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Last updated May 1, 2005
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Allen, Barbara, Oakley. “A Comparison and Critique of the Recorded Performances of Stravinskyís Concerto for Piano and Wind Instruments” (Stanford University, D.M.A. Dissertation, 1980).

Allen, Ray. “Shouting the church: Narrative and vocal improvisation in African-American gospel quartet performance.” Journal of American Folklore. USA Vol. CIV/413 (Summer, 1991), 295-317.

Ardoin, John. “Puccini and the Phonograph.” The Opera Quarterly, IV/3 (Fall, 1986), 60-74.

Banks, Paul. “Aspects of Mahler’s Fifth Symphony: performance practice and interpretation,” Musical Times (May 1986), 258-65.

Bazzana, Kevin: Glenn Gould: The performer in the Work (Oxford: Clarendon Press, 1997).

Bayley, Amanda. “Bartók Performance Studies: aspects of articulative notation in the context of changing traditions of composition and performance in the twentieth century.” (University of Reading, PhD thesis, 1997).

Becking, G. “Der musikalische Rhythmus als Erkenntnisquelle” Ausburg: B. Filser (1928).

Behne, K.E. “Der Einflu§ des Tempos auf die Beurteilung von Musik.” (Cologne: Arno Volk Verlag, 1972).

Bengtsson, I., & Gabrielsson, A. “Methods for analyzing performance of musical rhythm.” Scandinavian Journal of Psychology (1980), 21, 257?268.

Berry, Wallace. Musical Structure and Performance. (New Haven and London: Yale University Press, 1989).

Bjornberg, Alf. “Music Video and the Semiotics of Popular Music.” Secondo Convegno Europeo di Analisi Muiscale. Universitaí degli Studi di Trente (1992).

Blyth, Allan. (ed.) Song on Record. 2 vol. (Cambridge: Cambridge University Press, 1986).

…. (ed.) Choral Music on Record (Cambridge: Cambridge University Press, 1991).

Boulanger, Richard. ë”Conducting the MIDI Orchestra, Part I: Interviews with Max Mathews, Barry Vercoe, and Roger Dannenburg.” Computer Music Journal, Vol. 14(2) (1990), 34-46.

Bowen, Jose A. ìTempo, Duration and Flexibility: Techniques in the Analysis of Performance.î Journal of Musicological Research, Vol. 16, No. 2 (July 1996). 1-47.

…., “Why Should Performers Study Performance? Performance Practice vs. Performance Analysis” Performance Practice Review, IX, 1 (Spring, 1996): 16-35.

…., “Finding the Music in Musicology” in Rethinking Music. ed. Nicholas Cook and Mark Everist (Oxford: Oxford University Press, 1999), 428-455

…., “The Conductor and the Score: A History of the Relationship between Interpreter and Text: The Nineteenth Century” (Oxford University Press, forthcoming).

…., “Connecting Performance, Interpretation and Meaning: When Is Beethovenís Fifth Heroic?” (delivered at AMS-Minneapolis, 1994 and forthcoming in print).

…., “Can a Symphony Change? Establishing Methodology for the Historical Study of Performance Styles” (in Bericht der Internationaler Kongre§ der Gesellschaft für Musikforschung: Musik als Text, Freiburg: BSrenreiter Verlag, in press).

…., “A Computer-Aided Study of Conducting” (in Computing in Musicology, Volume IX, 1993-94).

…., “The History of Remembered Innovation: Tradition and Its Role in the Relationship Between Musical Works and Their Performances.” (The Journal of Musicology, Vol. XI, No. 2, Spring 1993).

…., “Mendelssohn, Berlioz and Wagner as Conductors: The Origins of ëFidelity to the Composerí” (Performance Practice Review, Vol. 6, No. 1, Spring 1993).

Braun, Joachim & Ramat Gan. “Beethoven’s Fourth Symphony: Comparative Analysis of Recorded Performances,” Israel Studies in Musicology (I, 1978), 54-71.

Braus, I. “Why Doesnít Anyone Play Bars 1-11 of Tristan in Tempo?” Journal of Music Theory Pedagogy (1990).

Brown, Mayer and Sadie, Stanley. (eds.) Performance Practice: Music After 1600. (London: Macmillan Press, 1989).

Brown, Patricia. “Sempre libera: Changes and Variation in Singing Style in Verdiís La Traviata from the First Century of Operatic Sound Recording.” (PhD Thesis, October 1996).

Bulen, Jay Charles. Brightness – Measures of Trombone Timbre. Diss., University of Washington (1995).

Burkhardt, Charles. “Debussy Plays ëLa Cathedrale Engloutieí and Solves a Metrical Mystery.” Piano Quarterly (August, 1992).

…., “Schenkerís Theory of Levels and Musical Performance.” In Aspects of Schenkerian Theory David Beach (ed.) (New Haven and London: Yale University Press, 1983).

Busse, Walter Gerard. “Toward Objective measurement and evaluation of jazz piano performance via midi-based groove quantize templates” (PhD, 1997, University of Miami).

Buxbaum, Erica Heisler. “Stravinsky, Tempo, and Le sacre,” Performance Practice Review 1 (1988), 66-88.

Cai, C. Brahmsí pianos and the performance of his late piano works,” Performance Practice Review 2 (1989), 58-72.

…., “Brahmsí short, late piano pieces – opus numbers 116-119: a source study, an analysis and performance practice.” (Dissertation, Boston University, 1986).

Carlson, W.R. “A Procedure for Teaching Jazz Improvisation Based on an Analysis of the Performance Practice of Three Major Jazz Trumpet Players: Louis Armstrong, Dizzy Gillespie, and Miles Davis.” Dissertation, Indiana University, September, 1981.

Casella, Alfredo. “About Musical Interpretation.” Trans. Hans Nathan, The Centennial Review, XII/3 (Summer, 1968), 268-278.

Clark, John W. “Divine Mysteries: On Some Skriabin Recordings” 19th Century Music VI/3 (Spring, 1983), 264-268.

Clarke, Eric. “Expression in performance: generativity, perception and semiosis”, in The Practice of Performance: Studies in Musical Interpretation. John Rink (ed.) (Cambridge:CUP, 1995)

…., “Rhythm and Timing in Music” in The Psychology of Music ed. D. Deutsch. (forthcoming).

…., “The Semiotics of Expression in Musical Performance.” Contemporary Music Review. (in press).

…., “Generativity, Mimesis and the Human Body in Music Performance.” Contemporary Music Review, 9 (1993), 207-221.

…., “Imitating and Evaluating Real and Transformed Musical Performances.” Music Perception, 10 (1993), 207-221.

…., “Performance Expression and Contemporary Music.” proceedings of the Second International Colloquium on the Psychology of Music, Ravello, Italy (1992).

…., & C. Krumhansl. “Perceiving Musical Time.” Music Perception, 7 (1990), 213-252.

…., “The Perception of Expressive Timing in Music.” Psychological Research, 51 (1989), 2-9.

…., “Mind the Gap: Formal Structures and Psychological Processes in Music.” Contemporary Music Review, 3 (1989), 1-15.

…., & Baker-Short, C. “The imitation of Perceived Rubato: A Preliminary Study.” Psychology of Music (1987), 15, 58?75.

…., Shaffer, L.H. & Todd, N. “Rhythm and Metre in Piano Playing.” Cognition, 20 (1985), 61-77.

…., “Some Aspects of Rhythm and Expression in Performances of Erik Satieís ëGnossienne No. 5í “. Music Perception,.(1985), 2, 299?328.

…., “Structure and Expression in Rhythmic Performance.” In Musical Structure and Cognition . P. Howell, I. Cross, & R. West (eds.), London: Academic Press (1985).

…., “Timing in the Performance of Erik Satieís ëVexationsí.” Acta Psychologica, 50 (1982), 1-19.

Clynes, Manfred. “Expressive Microstructure in Music, Linked to Living Qualities” Studies of Music Performance J. Sundberg (ed.) (Royal Academy of Music, Stockholm, Sweden, 1983), 201-234.

…., “Music beyond the score.” Communication and Cognition (1986), 19, 169-194.

…., “Music, Mind & Brain: The Neuropsychology of Music Perception.” (New York: Plenum Press, 1982).

…., “Sentics: The Touch of the Emotions.” (New York: Doubleday, 1977); Dorset, U.K.: Prism Press (1989).

…., “Some guidelines for the synthesis and testing of pulse microstructure in relation to musical meaning.” Music Perception (1990), 7, 403?422.

…., “Microstructural musical linguistics: Composersí pulses are liked most by the best musicians.” Cognition (1995), 55, 269?310.

Collier, G. L. & Collier, J. L. “An exploration of the use of tempo in jazz.” Music Perception (1994), 11, 219?242.

Cone, Edward T. “Musical form and musical performance” (New York: Norton, 1968).

…., “Musical Form and Musical Performance reconsidered.” Music Theory Spectrum (1985), 7, 149?158.

…., “Three Ways of Reading a Detective Story – Or a Brahms Intermezzo”, The Georgia Review 1977, 31/3: 554-74. Also in E.T. Cone “Music: A View From the Delft” ed. R.P. Morgan, Chicago: University of Chicago Press (1989), 77-93.

…., “The pianist as critic”, in The Practice of Performance: Studies in Musical Interpretation. John Rink (ed.) (Cambridge: CUP, 1995).

Cook, Nicholas. “Analyzing Performance, and Performing Analysis” in Rethinking Music, Nicholas Cook & Mark Everist (eds.) (Oxford University Press, forthcoming).

…., “The Conductor and the Theorist: FurtwSngler, Schenker, and the First Movement of Beethovenís Ninth Symphony” in The Practice of Performance: Studies in Musical Interpretation. John Rink (ed.) (Cambridge: CUP, 1995).

…., Music, Imagination and Culture (Oxford: Clarendon Press, 1990).

…., “Structure and Performance Timing in Bachís C major Prelude (WTC1): An Empirical Study.” Music Analysis 6 (1987), 257-72.

…..,”Musical Form and the Listener” Journal of Art and Aesthetic Criticism (1987)

Coss*, Peter. Die Klavierwerke Bartóks und die Schallplatte.” ÖMZ, XXXVI/3 (1981), 190-193.

Crist, Michael Robert.  The Effect of Tempo and Dynamic Variations on Listeners` Ability to Identify an Expressive Performance.  (Ph.D Kent State University, 1998)

Crory, N. “For and Against the Record: Is Technology Robbing us of the True Joy of Music?” Opera Canada (1990).

Crutchfield, Will. “Authenticity in Verdi: Recordings as Evidence.” Opera Today (10/1987), 277-288.

…., “Vocal Ornamentation in Verdi: The Phonographic Evidence.” Nineteenth Century Music, VII (1983-4), 3-54.

Dadelsen, George. “Es gibt keine schlechte Musik, es gibt nur schlechte Interpreten” in Musik, Edition, Interpretation: Gedenkschrift Günter Henle Martin Bente (ed.) (Munich: Henle, 1980), 125-132.

Danuser, Hermann. “Musikalische Interpretation.” Hermann Danuser (ed.), Bd 11 of Neues Handbuch der Musikwissenschaft. Carl Dahlhaus & Hermann Danuser (eds.), Germany: Laaber-Verlag (1992).

….., “Wege eines Interpretationsvergleichs,” Mahler und seine Zeit. (Laaber-Verlag. 1991), 184-201.

….., “Urteil und Vorurteil im Interpretationsvergleich,” Zeitschrift für Musiktheorie (1975/2), 76-88.

Davidson, J. W. “Visual perception of performance manner in the movements of solo musicians.” Psychology of Music (1993), 21, 103?113.

Desain, P. & Honing, H. “Does expressive timing in music performance scale proportionally with tempo?” Psychological Research (1994), 56.

…., “Music, Mind and Machine.” (Amsterdam: Thesis Publishers, 1992).

Ding, Shiao-Li. “Rachmaninoff Plays Rachmaninoff” (Boston University, D.M.A. Dissertation, 1991).

Dirst, Mathew. “Tradition and Authenticity in a Bach Chorale Prelude,” American Organist. Vol 25, 3 (1991), 59.

Dorian, Frederick. The History of Music in Performance: The Art of Musical Interpretation from the Renaissance to our Day. New York: Norton & Co. (1942).

Douglas, Nigel. “Legendary Voices” (Deutsch, 199?).

…., “More Legendary Voices” (Deutsch, 1994).

Drake, C., Dowling, W. J., & Palmer, C. “Accent structures in the reproduction of simple tunes by children and adult pianists.” Music Perception (1991), 8, 315?334.

Drake, C., & Palmer, C. “Accent structures in music performance.” Music Perception (1993), 10, 343?378.

Dreyfus, Laurence. “Early music and the Repression of the Sublime. Papers from “The Early Music Debate: Ancients, Moderns, Postmoderns,” Berkeley Early Music Festival and Symposium 1990.” Journal of Musicology 10 (1992), 108-112

….., “Mozart as Early Music: A Romantic antidote.” Early Music 19 (1992), 295-330.

….., “Early Music Defended against its Devotees: A Theory of Historical Performance in the Twentieth Century.” The Musical Quarterly 69 (1983), 297-322.

Dunsby, Jonathan. “Performing Music: Shared Concerns” (Oxford: The Clarendon Press, 1995).

…., “Real Music”, Newsletter of the Society for Music Analysis (1993), 4: 8-9.

…., “Guest Editorial: Performance and Analysis of Music” Music Analysis (1989), 8/1-2:5-20.

Elste, Martin. “Mozart en gros. Das Werk des Komponisten im Spiegel der Schallplattengeschichte” Fono Forum (1991), 1: 26-33.

…., “Die “Mechanisierung der Musik” und ihr Einflu§ auf die Interpretation barocker Musik im 20. Jahrhundert.” Historische Aufführungspraxis im heutigen Musikleben. Konferenzbericht der XVII. Wissenschaftlichen Arbeitstagung Michaelstein, 8-11. Juni 1898. Teil 1. (Michaelstein/Blankenburg: Kultur-und ForschungsstStte Michaelstein 1990), 75-83.

…., “Von der Partiturwissenschaft zu einer Klangwissenschaft: ?berlegungen zur Schallplattenforschung.” Jahrbuch des Staatlichen Instituts für Musikforschung Preu§ischer Kulturbesitz 1983/84 (Kassel: Merseburger Berlin, 1987), 115-144 translated as “From the science of scores to a science of sound: Thoughts about discology.” Continuo: Journal of the International Association of Music Libraries, Archives, and Documentation Centres (Australian Branch) Vol 22. No. 1 (1993), 1-7.

…., “Mittelalter auf alten Schallplatten: Die AnfSnge der Rekonstruktion mittelalterlicher Musizierpraxis.” Mittelalter-Rezeption III. Gesammelte VortrSge des 3. Salzburger Sympsions: “Mittelalter, Massenmedien, Neue Mythen” (Gsppingen: Kümmerle, 1988), 421-436.

…., “40 Jahre Archiv Produktion: Aufführungspraxis alter Musik im Spannungsfeld zwischen Tradition, Historismus und Perfektion.” Fono forum Vol. 11 (1987), 24-26.

…., “A plea for a historically oriented appreciation of sound recordings” Stock-taking of musical life: Music sociography and its relevance to music education. (Vienna, Munich: Doblinger, 1981), 56-59.

…., “Zum Tempowandel bei der historisierenden Auffüfrungspraxis.” Bericht über den Internationalen Musikwissenschaftlichen Kongre§ Bayreuth 1981. (Kassel: BSrenreiter 1985), 577-580.

…., “Die anderer Aufführungspraxis: Zur Schallplattenforschung.” Musica Vol 4 (1980), 374-375.

Engh, Barbara: “After “His Masterís Voice”: Post-Phonographic Aurality” (PhD thesis 1997, University of Minnesota).

Epstein, David. “A Curious Moment in Schumannís Fourth Symphony: Structure as the Fusion of Affect and Intuition.” The Practice of Performance: Studies in Musical Interpretation. John Rink (ed.) (Cambridge: CUP, 1995).

…., “Shaping Time: Music, The Brain and Performance” (New York: Schirmer, 1994).

…., “Tempo Relations: A Cross-Cultural Study.” Music Theory Spectrum, 7 (1985), 34-71.

Feldman, Jacob, David Epstein & Whitman Richards. “Force Dynamics of Tempo Change in Music.” Music Perception. Vol. 10 (2), 185-204.

Fellerer, Karl, Gustav. “Werk-Edition-Interpretation” Musik, Edition, Interpretation: Gedenkschrift Günter Henle Martin Bente (ed.) (Munich: Henle, 1980), 180-192.

Fellinger, Imogen. “Brahmsí und Brucknersí VerhSltnis zu ihren Interpreten” Bruckner-Symposion Linz 1983: Johannes Brahms und Anton Bruckner Othmar Wessely (ed.) (Linz: Anton Bruckner Institut, 1985), 81-88.

Ferri, John P. “Performance Indications and the Analysis of Chopinís Music” (Ph.D, 1996, Yale University)

Friberg, A. “Generative rules for music performance: A formal description of a rule system.” Computer Music Journal (1991), 15, 56?71.

Fromson, Michele Y. “Zarlinoís Modal Analysis of Willaertís ëAvertatur Obsecroí.” Secondo Convegno Europeo di Analisi Muiscale. Universitaí degli Studi di Trente (1992).

Gabrielsson, Alf. & Juslin, P.N. “Emotional Expression in Music Performance: Between the Performerís Intention and the Listenerís Experience.” Psychology of Music Vol 24. No. 1 (1996) 68-91.

…., “Summary and Discussion of Music Performance.” Music, Language, Speech and Brain. – Sundberg, Nord and Carlson (eds.) (London: Macmillan Press, 1991).

…. (ed.) “Action and Perception in Rhythm and Music” (Stockholm: Publication of the Swedish Academy of Music, No. 55, 1987).

…., “Interplay between Analysis and Synthesis in Studies of Music Performance and Music Experience.” Music Perception, 3.1 (1985), 59-86.

…., “Performance of rhythm patterns.” Scandinavian Journal of Psychology (1974), 15, 63?72.

…., “Once again: The theme from Mozartís Piano Sonata in A major (K. 331). A comparison of five performances.” Action and Perception in Rhythm and Music. (81?103) A. Gabrielsson (ed.), Stockholm: Publications of the Royal Swedish Academy of Music No. 55 (1987).

…., & Bengtsson, I., & Gabrielsson, B. “Performance of musical rhythm in 3/4 and 6/8 meter.” Scandinavian Journal of Psychology (1983), 24, 193?213.

Galkin, Elliot W. “A History of Orchestral Conducting: In Theory and Practice.” New York: Pendragon Press (1988).

Garst, Marylin M. “How Bartók Performed His Own Compositions” Tempo CLV/12 (1985), 15-21.

Gerber, Leslie. “Historic Recording.” Association for Recorded Sound Collections:Journal, XIV/2 (1982), 51-53.

Geringer, J.M. “Symposium on Measurement and Evaluation in Music Education: An Analysis of Dynamic Contrasts in Recorded Choral, Orchestral, and Piano Performances.” CRME (Spring, 1992).

Gjerdingen, R. O. “Shape and motion in the microstructure of song.” Music Perception (1988), 6, 35?64.

Golianek, Ryszard Daniel. “The Concept of Musical Dramaturgy in Soviet Musicological Research.” Secondo Convegno Europeo di Analisi Muiscale. Universitaí degli Studi di Trente (1992).

Gonzales, Rodrigo Alberto: “The internal processes in memorizing, making expressive decisons, and beginning a performance at the piano” (DMA diss., 1996: University of Missouri).

Gottschewski, H. “Interpretation als Kunstwerk.” Freiburger BeitrÕge zur Musikwissenschaft. Hermann Danuser (ed.), Bd. 4, Germany: Laaber Verlag (1996).

….,”TempoarchitekturóAnsStze zu einer speziellen Tempotheorie, oder: Was macht das “Klassische” in Carl Reineckes Mozartspiel aus?” Musiktheorie (1993), 8, 99?118.

….,”Graphic Analysis of Recorded Interpretation” Computing in Musicology, Volume VIII (1992), 93-96.

Graybill, R. “Towards a pedagogy of gestural rhythm.” Journal of Music Theory Pedagogy (1990), 4, 1?50.

Green, D. “Mathis Lussyís ëTrait* de líexpression musicaleí as a window into performance practice.” Music Theory Spectrum (1994), 16, 196?216.

Green, George. “Reviews of Records: Boulez Conducts Boulez” Musical Quarterly LX/2 (4, 1974): 319-321.

Guttmann, A. “Das Tempo und seine Variationsbreite.” Archiv für die gesamte Psychologie (1932), 85, 331?350.

Haas, Robert. Aufführungspraxis der musik. Potsdam (1931).

Hafner, Everett. Invariance of Proportion in Orchestral Performance. Ph.D. diss., University of Massachusetts (1995).

Hamilton, David. “Aaron Copland: A Discography of the Composerís Performances.” Perspectives of New Music, IX/1 (Fall/Winter, 1970), 149-154.

…., “Igor Stravinsky: A Discography of the Composerís Performances.” Perspectives on Schoenberg and Stravinsky, Benjamin Boretz & Edward T. Cone (eds.), Princeton (N.J.): Princeton University (1968), 268-284.Also in “Stravinsky (1882-1971): A Composersí Memorial.” Perspectives of New Music, IX/2 (Spring/Summer, 1971), 163-179.

Handel, S. “Thinking in sound – The Cognitive Psychology of Human Audition.” Music Perception (1995), Vol. 12, 367-375.

Hartmann, A. “Untersuchungen über metrisches Verhalten in musikalischen Interpretationsvarianten.” Archiv für die gesamte Psychologie (1932), 84, 103?192.

Harvith, John & Susan Edwards. Edison, Musicians, and the Phonograph: A Century in Retrospect. New York (u.a.): Greenwood, 1987.

Heinlein, C. P. “A discussion of the nature of pianoforte damper-pedalling together with an experimental study of some individual differences in piano performance.” Journal of General Psychology (1929), 2, 489?508.

Heller, Jack I. & Campbell, Warren C. “Music performance analysis” Council for Research in Music Educatin bulletin, USA. Vol, 24 (Spring 1971), 1-9. Illustrations.

Hollander, Jeffrey. “The Changing Interpretive Paradigm for the Chopin Berceuse, Op. 57: A Comparative Performance Study.” (AMS-Minneapolis, 1994).

Holliday, Kent. “A Liszt Legacy Brought up to Date: The ëRecorded Treasuresí Welte Piano-Roll Recordings” American Liszt Society Journal Vol 20 No. 7-9 (1987), 46-61

Holmes, John L. “Conductors on Record.” (London: Victor Gollancz, 1982).

Horowitz, I. “Keeping Score: Sony has now Entered the Saga of the Classical Band.” Billboard (4 August, 1990).

Horowitz, Joseph. “Letter from New York: The Transformation of Vladimir Horowitz.” Musical Quarterly, LXXIV/4 (1990), 636-48.

Howat, Roy. “What do we perform?” in The Practice of Performance: Studies in Musical Interpretation, John Rink (ed.) (Cambridge: CUP, 1995).

…., “Debussy in Proportion: A Musical Analysis.” (Cambridge: Cambridge University Press, 1989).

Howell, Tim. “Analysis and Performance: The Search for a Middleground.” Companion to Contemporary Musical Thought, John Paynter et al (eds.), London, II (1992), 692-714.

Husarik, Stephen. “Musical Expression in Piano Roll Performances of Josef Hofmann” Piano Quarterly Vol 32 No 125 (Spring, 1984), 45-52.

Jones, J. Barrie. “Faur*ís Performance Practice” Tempo Vol 61 No 12 (1984), 32-35.

Kammerer, Rafael. “Philipp Compares Pianists: Past and Present.” American Liszt society: Journal, XII/12 (1982), 52-54.

Kaplan, Gilbert. “How Mahler Performed his Second Symphony.” Musical Times (May 1986), 266-71.

Katz, Mark. “The Phonograph Effect:  The Influence of Recording on Listener, Performer, Composer, 1900-1940.” Ph.D. diss., University of Michigan, 1999.

Katz, Mark. “Aesthetics out of Exigency:  Violin Vibrato and the Phonograph.”  in I Sing the Body Electric:  Music and Technology in the Twentieth Century ed. Hans-Joachim Braun, 186-97.  Hofheim:  Wolke, 2000.

Kendall, Roger A. & Edward C. Carterette. “The Communication of Musical Expression.” Musical Perception, 8 (2) (1990), 129-164.

Kingsbury, Henry. “Music, Talent & Performance : A Conservatory Cultural System.” Philadelphia: Temple University Press (1988).

Kipnis, Igor. “Recordings in Review: A survey of historical piano recordings.” The Yale Review 83/1 (January 1995), 142-65.

….., “Ornaments in Bachís Toccata in G: Spurious or Authentic?” Clavier 23/8 (October 1984), 20-25;44.

Kotljarevskij, Ivan & Terentíev, Dmitrij. “Muzykal ínoe proizvedenie: Suscností, aspekty analiza.” (Transl. “The Musical Work: Its essence and aspects of analysis.”) Kyjiv: Muzycna Ukrajina (1988), 128p. Music examples. [In Russian]

Koury, Daniel J. “Orchestral Performance Practices in the Nineteeth Century.” Ann Arbor, UMI Research Press (1986).

Kramer, Dean Frederic. “The Old School and the New School: A Comparative Study in the Art of Interpreting Piano Music” University of Texas at Austin, D.M.A. Dissertation (1992).

Krampe, Ralf Th. & Ericsson, K. Anders. “Deliberate practice and elite musical performance” in The Practice of Performance: Studies in Musical Interpretation, John Rink (ed.) (Cambridge, CUP, 1995).

Krenek, Ernst. “Der Komponist als Interpret seiner Werke.” BeitrSge, Österreichischen Gesellschaft für Musik, Kassel (u.a.): BSrenreiter (1967).

Kuwano, S., Namba, S., Yamasaki, T., & Nishiyama, K. “Impression of smoothness of a sound stream in relation to legato in musical performance.” Perception & Psychophysics (1994), 56, 173?182.

Lear, Angela. “Interpreting Chopin” in Piano (199?)  available online www.angelalear.co.uk

Lebrecht, Norman. “The Variability of Mahler’s Performances,” Musical Times (June 1990), 302-4.

Lechleitner, Gerda. “Der Brahms-Zylinder: KuriositSt oder musikalisches VermSchtnis?” in Bruckner-Symposion Linz 1983: Johannes Brahms und Anton Bruckner. Othmar Wessely (ed.) (Linz: Anton Bruckner Institut, 1985), 225-232.

…., “Klangfarben*tude: Studien zum Bolero von Maurice Ravel” (Tutzing: Schneider, 1989).

Leibowitz, Ren*. Le Compositeur et son double: Esais sur líinterpr*tation musicale. Paris: Gallimard (1971).

…., “Une nouvelle science: La discologie.” Les Temps Modernes, XXVII/291 (10/1970), 732-739.

Lester, Joel. “Performance and analysis: interaction and interpretation” The Practice of Performance: Studies in Musical Interpretation. John Rink (ed.) (Cambridge: CUP, 1995).

…., Review of Berry 1989, Music Theory Spectrum 14 (1992): 75-81.

Levy, David Benjamin. “Early Performances of Beethovenís Ninth Symphony: A Documentary Study of Five Cities.” Ph.D. Dissertation, The University of Rochester, Eastman School of Music (1980). (forthcoming from Schirmer Books.)

Levy, Janet M. “Beginning- ending ambiguity: consequences of performance choices” in The Practice of Performance: Studies in Musical Interpretation, John Rink (ed.) (Cambridge: CUP, 1995)

Lippus, Urwe. “Binary Opposition in Rhythmic Thinking. Medieval Theory of Modal Rhythm and its Ethnomusicological Implications.” Secondo Convegno Europeo di Analisi Muiscale. Universitaí degli Studi di Trente (1992).

Lochhead, Judy. “Temporal Structure in Recent Music” The Journal of Musicological Research, Vol. 6, Num, 1 & 2 (1986), 49-94.

…., “The Expressivity of Tempo and Timing in Sessions 3rd Sonata [?]

…., Performance Practice in the Indeterminate Works of John Cage.” Performance Practice Review, Vol. 7, No. 3 (Fall 1994), 233-41.

Longuet-Higgins, H.C. & Lee, C. S. “The Rhythmic Interpretation of Monophonic Music.” Music Perception 1 (4) (1984), 424-441.

…., & Steedman, M. J. “On Interpreting Bach” in Mental Processes: Studies in Cognitive Science. H.C. Longuet-Higgins (ed.) (Cambridge, MA: MIT Press, 1971, 1987), 82-104.

Lowe, Bethany, “Performance, Analysis, and Interpretation in Sibelius’s Fifth Symphony” (PhD Dissertation, University of Southamtpon, 2000)
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Lussy, M. Musical Expression: Accents, Nuances and Tempo in Vocal and Instrumental Music. (London: Novello, 1882).

MacClintock, Carol. Readings in the History of Music in Performance. Bloomington/London:Indiana University (1979).

MacKenzie, C. L., Van Eerd, D. L., Graham, E. D., Huron, D. B., & Wills, B. L. “The Effect of Tonal Structure on Rhythm in Piano Performance.” Music Perception (1986), 4, 215?226.

McEwen, John B. Tempo Rubato or Time-Variation in Musical Performance. (London: Oxford University Press, 1928).

Malm, W.P. “Japanese Nagauta Notation and Performance Realities.” Musicology Australia (April, 1988-89).

Mazzola, G. “The Zurich Interpretation Workstation Project – An Overview” in Music and the Mind Machine (Hrsg. R Steinberg, Springer, Berlin et al. 1995).

….., “Musical Performance and Vector Fields: Mathematical Music Theory between Physics and Esthetics” (forthcoming) in Bericht des Interdisziplinaeren Arbeitskreises “Musik und Kunstinformatik” der Johannes-Gutenberg-Universitaet, Mainz.

…., “Geometry and Logic of Musical Performance” (Research report, Schweizerischen Nationalfonds, U-Zurich, 1993).

…., “Musical Interpretation via Vector Fields: A New Human Workstation on the NEXTSTEP Environment” in SMAC 93 Proceedings of the Stockholm Music and Acoustics Conference 1993 (ed. A. Friberg et al., KTH Stockholm, 1994).

Mazzola, G & Zahorka O. “Tempo Curves Revisited: Hierarchies of Performance Fields” Computer Music Journal 18/1, 1994.

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