<Record><identifier xmlns="http://purl.org/dc/elements/1.1/">URN:NBN:SI:doc-5CW184XA</identifier><date>2020</date><creator>Malvano, Andrea</creator><relation>documents/doc/5/URN_NBN_SI_doc-5CW184XA_001.pdf</relation><relation>documents/doc/5/URN_NBN_SI_doc-5CW184XA_001.txt</relation><format format_type="volume">16</format><format format_type="issue">2</format><format format_type="type">article</format><format format_type="extent">str. 53-70</format><identifier identifier_type="ISSN">1854-3405</identifier><identifier identifier_type="COBISSID_HOST">25241091</identifier><identifier identifier_type="URN">URN:NBN:SI:doc-5CW184XA</identifier><language>eng</language><publisher>Muzikološki inštitut ZRC SAZU</publisher><source>De musica disserenda</source><rights>BY-NC-ND</rights><subject language_type_id="slv">Debussy, Claude</subject><subject language_type_id="slv">glasba</subject><subject language_type_id="eng">memory</subject><subject language_type_id="eng">music</subject><subject language_type_id="slv">spomin</subject><subject language_type_id="eng">tonality</subject><subject language_type_id="slv">tonalnost</subject><subject language_type_id="eng">tritone</subject><subject language_type_id="slv">tritonus</subject><title>Diabolus in memoria</title><title>observations regarding the use of the tritone in Debussy's endings</title></Record>