Paul Merrick
Liszt's sans ton Key Signature
in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 45, 2004, S. 281-302
Studia Musicologica Academiae Scientiarum Hungaricae
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Merrick, Paul
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Suppan, Wolfgang
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Paul Merrick
"nach Ges dur". Liszt's Marking in His Copy of Handel's Opera "Almira"
in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 42, 2001, S. 349–372
Paul Merrick
The Role of Tonality in the Swiss Book of Années de Pèrerinage
in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 39, 1998, S. 367–383
Paul Merrick
Original or Doubtful? Liszt's Use of Key in Support of His Authorship of Don Sanche
in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 34, 1992, S. 427-434
Paul Merrick
Responses and Antiphons. Liszt in 1860
in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 28, 1986, S. 187–194
Wolfgang Suppan
Franz Liszt. Zwischen Friedrich von Hausegger und Eduard Hanslick. Ausdrucks- contra Formästhetik
in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 24, 1982, S. 113–131
Paul Merrick
Liszt's Transfer from Weimar to Rome. A Thwarted Marriage
in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 21, 1979, S. 219–238
Wolfgang Suppan
Franz Liszt und die Steiermark
in: Studia Musicologica Academiae Scientiarum Hungaricae, Bd. 5, 1963, S. 301-310