Análise musical de “Portraît de Nadia Boulanger” (1972), de Almeida Prado by Tales Eduardo Pelison Botechia, Tadeu Moraes Taffarello

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Musicians, students, listeners: women and the conservatoire in pre-war Paris and St Petersburg by Rasmussen, S

“…It argues that these relationships not only facilitated women’s involvement in public cultural life, but also impacted their private experience of music and listening, as illustrated by the close musical bond between sisters and conservatoire alumnae, Lili and Nadia Boulanger. …”

'The American Spirit' [Az amerikai szellem] by Matthew Hanne

“… The composer and pedagogue Erzsébet Szőnyi (1924-2019), who studied with Zoltán Kodály, Nadia Boulanger, and Olivier Messiaen, is largely credited with advancing Kodály’s vision for music education around the world. …”
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CORNEL ȚĂRANU: PROFESSIONAL AND COMPOSITIONAL TRAJECTORY by Cristina ŞUTEU

“…His background is based on an exceptional professional training studying with Sigismund Toduță, Nadia Boulanger, Olivier Messiaen, Karlheinz Stockhausen, György Ligeti. …”
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Imbrication Between "Popular" and Modernity: A Biographical Musical Project by Claudio Santoro during 1947 and 1957 by Cesar Maia Buscacio, Virgínia Albuquerque de Castro Buarque

“…To carry out such an analysis, this article referred to letters sent by Claudio Santoro to the musician and composer Nadia Boulanger and Louis Saguer respectively, now archived in the National Library of France, along with extracts from his unedited autobiography recorded in the 1980's, and an interview he gave in the 1970’s – these last two being under the custody of Santoro's family.…”
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What Language Does the French “Musical Comedy” Speak? On Some Stylistic Experiments of the Legrand — Demy Tandem by Platonova Olesia A.

“…The third part is devoted to studying the origins of Michel Legrand’s stylistic experiments (on the one hand — serious academic education, training with Nadia Boulanger; on the other— work with world-class jazz musicians), as well as to analysing three layers: jazz (improvisation, the nature of arrangements and harmonies on the example of The Umbrellas of Cherbourg), romantic (the application of the features of the genre of piano concerto in The Young Girls of Rochefort) and baroque (the use of the principles of orchestration, polyphonic forms, rhetorical figures in the Donkeyskin). …”
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