Modes of Communication in Stravinsky’s Works Other Books in This Series

Music in the Disney Parks

Music in the Disney Parks

Music in the Disney Parks

From Stage to Studio

From Stage to Studio

From Stage to Studio

Edward MacDowell’s European Piano Music

Edward MacDowell’s European Piano Music

Edward MacDowell’s European Piano Music

The Western Classical Music Industry in Twenty-First Century China

The Western Classical Music Industry in Twenty-First Century China

The Western Classical Music Industry in Twenty-First Century China

Music, Piety, and Political Power in 17th-Century Salzburg

Music, Piety, and Political Power in 17th-Century Salzburg

Music, Piety, and Political Power in 17th-Century Salzburg

Spanish Piano Music and Folklore from the Eighteenth to Early Twentieth Centuries

Spanish Piano Music and Folklore from the Eighteenth to Early Twentieth Centuries

Spanish Piano Music and Folklore from the Eighteenth to Early Twentieth Centuries

Cognate Music Theories

Cognate Music Theories

Cognate Music Theories

Valuing Nineteenth-Century Italian Opera Fantasias for Woodwind Instruments

Valuing Nineteenth-Century Italian Opera Fantasias for Woodwind Instruments

Valuing Nineteenth-Century Italian Opera Fantasias for Woodwind Instruments

Australia’s Jindyworobak Composers

Australia’s Jindyworobak Composers

Australia’s Jindyworobak Composers

Orpheus in the Academy

Orpheus in the Academy

Orpheus in the Academy

Sound in the Ecstatic-Materialist Perspective on Experimental Music

Sound in the Ecstatic-Materialist Perspective on Experimental Music

Sound in the Ecstatic-Materialist Perspective on Experimental Music

Music by Subscription

Music by Subscription

Music by Subscription

West Side Story, Gypsy, and the Art of Broadway Orchestration

West Side Story, Gypsy, and the Art of Broadway Orchestration

West Side Story, Gypsy, and the Art of Broadway Orchestration

Sound Heritage

Sound Heritage

Early English Composers and the Credo

Early English Composers and the Credo

Early English Composers and the Credo