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The Mozart-Da Ponte Operas: The Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Così fan tutte
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Cited by

  • 2004Three Modes of Perception in Mozart55 cited
  • 2006The A??C?E Complex: The Origin and Function of Chromatic Major Third Collections in Nineteenth-Century Music53 cited
  • 2017Varieties of Musical Irony34 cited
  • 2017Varieties of Musical Irony: From Mozart to Mahler13 cited
  • 2004Three Modes of Perception in Mozart: The Philosophical, Pastoral, and Comic in Cosí fan tutte7 cited
  • 2004The comic mode6 cited
  • 2012The dramaturgy of opera5 cited
  • 1991Opera and Republican Virtue: Beethoven's "Fidelio"4 cited
  • 2016‘Understood at Last’?: A Memetic Analysis of Beethoven’s ‘Bloody Fist’2 cited
  • 2019Operatic Borrowing in Stephen Sondheim’s Sweeney Todd2 cited

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