Music in Context – serie

Mozart's Requiem

Reception, Work, Completion

The Quilting Points of Musical Modernism

Revolution, Reaction, and William Walton

Interwar Symphonies and the Imagination

Politics, Identity, and the Sound of 1933

Schubert's String Quartets

The Teleology of Lyric Form

Olivier Messiaen's Catalogue d'oiseaux

From Conception to Performance

Elisabeth Lutyens and Edward Clark

The Orchestration of Progress in British Twentieth-Century Music

Monteverdi and the Marvellous

Poetry, Sound, and Representation

Music and the Making of Medieval Venice

Anton Webern at the Dawn of Modernism

Musical Modernism in Global Perspective

Entangled Histories on a Shared Planet

Haydn's Minuets and Eighteenth-Century Dance

Olivier Messiaen's Catalogue d'oiseaux

From Conception to Performance

Frauenliebe und Leben

Chamisso's Poems and Schumann's Songs

Beethoven's Theatrical Quartets

Opp. 59, 74 and 95

The Monstrous New Art

Divided Forms in the Late Medieval Motet

The Requiem of Tomás Luis de Victoria (1603)

Manuscripts and Medieval Song

Inscription, Performance, Context

The Operas of Maurice Ravel

Mozart's Requiem

Reception, Work, Completion

The Operas of Maurice Ravel

Manuscripts and Medieval Song

Inscription, Performance, Context

The Requiem of Tomás Luis de Victoria (1603)

Polyphony in Medieval Paris

The Art of Composing with Plainchant

Polyphony in Medieval Paris

The Art of Composing with Plainchant

Delius and the Sound of Place

The Monstrous New Art

Divided Forms in the Late Medieval Motet

Brahms's Elegies

The Poetics of Loss in Nineteenth-Century German Culture

Composing Community in Late Medieval Music

Self-Reference, Pedagogy, and Practice

Delius and the Sound of Place