IRASM

1. ORIGINAL SCIENTIFIC PAPERS  –  IZVORNI ZNANSTVENI ČLANCI

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

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.

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

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

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.

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.

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.

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 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.

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?), VII/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), V/1 (1974) 155-167.

BEAUFILS,
Marcel: Musique et nuit (Sažetak: Muzika i noć), I/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, IX/1 (1978)
53-77.

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), II/1 (1971)
5-35.

BERTHIER,
Nicole: L’amateur de musique. Une approche sociologique (Summary: The
Amateur in Music. A Sociological Approach; Sažetak: Ljubitelj glazbe.
Sociološki pristup), VIII/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), V/1 (1974)
209-215.

BIRENBAUM-CARMELI,
Daphna: Overtones: The Social World of the Israeli Philharmonic Orchestra (+
Sažetak), 22/1 (1991) 81-98.

BLAUKOPF,
Kurt: Musical Institutions in a Changing World (Sažetak: Glazbene
ustanove u svijetu koji se mijenja), III/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), I/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.

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, VI/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.

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

BRIX,
Lothar: Gedanken zur Musiksoziologie (Summary: Some Thoughts about the
Sociology of Music; Sažetak: Razmišljanja o sociologiji glazbe), IX/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,  VI/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: Josquin, Leonardo, and the Scala Peccatorum (Sažetak:
Josquin, Leonardo i Scala Peccatorum), IV/2 (1973) 145-163.

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.

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

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.

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 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 «Satanic» in Opera and in Popular Belief (Sažetak:
«Sotonsko» u operi i popularnom vjerovanju), 35/2 (2004) 139-149.

CARLTON,
Richard A.: The Symphony in Sunset (Sažetak: Simfonija u sumraku), 34/1
(2003) 45-56.

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), III/2 (1972) 217-245.

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.

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

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.

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.

CUPERS,
Jean-Louis: Le termes en -isme et les mouvements musicaux (Summary:
Terms Ending in -ism and Musical Movements; Sažetak: «-izmi» i glazbeni
pokreti), II/2 (1971) 231-242.

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), V/1 (1974) 125-137.

CVETKO, Dragotin: Probleme
und Leistungen der slowenischen Musikwissenschaft (Sažetak: Problemi i
dostignuća slovenske glazbene znanosti), VII/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), IX/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), IV/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.

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, V/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),
IV/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), IX/2 (1978) 279-294.

DAHLHAUS,
Carl: Soziologische Dechiffrierung von Musik. Zu Theodor W. Adornos
Wagnerkritik (Sažetak: Sociološko tumačenje muzike. Uz Adornovu kritiku
Wagnera), I/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.: 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), X/2 (1979) 167-180.

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.

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), III/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), IV/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),
VI/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.

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), II/2 (1971)
155-191.

DELIÈGE,
Célestin: Les techniques du rétrospectivisme (Summary: Techniques of
Retrospectivism; Sažetak: Tehnike  retrospektivizma), V/1 (1974) 27-41.

DESCHÊNES,
Bruno: Apprécier la musique aujourd’hui (Summary: Appreciation of Music
Today; Sažetak: Ocjenjivanje glazbe danas), 27/2 (1996) 139-154.

DESCHÊNES,
Bruno: Toward an Anthropology of Music Listening (Sažetak: Prema
antropologiji glazbenog slušanja), 29/2 (1998) 135-153.

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),
V/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.

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.

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.

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), VII/1 (1977) 73-87.

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), IV/1 (1973)
35-50.

DUJMIĆ,
Dunja: The Musical Transcendatalism of Charles Ives (Sažetak: Glazbeni
transcendentalizam Charlesa Ivesa), II/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.

ENGEL, Gerhard:
Zur Aktualität der Musiksoziologie Max Webers (+ Summary; Sažetak), 22/1 (1991)
3-17

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’Alembert contre Rameau (Summary: Music
and Science: D’Alembert vs. Rameau; Sažetak: Glazba i znanost: D’Alembert
protiv Rameaua), 14/2 (1983) 167-190.

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.

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), V/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.: 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), IX/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), X/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), III/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), VI/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), III/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), VI/2
(1975) 201-228.

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.

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

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

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

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.

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.

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.

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),V/1 (1974) 169-179.

FUBINI,
Enrico: Yves-Marie André e la tradizione pitagorica nella musica (Sažetak:
Yves-Marie Andrê i pitagorejska tradicija u muzici), II/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), X/1 (1979) 47-56.

GARNETT,
Liz: Choral Singing as Bodily Regime (Sažetak: Zborsko pjevanje kao
zborski režim), 36/2 (2005) 249-269.

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.

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.

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), VIII/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: 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), IX/2 (1978) 219-278.

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), VIII/1 (1977)
49-72.

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: 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: 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.

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), VII/1 (1976) 125-145.

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

GROSSI,
Pietro: Computer and Music (Sažetak: Elektronsko računalo i glazba),
IV/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.

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, I/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.

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: 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.

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.

HARWEG,
Roland: Kann Man Musik Verstehen? (Summary: Can One Understand Music?; Sažetak:
Može li se muziku razumjeti?, III/2 (1972) 173-186.

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.

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: 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.

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.

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),
V/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), VII/2 (1976)
235-247.

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.

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.

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), IV/2 (1973) 175-196.

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.

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 – 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.

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), IX/2 (1978) 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.

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.

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), V/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), VII/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, IV/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), X/2 (1979) 207-214.

JŮZL,
Miloš: Music and the Totalitarian Regime in Czechoslovakia (Sažetak:
Glazba i totalitarni režim u Čehoslovačkoj), 27/1 (1996) 31-51.

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), VI/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), IX/1 (1978) 121-130.

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.

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, IX/1 (1978) 79-98.

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.

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.

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), VII/1 (1976) 5-42.

KLÜPPELHOLTZ,
Werner: Zur Soziologie der Neuen Musik (Summary: On the Sociology of New
Music; Sažetak: O sociologiji nove glazbe), X/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, II/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), I/1 (1970) 15-34.

KNEIF,
Tibor: Rockmusik und Bildungsmusik (Summary: Rock Music and Educational
Music; Sažetak: Rock glazba i obrazovna glazba), VIII/2 (1977) 237-251.

KNEIF,
Tibor: Some Non-Communicative Aspects in Music (Sažetak: Neki
nekomunikacijski aspekti u glazbi), V/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.

KOLLERITSCH,
Otto: Franz Schuberts literarische Kultur (Summary: Franz Schubert’s
Culture of Literature; Sažetak: Književna kultura Franza Schuberta),
32/1 (2001) 33-46.

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), IV/2 (1973) 197-212.

KONOLD,
Wulf: Peter Cornelius und die Liedästhetik der Neudeutschen Schule (Sažetak:
Peter Cornelius i estetika pjesme novonjemačke škole), I/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: 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), VI/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), III/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), IX/2 (1978) 183-218.

KOVALEFF
BAKER, Nancy: The Aesthetic Theories of Heinrich Christoph Koch (Sažetak:
Estetičke teorije Heinricha Christopha Kocha), VIII/2 (1977) 183-202.

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.

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, VII/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.

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.

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

LASKE,
Otto E.: On some Developmental Problems of Auditory Imagery (Sažetak: O
nekim razvojnim problemima slušne slikovnosti), VII/1 (1976) 77-82.

LASKE,
Otto E.: Verification and Sociological Interpretation in Musicology (Sažetak:
Provjera i sociološka interpretacija u muzikologiji), VIII/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.

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.: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.

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), VIII/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.

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), III/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), IV/1 (1973) 17-33.

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

LISSA,
Zofia: Prolegomena to the Theory of Musical Tradition (Sažetak: Uvod u
teoriju muzičke tradicije), I/1 (1970) 35-54.

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

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.

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.

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), I/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.

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.

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), VII/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), II/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.

MARTORELLA,
Rosanne: Occupational Specialization and Aesthetic Change in Opera. Some
Historical Inquiries (Sažetak: Stručna specijalizacija i estetičke
promjene u operi. Neka povijesna istraživanja), X/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), VI/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.

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.

MENDOZA DE ARCE,
Daniel: Contemporary Sociological Theories and the Sociology of Music (Sažetak:
Suvremene sociološke teorije i sociologija glazbe), V/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), VIII/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), X/1 (1979) 113-132.

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.

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

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, 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?, IV/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), V/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.

NEWELL,
Robert: Four Tiers on the Foundation of Time (Sažetak: Četiri načela
utemeljenosti vremena), VII/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), VII/1 (1976) 43-62.

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

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.

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.

OLIVIER,
Bert: Lacan and Critical Musicology (Sažetak: Lacan i kritička
muzikologija), 36/1 (2005) 135-158.

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.

ORTAKOV, Dragoslav:
Approaches to the Study of Macedonian Musical History (Sažetak: Prilog
istraživanju makedonske glazbene povijesti), VI/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, IX/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.

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

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), VII/2 (1976) 203-218.

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: 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.

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.

PELLIZZONI,
Luigi: Fruition of the Musical Message and Perception of Its Structures (Sažetak:
Ostvarenje glazbene poruke i percepcija struktura), 17/1 (1986) 73-90.

PETROVIĆ,
Radmila: Folk Music of Eastern Yugoslavia: A Process of Acculturation (Sažetak:
Narodna muzika istočne Jugoslavije: proces akulturacije), V/1 (1974) 217-224.

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.

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.

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), X/2 (1979)
215-236.

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.

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.

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

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: «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: 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.

RIJAVEC,
Andrej: Notes towards the National and International in Music (Sažetak:
Bilješke o nacionalnom i internacionalnom u glazbi), VII/1 (1976) 83-87.

RIJAVEC, Andrej: The
Dimensions of Darijan Božič’s Creativity (Sažetak: Kompozicijske
tvorevine Darijana Božića), X/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), V/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, V/1 (1974) 139-153) (Sažetak:
Glazbeni ukus i industrijski sindrom. Sociološko-muzikološki problem u
povijesnoj analizi), 25/1-2 (1994) 79-92.

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: 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.

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.

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), IX/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), II/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.

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.

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.

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.

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.

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), I/2 (1970) 179-186.

SCHUTTE,
Sabine: Kunstmusik und Trivialmusik (Summary: Art Music and «Trivial
Music». A Sketch of the Problem; Sažetak: Umjetnička i «trivijalna»
glazba. Skica jednog problema), IV/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), IV/2 (1973) 257-277.

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.

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), I/2 (1970) 169-177.

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), II/2
(1971) 243-266.

SELFRIDGE-FIELD,
Eleanor: Canzona and Sonata: Some Differences in Social Identity (Sažetak:
Canzona i sonata), IX/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),
V/1 (1974) 191-207.

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.

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.

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), V/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), V/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), X/1 (1979) 5-45.

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), II/2 (1971) 193-212.

SUPIČIĆ,
Ivo (vidi SUPIČIĆ, Ivan): Instead of an Introductory Word (Sažetak:
Umjesto uvodne riječi), I/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), I/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), III/2
(1972) 187-197.

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.

TÄNZER,
Peter: Orientierung in der Musik (Summary: Orientation in Music; Sažetak:
Orijentacija u glazbi), VII/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.

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.

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), IV/2 (1973) 245-256.

TISCHLER,
Hans: A Proposal for a Multi-Relational Aesthetics (Sažetak: Prijedlog
jedne multirelacione estetike), III/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), V/1 (1974) 182-190.

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), VIII/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), II/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,  X/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.

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.

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.

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: Ideology and Interpretation: A Figurative Semiotics of Musical
Discourse (Sažetak: Ideologija i interpretacija: figurativna semiotika
glazbenog diskursa), 36/1 (2005) 83-99.

VILJOEN,
Martina: Questions of Musical Meaning: An Ideology-Critical Approach (Sažetak:
Problemi glazbenog značenja: ideološko-kritički pristup), 35/1 (2004) 3-28.

VILLIERS
HUMAN, Suzanne de: Explosions in Visual Art, Literature and Music (Sažetak:
Prskanja u likovnim umjetnostima, književnosti i glazbi) 36/1 (2005) 179-197.

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.

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.

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.

WAGNER,
Günther: Exaktwissenschaftliche Musikanalyse und Informationsästhetik (Summary:
Scientific Musical Analysis and Informational Aesthetics; Sažetak:
Egzaktnoznanstvena muzička analiza i informacijska estetika), VII/1 (1976)
63-76.

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.

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,  VIII/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.

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: 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.

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.

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, V/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.

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.

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.

YARUSTOVSKI,
Boris: Quelques réflexions sur la musique et la société (Summary: Some Reflections
About Music and Society), VI/2 (1975) 283-287.

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.

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.

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.

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), X/2 (1979) 137-165.

 

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.

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

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.

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.

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:
Cybernetics and Musical Consciousness (Sažetak: Kibernetika i glazbena
svijest), 24/1 (1993) 13-22.

REINECKE, Hans-Peter:
«Musiktherapie» oder «Musiktherapeut»: Versuch einer kulturkritischen
Ortsbestimmung, 18/2 (1987) 247-258.

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, II/2 (1971) 290-291.

ALBERSHEIM, Gerhard: Reflexionen
über Musikwissenschaft und Soziologie, I/2 (1970) 200-208.

ALBERSHEIM, Gerhard:
Zusätzliches zum Begriff des musikalischen Sinnes, III/1 (1972) 97-109.

BEAUD, Paul: Musique,
Masses, Minorités, Marginaux, VI/1 (1975) 159-167.

BEAUFILS, Marcel: Questions,
I/1 (1970) 101-104.

BENGTSSON, Ingmar: Some
Comments and Another Discussion, I/2 (1970) 195-199.

BEZIĆ, Jerko: Die Akkulturation
als eine Fortbestandsmöglichkeit der Volksmusik, VI/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, VI/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), IV/2 (1973) 307-316.

BUJIĆ, Bojan: Letter to the
Editor, V/2 (1974) 331.

CIPRA, Milo: Discussion,
II/2 (1971) 288-290.

CORRÊA DE AZEVEDO,
Luis Heitor: Le national dans la création musicale, I/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), V/2
(1974) 311-325.

CVETKO,
Dragotin: Die sociologischen und nationalen Bedingungen für die Wandlungen in
der musikalischen Situation bei den Südslawen im 19. Jahrhundert, VI/1 (1975)
111-114.

DAHLHAUS, Carl: Das
musikalische Kunstwerk als Gegenstand der Soziologie, VI/1 (1975) 67-79.

DE JAGER, Hugo: Some
Sociological Remarks on Innovaiton in Musik, III/2 (1972) 252-258.

DELIÈGE,
Célestin: Les techniques du rétrospectivisme, VI/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, II/1 (1971) 111-113.

DEVČIĆ, Natko: Some Problems
in Developing Young Composers, II/2 (1971) 285-287.

DIESEN,
Rolf – HOLEN, Arne – SELVIK, Randi Margrete: Das Musikleben in
einer Landgemeinde, VI/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, II/2
(1971) 287.

ETZKORN, K. Peter: On Music,
Social Structure and Sociology, VI/1 (1975) 79-90.

FINSCHER, Ludwig: Die
«Entstehung des Komponisten», VI/1 (1975) 135-142.

FIRCA, Clémence-Liliane: La
culture et la disponibilité psycho-esthétique. Facteurs de l’accessibilité en
musique, V/2 (1974) 325-328.

FIRCA,
Gheorghe: Struktur und Strukturalismus in der Musikforschung, III/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), IV/1 (1973) 95-99.

FUBINI,
Enrico: Implicazioni sociologiche nella creazione e nella fruizione della
musica d’avanguardia, VI/1 (1975) 142-146.

FUBINI, Enrico: Music
Aesthetics and Philosophy, I/1 (1970) 94-97.

GAGNARD, Madeleine: Le
discours des compositeurs, 12/2 (1981) 189-198.

HARDMAN, C. B.: «Josquin,
Leonardo and the Scala Peccatorum», V/2 (1974) 329-331.

HOLEN,
Arne – SELVIK, Randi Margrete – DIESEN, Rolf: Das Musikleben in
einer Landgemeinde, VI/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), IV/1 (1973) 99-103.

KADEN, Christian:
Musikalische Normenbildung und ihre sozialen Grundlagen, VI/1 (1975) 174-181.

KNEIF, Tibor: Some
Non-Communicative Aspects in Music, VI/1 (1975) 95-99.

KOSTIĆ, Vojislav: From the
Introduction, II/2 (1971) 267-268.

KREK, Uroš: Organization of
Work in the Association of Slovene Composer, II/2 (1971) 298.

KREMLEV, Julij A.: A propos
de quelques problèmes des «Discussions» exposés dans le 1erNo, I/2
(1970) 208-209.

KUČUKALIĆ, Zija:
Contemporary Trends in Yugoslav Music, II/2 (1971) 271-273.

LAMBLIN, André: Réplique
à Jonathan Dunsby, 19/1 (1988) 119.

LESURE, François: Un moteur
pour la musicologie, I/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, I/1 (1970) 92-94.

MIHELČIĆ, Pavel: Musical
Criticism and Modern Music, II/2 (1971) 280.

MILOŠEVIĆ, Predrag: Music
Broadcast on Yugoslav Radio Stations in Figures and Percentages, II/2 (1971)
291-293.

NATTIEZ, Jean-Jacques: Sur
les relations entre sociologie et sémiologie musicales, VI/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), IV/2
(1973) 287-293.

OSMOND-SMITH, David: Music
as Communication: Semiology or Morphology?, II/1 (1971) 108-111.

PAVLOVIĆ, Aleksandar:
Composers, Interpreters and Musical Institutions, II/2 (1971) 281-282.

Perspectives in the Sociology of
Music, VI/1 (1975) 182-193.

PETRIĆ, Ivo: The Musician
and His Role in the Establishment of Yugoslav Music, II/2 (1971) 284-285.

PETROVIĆ, Radmila: Folk
Music of Eastern Yugoslavia: A Process of Acculturation, VI/1 (1975) 167-172.

PROŠEV, Toma: Composers,
Performers and Musical Institutions, II/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, II/2 (1971) 275-280.

RINGER, Aleksander L.:
Musical Taste and the Industrial Syndrome, VI/1 (1975) 125-135.

SAKAČ, Branimir: The Status
of a Composer and His Work, II/2 (1971) 268-271.

SELVIK,
Randi Margrete – DIESEN, Rolf – HOLEN, Arne: Das Musikleben in
einer Landgemeinde, VI/1 (1975) 152-159.

SOURIAU, Ettiene: La musique
est-elle un langage?, I/1 (1970) 97-99.

STEFANOVIĆ, Pavle: Autour de
la Tribune musicale yougoslave, II/1 (1971) 107-108

SUPIČIĆ, Ivo: Aesthetic
Attitudes in Croatian Music… and a Talk with Milo Cipra, II/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?), IV/2
(1973) 293-307.

TRÂN VÂN KHÊ:
L’acculturation dans les traditions musicales de i’Asie, VI/1 (1975) 146-152.

TURKALJ, Nenad: Discussion,
II/2 (1971) 274-275.

UKMAR, Vilko: Stylistic and
Aesthetic Questions in Modern Music, III/1 (1972) 109-117.

ULRICH, Boris:
Organizational Problems of Contemporary Yugoslav Music, II/2 (1971) 294-295.

VULJEVIĆ, Ivo: Some
Organizational Problems in Contemporary Yugoslav Music, II/2 (1971) 295-298.

WIORA,
Walter: Der musikalische Ausdruck von Ständen und Klassen in eigenen Stilen,
VI/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, V/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.

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, I/2 (1970) 214-218.

BUCHNER,
Antoni

–
LISSA, Zofia: Aufsätze zur Musikästhetik, Henschelverlag,
Berlin 1969, S. 299, I/2 (1970) 221-228.

NAILA,
Ceribašić

–
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.

CVETKO,
Dragotin

–
HELM, Everett: Composer – Performer – Public. A Study
in Communication, Leo Olschki, Florence 1970, pp. 212, II/1 (1971) 135-137.

–
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, VI/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.

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.

DAHLHAUS,
Carl

–
KNEIF, Tibor: Musiksoziologie (Theoretica, Bd. 9),
Musikverlag Hans Gerig, Köln 1971, S. 152, II/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.

–
WILLIAMS, Alistair: Constructing Musicology, Ashgate
Publishing Company, Aldershot – Burlington 2000, 34/1 (2003) 79-88.

–
WIGHTMAN, Alistair: Karol Szymanovski: His Life and Work,
Ashgate, Aldershot – Brookfield – Singapore – Sydney 1999, 31/1 (2000) 101-103.

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, III/1 (1972) 133-136.

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.

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, II/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, V/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.

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.

–
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.

–
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.

–
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.

–
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.

–
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.

–
SCHER, S. P. (ed.): Music nad Text: Critical Inquiries,
Cambridge University Press, Cambridge 1992, 23/1 (1992) 102-105.

–
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.

–
SCHLÜTER, Bettina: «Hugo Distler». Musikwissenschaftliche
Untersuchungen in systemtheoretischer Perspektivierung (Monolithographien
I, CD-ROM), Franz Steiner Verlag, Stuttgart 2000, 33/2 (2002) 203-207.

–
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.

–
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.

–
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.

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.

JUVARA,
Filippe

–
LEIBOWITZ, René: Le compositeur et son double. Essais sur
l’interprétation musicale, Gallimard, Bibliothèque des Idées, Paris
1971, pp. 500, IV/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.

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.

KOS,
Koraljka

–
BLAUKOPF, Kurt (Hrsg.): Zum Bestimmung der klanglichen
Erfahrung der Musikstudierenden (ein Forschungsbericht) («Musik und
Gesellschaft», H. 2), G. Braun, Karlsruhe 1968, II/1 (1971) 138-139.

–
CVETKO, Dragotin: Musikgeschichte der Südslawen,
Bärenreiter-Verlag, Kassel – Založba Obzorja, Maribor 1975, S. 270, VII/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, IV/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, VI/2 (1975) 320-322.

–
HOLLANDER, Hans: Musik und Jugendstil, Atlantis Verlag,
Zürich – Freiburg 1975, S. 143, Abbildung. 15, Notenbeisp. 28, VII/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, VI/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., VII/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, IV/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, IV/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, I/2 (1970) 220-221.

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, III/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.

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, VIII/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,
VIII/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.

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.

SMOJE,
Dujka

–
COLLINS, Fletcher Jr.: The Production of Medieval Church
Music-Drama, The University Press of Virginia, Charlottesville 1972, pp.
356, ill. 75, IV/1 (1973) 134-136.

STANLEY,
Glenn

–
DAHLHAUS, Carl: Beethoven und seine Zeit, Laaber-Verlag,
Laaber 1987, pp. 320, 22/2 (1991) 203-216.

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, VII/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.

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, V/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, VIII/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, VII/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, VII/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, VII/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, IV/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, III/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., V/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.

–
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., I/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,
V/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, V/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, VIII/1 (1977) 88.

–
STEFANI, Gino: Musica barocca, Poetica e ideologia,
Bompiani, Milano 1974, pp. 262, V/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, III/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, V/2 (1974) 343.

–
KNEIF, Tibor (Hrsg.): Texte zum Musiksoziologie, Vorwort
von Carl Dahlhaus, Arno

Volk Verlag, Köln 1975, pp. 274, VI/2 (1975) 324-325.

–
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, VII/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, I/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.

–
THOMSON, J. M. (ed.): Early Music (Vol. I), Oxford
University Press, London 1973. pp. 260, VI/2 (1975) 325-327.

–
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.

–
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.

–
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)

–
WIORA, Walter: Ergebnisse und Aufgaben vergleichender Musikforschung,
Wissenschaftliche Buchgesellschaft, Darmstadt 1975, pp. 108, VII/1 (1976)
115-116.

–
GEORGIADES, Thrasybulos G.: Musik und Sprache, Springer-Verlag,
Berlin – Heidelberg – New York 1974, pp. 142, VIII/1 (1977) 95-96.

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.

 

6. REPORTS AND NEWS –
   IZVJEŠTAJI I NOVOSTI

ALER,
Jan: The Seventh International Congress of Aesthetics, I/2 (1970) 210-211.

ANDREIS,
Josip: Symposium on the First Croatian Philosopher of Music, III/2 (1972)
259-260.

ANDREIS,
Josip: The Institute of Musicology in 1970, II/1 (1971) 115-117.

ANDREIS,
Josip: The Zagreb Institute of Musicology, I/1 (1970) 105-106.

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), I/1 (1970) 107-110.

BLAUKOPF,
Kurt: Three Years of IMDT Research, III/1 (1972) 126-129.

BONTINCK,
Irmgard: New Patterns of Musical Behaviour of the Young Generation in
Industrial Societies, III/2 (1972) 263-271.

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.

BREITENFELD,
Darko: New Developments in Musik Therapy, I/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.: A Seminar in 18th-Century Music and Sociology, IV/2 (1973) 319-323.

BROOK,
Barry S. – BAIN, David: Music in the Life of Man: Theoretical and Practical
Foundation for a World History, 16/1 (1985) 103-121.

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.

CERIBAŠIĆ,
Naila: 34th World Conference of the International Council for Traditional Music
(ICTM), Nitra, Slovakia, 1997, 31/2 (2000) 219-220.

ĆURKOVIĆ,
Ivan: Bartók’s Orbit. The Context and Sphere of Influence of His Work, Budapest,
Hungary, 2006, 40/1 (2009) 157-159.

ĆURKOVIĆ,
Ivan: 13th Biennial International Conference on Baroque Music, University of
Leeds, School of Music, Leeds, U. K., 2008, 40/1 (2009) 169-171.

DE CLERCQ, Jacqueline: Le
Centre de Sociologie de la Musique à Bruxelles, I/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, 17/1 (1986) 123-128.

GOLUB, Ivan: On the
Manuscript of Juraj Križanić’s De Musica (II), 18/1 (1987) 163-168.

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), III/1 (1972) 121-126.

JOHNSTON, Thomas F.: The
Social Determinants of Tsonga Musical Behaviour, IV/1 (1973) 108-130.

KAPKO-FORETIĆ, Zdenka:
Stockhausen 70, Köln, Germany, 1998, 31/2 (2000) 223-228.

KARBUSICKÝ,
Vladimir: Empirische Musiksoziologie in der Tschechoslowakei, I/1 (1970)
113-116.

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.

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.

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, I/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), I/2 (1970) 211-212.

KOS,
Koraljka: The Dilemmas of Current Musicology, III/2 (1972) 260-263.

KRISTL,
Ljiljana: The First International Congress of the Semiotics of Music, V/2
(1974) 334-337.

KUČUKALIĆ,
Zija: Collaboration avec Zvuk, II/1 (1971) 118.

LING,
Jan: A Musico-Sociological Conference in Gothenburg, IV/2 (1973) 323-329.

LING,
Jan: Music-Sociological Projects in Gothenburg, II/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, V/2 (1974) 332-333.

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.

MAJER-BOBETKO, Sanja: 200th
Anniversary Celebration of the Birth of Ivan Padovec (1800-73), Zagreb –
Varaždin, Croatia, 2000, 33/2 (2002) 220-222.

MAROŠEVIĆ,
Grozdana: ICTM: Conference of the Study Group on Historical Sources of Folk
Music, Copenhagen, Denmark, 1995, 29/2 (1998) 165-166.

MIHOLIĆ,
Irena: United Europe – United Music?, Ljubljana, Slovenia, 2001, 33/2 (2002) 230-231.

MIHOLIĆ,
Irena: 14th Meeting of the Study Group on Folk Musical Instruments, ICTM,
Markneukirchen, Germany, 2000, 33/2 (2002) 213-236.

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.

PETTAN,
Svanibor: 22nd ISME World Conference, Amsterdam, The Netherlands, 1996, 29/2
(1998) 184-186.

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», I/2 (1970) 213.

SUPIČIĆ,
Ivo (vidi SUPIČIĆ, Ivan): Colloque de la Société Internationale de Musicologie
consacré à la sociologie de la musique, IV/1 (1973) 106-107.

SUPIČIĆ,
Ivo (vidi SUPIČIĆ, Ivan): Das Symposion der Internationalen Gesellschaft für
Musikwissenschafte über Musiksoziologie, IV/1 (1973) 107-108.

SUPIČIĆ,
Ivo (vidi SUPIČIĆ, Ivan): Hommage à Gisèle Brelet, IV/2 (1973)
317-319.

SUPIČIĆ,
Ivo (vidi SUPIČIĆ, Ivan): Musique et Technologie – un Colloque de l’UNESCO,
II/1 (1971) 117.

SUPIČIĆ,
Ivo (vidi SUPIČIĆ, Ivan): The IMS Inquiry, VII/2 (1976) 265-267.

SUPIČIĆ,
Ivo (vidi SUPIČIĆ, Ivan): The International Musicological Society’s Symposium
on the Sociology of Music, IV/1 (1973) 105-106.

SUPIČIĆ,
Ivo (vidi SUPIČIĆ, Ivan): The 2nd Symposium of the IMS in Zagreb, V/2 (1974)
333.

ŠTER,
Katarina: Functional and Autonomuos in Music: Patterns and Meanings, Ljubljana,

Slovenija, 2006, 40/1 (2009) 161-164.

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 Sate 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: 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, III/1 (1972) 119-120.

TUKSAR,
Stanislav: XV Congreso de la Sociedad Internacional de Musicologia, Madrid,
Spain, 1992, 27/2 (1996) 204-206.

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.

TURKALJ,
Nenad: Ein Festival der Neuen Musik in Jugoslawien, I/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, III/1 (1972) 129-132.

ZLOKOVIĆ,
Nada: Towards Synthesis… (Open Forum of the Institute of Musicology of the
Serbian Academy of Arts and Science), VII/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, I/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.

CVETKO, Dragotin: Slovene
Musicology 1977-1982. Achievements and Plans, 13/1 (1982) 116-119.

DEMOVIĆ, Miho: Un
compositeur croate en Alsace et trois musiciens français à Dubrovnik,
13/1 (1982) 110-116.

Das
Organisationskomitee des Symposiums der IGMw: Vorwort, V/1 (1973) 7-8.

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, V/1 (9174) 6-7.

Organizacijski
odbor Simpozija IMD-a: Predgovor, V/1 (1974) 9.

Organizing
Committee of the Symposium of IMS: Foreword, V/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 – Preface – Vorwort, 13/1 (1982) 3-4.

SUPIČIĆ,
Ivo (vidi SUPIČIĆ, Ivan): Foreword – Préface – Vorwort – Predgovor, VI/1 (1975)
7-8.

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: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
   

SUPIČIĆ, Ivo (vidi SUPIČIĆ,
Ivan): Sociology of Music – Selected Bibliography 1950-1970, I/2 (1970) 229-240.

Editorship: Bibliography and
Publications Received, 12/2 (1981) 203-211.

Editorship: Bibliography and
Publications Received, 15/1 (1984) 85-87.

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: Index – Indeks
1970-1979, offprint, pp. 16.

Editorship: Publications
Received, VII/1 (1976) 118.

Editorship: Publications
Received – Bibliography, II/2 (1971) 299-302.

Editorship: Publications
Received – Bibliography, III/2 (1972) 273-277.

Editorship: Publications
Received – Bibliography, IV/2 (1973) 331-334.

Editorship: Publications
Received – Bibliography, V/2 (1974) 351-352.

Editorship: The Sociology of
Music – A Selected Bibliography (A to F), VII/2 (1976) 284-342.

Editorship: The Sociology of
Music – A Selected Bibliography (G to M), VIII/1 (1977) 97-154.

Editorship: The Sociology of
Music – A Selected Bibliography (N to Z), VIII/2 (1977) 273-325.

Editorship: The Sociology of
Music – A Supplement, IX/1 (1978) 131-146.

Editorship: The Sociology of
Music – A Supplement II, X/2 (1979) 249-268.

Editorship: The Sociology of
Music – A Supplement III, 14/1 (1983) 107-115.

Sastavila
Zrinka Vitković

Zagreb
zrinka@hazu.hr