P. 403–423.
Borges J. L. Pierre Menard, author of Don Quixote [1939] // Borges J. L. Ficciones, Grove, 1962. P. 45–55.
Botstein L. Modernism // NG. 2001. 2, 16. P. 870.
Boult A. Peter Wadland interviews Sir Adrian C. Boult. April 11, 1977. Private interview (never broadcast or circulated). Courtesy of Teri Noel Towe
Bovet J. Les Poétiques de la voix dans le théâtre Classique / Ph.D. diss., Université de Montréal, 2003.
Bowen J. A. The history of remembered innovation: Tradition and its role in the relationship between musical works and their performances // JM. 1993. 11/2. P. 139–173. (1993a)
Bowen J. A. Mendelssohn, Berlioz and Wagner as conductors: The origins of the ideal of «fidelity to the composer» // PPR. 1993. 6. P. 77–88. (1993b)
Bowen J. A. Performance practice versus performance analysis: Why should performers study performance? // PPR. 1996. 9/1. P. 16–35.
Bowen J. A. Finding the music in musicology: Performance history and musical works // Rethinking music / ed. N. Cook and M. Everist. Oxford University Press, 1999. P. 424–451.
Bowen J. A. The rise of conducting // The Cambridge companion to conducting / ed. J. A. Bowen. Cambridge University Press, 2003. P. 93–113. (2003a)
Bowie A., Davies S., Goehr L., Sparshott F. E. Philosophy of music // NG. 2001. 2. 19. P. 601–631.
Boyd M. Arrangement // NG. 1980. 1. 1. P. 630.
Boyden D. D. The history of violin playing. Oxford University Press, 1965.
Braatz T. Matthäus-Passion BWV 244 conducted by Günther Ramin [2003] // Bach Cantatas Website, http://www.bach-cantatas.com (accessed 1 May 2006)
Brauner C. S. The Seconda Pratica, or the imperfections of the composer’s voice // Musical humanism and its legacy: Essays in honor of Claude V. Palisca / ed. N. K. Baker and B. R. Hanning. Pendragon, 1992. P. 195–212.
Brett P. Text, context, and the early music editor // In Authenticity and early music / ed. N. Kenyon. Oxford University Press, 1988. P. 83–114.
Brown C. Classical and Romantic performing practice. Oxford University Press, 1999.
Brown C. Articulation marks // NG. 2001. 2. 2. P. 89–92.
Brown C. Joachim’s violin playing and the performance of Brahms’s string music // Performing Brahms: Early evidence of performance style / ed. M. Musgrave and B. D. Sherman. Cambridge University Press, 2003. P. 48–98.
Brown H. M. Pedantry or Liberation? A sketch of the historical performance movement // Authenticity and early music / ed. N. Kenyon. Oxford University Press, 1988. P. 27–56.
Buelow G. J. Johann Mattheson and the invention of the Affektenlehre // New Mattheson studies / ed. by G. J. Buelow and H. J. Marx. Cambridge University Press, 1983. P. 393–407.
Buelow G. J., Hoyt P. A. Rhetoric and music // NG. 2002. 2. 21. P. 260–275.
Burgess G. V. The premier oboist of Europe: A portrait of Gustave Vogt. Scarecrow, 2003.
Burmeister J. Musica poetica. 1606. Reprinted in English trans., 1993.
Burney C. The present state of music in France and Italy, or The journal of a tour through those countries. 1771.
Burney C. The present state of music in Germany, the Netherlands, and the United Provinces. 2 vols. 1773.
Burnham S. Beethoven hero. Princeton University Press, 1995.
Burnham S. How music matters: Poetic content revisited // Rethinking music / ed. N. Cook and M. Everist. Oxford University Press, 1999. P. 193–216.
Burstyn S. In quest of the period ear // EM. 1997. P. 692–701.
Butt J. Bach interpretation: Articulation marks in primary sources of J. S. Bach. Cambridge University Press, 1990.
Butt J. Music education and the art of performance in the German baroque. Cambridge University Press, 1994.
Butt J. Bach recordings since 1980: A mirror of historical performance // Bach perspectives. 1999. 4 / ed. David Schulenberg. P. 181–198. (1999a)
Butt J. Review of Bartel 1997 // Early Music History. 1999. 18. P. 398–404. (1999b)
Butt J. Playing with history. Cambridge University Press, 2002.
Caccini G. Le nuove musiche. 1601.
Campbell M. Dolmetsch: The man and his work. University of Washington Press, 1975.
Campbell M. Arnold Dolmetsch // NG. 2001. 2. 7. P. 433–435.
Carrier D. Interpreting musical performances // Monist. 1983. 66. P. 202–212.
Carroll N. A philosophy of mass art. Oxford University Press, 1998.
Carter T. Artusi, Monteverdi, and the poetics of modern music // Musical humanism and its legacy: Essays in honor of Claude Palisca / ed. N. K. Baker and B. R. Hanning. Pendragon, 1992. P. 171–194.
Caswell A. B. The development of seventeenth-century French vocal ornamentation and its influence upon late Baroque ornamentation-practice / Ph. D. diss., University of Minnesota, 1964.
Chan M., Kassler J. C. Roger North’s The musical grammarian 1728. Cambridge University Press, 1990.
Chaouche S. L’Art du comédien: Déclamation et jeu scénique en France à l’age classique. 2001.
Chua D. K. L. Absolute music and the construction of meaning. Cambridge University Press, 1999.
Cohen J., Snitzer H. Reprise: The extraordinary revival of early music. Little, Brown, 1985.
Collingwood R. G. The principles of art. Oxford University Press, 1938.
Collingwood R. G. The idea of history. Clarendon Press, 1946.
Collingwood R. G. Essays in the philosophy of history / ed. William Debbins. 1965.
Collingwood R. G. An autobiography. Oxford University Press, 1978.
Collins M., et al. Improvisation: The Baroque period // NG. 2001. 2. 12. P. 102–117.
Cook N., Everist M. Analysing performance and performing analysis // Rethinking music, ed. N. Cook and M. Everist. Oxford University Press, 1999. P. 239–261.
Couperin F. L’Art de toucher le clavecin. 1717.
Cudworth C. «Baptist’s Vein» – French orchestral music and its in fluence, from 1650 to 1750 // PRMA. 1957. 83. P. 29–47.
Dadelsen G. von. «Es gibt keine schlechte Musik, es gibt nur schlechte Interpreten» // Musik, edition, interpretation: Gedenkschrift für Günter Henle / ed. M. Bente. Henle, 1980. P. 125–132.
Dahlhaus C. Foundations of music history (Grundlagen der Musikgeschichte) [1977]. Cambridge University Press, 1983.
Dahlhaus C., ed. Die Musik des 18. Jahrhunderts. Laaber-Verlag, 1985.
Dahlhaus C. The idea of absolute music. University of Chicago Press, 1989.
Dannreuther E. Musical ornamentation. 1893.
Danuser H. Interpretation // MGG. 1996. 4. P. 1053–1069.
Danuser H. Vortrag // MGG. 1998. 9. P. 1817–1836.
Darbellay É. Tradition and notation in baroque music // The oral and the literate in music / ed. Y. Tokumaru and O. Yamaguti. Academia Music. 1985. P. 57–68.
Darbellay É. C. P. E. Bach’s aesthetic as reflected in his notation // C. P. E. Bach Studies / ed. Stephen L. Clark. Oxford University Press, 1988. P. 43–63.
Dart T. The interpretation of music. Hutchinson’s University Library, 1954.
David H. T., Mendel A., eds. The Bach reader [1945] / 2nd ed., rev. Norton, 1966.
David W. Johann Sebastian Bach’s Orgeln. Wiederöffnung der Berliner Musikinstrumenten-Sammlung, 1951.
Davies
