AN EVOCATION OF ION VIDU 150 YEARS AFTER HIS BIRTH. HIS ACTIVITY AS A COMPOSER AND A CONDUCTOR by Ion-Alexandru ARDEREANU

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THE CHORAL FRAMEWORK IN THE OPERA DECEBAL BY TEODOR ZGUREANU by Luminiţa GUŢANU

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THE CHORAL OUTLINE IN THE OPERA “ALEXANDRU LĂPUŞNEANU” BY GHEORGHE MUSTEA by Luminiţa GUŢANU

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Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices by Donald Greig

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DER MUSIKALISCHE SPRACHE DES KOMPONISTEN PIERRE VILLETTE IN DEN „A CAPPELLA MOTETTEN HYMNE A LA VIERGE (OP. 24) UND PANIS ANGELICUS (OP. 80)“ by Miklós FEKETE

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Virtual choir as a kind of digital musical art by Xinbin Fu

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FORMAL STRUCTURE AND POLYPHONIC TECHNIQUE IN ZOLTÁN KODÁLY’S “SEVEN EASY CHORAL PIECES FOR CHILDREN" by Gabriela COCA

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Graduał rkp 7021 Biblioteki Uniwersyteckiej w Poznaniu jako przykład recepcji potrydenckiej reformy chorału gregoriańskiego w polskim obrządku liturgicznym. by Anna Sobczak

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THE COMPLEXITY AND CHARACTERISTICS OF CHORAL ART by Luminiţa GUŢANU

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Markus Schwenkreis (Hg.), Compendium Improvisation – Fantasieren nach historischen Quellen des 17. und 18. Jahrhunderts (= Scripta, Bd. 5), Basel: Schwabe 2018 by Lutz Felbick

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Formation of teaching system for training of musical group conductors by L. P. Rusanova, N. PH. Semenova

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Topical Problems of Choral and Orchestra Conductors Training in the Russian Far East Region by N. F. Semenova

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Gender, Schaffensprozess und musikalische Analyse. Clara Schumanns Drei gemischte Chöre (1848) by Thomas Wozonig

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Historische Schichten miteinander »verflözt«. Die Übersendung der Klavierstücke opp. 116–119 als passendes Gegengeschenk für Philipp Spittas Aufsatz »Über Brahms« by Knud Breyer

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New Sources and Old Methods. Reconstructing and Applying the Music-Theoretical Paratext of Johann Sebastian Bach’s Compositional Pedagogy by Derek Remeš

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Grundsätze zum Studium der Kompositionstechnik in den Fugen von Johann Sebastian Bach. 1. Teil by Heinrich Deppert

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Nam et expectat et attendit et meminit – Dimensionalität von Zeit und Zeiterfahrung in der Fuge cis-Moll BWV 849 by Ariane Jeßulat

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Are Pitch-Class Profiles Really “Key for Key”? by Ian Quinn

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Konvention, Intention und Konstruktion. Die Stimmführungsparallelen in den Choralsätzen Johann Sebastian Bachs und Georg Philipp Telemanns by Andreas Moraitis

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Werkbetrachtung und Analyse im Musikunterricht by Johannes M. Walter

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