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Andrew Lamb

(Vienna, 1971, 2/1980) F. Bruyas : Histoire de l’opérette en France, 1855–1965 (Lyons, 1974) G. Bordman : American Musical Theatre: a Chronicle (New York, 1978, 2/1992) A. Hyman : Sullivan and his Satellites: a Study of English Operettas, 1860–1914 (London, 1978) J. Harding : Folies de Paris: the Rise and Fall of French Operetta (London, 1979) V. Klotz : Bürgerliches Lachtheater (Munich, 1980, 2/1987) G. Bordman : American Operetta from ‘HMS Pinafore’ to ‘Sweeney Todd’ (New York, 1981) C. Dufresne : Histoire de l’opérette (Paris, 1981)



Erich Schwandt and Andrew Lamb

marches] C. Pierre : Musique des fêtes et céremonies de la Révolution française (Paris, 1899) H.G. Farmer : The Rise and Development of Military Music (London, 1912/ R ) M. Brenet : La musique militaire (Paris, 1917) J.P. Sousa : Marching Along (New York, 1928) R.E.M. Harding : The Origins of Musical Time and Expression (London, 1938) R. Blesh and H. Janis : They All Played Ragtime (New York, 1950, 4/1971) M. Reimann : ‘Materialien zu einer Definition des Terminus und des Begriffs der Intrada’, Mf , 10 (1957), 337–64 B.A. Labash : The March:



Julia Sutton, E. Kerr Borthwick, Ingrid Brainard, Jennifer Nevile, Rebecca Harris-Warrick, Andrew Lamb and Helen Thomas

Stantipes/Stampita’, L’Ars Nova italiana del Trecento: Convegno II: Certaldo and Florence 1969 [ L’Ars Nova italiana del Trecento , 3 (Certaldo, 1970)], 399–410 B. Rudolph : ‘The Medieval Tanzhaus: a Checklist of Writings’, Theatre Documentation , 2/1–2 (1969–70), 121–3 A. Harding : An Investigation into the Use and Meaning of Medieval German Dancing Terms (Göppingen, 1973) J.M. Ward : ‘The Maner of Dauncynge’, EMc , 4 (1976), 127–42 F.A. Gallo : ‘Il “ballare lombardo” (circa 1435–1475)’, Studi musicali , 8 (1979), 61–84 I. Brainard : The Art of Courtly


Kenneth Levy, John A. Emerson, Jane Bellingham, David Hiley and Bennett Mitchell Zon

early documents of Cistercian history, Robert, abbot of Molesme, together with 21 monks broke away from the monastery because of ‘hindering circumstances’ and founded a community at Cîteaux, near Dijon. For the next 40 years, during the tenures of Alberic ( 1099–1109 ) and Stephen Harding ( 1109–32 ), practically nothing is known of musical practice, except that the Carta carita prior of 1119 called for uniformity in all liturgical books and chanting. After 1140 the picture begins to change. Two unique musical statements – a prologue, Bernardus humilis Abbas


Katherine K. Preston and Michael Mauskapf

their own careers with the assistance of the Internet or hiring smaller scale, independent managers. Bibliography A.L. Bernheim et al.: The Business of the Theatre; Prepared on Behalf of the Actors’ Equity Association by Alfred L. Bernheim, Assisted by Sara Harding and the Staff of the Labor Bureau, Inc. (New York, 1932) C. Bode : The American Lyceum, Town Meeting of the Mind (New York, 1956) P. Hart : Orpheus in the New World: The Symphony Orchestra as an American Cultural Institution—its Past, Present, and Future (New York, 1973),