<Record><identifier xmlns="http://purl.org/dc/elements/1.1/">URN:NBN:SI:doc-RLTWYG7P</identifier><date>2023</date><creator>Toffetti, Marina</creator><relation>documents/doc/R/URN_NBN_SI_doc-RLTWYG7P_001.pdf</relation><relation>documents/doc/R/URN_NBN_SI_doc-RLTWYG7P_001.txt</relation><format format_type="volume">19</format><format format_type="issue">2</format><format format_type="type">article</format><format format_type="extent">str. 137-152</format><identifier identifier_type="DOI">10.3986/dmd19.2.07</identifier><identifier identifier_type="ISSN">1854-3405</identifier><identifier identifier_type="COBISSID">186245379</identifier><identifier identifier_type="URN">URN:NBN:SI:doc-RLTWYG7P</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">avtentičnost</subject><subject language_type_id="slv">emendatio</subject><subject language_type_id="slv">glasba</subject><subject language_type_id="slv">glasbena analiza</subject><subject language_type_id="slv">rekonstrukcija</subject><title>The authenticity of the reconstruction of missing parts?</title><title>some reflections on a misplaced problem</title></Record>