Citation: D. Delamotte, THE COUNTERPOINT - A THEORY OF COMPOSITION ON 16TH-CENTURY VOCAL POLYPHONY - GERMAN - DANIEL,T, Die Musikforschung, 51(3), 1998, pp. 379-380
Citation: D. Delamotte, A HISTORY OF MUSICAL ANALYSIS - PROCEEDIN GS OF THE 1993 CONFERENCE IN MUNICH - GERMAN - GRUBER,G, Die Musikforschung, 51(1), 1998, pp. 141-142
Citation: D. Delamotte, CHANGES IN THE HARMONIC PROCESS THROUGHOU T THE TIME - ROMANTICISM, THE 19TH-CENTURY - GERMAN - KREFT,E, Die Musikforschung, 50(4), 1997, pp. 465-465
Citation: D. Delamotte, A WORK-OF-ART AND ITS RELATIONSHIP WITH T HE ARTS - RELATIONS BETWEENMUSIC AND FINE-ARTS - GERMAN - STEIERT,T, Die Musikforschung, 50(1), 1997, pp. 143-143
Citation: D. Delamotte, THE BERLIN FESTIVAL OF MUSIC HELD AS A PA RT OF THE FESTIVITIES COMMEMORATING THE 300TH ANNIVERSARY OF THE BERLIN-ACADEMY-OF-ARTS, SEPTEMBER 1996, Osterreichische Musikzeitschrift, 51(10-11), 1996, pp. 759-760
Citation: D. Delamotte, DER 'FUGENBAUM OP150', 'PRALUDIEN UND FUG EN FUR KLAVIER IN ALLEN TONLAGEN' - GERMAN - WEISMANN,J, Musica, 50(6), 1996, pp. 458-459
Citation: D. Delamotte, 'MOZ-ART FUR OBOE, HARFE, CEMBALO, VIOLIN E, VIOLONCELLO UND KONTRABASS' - GERMAN - SCHNITTKE,A, Musica, 50(2), 1996, pp. 135-136
Citation: D. Delamotte, PLAYING FOR THE SAKE OF LIFE - THE TREATM ENT OF MUSIC - GERMAN - MUMELTER,M, Osterreichische Musikzeitschrift, 50(6), 1995, pp. 452-452