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HEIKI MÄTLIK - Eesti Muusika- ja Teatriakadeemia

HEIKI MÄTLIK - Eesti Muusika- ja Teatriakadeemia

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Boetticher, Wolfgang 1943. Solistishen lautenpraxis des 17. und 18. Jahrhunderts.PhD väitekiri. Berliini Ülikool.Bogle, James G. 1982. The Developement of a Musically Logical Procedure forSolving the problems of Transcription for Guitar Performance of J. S. Bach’s Suite inE minor BWV 996. PhD väitekiri. University of Oklahoma.Burguéte, André 1994. Johann Sebastian Bachs lautenwerke – Ende eines Mythos. –Gitarre & Laute. Nr 2, S 66–72 / nr 4, S 50–53.Butt, John 1990. Bach Interpretation, Articulation Marks in Primary Sources of J. S.Bach. Cambridge: Cambridge University Press.Coelho, Victor Anand 1997. Performance on Lute, Guitar, and Vihuela: HistoricalPractice and Modern Interpretation. Cambridge: Cambridge University Press.Crittenden, David Todd 1996. Silvius Leopold Weiss’s Solo Lute Sonatas 20 and 33from Dresden Manuscript 2841. V. I in the SächsisheLandesbibliothek: aTranscription from the Tabulature and Performance Edition for Classical Guitar.DMA väitekiri. Athens, Georgia: University of Georgia.Farstad, Per Kjetil 2000. German Galant Lute Music in the 18th Century. PhDväitekiri. Göteburg: Göteburg University, Department of Musicology.Flynn, S. Patric 2005. The revival of the Classical Guitar Medium Through ida Prestiand Alexandre Lagoya. DMA väitekiri. University of Memphis.Heck, Thomas 1968. The Birth of the Classical Guitar and its Cultivation in Vienna,Reflected in the Career and Compositions of Mauro Giuliani. PhD väitekiri. NewHaven, Connecticut: Yale University.Hoppstock, Tilman 2009. Die Lautenwerke Bachs aus der Sicht des Gitarristen. Vol.1, Suiten BWV 995/996. Nr 1750–B1. Darmstadt: Prim-Musikverlag Darmstadt.Hoppstock, Tilman 2010. Bach’s Lute Works from Guitarist´s Perspective. Nr 1750–EE1. Darmstadt: Prim-Musikverlag Darmstadt.72

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