‎Le tango de Buenos Aires, essai.‎

‎Paris, JC Lattès, 1979. 14 x 22, 131 pp., broché, bon état.‎

‎Music and the Figurative Arts in the Baroque Era‎

‎, Brepols, 2026 Hardback, Pages: xvi + 448, Size:210 x 270 mm, Illustrations:192 b/w, 16 col., 9 tables b/w., 1 music example, Languages: English, Italian, French. ISBN 9782503621845.‎

‎Summary The figurative arts - or the arts that transcribe the visible - are interested in music in many ways. If we consider the hierarchy of genres, particularly formalised at the end of the 17th century with the advent of the academies, music is present in religious subjects, historical and mythological themes, the performing arts, genre scenes, portraits and still lifes. Artists offered musical motifs using a wide variety of techniques, including painting of course, but also the graphic arts (drawing, engraving) and the plastic arts (sculpture, objets d'art and textiles in particular). This multiplicity of themes, media and techniques gives us the opportunity to discover common or rarer musical instruments that can be remarkably observed, but also musical notations that are sometimes perfectly identifiable, particular playing techniques that refer to theoretical treatises or learning tutors, and musical ensembles appropriate to a wide variety of circumstances (religious rituals, festivals, urban or court entertainments, the performing arts, domestic practices). All these visual traces of music raise questions about the place of music among the other arts, and about its social and symbolic importance, since it suggests or even provokes the affirmation of a status, of a terrestrial or spiritual power, of an aesthetic or even philosophical choice. The contributions gathered here reflect this diversity during the seventeenth and eighteenth centuries in Italy, France, Germany, Spain and Austria. TABLE OF CONTENTS Florence G treau and Fulvia Morabito Preface Spiritual Inspiration Maria Luisa Baldassari Chi era il maestro di Santa Cecilia? Dipinti di S. Cecilia e trattati tastieristici nel primo Barocco Galliano Ciliberti Un caso di musica picta: il mottetto In te Domine spes mea attribuito a Giacomo Carissimi Ga tan Naulleau Le choeur polyphonique dans les planches illustr es du C remoniale Episcoporum (1600-1779) : caract ristiques, circulation et signification d'un th me iconographique Scenography and Theatrical Art Silvia Bier Le propre de ce spectacle? : Early French Opera and the Idea of a Synthesis of Arts Adriana De Feo Pietro Pariati and Apostolo Zeno at the Viennese Court: Baroque Spectacle and the Representation of Power Portraits of Musicians Nicola Usula Musica nei ritratti e ritratti nella musica: il caso di Leopoldo i Asburgo (1640-1705) Florence G treau The Musical Assembly with Reincken, Buxtehude and Theile Painted in 1674 by Johannes Voorhout: Reassessing Its Historiography and Interpretation Vincent Robin Quelques portraits de musettes et de musettistes aux XVIIe et XVIIIe si cles Court Music Images Florence G treau Pr sence de la musique dans l'iconographie du salon de la Paix Versailles : les peintures et les troph es des bas-reliefs de m tal dor Michael Latcham All the World's a Stage: Farinelli at the Royal Court of Spain, 1737 to 1760 Cristina Bordas Visual Memory of Farinelli in 21st Century Madrid Iconographic Appendix Abstract and Biographies Index of Names‎

‎Mozarts Bearbeitungen eigener und fremder Werke‎

‎Amsterdam, 1969 104pp., with some music examples in text, 22cm., softcover, text in German, Doctoral dissertation (Universiteit van Amsterdam, the Netherlands), stamp at verso of title page, text is clean and bright, M109019‎

‎Bach's Treatment of the Subject of Death in His Choral Music. A Dissertation‎

‎Washington D.C., The Catholic University of America Press 1961 435pp., with music examples in text, 23cm., softcover, text in English, Doctoral Dissertation (submitted in the Faculty of the Graduate School of Arts and Science of the Catholic University of America, 1961), stamp at verso of title page, text and interior are clean and bright, good condition, M108925‎

‎Les lieux du souvenir de Mozart à Salzbourg, avec un répertoire des objets exposés dans la maison natale de Mozart.‎

‎Salzbourg, Fondation Internationale Mozarteum, s.d. (ca 1960). 12 x 19, 65 pp., plusieurs illustrations en N/B, reliure d'édition carton, bon état.‎

‎extravagances n cessaires. La gestion financi re des spectacles et de la musique en Europe aux XVIe et XVIIe si cles‎

‎, brepol, 2026 Paperback, Pages: 352 p.Size:178 x 254 mm, Illustrations:3 b/w, 26 col., 24 tables b/w. Language(s):French, English. ISBN 9782503622910.‎

‎Summary L'Europe de la Renaissance et du d but de l' re moderne a vu l' mergence d'un syst me de production et de consommation de plus en plus organis , des arts du spectacle, que ce soit pour la c l bration des f tes civiques et de cour, ou dans le cadre des acad mies et des confr ries, enfin avec l'av nement des impresarios et des compagnies th trales professionnelles. Si des professions de plus en plus sp cialis es sont apparues, leur impact conomique, dans une large mesure, reste tudier. En effet, bien que la culture des f tes de l'Europe de la Renaissance a t explor e sous de nombreux angles, les questions conomiques sont g n ralement laiss es l'arri re-plan. Pour tenter de combler cette lacune, ce livre explore la gestion conomique des arts du spectacle au d but de la p riode moderne la fois d'un point de vue pratique et d'un point de vue th orique, le premier en tudiant les sources, le traitement et la distribution des d penses li es ces v nements, et le second en interrogeant les aspects sociaux, culturels et conomiques de la gestion des arts du spectacle, ainsi que le capital social, culturel et conomique investi dans la consommation ph m re. L'ouvrage rassemble des contributions non seulement de musicologues et d'historiens du th tre, mais aussi d'historiens de l' conomie, de l'art, de l'architecture et de la litt rature, qui ont explor divers aspects de la production et de la consommation des arts ph m res, ainsi que les nombreuses questions politiques, morales, religieuses et sociales soulev es, ouvrant ainsi la voie une tude interdisciplinaire et europ enne de l' conomie des arts du spectacle pour cette p riode. TABLE OF CONTENTS Francesca Fantappi Introduction Les professionnels des arts ph m res Olivier Spina Honorable travailleurs ou dangereux mercenaires? Les m nesterls confront s la R forme dans le Londres Tudor (1500-1550) C line Candiard Egalit , hi rarchies et logiques de r mun ration dans les troupes fran aises du XVIIe si cle Emanuele De Luca Giovan Battista Andreini et les voyages des troupes italiennes en France (1613-1624) : munificences, gains, strat gies du m tier Sergio Monaldini Le m tier des comici dell?arte en Italie (XVIe-XVIIe si cles). Aspects organisationnels et financiers Philippe Canguilhem D penses musicales ordinaires et extraordinaires dans les cours de la Renaissance : l?exemple du Duch florentin (1532-1570) Adeline Lionetto Des Apollons gag s ? tude des retributions des po tes pour leur participation aux f tes de cour sous les derniers Valois Alexander Robinson L? conomie musicale dans les entr es solennelles Lyon la fin de la Renaissance (c. 1590-c. 1625) Jorge Morales Assurer le prestige par la musique: l? conomie de la magnificence du cardinal Maurice de Savoie travers les livres de comptes de sa maison L? conomie des f tes et les espaces civiques David Rivaud L? conomie des entr es solennelles dans les villes du Centre-Ouest du royaume de France (XVe- XVIe si cles) Marina Viallon Jouter aux frais du prince : les d penses de Fran ois d?Angoul me pour le tournoi de l?entr e de la reine Marie Tudor Paris (1514) Aur lie Massie L?entr e royale d?Henri II Paris en 1549 : comptabilit et repr sentation du pouvoir Ilario Mosca Le roi Tr s-Chr tien , la ville de Paris et le financement des entr es de 1571 Francesca Fantappi L? conomie de la maraviglia : d penses fictives et r elles la cour des Bourbons et des M dicis (1586-1628) Beth Glixon Who?s in Charge? Modalities of Opera Production in Mid-Seicento Venice Jonathan Glixon Patrician Pomp: Ceremony and Celebration for New Procuratori in Early Modern Venice Bibliography Index des lieux Index des noms propres et des oeuvres Biographies des auteurs‎

‎Music in Unconventional Venues of Nineteenth-Century Europe‎

‎, Brepols, 2026 Hardback, Pages: 464, Size:210 x 270 mm, Illustrations:62 b/w, 48 tables b/w., Language(s):English, Spanish. ISBN 9782503624662.‎

‎Summary During the 19th century, music thrived in a variety of private and public spaces beyond the confines of theatres and concert halls throughout Europe. This volume decisively examines these unconventional venues, including outdoor locations such as gardens, municipal parks, squares, and fairs, alongside indoor environments such as spas and casinos. With over eighteen chapters, this collection provides a comprehensive overview of musical activities across diverse urban settings and social contexts during the long 19th century. The narratives take place in vibrant cafes, gardens, amusement parks, and seaside resorts, significantly highlighting the festive periods of Carnival. Furthermore, this volume underscores the critical role of music in exhibition spaces, equestrian arenas, the world of the circus, and military parades. By delving into these diverse spaces, we gain valuable insights into the musical landscape, where traditional concert hall and opera house audiences interacted with amateurs, dilettantes, and working-class individuals who often lacked formal education. This exploration encompasses 19th-century Europe, focusing on key Romantic cities such as Paris, Vienna, Amsterdam, Brussels, Lisbon, Madrid, and Barcelona, while also considering other alternative urban contexts like Astorga, Pula, and the Austrian Riviera in Abbazia. Additionally, the outlook is completed by an authoritative study of a circus itinerary in 19th-century England. TABLE OF CONTENTS Francesc Cort s i Mir - Ram n Sobrino Preface Music in Diverse Urban Settings: Socialization and Amusement Emilio Casares Rodicio Un espacio alternativo a la m sica de sal n: el caf y sus m sicas Julia M ria Mart nez-Lomb Testa La Sociedad Recreativa del Casino de Astorga: paradigma de espacio musical de una ciudad burguesa de provincias de la Espa a de la segunda mitad del siglo XIX Am lie Addison Performing with a Monster Menagerie: A Circus Bandsman's Perspective Negotiating Spaces: Music Repertoires from the Theatre to the Equestrian Arena William Osmond J'peux pas, j'ai kermesse! : French Opera and com die-vaudeville in the Amsterdam Kermis (1830-1839) Rachel Becker Unconventionally Conventional: Instrumental Music in the Opera Theatre Noriko Kamiyama 'Music Festival of the Future' at the Equestrian Arena in Ballenstedt tienne Jardin Concert Venues in 19th-Century France: An Overview of Cuckoo's Nests John D. Wilson - Cheston Humphries - Mary Kirchdorfer A 'City of Music' without a Concert Hall: Concert Life in Vienna around 1800 Military Orchestras and Bands: Promoting Music for Education and Entertainment Gloria A. Rodr guez-Lorenzo Workhouses Bands in 19th-Century Spain: Music, Education and Social Inclusion Lada Durakovi? - Marijana Kokanovi? Markovi? Kl nge aus Pola: Open-Air Concerts of the Naval Orchestra under the Baton of Franz Leh r Vjera Katalini? A Military Ensemble as a Spa Entertainer: The Case of the 79th Infantry Regiment Orchestra Outdoor Music Spectacles in the Civic Cultural Agenda Joana Peliz Del Convento de las Capuchinas de Par s a las fincas y plazas de toros de la Pen nsula Ib rica: la m sica en las exhibiciones fantasmag ricas y aerost ticas de tienne-Gaspard y Eug ne Robertson Cl ment No l Extending Berlioz's Utopia? Gustave Charpentier and the Architectural Music of the Couronnement de la Muse Jan Dewilde Markets and Squares as Concert Venues in 19th-Century Flanders: Open-Air Cantatas of Peter Benoit (1834-1901) Musical Repertoires in 19th-Century Gardens across the Iberian Peninsula Francesc Cort s Los conciertos en los Jardines de Euterpe y los Campos El seos de Barcelona (1859-1874): tr nsito de repertorios entre la pera y la m sica popular Rui Magno Pinto An Unprecedented Musical Clash at Lisbon's Gardens: The Promenade Concerts of the Associa o M sica 24 de Junho and of the Associa o de Professores de M sica Mar a Encina Cortizo El furor por el baile en el Madrid de mediados del siglo XIX: bailes campestres, sociedades y jardines Ram n Sobrino Conciertos sinf nicos y teatro l rico en los jardines madrile os (1864-1868) Abstracts and Biographies Index of Names‎

‎Jazz. Collection : Microcosme.‎

‎Paris, Seuil, 1982. 11 x 18, 349 pp., nombreuses illustrations en N/B, broché, très bon état.‎

‎Nouvelle édition.‎

‎Guide de la mélodie et du Lied‎

‎Paris, Fayard 1994 916pp., avec exemples de musique dans le texte, 20cm., brochure originale illustrée, texte imprimé en 2 colonnes, bon état, M95123‎

‎Musique Sorcière ‎

‎ 1978 - broché - Editions des femmes - 1978 - In-8 (18 x 13,5 cm) broché - 108 pages - ISBN : 2-7210-0141-8 ‎

‎Bon état - Infimes frottements sur la couverture ‎

‎Esquisses musicales. Enjeux et approches du XIXe au XXe si cle‎

‎, Brepols, 2023 Paperback, 310 pages, Size:190 x 240 mm, Illustrations:6 b/w, 16 col., 9 tables b/w., 59 exemples musicaux, Language(s):French, English. ISBN 9782503601144.‎

‎Summary La fascination pour la gen se des oeuvres musicales s'est d velopp e progressivement la fin du XVIIIe si cle par l'acc s des compositeurs une reconnaissance de leur travail et de leur statut. Cette l gitimation les a conduits conserver pr cieusement les traces de leur activit cr atrice (brouillons, bauches et carnets, preuves corrig es, etc.). N anmoins, ce n'est que depuis quelques d cennies qu'a t pris en compte le potentiel que rec le l' tude attentive de telles sources. Si les esquisses musicales livrent de nombreuses informations sur les tapes de la composition, elles s'ins rent au sein d'une r flexion plus large sur les pratiques compositionnelles qui prend appui sur d autres types de sources (correspondances, crits th oriques, articles de presse, photographies, etc.). Cet ouvrage rassemble neuf tudes abordant l'esquisse musicale de plusieurs angles. Dans leurs contributions, les auteur(e)s examinent la sp cificit de l'esquisse musicale au regard de la production de compositeurs du XIXe et du XXe si cle tels que Saint-Sa ns, S verac, Satie, Debussy, Mahler, Schoenberg, Bart k, Ligeti, Nono. Cette diversit temporelle et esth tique englobe des probl matiques vari es qui s'articulent autour d'un m me objet, l'aune de la philologie, de l'histoire, de la sociologie et de la critique g n tique. TABLE OF CONTENTS Fran ois Del cluse ? Avant-propos Anna Stoll Knecht ? Le mythe face l'esquisse Alexandre Robert ? Un usage sociologique des esquisses musicales ? Socialisation, style de travail et sch mes d' criture chez D odat de S verac Caroline Potter ? Text-Music Relations in Erik Satie's Works Seen through His Sketches Yusuke Nakahara ? Transforming a Character Piece Into ?the Diary of a Fly?? A Case Study from Bart k's Piano Lessons Fran ois Del cluse et Thomas Lac te ? Une esquisse oubli e du Pr lude l'Apr s-midi d'un faune Fabien Guilloux ? Les esquisses et brouillons de Camille Saint-Sa ns : l'oeuvre instrumental Fran ois Del cluse ? Trois id es musicales pour une esquisse : l'art de commencer chez Debussy Ulrich Kr mer ? From Schoenberg's Workshop. The Sketch as a Laboratory of Musical Thought Paolo Dal Molin ? Le compositeur th oricien et les esquisses des autres. Essai sur les Wandlungen der musikalischen Form de Gy rgy Ligeti Les auteurs de l'ouvrage Index des noms et des oeuvres‎

‎Histoire de la musique en Europe ‎

‎P., PUF, 1992, broché, collection "Que sais-je", 125 p.p., 17.5 x 11.3 x 0.9 cm, bon voire très bon état.‎

‎Performing Rites: On the Value of Popular Music‎

‎Oxford University Press 1996 360 pages 16 4x2 8x23 2cm. 1996. Cartonné. 360 pages.‎

‎bon état de conservation avec sa jaquette intérieur propre‎

‎Musical Improvisation in the Baroque Era‎

‎, Brepols, 2019 Hardback, xvi + 405 pages, Size:210 x 260 mm, Illustrations:15 b/w, 110 musical examples, Languages: English, Italian, Spanish.*new ISBN 9782503583693.‎

‎Summary In the Baroque period there is a large discrepancy between sound entity and musical notation. In a context where the musical tradition, handwritten and printed, at times suggests the possible execution of a passage, at times indicates a specific mode of execution often adapted by the ability of the performer or the musical occasion, the margin for improvisation is wide. The in-depth and possibly comparative study of musical sources, their historical contextualization, their evaluation on the basis of documentary and theoretical testimonies, allows us to shed light on the real aural rendering of the synthetic written page. This volume aims to investigate the role and forms of improvisation in Baroque music under many of its multifaceted aspects, in a study that will define the links between creative process and executive practice. TABLE OF CONTENTS Fulvia Morabito Introduction Improvisation into Composition David Chung, French Harpsichord doubles and the Creative Art of the 17th-Century Clavecinistes Massimiliano Guido, Sounding Theory and Theoretical Notes Bernardo Pasquini's Pedagogy at the Keyboard: A Case of Composition in Performance? Javier Lupia ez - Fabrizio Ammetto, Las anotaciones de Pisendel en el Concierto para dos violines RV 507 de Vivaldi: una ventana abierta a la improvisaci n en la obra del 'Cura rojo' Josu Mel ndez Pel ez, Cadenze per ?nali: Exuberant and Extended Cadences in the 16th and 17th Centuries Marina Toffetti, Written Outlines of Improvisation Procedures in Music Publications of the Early 17th Century: The Second (1611-1623) and Third (1615-1623) Book of Concerti By G. Ghizzolo and the Motet Iesu Rex Admirabilis (1625-1627) by G. Frescobaldi Issues of Performance Practice Giovanna Barbati , Il n'ex cute jamais la Basse telle qu'elle est crite : The Use of Improvisation in Teaching Low Strings Anthony Pryer, On the Borderlines of Improvisation: Caccini, Monteverdi and the Freedoms of the Performer Laura Toffetti, Sostener si pu la battuta, etiandio in aria . Testi e contesti per comprendere l'invenzione e la disposizione del discorso musicale nel repertorio strumentale italiano fra Seicento e Settecento Rudolf Rasch, Improvised Cadenzas in the Cello Sonatas Op. 5 by Francesco Geminiani Contemporary Treatises, Pedagogical Works, and Aesthetics Valentina Anzani, Il mito della competizione tra virtuosi: quando Farinelli s?d Bernacchi (Bologna 1727) John Lutterman, Re-Creating Historical Improvisatory Solo Practices on the Cello: C. Simpson, F. Niedt, and J. S. Bach on the Pedagogy of Contrapunctis Extemporalis Francesca Mignogna, Accompagnamento e basso continuo alla chitarra spagnola. Una cartogra?a della diffusione dei sistemi di notazione stenogra?ci in Italia, Spagna e Francia tra xvi e xvii secolo e loro implicazioni teoriche Guido Olivieri, Naturalezza o arti?cio: ri?essioni su improvvisazione e virtuosismo italiani in Francia nel Settecento Neal Zaslaw, Adagio de Mr. Tartini. Vari de plusieurs fa ons diff rentes, tr s utiles aux personnes qui veulent apprendre faire des traits sous chaque notte de l'Harmonie? The Art of Partimento Simone Ciolfi, Cantata da camera e arte del partimento in Alessandro Scarlatti. An Historical Link between Baroque Recitatives and Development Section of the Sonata-Form Movements? Marco Pollaci, Two New Sources for the Study of Early Eighteenth-Century Composition and Improvisation Giorgio Sanguinetti, On the Origin of Partimento: A Recently Discovered Manuscript of Toccate (1695) by Francesco Mancini Peter van Tour, Taking a Walk at the Molo : Partimento and the Improvised Fugue Abstracts Biographies Index of Names‎

‎Entretiens sur la musique.‎

‎Paris, Albin Michel, 1953. 15 x 20, 160 pp., broché, couverture à rabats, bon état (couverture défraîchie).‎

‎Traduction de J.-G. Prod'homme et F. G.‎

‎Wilhelm Furtwängler.‎

‎Paris, JC Lattès, 1983. 14 x 22, 227 pp., broché, très bon état.‎

‎"Traduit de l'allemand par Michel Cresta; discographie établie par Henri-Jean Testa."‎

‎Musique et Verbe. Collection : Le Livre de Poche, N° 8348/Pluriel.‎

‎Paris, Albin Michel/Poche, 1979. 11 x 17, 413 pp., broché, bon état.‎

‎Guide pratique d'analyse musicale.‎

‎Paris, Durand, 1940. 17 x 26, 124 pp., nombreuses notations musicales, broché, bon état (couverture légèrement défraîchie).‎

‎Histoire de la musique.‎

‎Paris, Librairie Larousse, 1930. 14 x 20, 204 pp., 6 planches (24 portraits), broché, bon état.‎

‎Préface de Roger Ducasse.‎

‎Opinions musicales de Gabriel Fauré. ‎

‎Paris Editions Rieder, 1930, in-8, broché, titre contrecollé, 174p. Avec une reproduction du buste de Gabriel Fauré par son fils Emmanuel Fauré-Fremiet. Un des 600 ex. sur alfa des papeteries Lafuma, après 17 ex. sur Japon, 50 ex. sur Madagascar, 110 ex. sur vélin pur fil. Légère marque de mouillure en tête de la couverture et sur la tranche, mais n'affectant pas le texte. Bon exemplaire. ‎

7 Images

‎Practica musice. Testo latino e italiano. Collana La Tradizione Musicale. Studi e testi, 19. Le regole della musica, 6.‎

‎ Firenze, Sismel, Edizioni del Galluzzo 2017, 240x170mm, XCVIII - 494pagine, in brossura. Nuovo stato. ‎

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‎La musique française du Moyen Age et de la Renaissance. Collection : Que sais-je ? N°931.‎

‎Paris, Presses Universitaires de France (PUF), 1961. 11 x 18, 128 pp., broché, très bon état.‎

‎Music Patronage in Italy‎

‎, Brepols, 2021 Hardback, xviii + 491 pages, Size:210 x 270 mm, Illustrations:25 b/w, Language(s):English, Italian. *NEW ISBN 9782503595443.‎

‎Summary During the Renaissance and throughout the Baroque and Classical periods, musical production was linked to patronage. There are essentially two types of patronage. The first relates to political institutions, to public life, and aims to promote musical events that highlight the wealth and power of the patron in the eyes of rival courts and subjects ? hence the birth of the court chapels. The second type belongs to the private sphere, in which the patron, of noble birth and as such in possession of high moral and intellectual virtues, has a discriminating artistic sensibility - hence the promotion of chamber music activities, the collecting of rare and valuable musical instruments, and the compilation and collection of musical manuscripts, possibly in deluxe or personalized copies. This musical production system lasted until the middle of the nineteenth century, when the advent of capitalism and the rise of the bourgeois class caused the decline of patronage. This book focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century. TABLE OF CONTENTS Galliano Ciliberti, Preface Patronage as an Historiographical Problem Reinhard Strohm, Hosting Foreigners ? and the History of Italian Music Iain Fenlon, Private, Princely, and Collective Patronage in Sixteenth-Century Italy Patronage, Diplomacy and Power Relationships in Rome Thomas Neal, Printing and Patronage in Early Modern Rome: The Early Publications of Giovanni Pierluigi 'da Palestrina' Michela Berti ? milie Corswarem, Capitale del Mondo [?] onorata da Nazioni straniere . Il particolare mecenatismo nelle chiese nazionali di Roma Galliano Ciliberti, Les Go ts r unis . Diplomazia e mecenatismo musicale a Roma nel Seicento: il caso della Francia Patronage, Diplomacy and Power Relationships in Venice Gabriele Taschetti, Marcantonio De Dominis: A Patron manqu for Tomaso Cecchini? Adriana De Feo, Il casato di Hannover a Venezia e le scritture per Apostolo Zeno e Girolamo Frigimelica Roberti Giovanni Tribuzio, Or giunte siamo dove il principe nostro potremo vagheggiar . Tre serenate di D'Alessandro/Vivaldi, Carcani e Paradies/Galuppi per Federico Cristiano di Sassonia (Venezia, Ospedali Grandi, 1740) Musical Patrons and Italian Cultural Life Cristina Cassia, Pietro Bembo and Music Patronage Marcello Mazzetti ? Livio Ticli, I raggi della chiarissima casa gambaresca : The Gambaras' Music. Patronage and the Performance Practice in 15th-17th-Century Brescia Nicol Maccavino, Tipologie di mecenatismo e committenza musicale in alcune citt del Val di Noto in Sicilia fra Cinque e Settecento Annabelle M. Page, Patronage in Absentia: A Case Study of the Patronage of Marcus Sitticus (c. 1612-1619) Maria Birbili, Music Patronage and Politics in the Early 19th Century: Rossini, the 'Holy Alliance', and the Use of autoimprestito as a Means of Ironic Distance Manuscript Production and Music Publishing Marina Toffetti, Music Publishing and Patronage in Milan in the First Thirty Years of the Seventeenth Century: An Overview Angela Fiore, Sotto l'ale protettrici dell'Aquile Coronate : copisti stampatori e mecenatismo della corte estense Abstracts and Biographies Index of Names‎

‎Museo degli strumenti musicali. ‎

‎Milano, Castello Sforzesco, 1963 ; 8, broché, couverture illustrée, 271 p., 141 planches reproductions .‎

‎Ex-dono.Très bon état.‎

‎Bruckner. Collection : Microcosme, Solfèges, N° 32.‎

‎Paris, Editions du Seuil, 1971. 12 x 18, 190 pp., nombreuses illustrations et notations musicales, broché, très bon état.‎