In the early seventeenth century, enthusiasm for the violin swept across Europe--this was an instrument capable of bewitching virtuosity, with the power to express emotions in a way only before achieved with the human voice.
This annotated bibliography uncovers the wealth of resources available on the life and music of John Cage, one of the most influential and fascinating composers of the twentieth-century.
In Roma Music and Emotion, author Filippo Bonini Baraldi forges a much-needed theory of music, emotion, and empathy from an anthropological perspective, addressing the failure of the prevailing psychological theories on music and emotion to account for non-western musical cultures.
Taking up questions and issues in early chant studies, this volume of essays addresses some of the topics raised in James McKinnon's The Advent Project: The Later Seventh-Century Creation of the Roman Mass, the last book before his untimely death in February 1999.
Mendelssohn and the Organ is the first comprehensive historical-critical study in any language to examine the role of the organ in Mendelssohn's personal and professional career.
Composers in the Classroom is a bio-bibliographical dictionary, chronicling the careers and work of over 120 composers associated with conservatories, colleges, and universities in the United States and Puerto Rico.
When Olivier Messiaen (1908-1992) completed the vast opera Saint Fran,s d,Assise in 1983, he was mentally and physically exhausted, and believed that this monumental work would be his final compositional statement.
The Routledge Companion to Applied Musicology brings together academics, artist-researchers, and practitioners to provide readers with an extensive and authoritative overview of applied musicology.
Based on years of detailed and extensive interviews, and supplemented by a wide range of archival material, Growing with Canada showcases the men and women who came to Canada and the roles they played in developing the country's musical culture.
Eroticism in Early Modern Music contributes to a small but significant literature on music, sexuality, and sex in sixteenth- and seventeenth-century Europe.
Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation.
The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present.
Derived from a popular series of lecture-recitals presented by Carol Montparker over the past several years, The Composer's Landscape features eight insightful essays on the piano repertoire.
English keyboard music reached an unsurpassed level of sophistication in the late sixteenth and early seventeenth centuries as organists such as William Byrd and his students took a genre associated with domestic, amateur performance and treated it as seriously as vocal music.
Classical Concert Studies: A Companion to Contemporary Research and Performance is a landmark publication that maps out a new interdisciplinary field of Concert Studies, offering fresh ways of understanding the classical music concert in the twenty-first century.
Masque and Opera in England, 1656-1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688-89.
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.
In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods.
In this study, Erin Minear explores the fascination of Shakespeare and Milton with the ability of music-heard, imagined, or remembered-to infiltrate language.
Originally published in 1943 and subsequently as a revised and enlarged edition in 1978, Musical Instruments has long been held in high regard, not only for its erudition, but for its originality of approach.
The differences between Old-Roman, Ambrosian, Aquileian, Gallican, and Hispanic chant, and their interconnections with each other and the Gregorian chant occupied Michel Huglo in his early career, although he returned to these questions in the 1980s and 1990s.
Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes.
In the first half of the twentieth century, modernist works appeared not only in obscure little magazines and books published by tiny exclusive presses but also in literary reprint magazines of the 1920s, tawdry pulp magazines of the 1930s, and lurid paperbacks of the 1940s.
Linguistics for Singers: An Introduction is a textbook and manual that provides singers with a foundation in linguistic features of four major singing languages-English, Italian, French, and German-and shows how these features can be used to inform vocal performance and interpretation.
Composers in the Classroom is a bio-bibliographical dictionary, chronicling the careers and work of over 120 composers associated with conservatories, colleges, and universities in the United States and Puerto Rico.
Excursions in World Music is a comprehensive introductory textbook to the musics of the world, creating a panoramic experience for students by engaging the many cultures around the globe, and highlighting the sheer diversity to be experienced in the world of music.
