Kwartalnik Młodych Muzykologów UJ, Numer 37 (2/2018), 2018, s. 5 - 26
https://doi.org/10.4467/23537094KMMUJ.18.007.8841Kwartalnik Młodych Muzykologów UJ, Numer 37 (2/2018), 2018, s. 27 - 61
https://doi.org/10.4467/23537094KMMUJ.18.008.8842Kwartalnik Młodych Muzykologów UJ, Numer 37 (2/2018), 2018, s. 63 - 99
https://doi.org/10.4467/23537094KMMUJ.18.009.8843Kwartalnik Młodych Muzykologów UJ, Numer 37 (2/2018), 2018, s. 101 - 124
https://doi.org/10.4467/23537094KMMUJ.18.010.8844Kwartalnik Młodych Muzykologów UJ, Numer 37 (2/2018), 2018, s. 125 - 158
https://doi.org/10.4467/23537094KMMUJ.18.011.8845Kwartalnik Młodych Muzykologów UJ, Numer 37 (2/2018), 2018, s. 159 - 174
https://doi.org/10.4467/23537094KMMUJ.18.012.8846Kwartalnik Młodych Muzykologów UJ, Numer 37 (2/2018), 2018, s. 175 - 187
https://doi.org/10.4467/23537094KMMUJ.18.013.8847Słowa kluczowe: scordatura, violin technique, 17th-century music, performance practice, Canonesses Regular of St Augustine in Wrocław, vocal-instrumental chapel, Joseph Woelfl, piano, virtuosity, brillant style, Salzburg, Vienna, Warsaw, Paris, London, church music, Johann Baptist Schiedermayr, music in Linz, Classical music, Felix Mendelssohn, Enlightenment, religious pluralism, dialectics, reception, Arnold Schoenberg, Gilles Deleuze, Variations for Orchestra Op. 31, dode¬caphony, difference and repetition, Havergal Brian, Gothic Symphony, Adrian Boult, Martyn Brabbins, Ondrej Lenárd, 20th-century Polish music, music for children, genres of stage music, music pedagogy
