![]() ![]() Farnham, Surrey Burlington, VT: Ashgate, 2013. ![]() Cambridge New York: Cambridge University Press, 2013. Musical Creativity in Restoration England. New York: Cambridge University Press, 2013. The Cambridge Companion to Vaughan Williams. “Politics and the Reception of Andrew Lloyd Webber’s The Phantom of the Opera.” Cambridge Opera Journal 26/3 (November 2014): 271–287.įrogley, Alain and Aidan J. “A Phylogenetic Analysis of Orlando Gibbons’s Prelude in G.” Early Music 42/4 (November 2014): 515-28. Windram, Heather F., Terence Charlston, and Christopher J. “Three London Harpsichord Makers: Slade, Mahoon, and Hitchcock.” Keyboard Perspectives 6 (2013). “The Triumph in the Eighteenth Century: Handel’s Il Trionfo del Tempo and Historical Conceptions of Musical Temporality.” Eighteenth-Century Music, 11/2 (September 2014): 257-281. “The Importance of Cheltenham: Imperialism, Liminality and Gustav Holst.” Journal of Victorian Culture 19/3 (2014): 365-82. “John Gay, Ballad Opera and the Théâtres de la foire.” Eighteenth-Century Music, 11/2 (September 2014): 173-213. “John Bull, Angelica Catalani and Middle-Class Taste at the 1820s British Musical Festival.” Nineteenth-Century Music Review 11/1 (June 2014): 3-31. “Westminster Abbey and the Academy of Ancient Music: A Library once Lost and now Partially Recovered.” Music and Letters 95/3 (August 2014): 329-373. “Sound Judgment: Piers Hellawell in Interview.” Tempo 68 (October 2014): 48-56. The first two issues are available via the journal’s website.īernard Hughes, Bernard. The journal’s goal is “to promote and stimulate discussion, development and dissemination of original research” on Scottish performance, Scottish music, or research by Scottish scholars and artists. The board consist of faculty members from the Royal Conservatoire and the University of Edinburgh. Scottish Journal of Performance ( ) is an open-access, peer-reviewed journal managed by doctoral students and published by The Royal Conservatoire of Scotland in Glasgow. Seventeen articles from the “From Nineteenth-Century Stage Melodrama to Twenty-First Century Film Scoring: Musicodramatic Practice and Knowledge Organization” conference held at California State University, Long Beach, in 2012. 1-2, is a special double issue in memoriam to Anne Dhu McLucas. The latest edition of NABMSA Reviews is now out and can be accessed at The North American British Music Studies Association NABMSA Reviews Fall 2014 ![]()
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