| 'Only Purcell e're shall equal Blow'
|
2010 |
Wood, Bruce |
| Purcell's stage singers
|
2010 |
Baldwin, Olive |
| Newly discovered autograph keyboard music of Purcell and Draghi
|
2010 |
Price, Curtis Alexander |
| Purcell's 'Rejoice in the Lord', all ways
|
2010 |
Pike, Lionel |
| Robert Pindar, Thomas Busby, and the mysterious scoring of Henry Purcell's 'Come ye sons of art'
|
2010 |
Herissone, Rebecca |
| Purcell's Laudate Ceciliam : an essay in stylistic experimentation
|
2010 |
Adams, Martin |
| Compositional choices in Henry Purcell's Three Parts upon a Ground
|
2010 |
Holman, Peter |
| 'Or rather our musical Shakspeare': Charles Burney's Purcell
|
2010 |
Luckett, Richard |
| The Italian connection : Giovanni Battista Draghi and Henry Purcell
|
2010 |
Holman, Peter |
| Letter from Aleppo : dating the Chelsea School performance of Dido and Aeneas
|
2010 |
White, Bryan |
| Manuscript music in Purcell's London
|
2010 |
Thompson, Robert |
| Purcell's extended solo songs
|
2010 |
Laurie, Margaret |
| Composition as an act of performance: artifice and expressin in Purcell's Sacred Partsong Since God so tender a regard
|
2010 |
Howard, Alan |
| The first performance of Purcell's Funeral Music for Queen Mary
|
2010 |
Wood, Bruce |
| Purcell Debauch'd: the dramatick operas in performance
|
2010 |
Burden, Michael |
| The technique and forms of Purcell's Sonatas
|
2010 |
Tilmouth, Michael |
| Purcell's revisions to the funeral sentences revisited
|
2010 |
Shay, Robert Stuart |
| "Fowle Originalls" and "Fayre Writeing": reconsidering Purcell's compositional process
|
2010 |
Herissone, Rebecca |
| The Shakespeare-Purcell Fairy Queen : a defence and recommendation
|
2010 |
Savage, Roger W. H. |
| Continuity and tempo in Purcell's vocal works
|
2010 |
Laurie, Margaret A. |
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