| Author |
Title |
Series |
Vol |
No |
Year |
Pages |
NB |
| Todd, R. Larry | Of Sea Gulls and Counterpoint: The Early Versions of Mendelssohn's Hebrides Overture. | 19cM | 2 | 3 | Mar 1979 | 197-213 | |
| Hancock, Virginia | Brahms's Performances of Early Choral Music. | 19cM | 8 | 2 | Autumn 1984 | 125-141 | |
| Burkholder, J. Peter | 'Quotation' and Paraphrase in Ives's Second Symphony. | 19cM | 11 | 1 | Summer 1987 | 3-25 | |
| Somfai, László | Nineteenth-Century Ideas Developed in Bartok's Piano Notation in the Years 1907-14. | 19cM | 11 | 1 | Summer 1987 | 73-91 | |
| Kramer, Richard A. | 'Gradus ad Parnassum': Beethoven, Schubert, and the Romance of Counterpoint. | 19cM | 11 | 2 | Autumn 1987 | 107-120 | |
| Stanley, Glenn | Bach's 'Erbe': The Chorale in the German Oratorio of the Early Nineteenth Century. | 19cM | 11 | 2 | Autumn 1987 | 121-149 | |
| Knapp, Raymond | The Finale of Brahms's Fourth Symphony: The Tale of the Subject. | 19cM | 13 | 1 | Summer 1989 | 3-17 | |
| Cooper, John Michael | 'Aber eben dieser Zweifel': A New Look at Mendelssohn's 'Italian'. | 19cM | 15 | 3 | Spring 1992 | 169-187 | |
| Mercer-Taylor, Peter | Mendelssohn's 'Scottish' Symphony and the Music of German Memory. | 19cM | 19 | 1 | Summer 1995 | 68-82 | |
| Beller-McKenna, Daniel | The Great Warum? Job, Christ, and Bach in a Brahms Motet. | 19cM | 19 | 3 | Spring 1996 | 231-251 | |
| Applegate, Celia | How German Is It? Nationalism and the Idea of Serious Music in the Early Nineteenth Century. | 19cM | 21 | 3 | Spring 1998 | 274-296 | |
| Frisch, Walter | Reger's Bach and Historicist Modernism. | 19cM | 25 | 2-3 | Autumn2001-Spring 2002 | 296-312 | |
| Sposato, Jeffrey S. | Saint Elsewhere: German and English reactions to Mendelssohn's Paulus. | 19cM | 32 | 1 | Summer 2008 | 26-51 | |
| Melamed, Daniel R. | How Did J. S. Bach's 'Aus Liebe will mein Heiland sterben,' BWV 244/49, Get to Be So Slow? | 19cM | 43 | 1 | Summer 2019 | 3-16 | |
14 matches.
