Recursos

• Herbert Eimert and the Darmstadt School
• Criticism, Performance, and the Passions in the Eighteenth Century
• Motherhood and Meaning in Medieval Sculpture
• The Puccini Problem
• Personal Reminiscences of Henry Irving
• The Genuine Works of William Hogarth
• The Cambridge Introduction to Christopher Marlowe
• The Mortal Voice in the Tragedies of Aeschylus
• The Ideology of Democratic Athens
• The Theatre of Medieval Europe
• Sir Henry Wood: Champion of J. S. Bach
• Gregorian Chant
• The Cambridge Encyclopedia of Brass Instruments
• Music in Print and Beyond
• Handel's Operas, 1726-1741
• Music and Meaning in Old Hispanic Lenten Chants
• The Requiem of Tomás Luis de Victoria (1603)
• Chekhov in Context
• British Art and the East India Company
• Dylan, Lennon, Marx and God
• Music, Liturgy, and Confraternity Devotions in Paris and Tournai, 1300-1550
• Life of Mozart
• Dramatic Movement of African American Women
• William Blake in Context
• Instead of modernity
• Architecture and the Senses in the Italian Renaissance
• Naples, Capital of Dance
• Dvorák: Cello Concerto
• Music and the 'moderni,' 1300–1350
• Comic Acting and Portraiture in Late-Georgian and Regency England
• The traumatic surreal
• Stelae from Egypt and Nubia in the Fitzwilliam Museum, Cambridge, c.3000 BC–AD 1150
• Exhibitions, Music and the British Empire
• Tomb and Temple
• Architecture and Landscape in Medieval Anatolia, 1100-1500
• A Theory of Harmony
• Bach, Handel and Scarlatti
• Intersections of Housing Precarity, Health and Wellbeing in Diverse Global Settings
• Women on the Stage in Early Modern France
• Genetic Criticism and the Creative Process
• The European Art Market and the First World War
• Busoni as Pianist
• The Private Correspondence of David Garrick with the Most Celebrated Persons of his Time
• Life of John Hullah
• The Life of Ludwig van Beethoven
• The Architecture of Banking in Renaissance Italy
• Mapping Irish Theatre
• Memorials of Cambridge
• A History of Western Philosophy of Music
• Symbolic Worlds