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Beethoven and the development of wind instruments // Performing Beethoven / ed. R. Stowell. Cambridge University Press, 1994. P. 70–88.

Lawson C., Stowell R. The historical performance of music: An introduction. Cambridge University Press, 1999.

Le Cerf de la Viéville J. L. Comparaison de la musique italienne et de la musique françoise [1704–1706]. 2 vol. ed. Graz, 1966.

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Leech-Wilkinson D. The modern invention of medieval music: Scholarship, ideology, performance. Cambridge University Press, 2002.

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Lehman B. What does a musical performer think about? [раздел «Gestural performance manner»]. 2002, 2004) (доступно по ссылке: http://www-personal.umich.edu/bpl/sprezza.htm – проверено 1.07.2005).

Lehman B. Bach’ extraordinary temperament: Our Rosetta Stone [Parts 1 and 2] // EM. 2005. 33/1. P. 3–23; 33/2. P. 211–226.

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Lessing A. What is wrong with a forgery? // The forger’s art: F and the philosophy of art / ed. D. Dutton. University of California Press, 1983. P. 58–76.

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Levy J. M. Beginning – ending ambiguity: Consequences of performance choices // The practice of performance: Studies in musical interpretation / ed. J. Rink. Cambridge University Press, 1995. P. 150–169.

Libby D. Italy: Two opera centres // The Classical era / ed. N. Zaslaw. Prentice-Hall, 1989. P. 15–60.

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Marais M. Avertissement // Pièces de viole. Livre 3. 1711.

Marais M. Avertissement // Pièces de viole. Livre 4. 1717.

Mark T. C. Philosophy of piano playing: Reflections on the concept of performance // PhPR. 1981. 41: 299–324.

Marshall R. L. The compositional process of J. S. Bach. Princeton University Press, 1972.

Martin A. I’m all wound up about the strings we use // Early Music America. 2004. Summer. P. 56.

Mason J. An essay on elocution and pronunciation. 1748.

Massip C. L’Art de bien chanter: Michel Lambert (1610–1696). Société Française de Musicologie. 1999.

Mather B. B. Interpretation of French music from 1675 to 1775: For woodwind and other performers. McGinnis & Marx, 1973.

Mather B. B., Lasocki D. Free ornamentation in woodwind music, 1700–1775. McGinnis & Marx, 1976.

Mather B. B., Lasocki D. The art of preluding 1700–1830 for flutists, oboists, clarinetists and other performers. McGinnis & Marx, 1984.

Mattheson J. Das neu-eröffnete Orchestre. 1713. Reprinted 1993.

Mattheson J. Kern melodischer Wissenschaft. 1737.

Mattheson J. Der vollkommene Capellmeister. 1739 // Harriss 1981.

Mattick P., Jr., ed. Eighteenth-century aesthetics and the reconstruction of art. Cambridge University Press, 1993.

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Maute M. Blockflöte & Improvisation: Formen und Stile durch die Jahrhunderte. Breitkopf und Härtel, 2005.

McClure T. Making the music speak: Silences d’articulation // American Recorder. 1988. P. 53–55.

Mealy R. A note about the performance // Program notes to St. Matthew Passion. New York Collegium, Mar. 2005.

Mellers W. Present and past: Intermediaries and interpreters // Companion to contemporary musical thought / ed. J. Paynter et al. Vol. 2. Routledge, 1992. P. 920–930.

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Mersenne M. Harmonie universelle. 1636–1637. Reprinted 1963.

Mertin J. Early music: Approaches to performance practice [1978] / trad. S. Levarie. Da Capo Press, 1986.

Meyer L. B. Music, the arts, and ideas: Patterns and predictions in twentieth-century culture. University of Chicago Press, 1967.

Meyer L. B. Style and music. University of Chicago Press, 1989.

Michel W. Giovanni Paolo Simonetti: Sechs Sonaten für zwei Altblockflöten und Basso continuo, Op. 2. Composed and edited by Winfried Michel. Amadeus, 1981.

Michel W. Simonetti-Manifest. 1982.

Middleton R. Popular Music, § 1: Popular music in the West // NG. 2001. 2. 20. P. 128–153.

Mink L. O. Collingwood’s dialectic of history // History and Theory. 1968. 7. P. 3–37.

Mitchell W. J., trans. C. P. E. Bach’s Versuch, as Essay on the true art of playing keyboard instruments. Norton, 1949.

Morgan R. P. Tradition, anxiety, and the current musical scene // Authenticity and early music / ed. N. Kenyon, 57–82. Oxford University Press, 1988.

Mozart L. Versuch einer gründlichen Violinschuleю Vol. 1. 1756. Reprinted 1976; Vol. 3. 1787. Reprinted 1956.

Muffat G. Foreword to Suavioris harmoniae instrumentalis hyporchematicae florilegium primum. 1695. Reprinted DTÖ, 1894.

Muffat G. Introduction to Florilegium secundum. 1698.

Muffat G. Introduction to Auserlesene Instrumental-Music. 1701. Reprinted DTÖ, 1904.

Muller J. M. Rubens’s theory and practice of the imitation of art // Art Bulletin. 1982. 64. P. 229–247.

Nagel T. What is it like to be a bat? // Philosophical Review. 1974. 83. P. 435–450.

Nettl B. The institutionalization of musicology: Perspectives of a North American ethnomusicologist // Rethinking music / ed. N. Cook and M. Everist. Oxford University Press, 1999. P. 287–310

Neubauer J. The emancipation of music from language: Departure from mimesis in eighteenth-century aesthetics. Yale University Press, 1986.

Neumann F. Ornamentation in Baroque and Post-Baroque music, with special emphasis on J. S. Bach. Princeton University Press, 1978.

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Nordlinger J. Who cares what critics say? // The New Criterion. 2004. February 22 (доступно по ссылке: http://www.newcriterion.com/archive/22/feb04/Nov6.htm – проверено 24.02.2004).

North R. The musical grammarian [1728] / ed. M. Chan and J. C. Kassler. Cambridge University Press, 1990. P. 315–359.

North R. // Roger North on music / ed. John Wilson. Novello, 1959. P. 1–360 (издание текстов 1710–1728 годов, включая «Теорию звуков», «Музыкальные воспоминания», «Музыкального грамматика» и т. д.).

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Ong W. J. Orality and literacy: The technologizing of the word. Routledge, 1982.

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