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Messiaen’s Musical Language: Technique and Theological Symbolism in Les Corps Glorieux, “Combat De La Mort Et De La Vie”
Learning From the Autograph: a New Critical Approach to Performing Liszt’s Sonata in B Minor
First Movement of the Beethoven Third Piano Concerto: An Argument for the Alkan Cadenza
Critical Study of Two Piano Transcriptions by August Stradal and the Transcriptions’ Sources: Alterations to the Score Based on Historical Evidence and Artistic Judgment
The Influence of Norwegian Folk Elements on Thomas Dyke Tellefsen’s Mazurkas Op 3 (1849) and Op 14 (1853)
Béla Bartók’s Editorial Input As Seen in His Edition of Piano Sonata Hobxvi:49 in E Flat Major by Joseph Haydn
The Application of Common-practice Elements in Modern Music: Examining Examples of Musical Continuity in Selected Piano Works of James R Wintle
Comparative Analysis of the Musical Distortion in Kaikhosru Sorabji’s and Vladimir Horowitz’s Piano Paraphrases Based on Bizet’s Opera Carmen
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