻ, Tomasz: Kultura muzyczna jezuitów na Śląsku i ziemi kłodzkiej (1581-1776)

[The Musical Culture of the Jesuits in Silesia and in the County of Kłodzko (1581-

1776)], Warsaw: Wydawnictwo Naukowe Sup Lupa, 2013, 46/1 (2015) 185-187.

GLIGO, Nikša

      ANTONICEK,   Theophil   –   GRUBER,   Gernot   (Hrsg.):   Musikwissenschaft   als

Kulturwissenschaft   damals   und   heute.   Internationales   Symposion   (1998)   zum Jubiläum des Institutsgründung an der Universität Wien vor 100 Jahren, Tutzing: Schneider, 2005, 38/2 (2007) 243-249.

      BALABAN,  Mira  –  EBCIOGLU,  Kemal  –  LASKE,  Otto  (eds.):  Understanding

Music with AI: Perspectives on Music Cognition, The AAAI Press – The MIT Press, Cambridge, Mass. – Menlo Park – London 1992, 24/2 (1993) 184-185.

      BEICHE, Michael – RIETHMÜLLER, Albrecht (Hrsg.): Musik – Zu Begriff und

Konzepten. Berliner Symposion zum Andenken an Hans Heinrich Eggebrecht, Franz

Steiner Verlag, Stuttgart 2006, 38/1 (2007) 114-120.

      BERGER, Karol: A Theory of Art, Oxford University Press, New York – Oxford

2000, 31/2 (2000) 203-206.

      BEYER, Anders: The Voice of Music. Conversations with Composers of Our Time, Ashgate Publishing Company, Aldershot – Burlington 2000, 201-203.

      BUCKLAND, Sidney – CHIMÈNES, Myriam (eds.): Francis Poulenc. Music, Art and Literature, Ashgate, Aldershot – Brookfield – Singapore – Sydney 1999, 31/1

(2000) 95-97.

      CHASE, Stephen – THOMAS, Philip (eds.): Changing the System: The Music of

Christian Wolff, Burlington (VT)-Farnham (GB): Ashgate, 2010, 43/1 (2012) 249-

255.

      CLAYTON,  Martin  –  HERBERT,  Trevor  –  MIDDLETON,  Richard  (eds.):  The

Cultural Study of Music. A Critical Introduction, Routledge, New York – London

2003, 35/1 (2004) 104-117.

      COLLINS, Dave (ed.): The Act of Musical Composition. Studies in Creative Process

(= SEMPRE Studies in the Psychology of Music), Burlington, VT: Ashgate, 2012,

44/1 (2013) 189-198.

      CUSTODIS,   Michael:   Die   soziale   Isolation   der   neuen   Musik.   Zum   Kölner Musikleben nach 1945 (Beihefte zum Archiv für Musikwissenschaft, Bd. 54), Franz Steiner Verlag, Stuttgart 2004, 36/2 (2005) 303-305.

      DALE,  Catherine:  Schoenberg’s  Chamber  Symphonies:  The  Crystallization  and

Rediscovery of a Style, Ashgate, Aldershot etc. 2000, 31/2 (2000) 209-213.

      DOWNES, Stephen: Hans Werner Henze: Tristan (1973) (Landmarks in Music Since

1950 series), Burlington: Ashgate, 2011, 43/2 (2012) 453-455.

      EGGEBRECHT, H. H. (Hrsg.):  Handwörterbuch der musicalischen Terminologie

(18.   Auslieferung).   BANDUR,   M.:   Gassenhauer;   BLUMRÖDER,   Ch.   von: Leitmotiv; MASSOW, A. von: Live-elektronische Musik, Live-Elektronik; SYDOW- SAAK, B.: Musica falsa / musica ficta; HINTON, S.: Neue Sachlichkeit; BANDUR, M.: Vaudeville; SCHMITZ, F.: Villenella, Franz Steiner Verlag, Stuttgart 1990, 24/1 (1993) 85-86.

      EGGEBRECHT,   Hans    Heinrich    (Hrsg.):    Handwörterbuch    der    musikalischen

Terminologie (22. Auslieferung). MASSOW, A. v.: Absolute Musik; MASSOW, A. von: Autonome Musik; SCHIMA, C.: Estampie; MASSOW, A. von: Funktionale Musik; SCHMUSCH, R.: Klangfarbenmelodie; BANDUR, M.: Neoklassizismus; BEICHE, M.: Polytonalität, Franz Steiner Verlag, Stuttgart 1994, 26/2 (1995) 260-

262.

      EMMERSON, Simon: Living Electronic Music, Ashgate, Hampshire and Burlington

2007, 39/1 (2009) 129-132.

      EMMERSON,   Simon   (ed.):   Music,   Electronic   Media   and   Culture,   Ashgate

Publishing Company, Aldershot – Burlington 2000, 33/2 (2002) 207-212.

      ETTER, Brian K.: From Classicism to Modernism. Western Musical Culture and the

Metaphysics of Order, Ashgate Publishing Company, Aldershot – Burlington 2001,

33/1 (2002) 116-120.

      FLOROS, Constantin: Musik als Botschaft, Breitkopf & Härtel, Wiesbaden 1989,

23/1 (1992) 101-102.

      HEILE, Bjön: The Music of Mauricio Kagel, Ashgate, Hampshire and Burlington,

2006, 38/2 (2007) 261-265.

      HOOPER, Giles: The Discourse of Musicology, Ashgate, Aldershot – Burlington

2006, 39/1 (2009) 121-128.

      Karlheinz  Stockhausen  bei  den  Internetionalen  Ferienkursen  für  Neue  Musik  in

Darmstadt 1951-1996. Dokumente und Briefe. Im Auftrag der Stockhausen-Stiftung für Musik zusammengestellt und kommentiert von Imke Misch und Markus Bandur, Stockhausen-Verlag, Kürten 2001, 34/1 (2003) 93-95.

      KLÜPPELHOLZ,  W.  (Hrsg.),  Kagel…  /1991,  DuMont  Buchverlag,  Köln  1991;

KLÜPPELHOLZ,  W.  (Hrsg.):  Maurizio  Kagel:  Skizzen,  Korrekturen,  Partituren.

Eine Ausstellung der KölnMusic und der Stadt Gütersloh, DuMont Buchverlag, Köln

1991; KAGEL, M.: Worte über Musik, Piper – Schott, München – Mainz 1991, 24/1 (1993) 86.

      KRAMER, Jonathan D.: Postmodern Music, Postmodern Listening, ed. by Robert

Carl, Bloomsbury Academic, New York etc. 2016, 48/1 (2017) 149-153.

      LACEY,  Jordan:  Sonic  Rupture.  A  Practice-led  Approach  to  Urban  Soundscape

Design, Bloomsbury, New York – London etc. 2016, 48/1 (2017) 153-156.

      MUNGEN, Anno: «BilderMusik». Panoramen, Tableaux vivants und Lichtbilder als

multimediale Darstellungsformen in Theater- und Musikaufführungen vom 19. bis

zum früher 20. Jahrhundert (2 Bände), Gardez! Verlag, Remscheid 2006, 38/1 (2007)

120-124.

      NAUCK, Gisela: Dieter Schnebel. Lesegänge durch Leben und Werk, Schott, Mainz

2001, 34/1 (2003) 88-93.

      NICHOLLS,   David:    American    Experimental    Music,    1890-1940,    Cambridge

University Press, Cambridge 1990, 23/1 (1992) 105-106.

      NICHOLLS,  David  (ed.):  The  Cambridge  Companion  to  John  Cage,  Cambridge

University Press, Cambridge 2000, 34/1 (2003) 71-79.

      NORMAN, Katharine: Sounding Art. Eight Literary Excursions through Electronic

Music (with CD), Ashgate Publishing Company, Aldershot – Burlington 2004, 36/2 (2005) 301-303.

      RAFFETY, Pauline – HIDDERLEY, Rob: Indexing Multimedia and Creative Works.

The  Problems  of  Meaning  and  Interpretation,  Ashgate  Publishing,  Aldershot  –

Burlington, 36/2 (2005) 313-315.

      RIETHMÜLLER,     Albrecht      (Hrsg.):      Handwörterbuch     der      musikalischen

Terminologie (30. Auslieferung). MISCH, Imke: Minimal music; BANDUR, Markus: Musica poetica; HENTSCHEL, Frank: Sonus; BEICHE, Michael: Trias, Dreiklang, Franz Steiner Verlag, Stuttgart 2000, 33/1 (2002) 113-116.

      SCHER, S. P. (ed.): Music nad Text: Critical Inquiries, Cambridge University Press,

Cambridge 1992, 23/1 (1992) 102-105.

      SCHLÜTER, Bettina: «Hugo Distler». Musikwissenschaftliche Untersuchungen in

systemtheoretischer   Perspektivierung   (Monolithographien   I,   CD-ROM),   Franz

Steiner Verlag, Stuttgart 2000, 33/2 (2002) 203-207.

      SHAW-MILLER, Simon: Eye hEar. The Visual in Music, Burlington, VT: Ashgate,

2013, 45/1 (2014) 191-195.

      TARASTI,  Eero (ed.):  Musical Signification.  Essays in  the Semiotic  Theory and

Analysis of Music (Approaches to Semiotics, 121, ed. by Thomas A. Sebeok, Roland

Posner and Alain Rey), Mouton de Gruyter, Berlin – New York 1995, 28/1 (1997)

124-129.

      THOMPSON,   Marie:   Beyond   Unwanted   Sound.   Noise,   Affect   and   Aesthetic

Moralism, Bloomsbury Academic, New York etc. 2017, 49/1 (2018) 149-152.

      ZON,  Bennett:  Music  and  Metaphor  in  Nineteenth-Century  British  Musicology, Ashgate Publishing Company, Aldershot – Burlington 2000, 33/2 (2002) 197-201.

GREEN, Edward

      AISEN,  Cliff  –  KEFFE,  Simon  P.  (eds.):  The  Cambridge  Mozart  Encyclopedia, Cambridge University Press, Cambridge 2006, 38/2 (2007) 249-253.

      BERGER, Karol: Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical

Modernity, University of California Press, Berkeley 2007, 40/2 (2009) 353-359.

      BOND, Mark Evans: Music as Thought: Listening to the Symphony in the Age of

Beethoven, Princeton University Press, Princeton and Oxford 2006, 39/1 (2008) 105-

111.

      BUTLER, Christopher: Pleasure and the Arts: Enjoying Literature, Painting, and

Music, Oxford University Press, Oxford 2004, pp. 236, 14 black and white illustrations,  14  color  plates,  chapter-by-chapter  endnotes,  and  final  index,  35/2 (2004) 211-214.

      CLARK, Caryl (ed.): The Cambridge Companion to Haydn, Cambridge University

Press, Cambridge 2005, 37/1 (2006) 109-113.

GRIFFITH, Frank

      GREEN, Edward (ed.), The Cambridge Companion to Duke Ellington, Cambridge: Cambridge University Press, 2015, 47/1 (2016) 156-160.

GUILLO, Laurent

      GANCARCZYK, Paweł: La musique et la révolution de l’imprimerie: les mutations

de la culture musicale au XVIe siècle, trad. de Wojciech Bońkowski, Lyon: Symétrie,

2015, 47/1 (2016) 151-154.

HARKOV, Stefan

      GHEORGHIŢĂ, Nicolae: Musical Crossroads: Church Chants and Brass Bands at the Gates of the Orient, Bucureşti: Editura Muzicală 2015, 50/1-2 (2019) 373-376.

HOSOKAWA, Shuhei

      Asian Musics in an Asian Perspective (Report of Asian Traditional Performing Arts

1976). Ed. by Fumio Koizumi, Yoshihiko Tokumaru and Osamu Yamaguchi, The

Japan Foundation (Heibonsha Limited Publishers), Tokyo 1977, pp. 375 + XVI, 11/2

(1980) 257-260.

      IMBERTY, Michel: Entendre la musique. Sémantique psychologique de la musique, Dunot, Paris 1979, pp. 236, 12/1 (1981) 82-86.

     TARASTI, Eero: Myth and Music. A Semiotic Approach to the Aesthetics of Myth in

Music, especially that of Wagner, Sibelius and Stravinsky, Mouton, The Hague –

Paris – New York 1979, pp. 364, 11/2 (1980) 262-265.

JORDANOSKA, Trena – KOLAROVSKA-GMIRJA, Viktorija

    BUŽAROVSKI, Dimitrije: Devet koncerti – Barokno končertino, Musurgia ecclectica, Koncert za gudači, harfa i sintesajzer, Koncert za pijano, Concerto grosso, Nonet koncert,

Koncert  za  truba  i  gudački  orkestar,  Dvoen  koncert  za  violina,  pijano  i  simfoniski orkestar i Glič rapsodija [9 Concertos – Baroque concertino; Musurgia ecclectica; Concerto for harp; synthesizer and strings; Piano concerto; Concerto grosso; Nonet concerto; Trumpet concerto; Double concerto for violin and piano; Glitch Rhapsody], Skopje: Fakultet za muzička umetnost, 20221. [339 pages. ebook. ISBN: 978-9989-2381-

3-0], 53/1 (2022) 270-274.

JUVARA, Filippe

     LEIBOWITZ,  René:  Le  compositeur  et  son  double.  Essais  sur  l’interprétation

musicale, Gallimard, Bibliothèque des Idées, Paris 1971, pp. 500, 4/1 (1973) 141-143.

KATALINIĆ, Vjera

      FINSCHER, Ludwig (ed.): Die mannheimer Hofkapelle im Zeitalter Carl Theodors, Palatinum Verlag im J&J Verlag, Mannheim 1992, pp. 267, 24/1 (1993) 88-91.

     TOMIĆ    FERIĆ,    Ivana:    Julije    Bajamonti    (1744-1800):    Glazbeni    rječnik.

Transkripcija, prijevod, komentari [Julije Bajamonti (1744-1800): Dictionary of Music. Transcription, Translation, Comments], Zagreb: Croatian Musicological Society, 2013, 45/1 (2014) 200-202.

KIŠ ŽUVELA, Sanja

      NOBLE,  Alistar:  Composing  Ambiguity:  The  Early  Music  of  Morton  Feldman, Farnham-Burlington: Ashgate, 2013, 45/1 (2014) 195-197.

KLEBE, Dorit

      Kosovo Roma (CD-ROM with 18 audio field-recordings (65’11”) and multimedia part). Recordings and annotation by Svanibor Pettan. Booklet: 24-page commentary

in Slovene and English, including 1 map and 18 color photograpfs of performers. Multimedia part: 2 essays in English, song lyrics with translations into Slovene and

English, a bibliography, 23 color photographs and the video sequences with 10 versions of the tune Lambada, Nika / Arhefon af 01, Ljubljana, Slovenia 2001, 33/1 (2002) 122-125.

KOLAROVSKA-GMIRJA, Viktorija – JORDANOSKA, Trena

    BUŽAROVSKI, Dimitrije: Devet koncerti – Barokno končertino, Musurgia ecclectica, Koncert za gudači, harfa i sintesajzer, Koncert za pijano, Concerto grosso, Nonet koncert, Koncert  za  truba  i  gudački  orkestar,  Dvoen  koncert  za  violina,  pijano  i  simfoniski

orkestar i Glič rapsodija [9 Concertos – Baroque concertino; Musurgia ecclectica; Concerto for harp; synthesizer and strings; Piano concerto; Concerto grosso; Nonet concerto; Trumpet concerto; Double concerto for violin and piano; Glitch Rhapsody], Skopje: Fakultet za muzička umetnost, 20221. [339 pages. ebook. ISBN: 978-9989-2381-

3-0], 53/1 (2022) 270-274.

KONFIC, Lucija

      KATALINIĆ,  Vjera  (ed.):  Music  Migrations  in  the  Early  Modern  Age:  People, Markets, Patterns and Styles, Zagreb: Croatian Musicological Society 2016, 50/1-2

(2019) 383-387.

KOS, Koraljka

      BLAUKOPF,  Kurt  (Hrsg.):  Zum  Bestimmung  der  klanglichen  Erfahrung  der Musikstudierenden (ein Forschungsbericht) («Musik und Gesellschaft», H. 2), G. Braun, Karlsruhe 1968, 2/1 (1971) 138-139.

      CVETKO, Dragotin: Musikgeschichte der Südslawen, Bärenreiter-Verlag, Kassel – Založba Obzorja, Maribor 1975, S. 270, 7/1 (1976) 113-114.

     Der  Sozialstatus  des  Berufsmusikers  von  17.  bis  19.  Jahrhunderts  (gesammelte

Beiträge im Auftrag von Walter Salmen), Bärenreiter-Verlag, Kassel 1971, S. 146,

4/1 (1973) 133-134.

      FEIL, Arnold: Metzler Musik Chronik vom frühen Mittelalter bis zur Gegenwart, Verlag J. B. Metzler, Stuttgart – Weimar 1993, S. 836, 28/1 (1997) 123-124.

     HAMMERSTEIN,  Reinhold:  Diabolus  in  musica.  Studien  zur  Ikonographie  der

Musik im Mittelalter (Neue Heidelberger Studien zur Musikwissenschaft, hsgb. von Reinhold Hammerstein, B. 6), Francke Verlag, Bern – München 1974, S. 144, Abbildung. 199, 6/2 (1975) 320-322.

     HOLLANDER, Hans: Musik und Jugendstil, Atlantis Verlag, Zürich – Freiburg 1975,

S. 143, Abbildung. 15, Notenbeisp. 28, 7/2 (1976) 274-276.

      SEEBASS, Tilman: Musikdarstellung und Psalterillustration im früheren Mittelalter.

Studien   ausgehend   von   einer   Ikonologie   der   Handschrift   Paris   Bibliothèque Nationale Fonds Latin 1118, Francke Verlag, Bern 1973, Textband S. 211, Bildband Abbildung. 130, 6/2 (1975) 322-323.

      STÄBLEIN, Bruno: Schriftbild der einstimmigen Musik (Musikgeschichte in Bildern,

Bd. III: Musik des Mittelalters und der Renaissance, Lfg. 4), VEB Deutscher Verlaf

für Musik, Leipzig 1975, S. 258, Abbildung. 100, Notenbeisp., Tabellen, Textillustr.,

7/2 (1976) 276-278.

      SUPPAN,  Wolfgang:  Der  musizierende  Mensch.  Eine  Anthropologie  der  Musik

(Musipädagogik. Forschung und Lehre, Bd. 10, hrsg. von Sigrid Abel-Struth), B.

Schott’s Söhne, Mainz 1984, S. 223, 18/1 (1987) 169.

      TUKSAR, Stanislav: Hrvatska glazbena terminologija u razdoblju baroka. Nazivlje glazbala i instrumentalne glazbe u tiskanim rječnicima od 1649. do 1742. godine

(Croatian Music Terminology in the Baroque Period. The Terms for Instruments and Instrumental Music in Dictionaries Published between 1649 to 1742), Croatian Musicological  Society  –  Music  Information  Center,  Zagreb  1992,  pp.  674,  24/2 (1993) 182-184.

KRISTL, Ljiljana

      BAUMOL, William J. – BOWEN, William G.: The Performing Arts – The Economic

Dilemma, The I. M. T. Press, Cambridge (Mass.) 1966, pp. XIV + 582, 4/1 (1973)

137-139.

      UE Report: SCHAFER, R. Murray: The Public of the Music Theatre – Louis Riel: a

Case Study, UE 26702, Universal Edition A. G., Wien 1972, pp. 32; UE Report: Artistic Traditional and Audio-Visual Media, EU 26703, Universal Edition A. G., Wien 1972, 4/1 (1973) 139-141.

LÉDERLÉ, Agnès

      BAUDOT,  Alain:  Musiciens  romains  de  l’antiquité,  Presses  de  l’Université  de

Montréal, Montréal 1973, pp. 158, 15/1 (1984) 80-81.

LESURE, François

      ESCARPIT, Robert (éditeur): Le littéraire et le social, Eléments pour une sociologie de la littérature, Flammarion, Paris 1970, pp. 315, 1/2 (1970) 220-221.

LI, Hongzhu – CURAMING, Rommel A.

     SYED MOHAMMED, Sharifah Faizah: Musical Nationalism in Indonesia: The Rise and

Fall of Lagu Seriosa, Singapore: Springer, 2021. [249. pages, with Indec and appendices. ISBN 978-981-33-6950-4], 53/1 (2022) 275-278.

LUPPI, Andrea

      BAILHACHE, Patrice: Leibniz et la théorie de la musique, Klincksieck, Paris 1992, pp. 158, 26/2 (1995) 251-253.

      CAVALLINI, Ivano: I due volti di Nettuno. Studi su teatro e musica a Venezia e in

Dalmazia dal Cinquecento al Settecento, Libreria Musicale Italiana, Lucca 1994, pp.

163, 26/2 (1995) 254-256.

      VENDRIX, Philippe: Aux origines d’une discipline historique. La musique et son

histoire en France aux XVIIe siècles, Librairie Droz, Genève 1993, pp. 418, 26/2

(1995) 256-260.

MARIĆ, Domagoj

      BARHAM,  Jeremy  (ed.):  Perspectives  on  Gustav  Mahler,  Ashgate  Publishing, Aldershot – Burlington 2005, 38/1 (2007) 109-111.

MILOJKOVIĆ-DJURIĆ, Jelena

      BERGAMO,  Marija:  Elementi  ekspresionističke  orijentacije  u  srpskoj  muzici  do

1945. (Elements of Expressionistic Orientation in Serbian Music to 1945), Serbian

Academy of Sciences and Arts, Belgrade 1980, pp. 292, 13/1 (1982) 134-135.

      MILOJKOVIĆ-ĐURIĆ, Jelena (author’s abstract): Muzika kao deo srpske kulture

između dva svjetska rata (Music as Part of Serbian Culture in the Period between the

Two World Wars), University of Belgrade, Belgrade 1981, pp. 249, 13/1 (1982) 135.

      SESSIONS, Roger: Questions about Music, Harvard University Press, Cambridge

(Mass.) 1970, pp. 166, 3/1 (1972) 139.

      ZDRAVKOVIĆ,   Živojin    –   ĐURIĆ-KLAJN,   Stana    –   PEJOVIĆ,   Roksanda:

Beogradska filharmonija 1927-1973 (The Belgrade Philharmonic, 1927-1973), The

Belgrade Philharmonic, Belgrade 1977, pp. 144, 13/1 (1982) 134.

MIKLAUŠIĆ-ĆERAN, Snježana

      BLANKEN, Christine: Franz Schuberts «Lazarus» und das Wiener Oratorium zu

Beginn des 19. Jahrhunderts, Steiner, Stuttgart 2002, 35/1 (2004) 93-96.

OZKISI, Zeynep Gulcin

      KOSAL, Vedat: Western Classical Music in the Ottoman Empire, Istambul Stock

Exchange, Istambul 2001, pp. 96, 39/1 (2009) 116-117.

PALAZZETTI, Nicolò

      ARBO,  Alessandro:  Entendre  comme  –  Wittgenstein  et  l’esthétique  musicale.

Collection „GREAM“, Paris: Éditions Hermann, 2013, 45/1 (2014) 187-191.

      ARBO,  Alessandro  –LEPHAY,  Pierre-Emmanuel  (dir.):  Quand  l’enregistrement

change la musique (Collection GREAM/Esthétique), Paris: Hermann 2017, 50/1-2 (2019) 387-390.

      ARBO, Alessandro – RUTA, Marcello (eds.): Ontologie musicale – Perspectives et

débats  (Collection  du  GREAM/Esthétique),  Paris:  Hermann  Editeurs,  2014,  46/1

(2015) 190-193.

PASTICCI, Susanna

      DALMONTE, Rosanna – BARONI, Mario (eds.): Second European Congress of

Music Analysis. Proceedings from the Symposium 24-27 October 1991, Università

degli Studi di Trento, Trento 1991, pp. 733 (compact disc enclosed), 24/2 (1993) 178-

182.

PAULUS, Irena

      GROVER-FRIEDLANDER, Michal: Vocal Apparations: The Attraction of Cinema to Opera, Princeton University Press, Princeton and Oxford 2005, 38/1 (2007) 112-

114.

      MERA,  Miguel  –  BURNARD,  David  (eds.):  European  Film  Music,  Ashgate, Hampshire and Burlington 2006, 38/2 (2007) 253-255.

PEJOVIĆ, Roksanda

      PEJOVIĆ,   Roksanda   (author’s   abstract):   Predstave   muzičkih   instrumenata   na umjetničkim  spomenicima  u  Srbiji  i  Makedoniji  (The  Representation  of  Musical

Instruments on Artistic Monuments in Serbia and Macedonia); work in progress, included in the publishing plan ot the Department of Fine Arts and Music, Serbian Academy of Science and Arts and Institute of Musicology, Belgrade, 13/1 (1982)

137.

PERIČIĆ, Vlastimir

      DESPIĆ, Dejan: Teorija tonaliteta (Theorie der Tonalität), Umetnička akademija,

Beograd 1971, S. 77, Zeichnung. 29, Notenbeisp. 3, Tabell. 3, 8/1 (1977) 90-91.

PETROVIĆ, Ankica

      PETROVIĆ,  Ankica  (author’s  abstract):  Ganga  –  forma  tradicionalnog  seoskog pjevanja u Jugoslaviji (Ganga, a Form of Traditional Rural Singing in Yugoslavia);

thesis submitted to the Department of Social Anthropology, in Faculty of Arts, of the

Queen’s University of Belfast, in fulfilment of the requirements for the degree of

Doctor of Philosophy (mentor: Prof. John Blacking), Belfast 1977, to be published by

Svjetlost, Sarajevo, 13/1 (1982) 136-137.

PETROVIĆ, Danica

      PETROVIĆ,  Danica  (author’s  abstract):  Osmoglasnik  u  muzičkoj  tradiciji  Južnih

Slovena (Octoechos in the Musical Tradition of the Southern Slavs), monographs: vol. 16/I and 16/II (transcriptions and fascimiles), Institute of Musicology, Serbian Academy of Science and Arts, , Belgrade, to be published in 1982, 13/1 (1982) 136.

      Studies in Eastern Chant (Vols. II, III), Oxford University Press, London 1971, 1973,

pp. 197, photogr. 9; pp. 187, photogr. 5, 8/1 (1977) 92-95.

PIŠKOR, Mojca:

      FLOYD, Malcom (ed.): Composing the Music of Africa – Composition, Interpretation and Realisation, Ashgate, Aldershot – Brookfield – Singapore – Sydney 1999, 31/1

(2000) 98-99.

      GARNETT,  Liz:  The  British  Barbershopper.  A  Study  in  Socio-Musical  Values, Ashgate Publishing Limited, Aldershot – Burlington 2005, 37/1 (2006) 113-116.

      JÄGER,   Ralf   M.:   Die   Musikhandschrift   des   Rupen   Hagopiyan   aus   Armaş:

Osmanische Kunstmusik in einer armenischen Quelle des ausgehenden 19. Jahrhunderts: Faksimile mit einer Bewertung und Dokumentation (Epizentralarchiv I, CD-ROM), Franz Steiner Verlag, Stuttgart 2000, 33/1 (2002) 120-122.

PIZÀ, Antoni

      NATTIEZ,  Jean-Jacques:  Music  nad  Discourse:  Toward  a  Semiology  of  Music, translated from the French by Carolyn Abbate, Princeton University Press, Princeton,

1990, pp. XV + 272, bibliography, index, musical examples, 22/1 (1991) 111-113.

POPIN, Marie-Danielle

      LÜTOLF, Max (éd.): Das Graduale von Santa Cecilia in Trastevere (Cod. Bodmer

74), 2 vol., I Commentaire et Index, Fondation Martin Bodmer, Cologny – Genève

1987, pp. 224, Facsimile, f. 126 + 2, 20/2 (1989) 242-243.

RAVANČIĆ, Gordan

      TUKSAR, Stanislav –MILKOVIĆ, Kristina –BABIĆ, Petra (eds.): Bitka kod Sigeta i

Nikola Šubić Zrinski u umjetnosti (glazba, likovne umjetnosti, književnost) / The Battle of Szigetvár and Nikola Šubić Zrinski in Arts (Music, Visual Arts, Literature), Zagreb: Croatian Musicological Society 2018, 50/1-2 (2019) 393-396.

RONFORT, Jean-Christophe

      GUT, Serge: Franz Liszt. Les éléments du langage musical, Université de Lille III,

Lille 1977, pp. 508, 15/1 (1984) 81-83.

ROŽIĆ, Vesna

      GRITTEN, Anthony – KING, Elaine (eds.): Music and Gesture, Ashgate Publishing

Company, Aldershot – Burlington, 2006, 38/2 (2007) 256-260.

      LEVINSON, Jerrold (ed.): The Oxford Handbook of Aesthetics, Oxford University

Press, New York 2003, 35/1 (2004) 99-103.

      SCRUTON, Roger: Death – Devoted Heart. Sex and Sacred Wagner’s Tristan and

Isolde, OUP, New York 2004, 35/2 (2004) 217-220.

SANSONE, Matteo

      LIČINIĆ VAN WALSTIJN, Julijana: „Teatro di poesia“ in the Opera House: the

Collaboration  of  Antonio  Smareglia  and  Silvio  Benco,  Croatian  Musicological

Society, Zagreb 2009, pp. 376, 41/1 (2010) 146-149.

SIMON, Xavier

      SOURIS, André: Conditions de la musique et autres écrits, Université de Bruxelles &

CNRS, Paris 1976, pp. 311, 14/2 (1983) 191-192.

SKORIC, Arthur

    SAINT ARROMAN, Gilles (ed.): Écrits de Vincent d’Indy, vol. 1: 1877-1903, Paris: Actes Sud / Palazzetto Bru Zane, 2019. 648 p.; Écrits de Vincent d’Indy, vol. 2: 1904-

1918, Paris: Actes Sud / Palazzetto Bru Zane, 2021. 708 p., 53/1 (2022) 267-270.

SMOJE, Dujka

      COLLINS,  Fletcher  Jr.:  The  Production  of  Medieval  Church  Music-Drama,  The

University Press of Virginia, Charlottesville 1972, pp. 356, ill. 75, 4/1 (1973) 134-

136.

STANLEY, Glenn

      DAHLHAUS, Carl: Beethoven und seine Zeit, Laaber-Verlag, Laaber 1987, pp. 320,

22/2 (1991) 203-216.

STANOVIĆ, Adam

      MOORE, Adrian: Sonic Art: An Introduction to Electroacoustic Music Composition, Routledge, Taylor and Francis Group, New York 2016, 49/1 (2018) 152-154.

STEFANIJA, Leon

      BEK, Mikuláš: Konzervatoř Evropy? K sociologii české hudebnosti (Conservatory of

Europe? A Contribution to the Sociology of the Czech Musicality), KLP – Koniasch

Latin Press (Department of Musicology, Faculty of Arts, Masaryk University, Brno), Prague 2003, pp. 278, 35/1 (2004) 97-99.

STEFANOVIĆ, Dimitrije

      CVEJIĆ, Branko: Triod (Hymns for the Triodion), ed. Sava Vuković, Belgrade 1973,

pp. II + 248, 13/1 (1982) 120.

      CVEJIĆ, Branko: Pentikostar (Hymns for the Pentekostarion), ed. Sava Vuković,

Belgrade 1973, pp. II + 196, 13/1 (1982) 120.

      Specimina Notationum Antiquiorum, Monumenta Musicae Byzantinae (vol. VII). Pars

Principalis and Pars Suppletoria, ed. by Oliver Strunk, Copenhagen 1966; Triodium Athoum, Monumenta Musicae Byzantinae (vol. IX). Pars Principalis and Pars Suppletoria, ed. by Enrica Follieri and Oliver Strunk, Copenhagen 1975, 7/2 (1976)

271-274.

      STEFANOVIĆ,  Dimitrije  (author’s  abstract):  Stara  srpska  Muzika  (Old  Serbian

Music), Institute of Musicology, Belgrade 1975, 2 vols.: I – pp. 220, II – pp. 134 (unpaginated), 13/1 (1982) 135.

STIPČEVIĆ, Ennio

      Musica e cultura a Napoli dal XV al XIX secolo (Quaderni della rivista Italiana di

Musicologia, a cura della Società Italiana di Musicologia 9, ed. Lorenzo Bianconi e

Renato Bosa), Leo S. Olschki, Firenze 1983, pp. 385, 17/1 (1986) 141-143.

      Musica e storia tra Medio Evo a Età moderna (a cura di F. Alberto Gallo), Il Mulino, Bologna 1986; Beethoven (a cura di Giorgio  Pestelli),  Il Mulino, Bologna 1988;

CORAZZOL GUARNIERI, Adriana: Tristano, mio Tristano. Gli scrittori italiani e il caso Wagner, Il Mulino, Bologna 1988; Il madrigale tra Cinque e Seicento (a cura di Paolo Fabbri), Il Mulino, Bologna 1988; FABRI, Paolo: Il secolo cantate. Per una storia del libretto d’opera nel Seicento, Il Mulino, Bologna 1990, 22/2 (1991) 216-

219.

      NUTI,  Giulia:  The  Performance  of  Italian  Basso  Continuo.  Style  in  Keyboard

Accompaniment in the Seventeenth and Eighteenth Centuries, Ashgate, 2007, 40/2 (2009) 360-361.

      PALISCA,  Claude  V.:  Humanism  in  Italian  Renaissance  Musical  Thought,  Yale

University Press, New Haven – London 1985, pp. 471, 19/1 (1988) 127-129.

      SCHILTZ,  Katelijne  (ed.):  A  Companion  to  Music  in  Sixteenth-Century  Venice, Leiden – Boston: Brill, 2018, 50/1-2 (2019) 391-393.

SUPIČIĆ, Ivan (vidi SUPIČIĆ, Ivo)

      BLAUKOPF, Kurt: Musical Life in a Changing Society, Amadeus Press, Portland

(Oregon) 1992, pp. XVI + 308, 24/2 (1993) 177-178.

      KATZ, Ruth – DAHLHAUS, Carl (eds.): Contemplating Music. Source Readings in the Aesthetics of Music. Volume II: Import, Pendragon Press, Stuyvesant 1989, pp.

XVI +  797;  LIPPMAN,  Edward  (ed.):  Musical  Aesthetics:  A  Historical  Reader. Volume III: Twentieth Century, Pendragon Press, Stuyvesant 1990, pp. XVI + 515,

24/2 (1993) 175-177.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan)

      ATTALI, Jacques: Bruits. Essai sur l’economie politique de la musique, P. U. F., Paris 1977, pp. 303, 17/1 (1986) 138-140.

      BEAUD, Paul – WILLENER, Alfred: Musique et vie quotidienne, Mame, Paris 1973, pp. 272, 5/2 (1974) 340-341.

      BENOÎT,   Marcelle:   Versailles   et   les   musiciens   du   roi   (1661-1733).   Etude institutionnelle et sociale, Picard, Paris 1971, pp. 474; Musiques de Cour, Chapelle,

Chambre, Ecurie (1661-1733). Recueil de documents, Picard, Paris 1971, pp. 553,

17/1 (1986) 131-136.

      BERTHIER, Nicole: Mélomanes et culture musicale. Etude d’un statut socioculturel,

Université des Sciences Sociales de Grenoble, Grenoble 1975, pp. 350, 18/1 (1987)

170.

      BLAUKOPF, Kurt: Musical Life in a Changing Society, Amadeus Press, Portland

(Oregon) 1992, pp. XVI + 308, 24/2 (1993) 177-178.

      BLAUKOPF, Kurt – MARK, Desmond (eds.): The Cultural Behaviour of Youth, Universal Edition, Vienna 1976, pp. 136, 8/1 (1977) 89.

      BONTINCK, Irmgard (ed.): New Patterns of Musical Behaviour. A Survey of Youth

Activities in Eighteen Countries, Universal Edition A. G., Wien 1974, pp. 240, 7/2 (1976) 280-282.

      BRÉVAN, Bruno: Les changements de la musicale parisienne de 1774 à 1799, P. U.

F., Paris 1980, pp. 200, 18/1 (1987) 170-173.

      CORVISIER, André: Arts et sociétés dans l’Europe du XVIIIe siècle, P. U. F., Paris

1978, pp. 244, 17/1 (1986) 136-137.

      DE COSTER,  Michel:  Le disque,  art  ou  affaires?  –  Analyse sociologique d’une industrie culturelle, Presses Universitaires de Grenoble, Grenoble 1976, pp. 221, 7/2

(1976 ) 282-283.

      DUFOURT, Hugues – FAUQUET, Joël-Marie (dir.): La Musique et le Pouvoir, Aux

Amateurs de Livres, Paris 1987, pp. 201, 21/2 (1990) 228-230.

      EMERY, Eric: Temps et Musique («Dialectica»), L’Age d’Homme, Lausanne 1975,

pp. 696, 7/2 (1976) 278-280.

      ESCAL, Françoise: Escapes sociaux, escapes musicaux, Payot, Paris 1979, pp. 250,

18/1 (1987) 175-177.

      Essays in Musicology in Honor of Dragan Plamenac, ed. by Gustave Reese and

Robert J. Snow, University of Pittsburgh Press, Pittsburgh 1969, pp. XVI + 391; Arti

Musices, 3, Muzikološki Zavod Muzičke Akademije u Zagrebu, Zagreb 1972, pp.

148, 4/1 (1973) 131-133.

      FORSTER, Arnold W. – BLAU, Judith R.: Art and Society. Readings in the Sociology of the Arts, State University of New York Press, Albany 1989, pp. XI + 513, 21/2

(1990) 230-232.

      FUBINI, Enrico: Gli enciclopedisti e la musica, Einaudi, Torino 1971, pp. 243, 3/1 (1972) 138.

      FUBINI, Enrico: Les philosophes et la musique, Champion, Paris 1983, pp. 290, 19/1 (1988) 124-125.

      FULCHER, Jane: Le Grand Opéra en France: un art politique (1820-1870), Belin, Paris 1988, pp. 203, 21/2 (1990) 233-234.

      GOLUB, Ivan: Juraj Križanić glazbeni teoretik 17. stoljeća (Georgius Crisanius, Music Theorist of the 17th Century), Jugoslavenska akademija znanosti i umjetnosti,

Zagreb, 1981, pp. V + 209, 13/1 (1982) 120-122.

      GUT, Serge (dir.): Actes du Colloque International Franz List (La Revue musicale,

1987, triple numéro 405-406-407), pp. 367; CHAILLEY, Jacques – VIRET, Jacques: Le symbolisme de la gamme (La Revue musicale, 1988, double numéro 408-409), pp.150, 19/1 (1988) 129-131.

      HARRISON, Frank: Time, Place and Music, Frits Knuf, Amsterdam 1973, pp. 221,

ill., 5/2 (1974) 342.

      JULIEN,  Jean-Rémy:  Musique  et  Publicité.  Du  Cri  de  Paris…  aux  messages

publicitaires radiophoniques et télévisés, Flammarion, Paris 1989, pp. 336, ill., ex mus., 20/2 (1989) 246-248.

      KATZ, Ruth – DAHLHAUS, Carl (eds.): Contemplating Music. Source Readings in

the Aesthetics of Music. Vol. II: Import, Pendragon Press, Stuyvesant 1989, pp. XVI +

797; LIPPMAN, Edward (ed.): Musical Aesthetics: A Historical Reader. Volume III:

The Twentieth Century, Pendragon Press, Stuyvesant 1990, pp. XVI + 515, 24/2 (1983) 175-177.

      KNEIF, Tibor (Hrsg.): Texte zum Musiksoziologie, Vorwort von Carl Dahlhaus, Arno

Volk Verlag, Köln 1975, pp. 274, 6/2 (1975) 324-325.

      LE HURAY, Peter – DAY, James (eds.): Music and Aesthetics in the Eighteenth and

Early-Nineteenth Centuries, Cambridge University Press, Cambridge 1981, pp. XVI

+ 597, 19/1 (1988) 122-123.

      LESURE, François: Musica e società, Istituto Editoriale Italiano, Milano 1966, pp.

63, ill. 96, bbg., 1/1 (1970) 119-121.

      LIPPMAN, Edward A. (ed.): Musical Aesthetics: A Historical Reader. Vol. I: From

Antiquity to the Eighteenth Century, Pendragon Press, New York 1986, pp. XVI +

430, 19/1 (1988) 121-122.

      MASSIP, Catherine: La vie des musiciens de Paris au temps de Mazarin (1643-

1661). Essai d’étude sociale, Picard, Paris 1976, pp. 186, 17/1 (1986) 129-131.

      MENGER, Pierre-Michel: Le paradoxe du musicien. Le compositeur, le mélomane et l’Etat dans la société contemporaine, Flammarion, Paris 1983, pp. 396, 17/1 (1986)

140-141.

      MONGREDIEN, Jean: La musique en France des Lumières au Romantisme (1789-

1830), Flammarion, Paris 1986, pp. 370, ill., ex. mus., 20/2 (1989) 243-244.

      Musik und Verstehen. Aufsätze zur semiotischen Theorie, Ästhetik und Soziologie der

musikalischen Rezeption, hrsb. von Peter Faltin und Hans-Peter Reinecke, Arno Volk

Verlag – Hans Gering KG, Köln 1973, pp. 340, 5/2 (1974) 341-342.

      Perspectives in Musicology, edit. by Barry S. Brook, Edward O. D. Downes and

Shermann Van Solkema, W. W. Norton & Company, Inc., New York 1972, pp. XV-

363, 5/2 (1974) 338-340.

      PISTONE,  Danièle:  La  musique  en  France  de  la  Révolution  à  1900,  Honoré

Champion, Paris 1979, pp. 243, 18/1 (1987) 173-175.

      SALMEN, Walter (ed.): The Social Status of the Professional Musician from the Middle Ages to the 19th Century (Sociology of Music Series, No. 1), Pendragon Press, New York 1983, pp. IX + III + 281, 19/1 (1988) 125-126.

      SILBERMANN,   Alphons:    Empirische    Kunstsoziologie.    Eine    Einführung    mit

kommentierter Bibliographie, Ferdinand Enke Verlag, Stuttgart 1973, pp. XII + 238,

8/1 (1977) 88.

      STEFANI, Gino: Musica barocca, Poetica e ideologia, Bompiani, Milano 1974, pp.

262, 5/2 (1974) 342.

      TATARKIEWICZ, Wladyslaw: History of Aesthetics; Ancient Aesthetics (Vol. I);

Medieval Aesthetics (Vol. II), Mouton – Polish Scientific Publishers, The Hague –

Paris – Warszawa 1970, pp. 352 + 315, 3/1 (1972) 136-137.

      TATARKIEWICZ, Wladyslaw: History of Aesthetics; Modern Aesthetics (Vol. III), edit. by D. Petsch,  Mouton – Polish Scientific Publishers, The Hague  – Paris –

Warszawa 1974, pp. XX + 481, 5/2 (1974) 343.

      WEBER, Edith: La musique mesurée à l’antique en Allemagne (2 vols.); Le théâtre

humaniste et scolaire dans les Pays Rhénans (1 vol.), Klicksieck, Paris 1974, pp. IV-

1009 + 376, 7/2 (1976) 117.

THOVERON, Gabriel

      DE CLERCQ, Jacqueline: La profession de musicien – Une enquête, Editions de

l’Institut de Sociologie de l’Universiteté Libre de Bruxelles, Bruxelles 1970, pp. 166,

1/2 (1970) 218-220.

TUKSAR, Stanislav

      DEMOVIĆ, Miho: Musik und Musiker in der Republik Dubrovnik vom Anfang des

11. Jahrhunderts bis zur Mitte des 17. Jahrhunderts (originally published in Croatia under  the  title  Glazba  i  glazbenici  u  Dubrovačkoj  Republici  od  početka  XI.  do polovine XVII. stoljeća, Yugoslav Academy of Science and Arts, Zagreb 1981), Musikinformationszentrum, Zagreb 1981, pp. 417, 13(1 (1982) 127-130.

      DURAKOVIĆ, Lada: Pulski glazbeni život u razdoblju fašističke diktature 1926.-

1943. (Music Life in Pulla During the Period of the Fascist Dictatorship, 1926-1943),

Hrvatsko muzikološko društvo (Croatian Musicological Society), Zagreb 2003, pp.

233, 35/1 (2004) 117-122.

      KAYSER, Hans: Akróasis, Die Lehre von der Harmonik der Welt, Schwabe & Co., Basle-Stuttgart 1976, 3rd ed., pp. 181, 11/2 (1980) 253-256.

      LAUDON, Robert Tallant: The Era after the Baroque. Music and the Fine Arts 1750-

1900 (Monographs in Musicology, No. 13), Pendragon Press, Hillsdale 2008, 40/2 (2009), 361-362.

      MAJER-BOBETKO, Sanja: Estetika glazbe u Hrvatskoj u 19. stoljeću (Aesthetics of

Music in 19th-Century Croatia), Yugoslav Academy of Sciences and Arts, Zagreb

1979, pp. 99, 13/1 (1982) 132-134.

      ØRBAEK JENSEN, Anne – KONGSTED, Ole (eds.): Heinrich Schütz und die Musik

in Dänemark zur Zeit Christians IV, Engstrøm & Sødring, Kopenhagen 1989, pp.

326, 24/1 (1993) 91-95.

      STIPČEVIĆ, Ennio: Renaissance Music and Culture in Croatia, Turnhout: Brepols publishers 2015, 50/1-2 (2019) 376-383.

      THOMSON, J. M. (ed.): Early Music (Vol. I), Oxford University Press, London

1973. pp. 260, 6/2 (1975) 325-327.

      WALKER, D. P.: Studies in Musical Science in the Late Renaissance, The Warburg

Institute / University of London – E. J. Brill, London – Leiden 1987, pp. 174, 12/1 (1981) 75-78.

VEBER, Zdenka (vidi WEBER, Zdenka)

      WENK, Arthur B.: Claude Debussy and the Poets, University of California Press, Berkeley – Los Angeles – London 1976, pp. 345, 12/1 (1981) 86-87.

WEBER, Zdenka (vidi VEBER, Zdenka)

      GEORGIADES,  Thrasybulos  G.:  Musik  und  Sprache,  Springer-Verlag,  Berlin  –

Heidelberg – New York 1974, pp. 142, 8/1 (1977) 95-96.

      WIORA,   Walter:    Ergebnisse    und   Aufgaben    vergleichender    Musikforschung, Wissenschaftliche Buchgesellschaft, Darmstadt 1975, pp. 108, 7/1 (1976) 115-116.

VILJOEN, Martina

      BALLANTINE,  Christopher:  Marabi  Nights:  Jazz,  ‘Race’  and  Society  in  Early

Apartheid South Africa, Scottsville: University of Kwazulu-Natal Press, 2012, 44/1 (2013) 189-192.

VIRET, Jacques

      GUT, Serge: Liszt, Editions de Fallois / L’Age d’Homme, Lausanne – Paris 1989, pp.

665 avec nombreux tableaux, exemples musiciaux et illustrations, 21/2 (1990) 223-

225.

VUKOBRATOVIĆ, Jelka

      MIŠINA, Dalibor: Shake, Rattle and Roll. Yugoslav Rock Music and the Poetics of

Social Critique, Surrey: Ashgate, 2013, 46/1 (2015) 188-190.

WHITE, Harry

      VILJOEN, Martina (ed.), Musics of the Free State: Reflections on a Musical Past, Present and Future, Zagreb: Croatian Musicological Society, 2015, 47/1 (2016) 154-

156.

6.   REPORTS AND NEWS – IZVJEŠTAJI I NOVOSTI

ALER, Jan: The Seventh International Congress of Aesthetics, 1/2 (1970) 210-211.

ANDREIS, Josip: Symposium on the First Croatian Philosopher of Music, 3/2 (1972) 259-260.

ANDREIS, Josip: The Institute of Musicology in 1970, 2/1 (1971) 115-117.

ANDREIS, Josip: The Zagreb Institute of Musicology, 1/1 (1970) 105-106.

BAIN,  David  –  BROOK,  Barry  S.:  Music  in  the  Life  of  Man:  Theoretical  and  Practical

Foundation for a World History, 16/1 (1985) 103-121.

BERGAMO,  Marija:  Ethno-National  Interrelationships  in  Central-European  Music,  Brno, Czech Republic, 1992, 27/2 (1996) 208-209.

BLAUKOPF, Kurt: L’Institut International de Musique, Danse et Théâtre dans le moyens audio- visuels (IMDT), 1/1 (1970) 107-110.

BLAUKOPF, Kurt: Three Years of IMDT Research, 3/1 (1972) 126-129.

BONTINCK, Irmgard – ETZKORN, K. Peter: Changes in Professional Profiles of Music Educators Prompted by Technological Innovation, Report on a Seminar organised by the ISME Commision for Music in Cultural Educational and Mass Media Policies, in cooperation with MEDIA-CULT, Byron Bay, New South Wales, Australia, 1988, 19/2 (1988) 269-272.

BONTINCK,  Irmgard:  New  Patterns  of  Musical  Behaviour  of  the  Young  Generation  in

Industrial Societies, 3/2 (1972) 263-271.

BREITENFELD, Darko: New Developments in Musik Therapy, 1/2 (1970) 212-213.

BREKO,   Hana:   Der   lateinische   Hymnus   im   Mittelalter:   Überlieferung   –   Ästhetik   –

Ausstrahlung, Erlangen, Germany, 1995, 29/2 (1998) 169-170.

BREKO,  Hana:  Mediaeval  Music  in  Slovenia  nad  Its  European  Connections,  Ljubljana, Slovenia, 1997, 31/2 (2000) 217-219.

BROOK,  Barry  S.  –  BAIN,  David:  Music  in  the  Life  of  Man:  Theoretical  and  Practical

Foundation for a World History, 16/1 (1985) 103-121.

BROOK, Barry S.: A Seminar in 18th-Century Music and Sociology, 4/2 (1973) 319-323.

CERIBAŠIĆ, Naila: 34th World Conference of the International Council for Traditional Music

(ICTM), Nitra, Slovakia, 1997, 31/2 (2000) 219-220.

CERIBAŠIĆ, Naila: Music and Gender Study Group Meeting (ICTM): Theory and Method of the Gender-Based Studies in Music, Turku, Finland, 1994, 27/2 (1996) 187-190.

ĆURKOVIĆ, Ivan: 13th Biennial International Conference on Baroque Music, University of

Leeds, School of Music, Leeds, U. K., 2008, 40/1 (2009) 169-171.

ĆURKOVIĆ,  Ivan:  Bartók’s  Orbit.  The  Context  and  Sphere  of  Influence  of  His  Work,

Budapest, Hungary, 2006, 40/1 (2009) 157-159.

DE CLERCQ, Jacqueline: Le Centre de Sociologie de la Musique à Bruxelles, 1/2 (1970) 211.

DOLINER, Gorana: ICTM: Music and Gender Study Group Meeting – Music, Violence, War, and Gender, Punat (Island of Krk), Croatia, 1995, 29/2 (1998) 178-179.

DOLINER, Gorana: Salzburg Seminar. Music for a New Millennium: The Classical Genre in

Contemporary Society (Session 352), Schloss Leopoldskron, Salzburg, Austria, 19997,

31/2 (2000) 222-223.

Editorship: XIV International Congress of the International Musicological Society, Bologna,

1987, 16/2 (1985) 221-222.

ETZKORN, K. Peter – BONTINCK, Irmgard: Changes in Professional Profiles of Music Educators Prompted by Technological Innovation, Report on a Seminar organised by the ISME Commision for Music in Cultural Educational and Mass Media Policies, in cooperation with MEDIA-CULT, Byron Bay, New South Wales, Australia, 1988, 19/2 (1988) 269-272.

GOLUB, Ivan: On the Manuscript of Juraj Križanić’s De Musica (II), 18/1 (1987) 163-168. GOLUB, Ivan: On the Manuscript of Juraj Križanić’s De Musica, 17/1 (1986) 123-128. GORTAN-CARLIN, Ivana: The 2nd International Meeting «From the Istrian Music Treasury»:

Antonio Smareglia and His Time, Novigrad, Croatia, 1999, 31/2 (2000) 235.

HEIMES, Klaus F.: 88: The George Herzog International Forum for Socio-Musical Sciences, Tel Aviv (Ramat Gan), 1988, 19/2 (1988) 272-273.

IKONOMOVA, Vera: Music and the Audience (Social Determinants of Musical Tastes – A Draft Plan of Research), 3/1 (1972) 121-126.

JOHNSTON, Thomas F.: The Social Determinants of Tsonga Musical Behaviour, 4/1 (1973)

108-130.

KAPKO-FORETIĆ, Zdenka: Stockhausen 70, Köln, Germany, 1998, 31/2 (2000) 223-228.

KARBUSICKÝ, Vladimir: Empirische Musiksoziologie in der Tschechoslowakei, 1/1 (1970)

113-116.

KATALINIĆ,  Vjera:  32nd  National  Convention  of  the  American  Association  for  the

Advancement of Slavic Studies (AAASS), Denver, U. S. A., 2000, 33/2 (2002) 223.

KATALINIĆ, Vjera: Gegenreformation und Barock in Mitteleuropa / in der Slowakei, Bratislava, Slovakia, 1999, 31/2 (2000) 236-237.

KATALINIĆ,  Vjera:  Musical  Theatre  as  High  Culture?  Discourse  on  Opera  and  Operetta

During the Late 19th Century, Zagreb, Croatia, 2006, 40/1 (2009) 164-167.

KATALINIĆ, Vjera: Musik der geistlichen Orden in Mitteleuropa zwischen Tridentinum und

Josephinismus, Trnava, Slovakia, 1996, 29/2 (1998) 188-190.

KATALINIĆ, Vjera: Off-Mozart. Musical Culture and the «Kleinmeister» in Central Europe

1750-1820, Zagreb, Croatia, 1992, 27/2 (1996) 206-298.

KATALINIĆ,   Vjera:   Pietro   Alessandro   Guglielmi   (1728-1804).   Musicista   Italiano   nel

Settecento Europeo, Massa, Italy, 2001, 33/2 (2002) 234-236.

KENDRICK, Robert L.: X. Convegno internazionale di studi – La musica e il sacro: prospettive

e intertestualità nel Barocco lombardo-padano, 2001, 33/2 (2002) 228-230.

KNEIF, Tibor: Ein Bericht aus der BRD, 1/1 (1970) 110-113.

KOS,  Koraljka:  Glasbeni  barok  na  Slovenskem  in  evropska  glasba  /  Musical  Baroque  in

Slovenia and European Music, Ljubljana, Slovenia, 1994, 27/2 (1996) 193-194.

KOS,  Koraljka:  International  Musicological  Conference  «International  Relations  in  Central-

European Music of the 16th and 17th Centuries», Budapest, Hungary, 1993, 27/2 (1996)

200-201.

KOS, Koraljka: International Musicological Conference «Stredoeurópske kontexty barokovej hudbi / Central-European Context of Baroque Music», Bratislava, Slovakia, 1994, 27/2 (1996) 185-186.

KOS, Koraljka: Schriftenreihe Musik und Gesellschaft (Verlag G. Braun, Karlsruhe), 1/2 (1970)

211-212.

KOS, Koraljka: The Dilemmas of Current Musicology, 3/2 (1972) 260-263.

KRISTL, Ljiljana: The First International Congress of the Semiotics of Music, 5/2 (1974) 334-

337.

KUČUKALIĆ, Zija: Collaboration avec Zvuk, 2/1 (1971) 118.

LING, Jan: A Musico-Sociological Conference in Gothenburg, 4/2 (1973) 323-329.

LING, Jan: Music-Sociological Projects in Gothenburg, 2/1 (1971) 119-130.

LIVLJANIĆ, Katarina: Musica mediaval y camino de Santiago, Villafranca del Bierzo, Leon, Spain, 1993, 27/2 (1996) 202-204.

LOCKWOOD, Lewis: The Twelfth Congress of the IMS, 5/2 (1974) 332-333.

MAJER-BOBETKO,  Sanja:  200th  Anniversary  Celebration  of  the  Birth  of  Ivan  Padovec

(1800-73), Zagreb – Varaždin, Croatia, 2000, 33/2 (2002) 220-222.

MAJER-BOBETKO, Sanja: Fifth Conference of the International Society of European Ideas (ISSEI): Memory, History and Critique – European Identity at Millenium, Utrecht, The Netherlands, 1996, 29/2 (1998) 186-188.

MAJER-BOBETKO, Sanja: International Musicological Society. 16th International Congress – Musicology and Sister Disciplines: Past, Present and Future, London, U. K., 1997, 31/2 (2000) 220-222.

MAJER-BOBETKO, Sanja: The Socio-Musikological Conference in Gothenburg, 1988, 19/2 (1988) 274-276.

MAROŠEVIĆ, Grozdana: ICTM: Conference of the Study Group on Historical Sources of Folk

Music, Copenhagen, Denmark, 1995, 29/2 (1998) 165-166.

MIHOLIĆ, Irena: 14th Meeting of the Study Group on Folk Musical Instruments, ICTM, Markneukirchen, Germany, 2000, 33/2 (2002) 213-236.

MIHOLIĆ, Irena: United Europe – United Music?, Ljubljana, Slovenia, 2001, 33/2 (2002) 230-

231.

PETTAN, Svanibor: 22nd ISME World Conference, Amsterdam, The Netherlands, 1996, 29/2 (1998) 184-186.

PETTAN, Svanibor: Aspects on Music and Multiculturalism, Falun, Sweden, 1995, 29/2 (1998)

171-172.

PETTAN, Svanibor: Künste und Bildung zwischen Ost und West: Polyästhetische Erziehung und europäische Integration, Mittersil, Austria, 1993, 27/2 (1996) 196-197.

PETTAN, Svanibor: Musicisti del Mediterraneo: storia e antropologia, Bari Molfetta, Italy,

1996, 29/2 (1998) 183-184.

PETTAN,   Svanibor:   Passato   e   presente:   Prospettive   per   l’antropologia   della   musica mediterranea, Venice, Italy, 1995, 29/2 (1998) 170-171.

PETTAN, Svanibor: The 46th Annual Meeting of the Society for Ethnomusicology, Southfield, U. S. A., 2001, 33/2 (2002) 231-232.

PETTAN, Svanibor: Thirty-Second World Conference of the ICTM, Berlin, Germany, 1993,

27/2 (1996) 194-196.

RAMOS, Pilar: Cours Vincente Ripollés (1867-1943) et l’historiographie musicale de son temps, Valencia, Spain, 2005, 40/1 (2009) 155-157.

SEDAK, Eva: Banned Music: Composers in the Dictatorship of the 20th Century, Dresden, Germany, 1993, 27/2 (1996) 209-210.

SEDAK, Eva: The International Congress «New Music and Its Criticism», 1/2 (1970) 213.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Colloque de la Société Internationale de Musicologie

consacré à la sociologie de la musique, 4/1 (1973) 106-107.

SUPIČIĆ,  Ivo  (vidi  SUPIČIĆ,  Ivan):  Das  Symposion  der  Internationalen  Gesellschaft  für

Musikwissenschafte über Musiksoziologie, 4/1 (1973) 107-108.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Hommage à Gisèle Brelet, 4/2 (1973) 317-319.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Musique et Technologie – un Colloque de l’UNESCO, 2/1 (1971) 117.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): The 2nd Symposium of the IMS in Zagreb, 5/2 (1974)

333.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): The IMS Inquiry, 7/2 (1976) 265-267.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): The International Musicological Society’s Symposium on the Sociology of Music, 4/1 (1973) 105-106.

ŠTER,  Katarina:  Functional  and  Autonomuos  in  Music:  Patterns  and  Meanings,  Ljubljana, Slovenija, 2006, 40/1 (2009) 161-164.

TUKSAR, Stanislav: 1. Internationale Andreas-Werckmeisterkonferenz: Theorie und Praxis der

Musik im Zeitalter von Andreas Werckmeister, Halberstadt, Germany, 1995, 29/2 (1998)

176-178.

TUKSAR,  Stanislav:  12th  Biennial  International  Conference  on  Baroque  Music,  Warsaw, Poland, 2006, 40/1 (2009) 159-161.

TUKSAR, Stanislav: 26th Annual Congress of the Musicological Society of Southern Africa, Department of Music, University of the Orange Free State, Bloemfontein, South Africa,

31/2 (2000) 232-234.

TUKSAR,  Stanislav:  300  Years  of  Academia  Philharmonicorum  Labacensium  1701-2001, Ljubljana, Slovenia, 2001, 33/2 (2002) 232-234.

TUKSAR, Stanislav: Aurora musas nutrit – Die Jesuiten und die Kultur Mitteleuropas im 16.-

18. Jahrhundert, Bratislava, Slovakia, 2007, 40/1 (2009) 167-169.

TUKSAR, Stanislav: Austria, 996-1996: Music in a Changing Society, Ottawa, Canada, 1996,

180-182.

TUKSAR, Stanislav: Broadway an der Ruhr: das Musical im neuen Jahrhundert, Dortmund, Germany, 2000, 33/2 (2002) 215-217.

TUKSAR, Stanislav: Civiltà musicali a confronto: tendenze del periodo barocco a Venezia e in

Dalmazia, Venezia, Italy, 1999, 31/2 (2000) 228-229.

TUKSAR,  Stanislav:  Fifteenth  International  Research  Seminar  of  the  ISME  (International

Society for Music Education) Research Commission, Coral Gables, Floria, U. S. A., 1994,

27/2 (1996) 186-187.

TUKSAR,  Stanislav:  First  International  Musicological  Symposium  «The  Present  State  of

Systematic Musicology», Moravany, Slovakia, 1993, 27/2 (1996) 198-200.

TUKSAR, Stanislav: La musica nelle cappelle in area lombardo-padana nel Barocco, Brescia, Italy, 1999, 31/2 (2000) 229-232.

TUKSAR, Stanislav: Mediaeval Musical Cultures on the Eastern and Western Shores of the

Adriatic Until the Beginning of the 15th Century, Split, Croatia, 1997, 31/2 (2000) 215-

217.

TUKSAR, Stanislav: Musica, scienza e idee nella Serenissima del Seicento, Venezia, Italy,

1993, 27/2 (1996) 201-202.

TUKSAR, Stanislav: Musical Cultures in the Adriatic Region During the Age of Classicism: Reflections and Contacts, Dubrovnik, Croatia, 2001, 33/2 (2002) 224-225.

TUKSAR, Stanislav: Seminario di studio: La musica delle antiche civiltà mediterranee – Civiltà musicali a confronto. Istria e Dalmazia nella dominazione veneziana del Cinquecento e del Seicento, Venice, Italy, 1995, 29/2 (1998) 167-169.

TUKSAR, Stanislav: VI Convegno internazionale: Relazioni musicali tra Italia e Germania

nell’età barocca, Como-Loveno di Menaggio, Italy, 1995, 29/2 (1998) 173-176.

TUKSAR, Stanislav: XV Congreso de la Sociedad Internacional de Musicologia, Madrid, Spain,

1992, 27/2 (1996) 204-206.

TUKSAR, Stanislav: Zagreb and Croatia Lands as a Bridge between Central-European and

Mediterranean Musical Cultures, Zagreb, Croatia, 1994, 27/2 (1996) 190-193. TUKSAR, Stanislav: Zagreb Institute of Musicology in 1971, 3/1 (1972) 119-120. TURKALJ, Nenad: Ein Festival der Neuen Musik in Jugoslawien, 1/1 81970) 116-118.

ZEBEC, Tvrtko: 21th Symposium of the Ethnochoreographical Study Group, ICTM, Korčula,

Croatia, 2000, 33/2 (2002) 217-219.

ZENKL, Ludek: Das Publikum des Musiktheaters in der ČSSR, 3/1 (1972) 129-132.

ZLOKOVIĆ, Nada: Towards Synthesis… (Open Forum of the Institute of Musicology of the

Serbian Academy of Arts and Science), 7/2 (1976) 267-270.

ZUBOVIĆ, Alma: 36th World Conference of the ICTM, Rio de Janeiro, Brazil, 2001, 33/2 (2002) 225-228.

ZWEERS, Willem: An Investigation among Dutch Composers, 1/1 (1970) 106-107.

7.   MISCELLANEA

ANDREIS, Josip: Un compositeur croate en Alsace et trois musiciens français à Dubrovnik,

13/1 (1982) 107-110.

BLAUKOPF, Kurt: Democratisation of the Musical Theatre of Our Days, 13/2 (1982) 199-200.

BLOOM, Peter: Letter to the Editor, 22/1 (1991) 115-116.

CAVALLINI, Ivano: Marco Di Pasquale (Verona, 31 March 1957 – Venice, 29 September

2021) in memoriam, 53/1 (2022) 279-286.

CVETKO, Dragotin: Slovene Musicology 1977-1982. Achievements and Plans, 13/1 (1982)

116-119.

Das Organisationskomitee des Symposiums der IGMw: Vorwort, 5/1 (1973) 7-8.

DEMOVIĆ, Miho: Un compositeur croate en Alsace et trois musiciens français à Dubrovnik,

13/1 (1982) 110-116.

Die kroatische Gesellschaft für Musikwissenschaft: Vorwort, 23/1 (1992) 118. GREEN, Edward: Haydn and Ellington: Parallel Lives?, 40/2 (2009) 349-351. Hrvatsko muzikološko društvo: Uvodna napomena, 23/1 (1992) 4.

Hrvatsko muzikološko društvo: Uvodna riječ, 23/2 (1992) 118.

La societe Croate de musicologie: Introductory Word, 23/1 (1992) 3-4.

La societe Croate de musicologie: Note liminaire, 23/2 (1992) 117-118.

Le Comité d’Organisation du Colloque de la SIM: Préface, 5/1 (9174) 6-7.

Organizacijski odbor Simpozija IMD-a: Predgovor, 5/1 (1974) 9.

Organizing Committee of the Symposium of IMS: Foreword, 5/1 (1974) 5-6.

SUPIČIĆ, Ivan (vidi SUPIČIĆ, Ivo): Dragotin Cvetko (1911-1993), 24/2 (1993) 186-187. SUPIČIĆ, Ivan (vidi SUPIČIĆ, Ivo): Introductory Word – Uvodna riječ, 25/1-2 (1994) 3-4. SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Foreword – Préface – Vorwort – Predgovor, 6/1 (1975) 7-

8.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Foreword – Preface – Vorwort, 13/1 (1982) 3-4.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): IRASM – Half-Century of Existence / IRASM – un demi-

siècle d’existence, 50/1-2 (2019) 5-17.

The Croatian Musicological Society: Introductory Note, 23/1 (1992) 3.

The Croatian Musicological Society: Introductory Word, 23/2 (1992) 115-116.

TUKSAR, Stanislav: Editor’s Note, 31/1 (2000) 3-4.

TUKSAR, Stanislav: IRASM 1970-2019 – 50 Years of Continuity and Changes, 50/1-2 (2019)

365-372.

TUKSAR, Stanislav: Richard Taruskin (New York Cita, 2 April 1945 – Oakland, 1 July 2022)

in memoriam, 53/2 (2022) 533-535.

TUKSAR, Stanislav:Uvodna riječ, 31/1 (2000) 5-6.

VILJOEN, Martina: Introduction: Critical Theories and Musicology, 36/1 (2005) 3-6.

VILJOEN, Martina: Uvod: Kritičke teorije i muzikologija, 36/1 (2005) 7-10.

8.   BIBLIOGRAPHIES – BIBLIOGRAFIJE

Editorship: Bibliography and Publications Received, 12/2 (1981) 203-211. Editorship: Bibliography and Publications Received, 15/1 (1984) 85-87. Editorship: Index – Indeks 1970-1979, offprint, pp. 16.

Editorship: Index nominorum IRASM 31/1 & 31/2 – 2000, 31/2 (2000) 239-259. Editorship: Index nominorum IRASM 32/1 & 32/2 – 2001, 32/2 (2001) 213-223. Editorship: Index nominorum IRASM 33/1 & 33/2 – 2002, 33/2 (2002) 239-256. Editorship: Index nominorum IRASM 34/1 & 34/2 – 2003, 34/2 (2003) 197-207. Editorship: Publications Received – Bibliography, 2/2 (1971) 299-302. Editorship: Publications Received – Bibliography, 3/2 (1972) 273-277. Editorship: Publications Received – Bibliography, 4/2 (1973) 331-334. Editorship: Publications Received – Bibliography, 5/2 (1974) 351-352. Editorship: Publications Received – Primljene publikacije, 41/1 (2010) 151-154. Editorship: Publications Received – Primljene publikacije, 42/2 (2011) 397-399. Editorship: Publications Received – Primljene publikacije, 44/1 (2013) 199-201. Editorship: Publications Received – Primljene publikacije, 45/2 (2014) 373-375. Editorship: Publications Received – Primljene publikacije, 47/2 (2016) 343-345. Editorship: Publications Received – Primljene publikacije, 49/2 (2018) 351-353. Editorship: Publications Received – Primljene publikacije, 51/1 (2020) 133-135. Editorship: Publications Received – Primljene publikacije, 52/2 (2021) 417-419. Editorship: Publications Received – Primljene publikacije, 54/1 (2023) 171-173. Editorship: Publications Received – Primljene publikacije, 55/2 (2024) 355-357. Editorship: Publications Received, 7/1 (1976) 118.

Editorship: The Sociology of Music – A Selected Bibliography (A to F), 7/2 (1976) 284-342. Editorship: The Sociology of Music – A Selected Bibliography (G to M), 8/1 (1977) 97-154. Editorship: The Sociology of Music – A Selected Bibliography (N to Z), 8/2 (1977) 273-325. Editorship: The Sociology of Music – A Supplement II, 10/2 (1979) 249-268.

Editorship: The Sociology of Music – A Supplement III, 14/1 (1983) 107-115.

Editorship: The Sociology of Music – A Supplement, 9/1 (1978) 131-146.

SUPIČIĆ, Ivo (vidi SUPIČIĆ, Ivan): Sociology of Music – Selected Bibliography 1950-1970,

1/2 (1970) 229-240.

Sastavila Zrinka Vitkovic (1970.-2010.); Lucija Konfic (od 2011.-) Zagreb lucijam@hazu.hr