Publication date: 21.12.2017
Licence:
CC BY-NC-ND
Editorial team
Editor-in-Chief Sławomir Torbus
The Jagiellonian University Young Musicologists Quarterly, Numer 35 (4/2017), 2017, pp. 5 - 38
https://doi.org/10.4467/23537094KMMUJ.17.033.7862The Jagiellonian University Young Musicologists Quarterly, Numer 35 (4/2017), 2017, pp. 39 - 62
https://doi.org/10.4467/23537094KMMUJ.17.034.7863The Jagiellonian University Young Musicologists Quarterly, Numer 35 (4/2017), 2017, pp. 63 - 90
https://doi.org/10.4467/23537094KMMUJ.17.035.7864The Jagiellonian University Young Musicologists Quarterly, Numer 35 (4/2017), 2017, pp. 91 - 109
https://doi.org/10.4467/23537094KMMUJ.17.036.7865The Jagiellonian University Young Musicologists Quarterly, Numer 35 (4/2017), 2017, pp. 111 - 122
https://doi.org/10.4467/23537094KMMUJ.17.037.7866Słowa kluczowe: Gender, masculinity, Franz Schubert, song, Lied, romanticism, Giovanni Battista Bassani, music reception, music manuscripts, Grodzisk Wielkopolski, RISM, Carl Ditters von Dittersdorf, symphony, Dresden, Oels, Arthur Honegger, Jean Cocteau, Les Six, Neoclassicism, 20th-century French music, Paul Hindemith, idea of progress, Neoclassicism, aesthetics