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Contains nearly 1000 pages of precise and accessible information on all musical subjects.
Gives biographical information for over 2,000 composers, as well as entries on compositions, instruments, and terms.
Revised edition of Harvard dictionary of music.
Noted lexicographer Thomsett here dissects more than 1,400 terms, a buttula to zither, with clarity and precision; 383 high quality original illustrations render concepts that make verbal explanation difficult. Fully cross referenced, this dictionary is an authoritative source for researchers, musicologists, professional musicians, teachers and students of music, and educated members of the public. The richly detailed and comprehensive dictionary proper is followed by a five-language glossary of instruments. An illustrated notation guide provides identification of symbols used in musical scores. The final section comprehensively covers scales, keys and chords.
Contemplating Music is a book for all serious music lovers. Here is the first full-scale of ideas and ideologies in music over the past forty years; a period during which virtually every aspect of music was transformed. With this book, Joesph Kerman establishes the place of music study firmly in the mainstream of modern intellectual history. He treats not only the study of the history of Western art music--with which musicology is tradtionally equated--but also sometimes vexed relations between music history and other fields: music theory and analysis, ethnomusicology, and music criticism. Kerman sees and applauds a change in the study of music towarda critical orientation, As examples, he presents a fascinating vignettes of Bach research in the 1950's and Beethoven studies in the 1960's. He sketched the work of prominent scholars and theorists: Thurston Dart, Charles Rosen, Leonard B. Meyer, Heinrich Schenker, Miltion Babbit, and many others. And he comments on such various subjects as the amazing absorption of Stephen Foster's songs into the cannons of black music, the new intensity of Verdi research, controversies about performance on historical instruments, and the merits and demerits of The New Grove Dictionary of Music and Musicians. Comtemplating Music is fulled with wisdom and trenchant commmentary. It will spark controversy among musicologists of all stripes and will give many musicians and amateurs an entirely new perspective on the world of music.
Named a Library Journal Best Reference of 2023 - "Bravo! An invaluable source for scholars and concertgoers.” - Library Journal In the history of the Western musical tradition, the Baroque period traditionally dates from the turn of the 17th century to 1750. The beginning of the period is marked by Italian experiments in composition that attempted to create a new kind of secular musical art based upon principles of Greek drama, quickly leading to the invention of opera. The ending is marked by the death of Johann Sebastian Bach in 1750 and the completion of George Frideric Handel’s last English oratorio, Jephtha, the following year. The Historical Dictionary of Baroque Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on composers, instruments, cities, and technical terms. This book is an excellent resource for students, researchers, and anyone wanting to know more about baroque music.
This pocket-sized dictionary presents current and correct notation practices in an easy-to-use format. Generously illustrated and concise, this book is essential to any musician looking for a handy reference for the correct notation of music. A most welcome and beneficial source for every musician, whether using a pencil or a computer.
This collection of essays by gifted musician and writer Rosen covers a broad range of musical forms, historical periods, and issues. They court controversy and offer enlightenment on subjects as diverse as music dictionaries and the aesthetics of stage fright.
This critical study locates musical monumentality, a central property of the nineteenth-century German repertoire, at the intersections of aesthetics and memory. In examples including Beethoven, Liszt, Wagner and Bruckner, Rehding explores how monumentality contributes to an experiential music history and how it conveys the sublime to the listening public.