SZodixStudyAcademic Library
ShelvesOpen access
Study · an open academic library·Metadata from OpenAlex (CC0)·Shelves·OpenAlex metadata, de-duplicated
The Musical Work: Reality or Invention?
0 references·16 citing·54 second hop
The Musical Work: Reality or Invention? (2000)The Musical Work: Reality or Invention?Sound Sampling, a Permitted Use Under EU Copyright Law? Opinion of the European Copyright Society in Relation to the Pending Reference before the CJEU in Case C-476/17, Pelham GmbH v. Hütter (2019)Sound Sampling, a Permitted U…The Concept Album as Visual—Sonic—Textual Spectacle: The Transmedial Storyworld of Coldplay’s Mylo Xyloto (2016)The Concept Album as Visual—S…Intertextuality, sampling, and copyright (2015)Intertextuality, sampling, an…History without royalty? Queen and the strata of the popular music canon (2013)History without royalty? Quee…The operatic event: opera houses and opera audiences (2012)The operatic event: opera hou…The Cambridge Companion to Opera Studies (2012)The Cambridge Companion to Op…Opera and the technologies of theatrical production (2012)Opera and the technologies of…Opera and modes of theatrical production (2012)Opera and modes of theatrical…‘Too much music’: the media of opera (2012)‘Too much music’: the media o…Reviving the Golden Age Again:“Classicization,” Hindustani Music, and the Mughals (2010)Reviving the Golden Age Again…Composition, Authorship, and Ownership in Flamenco, Past and Present (2010)Composition, Authorship, and …Interpreting the Musical Past (2008)Interpreting the Musical PastHow critical is music theory? (2007)How critical is music theory?The seventeenth-century musical ‘work’ (2005)The seventeenth-century music…Virtuosity and the Musical Work: The Transcendental Studies of Liszt (2003)Virtuosity and the Musical Wo…The great composer (2001)The great composerImagined Communities: Reflections on the Origin and Spread of Nationalism (1984)The structural transformation of the public sphere: an inquiry into a category of bourgeois society (1990)Culture and Imperialism. (1994)Foreign Opera at the London Playhouses: From Mozart to Bellini (2015)Realism Redux: Staging ‘Billy Budd’ in the Age of Television (2019)The Cambridge Companion to Wagner's Der Ring des Nibelungen (2020)Cultural History: Between Practices and Representations. (1989)Patriotism in the lives of individuals and nations (1997)Realms of Memory: The Construction of the French Past (1998)Murder in the Cathedral? Stradella, Musical Power, and Performing the Past in 1830s Paris (2006)Bach, Handel and Scarlatti (2022)Ursprung des deutschen Trauerspiels (1925)The archaeology of knowledge ; and, The discourse on language (1972)Classic Music: Expression, Form, and Style (1981)Clara Schumann's Interiorities and the Cutting Edge of Popular Pianism (2017)Performing Civility: International Competitions in Classical Music (2017)The Aesthetics of Imperfection Reconceived: Improvisations, Compositions, and Mistakes (2020)Distinction: A Social Critique of the Judgement of Taste. (1985)Questions of Cultural Identity (1997)Sonic Patterns and Compositional Strategies in Queen's ‘Bohemian Rhapsody’ (2015)Distinction: A Social Critique of the Judgement of Taste* (2018)Authenticity, Empathy, and the Creative Imagination (2021)Empowering the Portfolio Musician: Innovative Chamber Music Pedagogy for the 21st-Century Artist (2022)Cassette culture: popular music and technology in north India (1993)The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1993)Cassette Culture: Popular Music and Technology in North India (1995)The Cambridge Companion to the Singer-Songwriter (2016)How to Measure Intangible Cultural Heritage Value? The Case of Flamenco in Spain (2020)The Rosalía Polemic: Defining Genre Boundaries and Legitimacy in Flamenco (2021)The Invention of Tradition (1986)Colonialism and its forms of knowledge: the British in India (1997)Castes of Mind: Colonialism and the Making of Modern India (2002)Non-Western national music and empire in global history: interactions, uniformities, and comparisons (2015)Tellings and Texts (2015)Listening to North Indian Classical Music: How Embodied Ways of Listening Perform Imagined Histories and Social Class (2017)The Intentional Stance (1987)Pandora's hope: essays on the reality of science studies (1999)Pandora's Hope: Essays on the Reality of Science Studies (2000)Bach's Dialogue with Modernity: Perspectives on the Passions (2010)Music in the Early Colonial World (2019)The Requiem of Tomás Luis de Victoria (1603) (2019)Nations and nationalism since 1780 programme, myth, reality (1995)Fifty Shades of Bluebeard? Dukas'sAriane et Barbe-Bleuein the Twenty-First Century (2018)The Truly Disadvantaged: The Inner City, The Underclass, and Public Policy. (1988)Black looks: race and representation (1992)The Black Atlantic: Modernity and Double Consciousness (1994)Sampling in der Musikproduktion (2020)Saturation Season: Inclusivity, Queerness, and Aesthetics in the New Media Practices of Brockhampton (2021)Original Pirate Material (2024)On the Aesthetic Education of Man (1969)Keywords: A Vocabulary of Culture and Society (1977)System of Transcendental Idealism (1800) (1978)The Beethoven Syndrome (2020)Reconocimiento identitario y academicismo en el currículum musical de educación primaria (2021)
this work references cited by second hop

References

No references inside the corpus for this window.

Cited by

  • 2012The Cambridge Companion to Opera Studies67 cited
  • 2010Reviving the Golden Age Again:“Classicization,” Hindustani Music, and the Mughals63 cited
  • 2010Composition, Authorship, and Ownership in Flamenco, Past and Present56 cited
  • 2005The seventeenth-century musical ‘work’50 cited
  • 2015Intertextuality, sampling, and copyright44 cited
  • 2003Virtuosity and the Musical Work: The Transcendental Studies of Liszt33 cited
  • 2008Interpreting the Musical Past29 cited
  • 2013History without royalty? Queen and the strata of the popular music canon24 cited
  • 2001The great composer23 cited
  • 2012‘Too much music’: the media of opera16 cited
  • 2016The Concept Album as Visual—Sonic—Textual Spectacle: The Transmedial Storyworld of Coldplay’s Mylo Xyloto15 cited
  • 2007How critical is music theory?14 cited
  • 2012The operatic event: opera houses and opera audiences13 cited
  • 2012Opera and modes of theatrical production12 cited
  • 2012Opera and the technologies of theatrical production12 cited

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work

2019
Sound Sampling, a Permitted Use Under EU Copyright Law? Opinion of the European Copyright Society in Relation to the Pending Reference before the CJEU in Case C-476/17, Pelham GmbH v. Hütter
12 cited