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This page lists all time most cited articles for this title. Please use the publication date filters on the left if you would like to restrict this list to recently published content, for example to articles published in the last three years. The number of times each article was cited is displayed to the right of its title and can be clicked to access a list of all titles this article has been cited by.
- Cited by 41
MOZART’S OPERATIC AUDITION. THE MILAN CONCERT, 12 MARCH 1770: A REAPPRAISAL AND REVISION
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- Published online by Cambridge University Press:
- 07 January 2005, pp. 265-288
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- Cited by 24
ON THE RELATION OF MUSICAL TOPOI TO FORMAL FUNCTION
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- 04 May 2005, pp. 113-124
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- Cited by 14
TRAZOM'S WIT: COMMUNICATIVE STRATEGIES IN A ‘POPULAR’ YET ‘DIFFICULT’ SONATA
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- Published online by Cambridge University Press:
- 01 August 2013, pp. 213-252
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- Cited by 12
HEROIC HAYDN, THE OCCASIONAL WORK AND ‘MODERN’ POLITICAL MUSIC
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- 01 March 2007, pp. 7-25
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- Cited by 12
E. T. A. HOFFMANN AND THE ETHEREAL TECHNOLOGIES OF ‘NATURE MUSIC’
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- 01 March 2008, pp. 7-26
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- Cited by 11
SCHUBERT AS SCHILLER’S SENTIMENTAL POET
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- 01 September 2007, pp. 251-263
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- Cited by 10
THE EIGHTEENTH CENTURY AS A MUSIC-HISTORICAL PERIOD?
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- 28 June 2004, pp. 47-60
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- Cited by 8
HERMENEUTICS AND THE NEW FORMENLEHRE: AN INTERPRETATION OF HAYDN'S ‘OXFORD’ SYMPHONY, FIRST MOVEMENT
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- 30 July 2010, pp. 199-219
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- Cited by 8
PARTIMENTO FUGUE IN EIGHTEENTH-CENTURY GERMANY: A BRIDGE BETWEEN THOROUGHBASS LESSONS AND FUGAL COMPOSITION
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- 01 March 2008, pp. 51-74
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- Cited by 8
‘THE TRUE FUNDAMENTALS OF COMPOSITION’: HAYDN'S PARTIMENTO COUNTERPOINT
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- 11 March 2011, pp. 53-75
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- Cited by 6
THE MORTE: A GALANT VOICE-LEADING SCHEMA AS EMBLEM OF LAMENT AND COMPOSITIONAL BUILDING-BLOCK
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- 24 August 2015, pp. 157-181
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- Cited by 6
RECALLING THE SUBLIME: THE LOGIC OF CREATION IN HAYDN’S CREATION
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- 01 March 2009, pp. 41-57
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- Cited by 5
RECUPERATION, TRANSFORMATION AND THE TRANSCENDENCE OF MAJOR OVER MINOR IN THE FINALE OF HAYDN’S STRING QUARTET OP. 76 NO. 1
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- 01 March 2008, pp. 27-50
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- Cited by 5
JEAN PAUL’S LISTENERS
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- 03 November 2006, pp. 201-212
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- Cited by 4
MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES
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- 03 August 2009, pp. 183-207
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- Cited by 4
ALLAN RAMSAY, THE IDEA OF ‘SCOTTISH MUSIC’ AND THE BEGINNINGS OF ‘NATIONAL MUSIC’ IN EUROPE
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- 27 January 2012, pp. 81-108
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- Cited by 4
STAGING AND ITS DRAMATIC EFFECT IN FRENCH BAROQUE OPERA: EVIDENCE FROM PROMPT NOTES
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- 28 June 2004, pp. 5-28
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- Cited by 4
‘HIS SPIRIT IS IN ACTION SEEN’: MILTON, MRS CLIVE AND THE SIMULACRA OF THE PASTORAL IN COMUS
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- 04 May 2005, pp. 7-40
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- Cited by 4
COMPREHENDING THEODORA
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- 04 May 2005, pp. 57-90
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- Cited by 4
EPISTEMOLOGIES OF TIME AND METRE IN THE LONG EIGHTEENTH CENTURY
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- 01 March 2009, pp. 59-75
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