Конец старинной музыки. История музыки, написанная исполнителем-аутентистом для XXI века - Брюс Хейнс

Day T. A century of recorded music: Listening to musical history. Yale University Press, 2000.

Descartes R. The passions of the soul [1649] / trans. by Stephen Voss.

Diderot D. Paradoxe sur le comédien [1773] / introduction and notes by Jean M. Goulemot.

Dolmetsch A. The interpretation of the music of the XVII and XVIII centuries. Novello, 1915.

Donington R. The interpretation of early music. Faber and Faber, 1963.

Donington R. The present position of authenticity // PPR. 1989. 2. P. 117–125.

Douglas-Home J. Violet: The life and loves of Violet Gordon Woodhouse. Harvill Press, 1996.

Drabkin W. Motif // NG. 2001. 2. 17. P. 227–228.

Dreyfus L. Early music defended against its devotees: A theory of historical performance in the twentieth century // MQ. 1983. 69. P. 297–322.

Dreyfus L. Bach and the patterns of invention. Harvard University Press, 1996.

Druce D. Historical approaches to violin playing // Companion to contemporary musical thought / ed. J. Paynter et al. Routledge, 1992. Vol. 2. P. 993–1019.

Duckles V., et al. Musicology // NG. 1980. 1. 12. P. 836–862.

Duckles V., with Janet Page and Lydia Goehr Musicology: Performance practice, aesthetics and criticism // NG. 2001. 2. 17. P. 503–504.

Duffin R. W. Performance practice: que me veux-tu? (What do you want from me?) [1995] / Online article at http://music.cwru.edu/duffin/EMPP/ppqmvt/p1.html (accessed 1 November 2004)

Dulak M. The quiet metamorphosis of «Early Music» // Repercussions. 1993. 2. P. 2, 39–61.

Dunsby J. Performance // NG. 2001. 2. 19. P. 346–349.

Dürr A. Kritischer Bericht for the Magnificat // NBA. 1955. 2/3.

Dutton D., ed. The forger’s art: Forgery and the philosophy of art. University of California Press, 1983.

Edidin A. Playing Bach his way: Historical authenticity, personal authenticity, and the performance of classical music // JAE. 1998. 32/4. P. 79–91.

Ellis A. J. On the history of musical pitch // Journal of the Society of Arts. March 5, 1880 (repr. 1968). P. 293–336.

Ellison M. B. The Comparaison de la musique italienne et de la musique françoise of Le Cerf de la Vieville: An annotated translation of the first four dialogues. Ph.D. diss., University of Miami. 1973

Encyclopaedia Britannica (EB) [1768–1771] / 2nd ed., 1790–1797; 3rd ed., 1803; 15th ed., 1974.

Engramelle M. D. J. La Tonotechnie. 1775.

Erauw W. Canon formation: Some more reflections on Lydia Goehr’s Imaginary museum of musical works // AM. 1998. 70. P. 109–115.

Everist M. Reception theories, canonic discourses, and musical value // Rethinking music / ed. N. Cook and M. Everist. Oxford University Press, 1999. P. 378–402.

Ewen D. The man with the baton. Thomas Y. Crowell Co, 1936.

Fabian D. The meaning of authenticity and the Early Music movement – a historical review // International Review of the Aesthetics and Sociology of Music. 2001. 32. P. 153–167.

Fabian D. Bach performance practice, 1945–1975: A comprehensive review of sound recordings and literature. Ashgate, 2003.

Fabian D., Schubert E. Is there only one way of being expressive? // ICMPC. 2002. 7. P. 112–115.

Feld S. Aesthetics as iconicity of style, or «lift-up-over sounding»: Getting into the Kaluli groove // Yearbook for Traditional Music. 1988. 20. P. 74–113.

Finnegan R. The relation between composition and performance: Three alternative modes // The oral and the literate in music / ed. Y. Tokumaru and O. Yamaguti. Academia Music1986). P. 73–87.

Finscher L. Historisch getreue Interpretation – Möglichkeiten und Probleme // Alte Musik in unsere Zeit / ed. W. Wiora. Kassel, 1968. P. 25–34.

Fisher J. A., Potter J. Technology, appreciation, and the historical view of art // JAAC. 1997. 55. P. 169–185.

Forchert A. Musik und Rhetorik im Barock // Schütz Jahrbuch 1985–1986. 7–8. P. 5–21.

Fortune N. Sprezzatura // NG. 2001. 2. 24. P. 223–224. (2001a)

Fortune N. Air.” NG. 2001. 2. 1. P. 252–253. (2001b)

Frescobaldi G. Preface // Toccate e partite d’intavolatura di cimbalo. 1615.

Fried M. Courbet’s realism. University of Chicago Press, 1990.

Friedländer M. J. On art and connoisseurship. Cassirer, 1942.

Frisch W. In search of Brahms’s First Symphony: Steinbach, the Meiningen tradition, and the recordings // Performing Brahms: Early evidence of performance style / ed. M. Musgrave and B. D. Sherman. Cambridge University Press, 2003. P. 277–301.

Fuller D. Dotting, the ‘French style’ and Frederick Neumann’s counter-reformation // EM. 1977. 5/4. P. 517–543.

Fuller D. Mechanical musical instruments as a source for the study of «notes inégales» // Bulletin of the Musical Box Society International. Summer 1974 (reprint 1979 includes recording).

Fuller D. The performer as composer // Performance practice: Music after 1600 / ed. H. M. Brown and S. Sadie. Norton, 1989. P. 117–146.

Gay P. The naked heart. The bourgeois experience: Victoria to Freud. Vol. 4. Oxford University Press, 1995.

Geminiani F. The art of playing on the violin. 1751.

Godlovitch S. Authentic performance // Monist. 1988. 71. P. 258–277.

Goehr L. The imaginary museum of musical works: An essay in the philosophy of music. Oxford University Press, 1992.

Goehr L., Sparshott F. Philosophy of music // NG. 2001. 2. 19. P. 601–631.

Goldstein L. J. Collingwood’s theory of historical knowing // History and Theory. 1970. 9. P. 3–36.

Golomb U. The spectrum of authenticism / Unpublished manuscript. 1991–1993.

Golomb U. Modernism, rhetoric and (de-)personalisation in the early music movement // Seminar paper / King’s College, London, August 1998.

Golomb U. Interview with Ton Koopman. 2003 // Goldberg Magazine (https://www.bach-cantatas.com/Articles/Koopman-Golomb.pdf – проверено 03.07.2022).

Golomb U. Expression and meaning in Bach performance and reception: An examination of the B minor mass on record / Ph. D. diss., King’s College, Cambridge, 2004 (текст доступен по ссылке: http://edocs.ub.uni-frankfurt.de/volltexte/2005/3077/).

Golomb U. Rhetoric and gesture in performances of the First Kyrie from Bach’s Mass in B minor (BWV 232) [2005] // JMM: The Refereed On-Line Journal for Multi-Disciplinary Research on Music and Meaning (http://www.musicandmeaning.net/issues/showArticle.php?artID=3.4 – проверено в январе 2005 года).

Gombrich E. H. The style all’antica: imitation and assimilation // Norm and form: Studies in the art of the Renaissance. University of Chicago Press, 1966.

Goodman N. Languages of art: An approach to a theory of symbols. Bobbs-Merrill, 1976.

Goodman N. Art and authenticity // The forger’s art: Forgery and the philosophy of art / ed. D. Dutton. University of California Press, 1983. P. 93–114.

Goodman N. Authenticity // The dictionary of art. 1995. 2. P. 834–835.

Grant P. Identification vs. transcription in cataloguing / Unpublished commentary. 2003.

Green E. La Parole baroque. Desclée de Brouwer, 2001.

Grout D. J. A History of Western Music [1960]. W. W. Norton, 2010.

Hailperin P. Copy – reconstruction – musical instrument [1997] // A time of