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Virginals
An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
Bergen County Chapter American Recorder Society October 2019
Harpsichord Decoration- a Reflection of Renaissance Ideas About Music
The Harpsichord: a Research and Information Guide
FOMRHI Quarterly
A LISTING of INVENTORIES and PURCHASES of FLUTES, RECORDERS, FLAGEOLETS, and TABOR PIPES, 1388–1630 Compiled by David Lasocki
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The Harpsichord: a Research and Information Guide
The English Spinet with Particular Reference to the Schools of Keene and Hitchcock
THE ANTHEMS of WILLIAM BYRD THESIS Presented to the Graduate
KEYBOARD INSTRUMENTS by Howard Schott
A Critical Appraisal of English Madrigals Currently
'Time Stands Still'
An Introduction to John Dowland's Lute Songs Anne Laverne Morrow
Thomas Morley and the Business of Music in Elizabethan England
Chapter 1 the Lute
Women's Musical Voices in Sixteenth-Century England
75TH SEASON of CONCERTS October 23, 2016 • National Gallery of Art Lestrange Viols
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PARTHENIA, a Consort of Viols
A Comparison of the Keyboard Variation Music of John Bull and Johannes Brahms
Notes on the Instruments
Fomrhi Quarterly
Performing Ornaments in English Virginal and Harpsichord Music (Based on the Study of Original Interpretation Instructions)* A
The Folger Consort
MIMO Digitisation Standard
The Recorder in the Twentieth Century Thesis
Master Brian His Virginall
Katherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cl
The Keyboard Music of Peter Philips
The Gender Stereotyping of Musical Instruments in the Western Tradition Rita Steblin
The Gender Stereotyping of Musical Instruments in the Western Tradition Rita Steblin
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WILLIAM BYRD Virginals & Consorts
Hubbard Harpsichords, Inc., Flemish Virginals
Performer Roles
Survey of Selected Keyboard Music from the Baroque and Classical
The English Virginals: 1 by Richard Luckett
Italian Split-Keyboard Instruments with Fewer Than Nineteen Divisions to the Octave Denzil Wraight
DAVID EVANS 1936–2018: an APPRECIATION by Terence Charlston
Three Approaches to Transcription, and Two New Transcriptions For
Vermeer and Music
The Harpsichord