In contrast to today's music industry, whose principal products are recorded songs sold to customers round the world, the music trade in Georgian England was based upon London firms that published and sold printed music and manufactured and sold instruments on which this music could be played.
Thomas Ravenscroft is best-known as a composer of rounds owing to his three published collections: Pammelia and Deuteromelia (both 1609), and Melismata (1611), in addition to his harmonizations of the Whole Booke of Psalmes (1621) and his original sacred works.
Thomas Ravenscroft is best-known as a composer of rounds owing to his three published collections: Pammelia and Deuteromelia (both 1609), and Melismata (1611), in addition to his harmonizations of the Whole Booke of Psalmes (1621) and his original sacred works.
The treatise on musica plana and musica mensurabilis written by Lambertus/Aristoteles is our main witness to thirteenth-century musical thought in the decades between the treatises of Johannes de Garlandia and Franco of Cologne.
The treatise on musica plana and musica mensurabilis written by Lambertus/Aristoteles is our main witness to thirteenth-century musical thought in the decades between the treatises of Johannes de Garlandia and Franco of Cologne.
Since the days in the early twentieth century when the study of pre-Reformation English music first became a serious endeavour, a conceptual gap has separated the scholarship on English and continental music of the late fifteenth and early sixteenth centuries.
Since the days in the early twentieth century when the study of pre-Reformation English music first became a serious endeavour, a conceptual gap has separated the scholarship on English and continental music of the late fifteenth and early sixteenth centuries.
The importance of nineteenth-century writing about culture has long been accepted by scholars, yet so far as music criticism is concerned, Victorian England has been an area of scholarly neglect.
The importance of nineteenth-century writing about culture has long been accepted by scholars, yet so far as music criticism is concerned, Victorian England has been an area of scholarly neglect.
Though individual pieces from the late fifteenth century are widely accepted as being written for instruments rather than voices, they are traditionally considered as exceptions within the context of a mainstream of vocal polyphony.
Though individual pieces from the late fifteenth century are widely accepted as being written for instruments rather than voices, they are traditionally considered as exceptions within the context of a mainstream of vocal polyphony.
Representing nearly thirty years of research by one of the leading scholars in the field, this series of in-depth studies examines selected aspects of the music of the great Spanish composer in the late Renaissance, Tom Luis de Victoria.
Representing nearly thirty years of research by one of the leading scholars in the field, this series of in-depth studies examines selected aspects of the music of the great Spanish composer in the late Renaissance, Tom Luis de Victoria.
By the mid-nineteenth century music publishing was no longer the provenance of shopkeepers, instrument makers or individual scholars, but a business enterprise undertaken by a new breed of Victorian entrepreneur.
By the mid-nineteenth century music publishing was no longer the provenance of shopkeepers, instrument makers or individual scholars, but a business enterprise undertaken by a new breed of Victorian entrepreneur.
The experience of music performance is always far more than the sum of its sounds, and evidence for playing and singing techniques is not only inscribed in music notation but can also be found in many other types of primary source materials.
The experience of music performance is always far more than the sum of its sounds, and evidence for playing and singing techniques is not only inscribed in music notation but can also be found in many other types of primary source materials.
The second half of the eighteenth century witnessed a flourishing of the string quartet, often represented as a smooth and logical progression from first violin-dominated homophony to a more equal conversation between the four voices.
The second half of the eighteenth century witnessed a flourishing of the string quartet, often represented as a smooth and logical progression from first violin-dominated homophony to a more equal conversation between the four voices.
The concept of stylus phantasticus (orfantastic style ) as it was expressed in free keyboard music of the north German Baroque forms the focus of this book.
The concept of stylus phantasticus (orfantastic style ) as it was expressed in free keyboard music of the north German Baroque forms the focus of this book.
Described by Maurice Ravel as one of the most considerable talents in French music of his generation, Darius Milhaud remains a largely neglected composer.
Described by Maurice Ravel as one of the most considerable talents in French music of his generation, Darius Milhaud remains a largely neglected composer.
Mark Berry explores the political and religious ideas expounded in Wagner's Ring through close attention to the text and drama, the multifarious intellectual influences upon the composer during the work's lengthy gestation and composition, and the wealth of Wagner source material.
Mark Berry explores the political and religious ideas expounded in Wagner's Ring through close attention to the text and drama, the multifarious intellectual influences upon the composer during the work's lengthy gestation and composition, and the wealth of Wagner source material.
Serious scholarship on the music of Ralph Vaughan Williams is currently enjoying a lively revival after a period of relative quiescence, and is only beginning to address the enduring affection of concert audiences for his music.
