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Cryptic tenors
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Deeming, Helen
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Early music
(30.12.2022)
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Editorial
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Bradley, Catherine A
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Furor teutonicus
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Kennaway, George
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Early music
(22.12.2022)
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Editorial
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Colton, Lisa
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Early music
(22.12.2022)
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Correspondence
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Howe, Robert
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Early music
(22.12.2022)
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Celestial music: astrology and instrumental affect in Der Natur Banquet (Wolfenbüttel, 1654)
by
Spracklan-Holl, Hannah
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Early music
(22.12.2022)
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Instrumental sounds of the 18th century
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Stokes, Ellen
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Early music
(22.12.2022)
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Sacred music from within and beyond the liturgy
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Dietlinger, Barbara E
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Early music
(22.12.2022)
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Paradise lost
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Prins, Jacomien
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Early music
(22.12.2022)
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The adaptability of the English ayre: secondary polyphonization techniques in Thomas Campion’s Two books of ayres
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Tomova, Kalina
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Early music
(22.12.2022)
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German sacred music, Catholic and Protestant
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McKean, John
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(22.12.2022)
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Correspondence
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Miehling, Klaus
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Early music
(22.12.2022)
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Will wonders never cease? The viola bastarda at the Ferrarese court
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Morton, Joëlle
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Early music
(22.12.2022)
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Violin-making in Rome, 1700−1830: new archival investigations
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Barbieri, Patrizio
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Early music
(22.12.2022)
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The Chevalier de Quincy: an officer and his musical passe-partout
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Sadie Goode, Julie Anne
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Early music
(22.12.2022)
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Francesco Ballerini’s opera licence for Vienna
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Paczkowski, Szymon
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Early music
(22.12.2022)
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English thinking about music
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Lesemann-Elliott, Caroline
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(22.12.2022)
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Melismas in the Speculum musicae
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Kelly, Thomas Forrest
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Early music
(16.12.2022)
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A forgotten pioneer: Eugene Marteney and the American renaissance of hautboy-making, 1962–1969
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Howe, Robert
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Early music
(16.12.2022)
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Mozart Englished
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Everist, Mark
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