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Metaphor and Symbol Volume 29, 2014 - Issue 4
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Articles

Let’s Talk Music: A Corpus-Based Account of Musical Motion

Paula Pérez-SobrinoUniversity of La RiojaCorrespondence[email protected]
&
Nina JulichUniversity of Applied Sciences Zwickau
Pages 298-315 | Published online: 25 Sep 2014

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APPENDIX: CORPUS FILES

  • Barolsky, D. (2008). Embracing imperfection in Benno Moiseiwitsch’s prelude to Chopin. Music Performance Research, 2, 48–60.
  • Bisesi, E., & Vicario, G. B. (2009). Factors affecting the choice of performed tempo. British Postgraduate Musicology, 10, 1–8.
  • Bryan, J. (2011). Extended play: Reflections of Heinrich Isaac’s music in early Tudor England. The Journal of Musicology, 28(1), 118–141.
  • Chrissochoidis, I., & Huck, S. (2011). Elsa’s reason: On beliefs and motives in Wagner’s Lohengrin. Cambridge Opera Journal, 22(1), 65–91.
  • Farrin, S. (2009). [Review of Streichquartette (Arditti Quartet), by Helmut Lachenmann, 2007], Search: Journal for New Music and Culture, 6. Retrieved from http://www.searchnewmusic.org/farrin.pdf
  • Gable, T. (2009). New recordings I: Joseph Wölfl, Piano Concertos, No. 1 in G, op. 20, No. 5 in C, op. 43 (“Grand Military Concerto”), No. 6 in D, op. 49 (“The Cuckoo”), Andante (“The Calm”) from Concerto No. 4 in G, op. 36, Yorck Kronenberg (piano). SWR Rundfunkorchester Kaiserslautern, Johannes Moesus. CPO 777 374-2 (2008). Society for Eighteenth-Century Music, 14, 6–7.
  • Gelbart, M. (2010). Review: Joseph Haydn. Scottish and Welsh Songs. Lorna Anderson (soprano), Jamie MacDougall (tenor)/Haydn Trio Eisenstadt. Brilliant Classics 93769. Eighteenth-Century Music, 7(1), 150–154.
  • Hyland, A. M. (2009). Rhetorical closure in the first movement of Schubert’s Quartet in C major, D. 46: A dialogue with deformation. Music Analysis, 28(1), 111–142.
  • Irving, D. R. M. (2009). The dissemination and use of European music books in early modern Asia. Early Music History, 28, 39–59.
  • Kendall, G. S. (2010). Meaning in electroacoustic music and the everyday mind. Organized Sound, 15(1), 63–74.
  • MacDonald, C. (2010). CD and DVD reviews. York Bowen: Piano Sonatas 1–6. Danny Driver (pno). Hyperion CDA 67551/2 (2-CD set). Tempo, 64(253), 78–80.
  • McCreless, P. (2011). Ownership, in music and music theory. Music Theory Online, 17(1). Retrieved from http://www.mtosmt.org/issues/mto.11.17.1/mto.11.17.1.mccreless.html
  • McQuinn, J. (2010). Plagues modern Paris: Sylvio Lazzari’s La Lépreuse. Nineteenth-Century Music Review, 7(1), 45–80.
  • Moran, J. (2007). Review: Historically informed performances: “Archduke” and “Ghost” Trios. Jos van Immerseel, fortepiano, Vera Beths, violin, Anner Bylsma, violoncello. Sony Classical: Vivarte SK 51353, 2000. Beethoven Forum, 14(1), 90–93.
  • Peattie, M. G. (2010). Transcribing the Beneventan chant. Plainsong and Medieval Music, 19(2), 139–167.
  • Rifkin, D. (2011). The quiet revolution of a B natural: Prokofiev’s “New Simplicity” in the Second Violin Concerto. Twentieth-Century Music, 6(2), 183–208.
  • Rodin, J. (2009). Unresolved. Music & Letters, 90(4), 535–554.
  • Sieck, S. (2009). A boy was born: An examination of the stylistic influences on the young Benjamin Britten. The Choral Scholar, 1(1), 16–30.
  • Wissick, B. (2006). The cello music of Antonio Bononcini: Violone, violoncello da Spalla, and the cello “schools” of Bologna and Rome. Journal of Seventeenth-Century Music, 12(1). Retrieved from http://www.sscm-jscm.org/v12/no1/wissick.html

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