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Charles Burney
Eighteenth-Century Reception of Italian Opera in London
Susan Rutherford: »Bel Canto« and Cultural Exchange
Diplomats As Musical Agents in the Age of Haydn
Operatic Reform in Turin
Music in Art Xliv/1–2 International Journal for Music Iconography
La Conversione Di Sant' Agostino by Maria Antonia Walpurgis and Johann Adolf
Frances Burney (1752-1840) by Valerie Patten
Viewed the Thesis/Dissertation in Its Final Electronic Format and Certify That It Is an Accurate Copy of the Document Reviewed and Approved by the Committee
The Reception of the Castrati in Early Eighteenth-Century London
Blazing Baroque
Arne: Artaxerxes
THE NEW STYLE of VINCI and the NEW SCIENCE of VICO According
The Histories of Charles Burney and John Hawkins: a Cultural Context
George Frideric Handel's 1749 Letter to Charles Jennens
Mozart in Italy’ – an Immersive Exploration of the 14-Year-Old Composer’S Tour of Italy in 1770 Cadogan Hall, 6-8 March 2020
University Microfilms
The Secular Solo Cantatas of Thomas A. Arne (1710-78)
Gender, Genre, and Gossip in Burney's the Witlings And
Top View
Musical Institutions and Czech Identity in Nineteenth
Women and Music in the Venetian Ospedali
UNIVERSITY of LONDON THESIS J\Lv& AA
1 Storace's Collection of Original Harpsichord Music As a Harbinger
Quantifying Music Genius, Or Handel on the Balance: a Scale of Musical Merit from 1776
Moods, Madness, and Music. II. Was Handel Insane? Author(S): William A
The Fitzwilliam Music Collection (1763-1815)
Representations of Monteverdi in Charles Burney's a General History
Interconnecting Music and the Literary Word
Sir Watkin Williams Wynn and the Rutgers Handel Collection*
Farinelli and Burney Write Music History
Charles Burney's Musical Tour
Rousseau, Burney, Hawkins
Luigi Marchesi: Life and Voice
The Evolution of Charles Burney's Musical
Introduction
Quantifying Music Genius, Or Handel on the Balance: a Scale of Musical Merit from 1776
Society for Eighteenth-Century Music Newsletter