Critica Musica

• Principal Publications of Paul Brainard; Some Considerations of the Sources of Cristobal Galan's Music; The Speaking Body: Gaspero Angiolini's Rhetorique Muette and the Ballet d'Action in the Eighteenth Century; Costanzo Festa's lnviolata, integra et casta es Maria: a Double Homage Motet; Bach, Theology, and Harmony: A New Look at the Arias; The Symphony and the Artist's Creed: Camille Saint-Saens and His Third Symphony; The Letter as Convention in Seventeenth-Century Venetian Opera; Poetic and Musical Forms in the Laude of Innocenti us Dammonis; Melody and Motive in Schenker's Earliest Writings; Twins, Cousins, and Heirs: Relationships among Editions of Music Printed in Sixteenth-Century Venice; Rhetoric, Rhythm, and Harmony as Keys to Schlitz's Saul, Saul, was verfolgst du mich? Bach's tempo ordinaria: A Plaine and Easie Introduction to the System; Amorous Dialogues: Poetic Topos and Polyphonic Texture in Some Polytextual Songs of the Late Middle Ages; The Violins in Bach's St. John Passion; French Opera in Transition: Silvie ( 1765) by Trial and Berton; Kindling the Compositional Fire: Haydn's Keyboard Phantasiren; When Sources Seem to Fail: The Clarinet Parts in Mozart's K. 581 and K. 622; From Madrigal to Toccata: Frescobaldi and the Seconda Prattica; Beethoven and Shakespeare; Tenors Lost and Found: The Reconstruction of Motets in Two Medieval Chansonniers

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