Aesthetics = a History of Western Musical Aesthetics, Ed. Edward Lippman. Lincoln: University

BIBLIOGRAPHYThe following bibliography lists introductory studies and is intended to help students in the preparation of course papers. All works listed here are in English. In most cases, each of these books and articles contains either its own bibliography or copious footnotes that suggest yet additional useful sources for research. For help in the challenging task of writing about the ephemeral art of music, see the essay “Writing a Research Paper on a Musical Topic” by Professor Sterling Murray contained in the Student Workbook for Music in Western Civilization.Abbreviations:Aesthetics = A History of Western Musical Aesthetics, ed. Edward Lippman. Lincoln: University of Nebraska Press, 1992.Age of the Renaissance = Music in the Age of the Renaissance, Leeman Perkins. New York: Norton, 1999.Antiquity = Antiquity and the Middle Ages, ed. James McKinnon, in the series Man and Society. Englewood Cliffs, NJ: Prentice Hall, 1991.Baroque Music = Baroque Music, 3rd ed., Claude V. Palisca. Upper Saddle River, NJ: Prentice Hall, 1991.Baroque Music 1580-1750 = Baroque Music: Music in Western Europe 1580-1750, John Walter Hill. New York: Norton, 2005.Cambridge = The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook and Anthony Pople. Cambridge: Cambridge University Press, 2004.1 Classical Era = The Classical Era: From the 1740s to the end of the 18th Century, ed. Neal Zaslaw, in the series Man and Music. Englewood Cliffs, NJ: Prentice Hall, 1989.Classical Style = The Classical Style: Haydn, Mozart, and Beethoven, expanded ed., ed. Charles Rosen. New York: Norton, 1997.Composers = Composers on Modern Musical Culture: An Anthology, ed. Bryan R. Simms. New York: Schirmer Books, 1999.Composition = Musical Composition in the Twentieth Century, ed. Arnold Whittall. New York: Oxford University Press, 1999.Concise History = Romantic Music: A Concise History from Schubert to Sibelius, ed. Arnold Whittall. New York: Thames and Hudson, 1987.Early Baroque = The Early Baroque Era: From the Late 16th Century to the 1660s, ed. Curtis Price, in the series Music and Society. Englewood Cliffs, NJ: Prentice Hall,1993.Early Romantic = The Early Romantic Era: Between Revolutions: 1789 and 1848, ed. Alexander Ringer, in the series Music and Society. Englewood Cliffs, NJ: PrenticeHall, 1990. EM = Early MusicEuropean Capitals = Music in European Capitals: The Galant Style 1720-1780, Daniel Heartz. New York: Norton, 2003.Exploring = Exploring Twentieth-Century Music: Tradition and Innovation, Arnold Whittall. Cambridge: Cambridge University Press, 2003.2 Garland = The Garland Library of the History of Western Music, ed. Ellen Rosand. 14 vols. New York: Garland, 1985.Hearing the Motet = Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Dolores Pesce. New York: Oxford University Press, 1997.History in Documents = Music in the Western World: A History in Documents, ed. Piero Weiss and Richard Taruskin. New York: Schirmer Books, 1984.Humanism = Humanism in Italian Renaissance Musical Thought, Claude V. Palisca. New Haven, CT: Yale University Press, 1985.Hundred Years = A Hundred Years of Music, Gerald Abraham. Chicago: Aldine, 1964.JAMS = Journal of the American Musicological SocietyJM = Journal of MusicologyJosquin Companion = The Josquin Companion, ed. Richard Sherr. Oxford: Oxford University Press, 2000.Late Baroque = The Late Baroque Era: From the 1680s to 1740, ed. George J. Buelow, in the series Man and Society. Englewood Cliffs, NJ: Prentice Hall, 1994.Late Renaissance = Music in Late Renaissance and Early Baroque Italy, Tim Carter. London: B. T. Batsford, 1992.Late Romantic = The Late Romantic Era, ed. Jim Samson, in the series Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1991.Medieval Music = Medieval Music, Richard H. Hoppin. New York: Norton, 1978.Medieval Music 1978 = Medieval Music, John Caldwell. Bloomington: Indiana University Press,1978.3 Middle Ages = Music of the Middle Ages: Style and Structure, David Fenwick Wilson. New York: Schirmer Books, 1990.Modern Music = Modern Music and After, Paul Griffiths. New York: Oxford UniversityPress, 1995.Modern Times = Modern Times: From World War I to the Present, ed. Robert P. Morgan, in the series Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1993.Music as Concept = Music as Concept and Practice in the Late Middle Ages, ed. Reinhard Strohm and Bonnie J. Blackburn. Oxford: Oxford University Press, 2001.Music of the Baroque = Music of the Baroque, David Schulenberg. Oxford: Oxford University Press, 2001.Music Since 1900 = Music Since 1900, Nicolas Slonimsky. 5th ed. New York: Schirmer Books, 1994.Musical Style = Twentieth-Century Music: A History of Musical Style in Modern Europe and America, Robert Morgan. New York: Norton, 1991.NCM = 19th Century MusicNew Directions = New Directions in Music, 7th ed., David Cope. Prospect Heights, IL: Waveland Press, 2001.NG = The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie. London: Macmillan, 2001 (including Grove Music Online).New Music = The New Music: The Avant-Garde Since 1945, 2nd ed., Reginald SmithBrindle. Oxford and New York: Oxford University Press, 1987.4 New Oxford 9 = The New Oxford History of Music, vol. 9 (Romanticism [1830–1890]), ed. Gerald Abraham. Oxford: Oxford University Press, 1990.New Oxford 10 = The Modern Age: 1890–1960. New Oxford History of Music, vol. 10. London: Oxford University Press, 1974.Oxford History = The Oxford History of the English Music, John Caldwell. Vol. 1. Oxford: Clarendon Press, 1991.Performance = Readings in the History of Music in Performance, ed. Carol MacClintock.Bloomington: Indiana University Press, 1979.PRMA = Proceedings of the Royal Musical AssociationPyramids = Pyramids at the Louvre, Glenn Watkins. Cambridge, MA: Harvard University Press, 1994.Renaissance = The Renaissance: From the 1470s to the End of the 16th Century, ed. Iain Fenlon, in the series Man and Society. Englewood Cliffs, NJ: Prentice Hall, 1989.Renaissance Music = Renaissance Music: Music in Western Europe, 1400-1600, Allan W. Atlas. New York: Norton, 1998.Rise of European Music = The Rise of European Music 1380-1500, Reinhard Strohm. Cambridge: Cambridge University Press, 1993.Romantic Generation = The Romantic Generation, Charles Rosen. Cambridge, MA: Harvard University Press, 1995.Romantic Music = Romantic Music: A History of Musical Style in Nineteenth-Century Europe, Leon Plantinga. New York: Norton, 1984.Romanticism in Music = Nineteenth-Century Romanticism in Music, 3rd ed., Rey M. Longyear. Englewood Cliffs, NJ: Prentice-Hall, 1988.5 Short History = A Short History of Opera, 4th ed., Donald Grout and Hermine Weigel Williams. New York: Columbia University Press, 2003.Since 1945 = Music Since 1945: Issues, Materials, and Literature, Elliott Schwartz and Daniel Godfrey. New York: Schirmer Books, 1993.Sonata Forms = Sonata Forms, Rev. ed., Charles Rosen. New York: Norton, 1987.Source Readings = Source Readings in Music History, Rev. ed., ed. Oliver Strunk. (Leo Treitler, gen. ed.) New York: Norton, 1998.Studies = Studies in the History of Italian Music and Music Theory, Claude V. Palisca, Oxford: Clarendon Press, 1994.Style and Structure = Music of the Twentieth Century: Style and Structure, 2nd ed., BryanR. Simms. New York: Schirmer Books, 1986.Twentieth-Century Music = Twentieth-Century Music: An Introduction, 4th ed., Eric Salzman. Englewood Cliffs, NJ: Prentice Hall, 2002.Viennese School = Haydn, Mozart and the Viennese School 1740-1780, Daniel Heartz. New York: Norton, 1995.Western Music Theory = Cambridge History of Western Music Theory, ed. Thomas Christensen. Cambridge: Cambridge University Press, 2002.PART I: ANTIQUITY AND THE MIDDLE AGESCHAPTER 1: Music in Ancient GreeceSurveys:Barbera, André. “Greece.” In New Harvard Dictionary of Music, edited by Don Michael Randel. Cambridge, MA: Harvard University Press, 2003.6 Mathiesen, Thomas J. Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages. Lincoln: University of Nebraska Press, 1999.———. “Greece I. Ancient,” in NG.———. “Greek Music Theory,” in Western Music Theory, 109–135.Source Readings:Barker, Andrew, ed. Greek Musical Writings: Vol. I. The Musician and His Art. Cambridge: Cambridge University Press, 1984.———. Greek Musical Writings: Vol. II. Harmonic and Acoustic Theory. Cambridge: Cambridge University Press, 1989.Mathiesen, Thomas J., ed. “Greek Views of Music,” in Source Readings, 3–109.Weiss, Piero, and Richard Taruskin, eds. History in Documents, 1–14.Specialized Studies:Barbera, André, ed. Music Theory and Its Sources: Antiquity and the Middle Ages. Notre Dame, IN: Notre Dame University Press, 1990.Barbour, J. Murray. “The Principles of Greek Notation.” JAMS 13 (1960): 1–17.Maas, Martha, and Jane McIntosh Snyder. Stringed Instruments of Ancient Greece. New Haven, CT: Yale University Press, 1989.CHAPTER 2: Antiquity to the Middle Ages: Music in Rome, Jerusalem and the Early Christian WorldSurveys:See the entry “Plainchant. Introduction: Chant in East and West,” in NG.7 Hoppin, Richard H. “Historical Introduction (to A.D. 1000)” and “Christian Liturgy to A.D. 1000,” in Middle Ages, 1–42.Idelsohn, Abraham Z. Jewish Music and Its Historical Development. New York: Holt, 1919. Reprint, New York: Dover, 1995.McKinnon, James. “Christian Antiquity,” in Antiquity, 68–87.Wellesz, Egon. A History of Byzantine Music and Hymnody. 2nd rev. ed. Oxford: Clarendon Press, 1961.Source Readings:Boethius, Anicius Manlius Severinus. Fundamentals of Music. Translated by Calvin Bower. Edited by Claude V. Palisca. New Haven, CT: Yale University Press, 1989.McKinnon, James, ed. Music in Early Christian Literature. Cambridge: Cambridge University Press, 1987.———. “Early Christian Views of Music” and “Music as a Liberal Art,” in Source Readings, 113–155.Weiss, Piero, and Richard Taruskin, eds. “The Heritage of Antiquity,” in History in Documents, 15–40.Specialized Studies: Jeffrey, Peter. “Rome and Jerusalem: From Oral Tradition to Written Repertory in Two Ancient Liturgical Centers.” In From Rome to the Passing of the Gothic: Festschrift for David G. Hughes, edited by Graeme Boone, 207–248. Cambridge, MA: Harvard University Department of Music, 1995.8 Lippmann, Edward A. “The Place of Music in the System of Liberal Arts.” In Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, edited by Jan LaRue et al., 545–559. New York: Norton, 1966.McKinnon, James W. “The Question of Psalmody in the Ancient Synagogue.” Early Music History 6 (1986): 159–191.CHAPTER 3: Music in the Monastery and the ConventMusic:The Liber Usualis. Tournai: Desclée, 1921. A useful collection of thousands of melodies serving the liturgy of the Roman Catholic Church prior to 1962.Surveys:See the entries “Plainchant. History to the 10th Century,” “Plainchant. Basic Repertory,” and “Plainchant. Style,” in NG.Crocker, Richard L. An Introduction to Gregorian Chant. New Haven, CT: Yale University Press, 2000.Hiley, David. Western Plainchant: A Handbook. Oxford: Clarendon Press, 1993.Hoppin, Richard H. “Christian Liturgy to A. D. 1000,” “Gregorian Chant: General Characteristics,” “The Music of the Offices,” and “The Roman Mass,” in Middle Ages, 42–142.McKinnon, James. “The Emergence of Gregorian Chant in the Carolingian Era,” in Antiquity, 88–119.Wilson, David Fenwick. “Liturgy and Chant,” in Middle Ages, 37–67.Source Readings:9 McKinnon, James, ed. “Chant and Liturgy in the Early Middle Ages,” in Source Readings, 159–186.Specialized Studies:Gallagher, Sean, ed. Western Plainchant in the First Millennium: Studies in the MedievalLiturgy and its Music. Burlington, VT: Ashgate, 2003.King, James C., and Werner Vogler, eds. The Culture of the Abbey of St. Gall. St. Gall: Abbey Archives, 2000.CHAPTER 4: Music Theory In The MonasterySurveys:See the entry “Theory, Theorists. Early Middle Ages,” in NG.Wilson, David Fenwick. “Medieval Chant,” in Middle Ages, 78–96.Sources Readings:McKinnon, James, ed. “Music Theory and Pedagogy in the Middle Ages,” in Source Readings, 189–218.Palisca, Claude V., ed. Hucbald, Guido, and John on Music. Translated by Warren Babb. New Haven, CT: Yale University Press, 1978.Weiss, Piero, and Richard Taruskin, eds. Various extracts, in History in Documents, 41–55.Specialized Studies:Bower, Calvin. “The Transmission of Ancient Music Theory into the Middle Ages,” in Western Music Theory, 136–167.10 Cohen, David. “Notes, Scales and Modes in the Earlier Middle Ages,” in Western Music Theory, 307–363.CHAPTER 5: Later Medieval ChantSurveys: See the entry “Plainchant. Expansion of the Repertory,” in NG.Hiley, David. “Tropes,” “Sequences,” and “Liturgical Drama.” Pages 172–235 in Western Plainchant: A Handbook. Oxford: Clarendon Press, 1993.Hoppin, Richard H. “Expansion of the Liturgy in the Later Middle Ages: Tropes and Sequences,” in Medieval Music, 143–186.Source Readings:McKinnon, James, ed. “Chant and Liturgy in the Early Middle Ages,” in Source Readings, 159–186.Specialized Studies:Atkinson, Charles. “The Earliest Agnus Dei Melody and Its Tropes.” JAMS 30 (1977): 1–19.Smolden, William L. The Music of the Medieval Church Dramas. London: Oxford University Press, 1980.Composers:Hildegard of BingenFassler, Margot. “Music for the Love Feast: Hildegard of Bingen and the Song of Songs,” in Women’s Voices Across Musical Worlds, edited by Jane Bernstein, 92–117. Boston: Northeastern University Press, 2004.11 Hildegard of Bingen. Symphonia. Edited by Barbara Newman. Ithaca, NY: Cornell University Press, 1988.———. Book of Divine Works with Letters and Songs. Edited by Matthew Fox. Santa Fe,NM: Bear & Company, 1987.———. Secrets of God: Writings of Hildegard of Bingen. Edited by Sabina Flanagan. Boston: Shambhala, 1996.CHAPTER 6: Troubadours And TrouvèresSurveys:See the entry “Troubadours, Trouvères,” in NG.Aubrey, Elizabeth. The Music of the Troubadours. Bloomington: Indiana University Press, 1997.Bogin, Meg. The Women Troubadours: An Introduction to the Women Poets of 12th–Century Provence and a Collection of Their Poems. New York: Norton, 1980.Dronke, Peter. The Medieval Lyric. 3rd ed. Rochester, NY: Brewer, 1996.Vander Werf, Hendrik. The Chansons of the Troubadours and Trouvères: A Study of the Melodies and Their Relation to the Poems. Utrecht: Oosthoek, 1972.Wilson, David Fenwick. “Secular Monophonic Music,” in Middle Ages, 165–180.Source readings:Doss-Quinby, E., J. T. Grimbert, W. Pfeffer, and E. Aubrey, eds. The Songs of the Women Trouvères. New Haven, CT: Yale University Press, 2001.Weiss, Piero, and Richard Taruskin, eds. Various extracts, in History in Documents, 55–59.12 Specialized Studies:Page, Christopher. The Owl and the Nightingale: Musical Life and Ideas in France 1100–1300. London: Dent, 1989.Peters, Gretchen. “Urban Minstrels in Late Medieval Southern France: Opportunities, Status and Professional Relationships.” Early Music History 19 (2000): 201–235.CHAPTER 7: Early PolyphonySurveys:See the entry “Organum,” in NG.Caldwell, John. “The Growth of Polyphony, 900–1160,” in Medieval Music 1978, 114-130.Gushee, Marion S. “The Polyphonic Music of the Medieval Monastery, Cathedral and University,” in Antiquity, 143–169.Hoppin, Richard. “The Rise of Polyphony,” in Medieval Music, 187–214.Wilson, David Fenwick. “Early Polyphony,” “Free Organum,” and “The Sacred Music ofSouthern France,” in Middle Ages, 97–163.Source Readings:Palisca, Claude V., ed. Hucbald, Guido, and John on Music. Translated by Warren Babb. New Haven, CT: Yale University Press, 1978, 77–82 and 159–161.Specialized Studies:Karp, Theodore. The Polyphony of St. Martial and Santiago de Compostela. 2 vols. Oxford: Oxford University Press, 1992.13 Planchart, Alejandro. The Repertoire of Tropes at Winchester. 2 vols. Princeton, NJ: Princeton University Press, 1979.CHAPTER 8: Polyphony at Notre DameSurveys:See the entries “Organum, 8–10,” “Magnus liber,” “Discant,” “Leoninus,” and Perotinus.” in NG.Hoppin, Richard. “The School of Notre Dame,” in Medieval Music, 215–255.Wilson, David Fenwick. “Sacred Music in Paris,” in Middle Ages, 189–223.Source Readings:Anonymous IV. De mensuris et discantu. In The Music Treatise of Anonymous IV: A New Translation. Translated by Jeremy Yudkin. Neuhausen-Stuttgart: Hänsler-Verlag, 1985.McKinnon, James, ed. “Discantus positio vulgaris” and “De musica mensurabili,” in Source Readings, 218–226.Specialized Studies:Apel, Willi. “Square Notation.” In The Notation of Polyphonic Music. 5th ed. Cambridge,MA: Medieval Academy of America, 1961.Baltzer, Rebecca. “Thirteenth-Century Illuminated Miniatures and the Date of the Florence Manuscript.” JAMS 25 (1971): 1–18.Roesner, Edward, ed. Le Magnus liber organi de Notre Dame de Paris. Monaco: L’Oiseau-Lyre, 1993–.14 Wright, Craig. Music and Ceremony at Notre Dame of Paris: 500–1550. Cambridge: Cambridge University Press, 1989.CHAPTER 9: Conductus and MotetSurveys:See the entries “Philippe the Chancellor,” “Conductus,” and “Motet: France: Middle Ages,” in NG.Hoppin, Richard. “The School of Notre Dame, II: Conductus and Motet,” in Medieval Music, 242–255.Wilson, David Fenwick. “The Early Motet (ca. 1200–1270)” and “The Continental Motet of the Late Thirteenth Century (ca. 1270–1300),” in Middle Ages, 230–271.Specialized Studies:Baltzer, Rebecca A. “The Polyphonic Progeny of an Et Gaudebit,” in Hearing the Motet, 17–27.Everist, Mark. French Motets in the Thirteenth Century: Music, Poetry and Genre. Cambridge: Cambridge University Press, 1994.Falck, Robert. The Notre Dame Conductus: A Study of the Repertory. Henryville, PA: Institute of Mediaeval Music, 1981.Payne, Thomas B. “Politics and Polyphony: Philip the Chancellor's Contribution to the Music of the Notre Dame School.” PhD diss., University of Chicago, 1991.CHAPTER 10: Music Theory of the Ars Antiqua and Ars NovaSurveys:15 Busse Berger, Anna Maria. “The Evolution of Rhythmic Notation,” in Western Music Theory, 628–656.Herlinger, Jan. “Music Theory of the Fourteenth and Fifteenth Centuries,” in Music as Concept, 244–300.Hoppin, Richard. “From Modal to Mensural Notation,” in Medieval Music, 333–338.Wilson, David Fenwick. “Mensural Rhythm,” in Middle Ages, 255–260.Source Readings:McKinnon, James, ed. Translations of treatises by Franco of Cologne, Jean des Murs, and Jacques de Liège in Source Readings, 226–245, 261–269, and 269–278.Weiss, Piero, and Richard Taruskin, eds. Translations of treatises by Jean des Murs and Jacques de Liège, as well as the papal bull Docta sanctorum, in History inDocuments, 67–72.Specialized Studies:Crosby, Alfred W. “Music.” Pages 139–163 in The Measure of Reality: Quantification and Western Society, 1250–1600. Cambridge: Cambridge University Press, 1997.Fuller, Sarah. “A Phantom Treatise of the Fourteenth Century? The Ars Nova.” JM4 (1985–1986): 23–50.CHAPTER 11: Music at the Court of the French KingsSurveys:See the entries “Roman de Fauvel,” “Philippe de Vitry,” and “Isorhythm,” in NG.16 Hoppin, Richard. “The Ars Nova in France,” in Medieval Music, 353–374.Leech-Wilkinson, Daniel. “Ars Antiqua-Ars Nova-Ars Subtilior,” in Antiquity, 219–240.Wilson, David Fenwick. “The Continental Motet in the Fourteenth Century,” in Middle Ages, 289–318.Source Readings:Philippe de Vitry. Ars nova. A translation of this treatise attributed to Vitry is given by Leon Plantinga, in Journal of Music Theory 5 (1961): 204–223.Specialized Studies:Avril, François, Nancy Regalado, and Edward Roesner, eds. Le Roman de Fauvel and Other Works: Facsimile with Introductory Essay. New York: Broude Brothers, 1986.Bent, Margaret, and Andrew Wathey, eds. Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque nationale de France, MS français 146. Oxford: Clarendon Press, 1998.Leech-Wilkinson, Daniel. “The Emergence of Ars Nova.” JM 13 (1995): 285–317.McGee, Timothy J. Medieval Instrumental Dances. Bloomington: Indiana University Press, 1989.CHAPTER 12: Fourteenth-Century Music in Reims: Guillaume de MachautSurveys:Apel, Willi. “The Development of French Secular Music During the Fourteenth Century.” Musica Disciplina 27 (1973): 41–59.Hoppin, Richard. “Guillaume de Machaut,” in Medieval Music, 397–432.17 Wilson, David Fenwick. “Polyphonic Song in Fourteenth–Century France,” in Middle Ages, 329–356.Specialized Studies:Leech-Wilkinson, Daniel. Machaut’s Mass: An Introduction. New York: Oxford University Press, 1990.Reaney, Gilbert. “Fourteenth-Century Harmony and the Ballades, Rondeaux and Virelais of Guillaume de Machaut.” Musica Disciplina 7 (1953): 129–146.Robertson, Anne W. “The Mass of Guillaume de Machaut in the Cathedral of Reims.” In Plainsong in the Age of Polyphony, edited by Thomas F. Kelly, 100–139. Cambridge: Cambridge University Press, 1992. ———. Guillaume de Machaut and Reims: Context and Meaning in his Musical Works. Cambridge: Cambridge University Press, 2002.Composers:MachautEarp, Lawrence. Guillaume de Machaut: A Guide to Research. New York: Garland, 1995.CHAPTER 13: Avignon, Symbolic Scores, and the Ars SubtiliorSurveys:See the entries “Avignon” and “Ars subtilior,” in NG.Hoppin, Richard. “Transition to the Renaissance,” in Medieval Music, 469–501.Source Readings:18 Philippus de Caserta. Tractarum figuarum (Treatise on Note Shapes). Translated by Philip Schreur. Lincoln: University of Nebraska Press, 1989.Specialized Studies:Leech-Wilkinson, Daniel. “Articulating Ars Subtilior Song.” Early Music 31 (2003): 6–18.Tomasello, Andrew. Music and Ritual at Papal Avignon. Ann Arbor, MI: UMI Research Press, 1983.PART II: THE LATE MIDDLE AGES AND THE RENAISSANCECHAPTER 14: Music in Florence 1350–1450Surveys:Beck, Elenora M. Singing in the Garden: Music and Culture in the Tuscan Trecento. Innsbruck: Bibliotheca Musicologica, 1998.Hoppin, Richard. “The Italian Ars Nova,” in Medieval Music, 433–469.Long, Michael. “Trecento Italy,” in Antiquity, 241–268.Wilson, David Fenwick. “Polyphonic Song in Fourteenth-Century Italy,” in Middle Ages,357–377.Source Readings:McKinnon, James, ed. “Marchetto of Padua,” in Source Readings, 251–261.Weiss, Piero, and Richard Taruskin, eds. Various extracts, in A History in Documents, 72–75.Specialized Studies:19 Herlinger, Jan. “What Trecento Music Theory Really Tells Us.” In Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, edited by E. Narmour and R. Solie, 177–197. Stuyvesant, NY: Pendragon, 1988.Long. Michael. “Francesco Landini and the Florentine Cultural Elite.” Early Music History 3 (1983): 83–99.Pirrotta, Nino. Music and Culture in Italy from the Middle Ages to the Baroque. Cambridge, MA: Harvard University Press, 1984.CHAPTER 15: Music at the Cathedral of FlorenceSurveys:Strohm, Reinhard. “Dufay and his Colleagues in Italy (1420–c. 1436),” in Rise of European Music, 153–181.Specialized Studies:Cumming, Julie E. The Motet in the Age of Dufay. Cambridge: Cambridge University Press, 1999.King, Ross. Brunelleschi’s Dome: How a Renaissance Genius Reinvented Architecture. New York: Walker, 2000.Nosow, Robert. “Dufay and the Cultures of Renaissance Florence,” in Hearing the Motet,104–121.Tacconi, Marica S. Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria del Fiore. Cambridge: Cambridge University Press, 2005.20 Trachtenberg, Marvin. “Architecture and Music Reunited: A New Reading of Dufay’s Nuper Rosarum Flores and the Cathedral of Florence.” Renaissance Quarterly 54 (2001): 740–775.Wright, Craig. “Dufay’s Nuper Rosarum Flores, King Solomon’s Temple, and the Veneration of the Virgin.” JAMS 47 (1994): 395–441.Composers:DufayFallows, David. Dufay. New York: Vintage, 1988.CHAPTER 16: Music in EnglandSurveys:See the entries “Rondellus,” “English Discant,” “Faburden,” “Carol,” and “Dunstaple,” inNG.Caldwell, John. “English Music from Norman Conquest to the Death of Dunstaple,” in Medieval Music 1978, 198–227.Harrison, Frank Ll. Music in Medieval Britain. 2nd ed. London: Routledge and Kegan Paul, 1963.Hoppin, Richard. “An English Epilogue,” in Medieval Music, 502–524.Perkins, Leeman. “The Contenance Angloise: English Music at Home and Abroad,” in Age of the Renaissance, 212–256.Strohm, Reinhard. “West and East,” in Rise of European Music, 197–238.Composers:Dunstaple21 Bent, Margaret. Dunstaple. New York: Oxford University Press, 1980.CHAPTER 17: Music at the Court of BurgundySurveys:See the entries “Chanson. 2. 1430 to About 1525,” “Binchois,” “Cantus Firmus,” and “Dufay,” in NG.Atlas, Allan, “French Secular Song,” in Renaissance Music, 57–76.Caldwell, John. “The Fifteenth Century, Especially France and the Low Countries,” in Medieval Music 1978, 230–257.Perkins, Leeman. “French Secular Music of the Fifteenth Century,” in Age of the Renaissance, 257–308.Strohm, Reinhard. “The Close of the Middle Ages,” in Antiquity, 269–312.Source Readings:Tomlinson, Gary, ed. Various extracts, in Source Readings, 311–316.Weiss, Piero, and Richard Taruskin, eds. Various extracts, in History in Documents, 79–83.Specialized Studies:Boone, Graeme. Patterns in Play: A Model for Text Setting in the Early Songs of Guillaume Dufay. Lincoln: University of Nebraska Press, 1999.Kemp, Walter H. Burgundian Court Song in the Time of Binchois. Oxford: Clarendon Press, 1990.Perkins, Leeman. “The Polyphonic Ordinary: From Pairs to Cycles,” in Age of the Renaissance, 352–370.22 Planchart, Alejandro. “The Origins and Early History of L’Homme armé.” JM 20 (2003):305–357.Strohm, Reinhard. “The Chanson and Binchois,” in Rise of European Music, 181–196.Wright, Craig. Music at the Court of Burgundy 1364–1419: A Documentary History. Henryville, PA: Institute of Mediaeval Music, 1979.Composers:BinchoisKirkman, Andrew, and Denis Slavin, eds. Binchois Studies. New York: Oxford University Press, 2000.DufayFallows, David. Dufay. New York: Vintage, 1988.CHAPTER 18: Music at the French Royal CourtSurveys:See the entries “Imitation,” “Ockeghem,” “Basiron,” and “Busnoys,” in NG.Atlas, Allan W. “Toward Abstraction in Mass and Motet” and “More Secular Song,” in Renaissance Music, 146–167 and 185–205.Source Readings:Tomlinson, Gary, ed. Extracts from Johannes Tinctoris’s Liber de arte contrapuncti, in Source Readings, 401–407.Specialized Studies:Macey, Patrick. “Josquin’s Misericordias Domini and Louis XI.” Early Music 19 (1991): 163–177.23 Meconi, Honey. “Ockeghem and the Motet-Chanson in Fifteenth-Century France.” In Johannes Ockeghem, edited by Philippe Vendrix, 381–402. Paris: Klincksieck, 1998.Perkins, Leeman. “Mass Ordinaries Based on Canonic Procedures,” in Age of the Renaissance, 372–374.———. “Musical Patronage at the Royal Court of France under Charles VII and Louis XI (1422–83).” JAMS 37 (1984): 507–66.Composers:BusnoysHiggins, Paula, ed. Method, Meaning and Context in Late Medieval Music. Oxford: Clarendon Press, 1999.OckeghemPicker, Martin. Johannes Ockeghem and Jacob Obtrecht: A Guide to Research. New York: Garland, 1988.CHAPTER 19: Music in the Low CountriesSurveys:Atlas, Allan W. “Instrumental Music” and “Masses Built on Multiple Cantus firmi,” in Renaissance Music, 215–233 and 309–311.Strohm, Reinhard. Music in Late Medieval Bruges. Oxford: Clarendon Press, 1985.Specialized Studies:Brown, Howard M., and Keith Polk. “Instrumental Music 1300–1520,” in Music as Concept, 97–161.24 Perkins, Leeman. “The Court Minstrels,” in Age of the Renaissance, 105–119.Polk, Keith. “Municipal Wind Music in Flanders in the Late Middle Ages.” Brass and Woodwind Quarterly 2 (1969): 1–15.Salmen, Walter. “Dances and Dance Music,” in Music as Concept, 162–190.Strohm, Reinhard. “Instrumental Ensemble Music” and “Keyboard Music,” in Rise of European Music, 357–374.Composers:ObrechtPicker, Martin. Johannes Ockeghem and Jacob Obrecht: A Guide to Research. New York: Garland, 1988.Wegman, Rob. Born for the Muses: The Life and Masses of Jacob Obrecht. Oxford: Clarendon Press, 1994.PART III: THE LATE RENAISSANCECHAPTER 20: Popular Music in Florence, 1475–1540Surveys:See the entries “Canti carascialeschi,” “Lauda,” “Frottola,” and “Madrigal,” in NG.Atlas, Allan W. “Lorenzo de’ Medici” and “The Madrigal,” in Renaissance Music, 208–214 and 428–440.Carter, Tim. “The City-States of Italy” and “The Early Madrigal,” in Late Renaissance, 23–32.Levy, Michael. “Lorenzo de’ Medici and ‘The Most Beautiful City’.” Pages 211–235 in Florence: A Portrait. Cambridge, MA: Harvard University Press, 1996.25 Macey, Patrick. Bonfires Songs: Savonarola’s Musical Legacy. Oxford: Clarendon Press,1998.Source Readings:Tomlinson, Gary, ed. “Baldassare Castiglione [The Book of the Courtier],” in Source Readings, 325–329.Specialized Studies:Fenlon, Iain, and James Haar. The Italian Madrigal in the Early Sixteenth Century. Cambridge: Cambridge University Press, 1988.Palisca, Claude V. “A Natural New Alliance of the Arts,” in Humanism, 333–368.Prizer, William. Courtly Pastimes: The Frottole of Marchetto Cara. Ann Arbor, MI: UMIResearch Press, 1980.Wilson, Blake. Music and Merchants: The Laudesi Companies of Republican Florence. Oxford: Oxford University Press, 1992.CHAPTER 21: Josquin des Prez and Music in FerraraSurveys:See the entries “Ferrara” and “Josquin des Prez,” in NG.Lockwood, Lewis. “Music at Ferrara under Ercole I d’Este (1471–1505).” Pages 121–212 in Music in Renaissance Ferrara: 1400–1505. Cambridge, MA: Harvard University Press, 1984.Prizer, William. “The North Italian Courts,” in Renaissance, 133–155.26 Strohm, Reinhard. “Josquin and his Competitors in Milan and Ferrara.” Pages 608–633 inThe Rise of European Music, 1380–1500. Cambridge: Cambridge University Press, 1993.Source Readings:Weiss, Piero, and Richard Taruskin, eds. “Josquin des Prez in the Eyes of His Contemporaries,” in History in Documents, 97–100.Specialized Studies:Atlas, Allan W. “Josquin’s Miserere mei, Deus,” in Renaissance Music, 274–277.Blackburn, Bonnie J. “Masses Based on Popular Songs and Solmization Syllables,” in Josquin Companion, 51–87.Macey, Patrick. “Savonarola and the Sixteenth-Century Motet.” JAMS 36 (1983): 422–452.———. “Josquin and Musical Rhetoric: Miserere mei, Deus and Other Motets,” in Josquin Companion, 485–530.Composers:Josquin des PrezLowinsky, Edward, ed. Proceedings of the International Josquin Festival-Conference. New York: Oxford University Press, 1976.Sherr, Richard, ed. Josquin Companion.CHAPTER 22: Music in Renaissance ParisSurveys:27 See the entries “François I,” “Attaingnant,” “Chanson 3. 1525 to the Mid-16th Century,” “Pavan,” and “Galliard,” in NG.Atlas, Allan W. “The Parisian Chanson,” in Renaissance Music, 424–428.Cazeaux, Isabelle. French Music in the Fifteenth and Sixteenth Centuries. Oxford: Blackwell, 1975.Freedman, Richard. “Paris and the French Court under François I,” in Renaissance, 174–196.Source Readings:Arbeau, Thoinot. Orchesography. Translated by Mary Steward Evans. Reprint, New York: Dover, 1967.Tomlinson, Gary, ed. “Francis I, King of France, Royal Privilege for Music Printing to Pierre Attaingnant,” in Source Readings, 330–331.Weiss, Piero, and Richard Taruskin, eds. “Music and Dancing as Social Graces,” in History in Documents, 150–157.Specialized Studies:Bernstein, Lawrence F. “Melodic Structure in the Parisian Chanson: A Preliminary Study of the Transmission of Musical Style.” In Studies in Musical Sources and Style: Essays in Honor of Jan LaRue, edited by E.K. Wolf and E.H. Roesner, 121–189. Madison, WI: A-R Editions, 1990.Brobeck, John T. “Musical Patronage in the Royal Chapel of France under Francis I.” JAMS 47 (1995): 187–239.Heartz, Daniel. Pierre Attaingnant: Royal Printer of Music; a Historical Study and Bibliographical Catalogue. Berkeley: University of California Press, 1969.28 Knecht, R. J. Renaissance Warrior and Patron: The Reign of Francis I. Cambridge: Cambridge University Press, 1984.Seward, Desmond. Prince of the Renaissance: The Life of François I. London: Macmillan, 1974.CHAPTER 23: Renaissance Instruments and Instrumental MusicSurveys:See the entries on the various instruments as well as the genres “Prelude,” “Ricercar,” “Fantasia,” and “Canzona,” in NG.Atlas, Allan W. “Instrumental Music,” in Renaissance Music, 367–391.Brown, Howard M., and Keith Polk. “Instrumental Music 1300–1520,” Music as Concept, 97–161.Ongaro, Giulio. “Musical Instruments.” Pages 149-171 in Music of the Renaissance. Westport, CT: Greenwood Press, 2003.Perkins, Leeman. “Performance Practice and Instrumental Music,” “Instrumental Repertoires: The Sources,” and “Instrumental Genres,” in Age of the Renaissance,757–775, 776–788, and 789–866.Source Readings:Bullard, Beth, ed. and trans. Musica getutscht: A Treatise on Musical Instruments by Sebastian Virdung. Cambridge: Cambridge University Press, 1993.Hettrick, William, ed. and trans. Musica instrumentalis deudsch: A Treatise on Musical Instruments (1529 and 1545) by Martin Agricola. Cambridge: Cambridge University Press, 1993.29 Specialized Studies:Kite-Powell, Jeffrey T. ed. A Performer’s Guide to Renaissance Music. New York: Schirmer Books, 1994.Polk, Keith. German Instrumental Music of the Late Middle Ages: Players, Patrons, and Performance Practice. Cambridge: Cambridge University Press, 1992.Southern, Eileen. The Buxheim Organ Book. Brooklyn, NY: Institute of Mediaeval Music, 1963.CHAPTER 24: Music in Three German CitiesSurveys:See the entries on “Maximilian I,” “Isaac,” “Luther,” and “Lassus,” in NG.Atlas, Allan W. “The Protestant Reformation,” in Renaissance Music, 510–527.Haar, James. “Munich at the Time of Orlande de Lassus,” in Renaissance, 243–262.Leaver, Robin A. “The Lutheran Reformation,” in Renaissance, 263–285.Perkins, Leeman. “Orlande de Lassus,” in Age of the Renaissance, 927–968.Picker, Martin. “The Habsburg Courts in the Netherlands and Austria, 1477–1530,” in Renaissance, 216–242.Source Readings:Tomlinson, Gary, ed. “Music and Religious Reform,” in Source Readings, 361–367.Weiss, Piero, and Richard Taruskin, eds. “The Triumph of Emperor Maximilian,” “Luther and Music,” and “The Swiss Reformers,” in History in Documents, 83–89 and 100-109.Specialized Studies: 30 Crook, David. “Tonal Compass in the Motets of Orlando di Lasso,” in Hearing the Motet,286–306.Keyl, Stephen. “Tenorlied, Discantlied, Polyphonic Lied: Voices and Instruments in German Secular Polyphony of the Renaissance.” EM 20 (1992): 434–445.Oettinger, Rebecca Wagner. Music as Propaganda in the German Reformation. Burlington, VT: Ashgate, 2001.Schalk, Carl. Music in Early Lutheranism: Shaping the Tradition (1524–1672). St. Louis,MO: Concordia Academic Press, 2001.Composers:IsaacPicker, Martin. Henricus Isaac: A Guide to Research. New York: Garland, 1991.LassusErb, James. Orlando di Lasso: A Guide to Research. New York: Garland, 1990.Roche, Jerome. Lassus. Oxford: Oxford University Press, 1982.CHAPTER 25: Rome and the Music of the Counter-ReformationSurveys:See the entries “Palestrina,” “Parody Mass,” and “Victoria,” in NG.Atlas, Allan W. “The Counter-Reformation in Italy and Spain,” in Renaissance Music, 580–605.Carter, Tim. “Sacred Polyphony in Late Sixteenth-Century Rome and Venice,” in Late Renaissance, 101–125.31 Perkins, Leeman. “Giovanni Pierluigi da Palestrina,” and “Tomás Luis de Victoria,” in Age of the Renaissance, 871–915.Reynolds, Christopher. “Rome: A City of Rich Contrast,” in Renaissance, 63–101.Source Readings:Tomlinson, Gary, ed. “Music and Religious Reform,” in Source Readings, 368–375.Weiss, Piero, and Richard Taruskin, eds. “The Counter-Reformation” and “Palestrina: Fact and Legend,” in History in Documents, 135–143.Specialized Studies:Lockwood, Lewis, ed. Pope Marcellus Mass: An Authoritative Score, Backgrounds and Sources, History and Analysis, Views and Comments. New York: Norton, 1975.Owens, Jessie Ann. “Palestrina at Work.” In Papal Music and Musicians in Late Medieval and Renaissance Rome, edited by Richard Sherr, 270–300. New York: Oxford University Press, 1998.Palisca, Claude V. “Bernardino Cirillo’s Critique of Polyphonic Church Music of 1549: Its Background and Resonance.” In Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, edited by Jessie Ann Owens and Anthony M. Cummings, 281–292. Warren, MI: Harmonie Park, 1997.Sherr, Richard. “Performance Practice in the Papal Chapel during the Sixteenth Century.”EM 15 (1987): 453–462.CHAPTER 26: Music in Elizabethan EnglandSurveys:See the entries “Henry VIII,” “Partsong,” “Elizabeth I,” and “Byrd,” in NG.32 Atlas, Allan. W. “Early Tudor England” and “Elizabethan England,” in Renaissance Music, 528–551 and 661–700.Caldwell, John. “The Period of the Reformation” and “The Elizabethan and Jacobean Period: Music for the Church,” in Oxford History, 267–388.Monson, Craig. “Elizabethan London,” in Renaissance, 304–340.Specialized Studies:Le Huray, Peter. Music and the Reformation in England, 1549–1660. New York: Oxford University Press, 1967.Monson, Craig. “Byrd, the Catholics, and the Motet,” in Hearing the Motet, 348–374.Stevens, John. Music and Poetry at the Early Tudor Court. London: Methuen, 1961.Turbet, Richard. Tudor Music: A Research and Information Guide. New York: Garland, 1994.Composers:ByrdHarley, John. William Byrd: Gentleman of the Chapel Royal. Burlington, VT: Ashgate, 1997.Kerman, Joseph. The Masses and Motets of William Byrd. London: Faber and Faber, 1981.TallisDoe, Paul. Tallis. 2nd ed. Oxford: Oxford University Press, 1976.CHAPTER 27: Music in Elizabethan EnglandSurveys:33 See the entries “Madrigal IV. The English Madrigal,” “Air 2. The English Ayre,” “Virginal 4. England,” “Morley,” and “Dowland,” in NG.Atlas, Allan W. “Elizabethan England,” in Renaissance Music, 661–700.Caldwell, John. “Secular Vocal Music 1575–1625” and “Instrumental Music 1575–1625” in Oxford History, 389–459.Monson, Craig. “Elizabethan London,” in Renaissance, 304–340.Perkins, Leeman. “Italian Madrigals Englished and English Madrigals,” in Age of the Renaissance, 715–723.Source Readings:Morley, Thomas. A Plain and Easy Introduction to Practical Music. Edited by R. Alec Harman. 2nd ed. New York: Norton, 1973.Weiss, Piero, and Richard Taruskin, eds. “Madrigals and Madrigalism,” in History in Documents, 143–145.Specialized Studies:Kerman, Joseph. The Elizabethan Madrigal: A Comparative Study. New York: AmericanMusicological Society, 1962.Le Huray, Peter. Music and the Reformation in England, 1549–1660. New York: Oxford University Press, 1967.Composers:DowlandPoulton, Diana. John Dowland: His Life and Works. Berkeley: University of California Press, 1972.Weelkes34 Brown, David. Thomas Weelkes: A Biographical and Critical Study. New York: Praeger, 1969.CHAPTER 28: The Later Madrigal in Ferrara and MantuaSurveys:See the entries “Ferrara,” “Luzzaschi,” “Gesualdo,” “Monteverdi,” and “Artusi,” in NG.Atlas, Allan W. “The Italian Madrigal,” in Renaissance Music, 634–653.Carter, Tim. “The Late Sixteenth-Century Madrigal,” in Music in Late Renaissance, 126–150.Perkins, Leeman. “Ferrara as a Center of Stylistic Innovation,” in Age of the Renaissance,681–693.Source Readings:Stevens, Denis, ed. The Letters of Claudio Monteverdi. New York: Columbia University Press, 1980.Tomlinson, Gary, ed. “Artusi” and “Monteverdi,” in Source Readings, 526–544.Weiss, Piero, and Richard Taruskin, eds. “Gesualdo, Nobleman Musician,” “The Most Musical Court in Europe,” and “The ‘Second Practice’,” in History in Documents,146–147, 147–150, and 171–174.Specialized Studies: Fenlon, Iain. Music and Patronage in Sixteenth-Century Mantua. 2 vols. Cambridge: Cambridge University Press, 1980–1982.Newcomb, Anthony. The Italian Madrigal at Ferrara, 1579–1597. Princeton, NJ: Princeton University Press, 1980.35 ———. “Courtesans, Muses, or Musicians? Professional Women Musicians in Sixteenth-Century Italy.” In Women Making Music: The Western Art Tradition, 1150–1950, edited by Jane Bowers and Judith Tick, 90–115. Urbana: University of Illinois Press, 1986.Composers:GesualdoArnold, Denis. Gesualdo. London: British Broadcasting Corporation, 1984.Watkins, Glen. Gesualdo: The Man and His Music. 2nd ed. Oxford: Clarendon Press, 1991.MonteverdiArnold, Denis, and Nigel Fortune. The New Monteverdi Companion. Oxford: Clarendon Press, 1985.Fabbri, Paolo. Monteverdi. Translated by Tim Carter. Cambridge: Cambridge University Press, 1994.Leopold, Silke. Monteverdi: Music in Transition. Translated by Anne Smith. Oxford: Oxford University Press, 1991.Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987.PART IV: BAROQUE MUSICCHAPTER 29: Early Baroque MusicSurveys:See the entries “Theory of the Affects,” “Continuo,” and “Monody,” in NG.36 Fortune, Nigel. “Italian secular monody from 1600 to 1635: An Introductory Study,” in Garland, V, 47–71.Hill, John Walter. “Introduction: Monarchy, Religion, and the Rhetoric of the Arts,” in Baroque Music 1580–1750, 1–21.Palisca, Claude V. “The Baroque Ideal” and “Origins and Foundations,” in Baroque Music, 1–29.Price, Curtis. “Music, Style, and Society,” in Early Baroque, 1–23.Schulenberg, David. “Transitions around 1600,” in Music of the Baroque, 40–58.Source readings:Lippman, Edward, ed. “Expression and Rhetoric,” in Aesthetics, 26–41.Murata, Margaret, ed. “Ancient and Modern Music” and “Agostino Agazzari: Of Playing upon a Bass with All Instruments,” in Source Readings, 521–554 and 621–628.Weiss, Piero, and Richard Taruskin, eds. “Basso Continuo and Figured Bass,” in History in Documents, 178–179.Specialized Studies:Arnold, Frank T. The Art of Accompaniment from a Through-Bass. 2 vols. Oxford: Oxford University Press, 1932. Reprint, New York: Dover, 1965.Carter, Tim. “Artusi, Monteverdi, and the Poetics of Modern Music.” In Musical Humanism and its Legacy: Essays in Honor of Claude V. Palisca, edited by Nancy Kovaleff Baker and Barbara Russano Hanning, 171–194. Stuyvesant, NY: Pendragon, 1992.Dahlhaus, Carl. Studies on the Origin on Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton, NJ: Princeton University Press, 1990.37 Palisca, Claude V. “The Artusi-Monteverdi Controversy,” in Studies, 54–88. CHAPTER 30: The Birth of Opera: Florence, Mantua, and VeniceSurveys:See the entries “Aria, §2, 17th-century Vocal Music,” “Opera, §III, 1, Early Opera, Humanist Court Music,” and “Recitative, §1, Up to 1800,” in NG.Carter, Tim. “The North Italian Courts,” in Early Baroque, 23–48.Grout, Donald, and Hermine Weigel Williams. “The Beginnings: Opera in Florence and Mantua,” in Short History, 41–59.Hill, John Walter. “Florence: Musical Spectacle and Drama, 1570–1650,” in Early Baroque, 121–145.———. “The Birth of Opera, Monody, and the Concerted Madrigal,” in Baroque Music: 1580–1750, 22–54.Palisca, Claude V. “The Recitative Style,” in Baroque Music, 30–57.Schulenberg, David. “Monteverdi and Early Baroque Music Drama,” in Music of the Baroque, 59–87.Source readings:Murata, Margaret, ed. “Jacopo Peri: Preface to The Music for Euridice,” in Source Readings, 659–661.Palisca, Claude V. “The ‘Camerata fiorentina’: A Reappraisal,” in Garland, XI, 45–80.———. “Theory of Dramatic Music,” in Humanism, 408–433.———. The Florentine Camerata: Documentary Studies and Translations. New Haven, CT: Yale University Press, 1989. 38 Savage, Roger, and Matteo Sansone. “Il corago and the Staging of Early Opera: Four Chapters from an Anonymous Treatise circa 1630.” EM 17(1989): 494–511.Weiss, Piero, and Richard Taruskin, eds. “The Earliest Operas,” in History in Documents,174–178.Specialized studies:Brown, Howard Mayer. “How Opera Began: An Introduction to Jacopo Peri’s Euridice (1600),” in Garland, XI, 1–45.Fenlon, Iain, and Peter Miller. Song of the Soul: Understanding Poppea. London: Royal Music Association, 1992.Pirrotta, Nino. “Temperaments and Tendencies in the Florentine Camerata” and “Monteverdi and the Problems of Opera.” Pages 217–253 in Music and Culture in Italy from the Middle Ages to the Baroque. Cambridge, MA: Harvard University Press, 1984.Pirrotta, Nino, and Elena Povoledo. Music and Theater from Poliziano to Monteverdi. Translated by Karen Eales. Cambridge: Cambridge University Press, 1982.Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley: University of California Press, 1991.Whenham, John, ed. Claudio Monteverdi: Orfeo. Cambridge: Cambridge University Press, 1986.Composers:MonteverdiArnold, Denis, and Nigel Fortune. The New Monteverdi Companion. Oxford: Clarendon Press, 1985.39 Fabbri, Paolo. Monteverdi. Translated by Tim Carter. Cambridge: Cambridge University Press, 1994.Leopold, Silke. Monteverdi: Music in Transition. Translated by Anne Smith. Oxford: Oxford University Press, 1991.Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987.CHAPTER 31: The Concerted Style in Venice and DresdenSurveys:See the entries “Cantata, §I, 2, The Italian Cantata to 1800: c1620–c1725 (iv) Venice,” “Madrigal, §3: The Concerted Madrigal,” and “Motet, §2, Italy,” in NG.Carter, Tim. “Sacred Music in the Early Seventeenth Century” and “From Madrigal to Cantata,” in Late Renaissance, 222–255.Palisca, Claude V. “The Rise of the Sacred Concerto,” “The Sacred Concerto in Germany,” and “Italian Cantata, Oratorio, and Opera at Mid Century: The Cantata,” in Baroque Music, 58–81, 100–113, and 114–123.Rosand, Ellen. “Venice, 1580–1680: St. Mark’s,” in Early Baroque, 75–85.Schulenberg, David. “Secular Vocal Music of the Later Seventeenth Century: Barbara Strozzi” and “Seventeenth-century Sacred Music,” in Music of the Baroque, 110–14 and 131–148.Spagnoli, Gina. “Dresden at the Time of Heinrich Schütz,” in Early Baroque, 164–185. Source readings:MacClintock, Carol, ed. “The Performance of Sacred Music,” in Performance, 137–149.40 Murata, Margaret, ed. “Heinrich Schütz: Memorandum to the Elector of Saxony” and “Claudio Monteverdi: Preface to Madrigali guerrieri, et amorosi,” in Source Readings, 557–561 and 665–667.Specialized studies:Arnold, Dennis. Giovanni Gabrieli and the Music of the Venetian High Renaissance. London: Oxford University Press, 1979.Roche, Jerome. North Italian Church Music in the Age of Monteverdi. Oxford: ClarendonPress, 1984.Rosand, Ellen. “The Voice of Barbara Strozzi.” In Women Making Music: The Western Art Tradition, 1150–1950, edited by Jane Bowers and Judith Tick, 168–190. Urbana: University of Illinois, 1986.Whenham, John. Monteverdi, Vespers (1610). Cambridge: Cambridge University Press, 1997.Composers:Monteverdi(See bibliography for Chapter 30.)SchützSmallman, Basil. Schütz. New York: Oxford University Press, 1999.CHAPTER 32: Religious Music in Baroque RomeSurveys:41 See the entries “Cantata, §I, 2, The Italian Cantata to 1800: (i) c1620–c1725 and (ii) c. 1675–c. 1725,” “Oratorio, §4, ‘Oratorio Latino,’ Carissimi and his Contemporaries,” and “Rome, §II, 3, The Christian Era: The Baroque,” in NG.Boyd, Malcolm. “Rome: The Power of Patronage,” in Late Baroque, 39–65.Hill, John Walter. “Church Music in Italy, 1600–1650,” in Baroque Music 1580–1750, 86–108.Leopold, Silke. “Rome: Sacred and Secular,” in Early Baroque, 49–74.Palisca, Claude V. “Italian Cantata, Oratorio, and Opera in Mid Century: The Oratorio,” in Baroque Music, 124–128.Rose, Gloria. “ The Italian Cantata of the Baroque Period,” in Garland, V, 241–264.Schulenberg, David. “Seventeenth-Century Sacred Music: Seventeenth-Century Oratorio,” in Music of the Baroque, 148–156.Source readings: MacClintock, Carol, ed. “André Maugars, Response to an Inquisitive Person on the Italian Feeling about Music,” in Performance, 117–126.Weiss, Piero, and Richard Taruskin, eds. “Music in the Churches of Rome, 1639,” in History in Documents, 194–197.Specialized studies:Gianturco, Carolyn. “The Italian Seventeenth-century Cantata: A Textual Approach.” In The Well Enchanting Skill: Music, Poetry, and Drama in the Culture of the Renaissance: Essays in Honour of F.W. Sternfeld, edited by John Caldwell, Edward Olleson, and Susan Wollenberg, 41–51. Oxford: Clarendon, 1990.42 Jackson, Roland. “On Frescobaldi’s Chromaticism and its Background,” in Garland, V, 179–194.Marx-Weber, Magda. “W.A. Mozart's Miserere K.85/73.” In All Kinds of Music: In Honour of Andrew D. McCredie, edited by Graham Strahle and David Swale, 117–120. Wilhelmshaven: Noetzel, 1998.Moore, James H. “The Liturgical Use of the Organ in Seventeenth-Century Italy.” In Frescobaldi Studies, edited by Alexander Silbiger, 351–384. Durham, NC: Duke University Press, 1987.Murata, Margaret. Opera for the Papal Court. Ann Arbor, MI: UMI Research Press, 1981.Silbiger, Alexander. “The Roman Frescobaldi Tradition, 1640–1670.” JAMS 33(1980): 42–87.Smither, Howard E. A History of the Oratorio, vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris. Chapel Hill: The University of North Carolina Press, 1977.CHAPTER 33: Instrumental Music in ItalySurveys:See the entries “Concerto, §2: The Instrumental Concerto: Origins to 1750,” “Rossi, Salamone,” “Sonata da camera,” “Sonata da chiesa,” and “Torelli, Giuseppe,” in NG. Bonta, Stephen. “The uses of the ‘sonata da chiesa’,” in Garland, V, 2–34.Boyd, Malcolm. “Rome: The Power of Patronage,” in Late Baroque, 39–65.43 Hill, John Walter. “Sonata and Concerto in Late Seventeenth-Century Italy,” in Baroque Music 1580–1750, 322–356.Palisca, Claude V. “Sonata, Concerto, and Sinfonia,” in Baroque Music, 145–176.Schnoebelen, Anne. “Bologna, 1500–1700,” in Early Baroque, 103–120.Schulenberg, David. “Baroque Music for Instrumental Ensemble: The Sonata” and “The Baroque Instrumental Concerto,” in Music of the Baroque, 260–306.Source readings:Weiss, Piero, and Richard Taruskin, eds. “The Baroque Sonata,” in Documents in History, 207–210.Specialized studies:Allsop, Peter. The Italian Trio Sonata: From its Origins until Corelli. Oxford: Clarendon Press, 1992.Boyden, David D. “When is a concerto not a concerto?,” in Garland, V, 34–46.Harrán, Don. Salamone Rossi, Jewish Musician in Late Renaissance Mantua. Oxford: Oxford University Press, 1998.Pollens, Stewart. The Violin Forms of Antonio Stradivari. London: Peter Biddulph, 1992. Talbot, Michael. Venetian Music in the Age of Vivaldi. Burlington, VT: Ashgate, 1999.Composers:CorelliAllsop, Peter. Arcangelo Corelli: New Orpheus of our Times. Oxford: Oxford University Press, 1999.Vivaldi44 Everett, Paul. Vivaldi, The Four Seasons and Other Concertos, Op. 8. Cambridge: Cambridge University Press, 1996.Heller, Karl: Antonio Vivaldi: The Red Priest of Venice. Translated by David Marinelli. Portland, OR: Amadeus Press, 1997.Landon, H. C. Robbins. Vivaldi: Voice of the Baroque. London: Thames and Hudson, 1993.Talbot, Michael. Vivaldi. New York: Schirmer Books, 1992.CHAPTER 34: Instrumental Music in Germany and AustriaSurveys:See the entries “Biber, Heinrich Ignaz Franz von,” “Froberger, Johann Jacob,” “Kuhnau, Johann,” “Suite, §6: The Classical Suite after the Addition of the Gigue (ii) Germany,” and “Sonata, §1: Baroque (iii) Development, 1650–1750,” in NG.Buelow, George J. “Hamburg and Lübeck,” in Late Baroque, 191–215.Hill, John Walter. “Music in the Empire through the Thirty Years’ War,” in Baroque Music 1580–1750, 139–163.Palisca, Claude V. “Organ and Clavier Music in Germany,” in Baroque Music, 197–220.Schulenberg, David. “Baroque Keyboard Music I: Toccata and Suite” and “Baroque Keyboard Music II: Fugues, Pièces, and Sonatas: Late Baroque German Keyboard Music: Buxtehude,” in Music of the Baroque, 209–244.Source readings:MacClintock, Carol, ed. “On Organ Playing,” in Performance, 127–136.45 Murata, Margaret, ed. “Johann Mattheson: From The Complete Music Director,” in Source Readings, 696–703.Weiss, Piero, and Richard Taruskin, eds. “The Mature Baroque: The Doctrine of the Affections,” in History in Documents, 212–219.Specialized studies:Buelow, George J. “Johann Mattheson and the Invention of the Affektenlehre.” In New Mattheson Studies, edited George J. Buelow and Hans Joachim Marx, 393–407. Cambridge: Cambridge University Press, 1983.Chafe, Eric T. The Church Music of Heinrich Biber. Ann Arbor, MI: UMI Research Press, 1987.Dann, Elias. Heinrich Biber and the Seventeenth-Century Violin. Ann Arbor, MI: UMI Research Press, 1968.Park, Sally C. The Seventeenth-Century Keyboard Suite in South Germany and Austria. PhD diss., Bryn Mawr College, 1980.Thistlethwaite, Nicholas, and Geoffrey Webber, eds. The Cambridge Companion to the Organ. Cambridge: Cambridge University Press, 1998.Webber, Geoffrey. North German Church Music in the Age of Buxtehude. Oxford: Clarendon Press, 1996.CHAPTER 35: Music in Paris and at the Court of Versailles: Vocal MusicSurveys:See the entries “Ballet de cour,” “Cantata §III, The French Cantata to 1800,” “Lully, (1) Jean-Baptiste Lully (i),” and “Tragédie en musique,” in NG.46 Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau. Rev. and exp. ed. Portland, OR: Amadeus Press, 1997.Benoit, Marcelle. Paris, 1661–87: The Age of Lully, in Early Baroque, 238–269.Bianconi, Lorenzo. “The tragédie lyrique: Jean-Baptiste Lully.” In Music in the Seventeenth Century, translated by David Bryant, 237–251. Cambridge: Cambridge University Press, 1987.Hill, John Walter. “Music at the Court of Louis XIV to the Death of Lully” and “French Music from the War of the Grand Alliance to the End of the Regency,” in Baroque Music 1580–1750, 216–256.Palisca, Claude V. “Opera in France and Italy from Lully to Scarlatti: Jean-Baptiste Lully” and “Sacred Music in France,” in Baroque Music, 222–230 and 265–294.Schulenberg, David. “Lully and French Musical Drama,” in Music of the Baroque, 88–109.Source readings:Murata, Margaret, ed. “From the First Supplement to The Parnassus of France,” in Source Readings, 571–574.Weiss, Piero, and Richard Taruskin, eds. “Music under the Sun King,” “Rationalistic Distaste for Opera,” and “A New Sound Ideal,” in History in Documents, 197–206.Specialized studies:Griffiths, Wanda R. “Jacquet de la Guerre's Céphale et Procris: Style and Drama.” In Music in Performance and Society: Essays in Honor of Roland Jackson, edited by47 Malcolm Cole and John Koegel, 251–268. Warren, MI: Harmonie Park Press, 1997.Grout, Donald, and Hermine Weigel Williams. “Opera in France from Lully to Charpentier,” in Short History, 132–136.Hilton, Wendy. Dance Music of the Court and Theater: Selected Writings of Wendy Hilton. Stuyvesant, NY: Pendragon Press, 1997.Hitchcock, H. Wiley. Marc-Antoine Charpentier. Oxford: Oxford University Press, 1990.Isherwood, Robert M. Music in the Service of the King: France in the Seventeenth Century. Ithaca, NY: Cornell University Press, 1973.Marsh, Carol G. Musical Theatre at the Court of Louis XIV. Cambridge: Cambridge University Press, 1994.Palisca, Claude V. “The Recitative of Lully’s Alceste: French Declamation or Italian Melody?,” in Studies, 491–507.Rosow, Lois. “French Baroque Recitative as an Expression of Tragic Declamation.” EM 9 (1983): 468–479.Wood, Caroline. Music and Drama in the Tragédie en musique, 1673–1715: Jean-Baptiste Lully and his Successors. New York: Garland, 1996. Composers:LullyHeyer, John Hajdu, ed. Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony. Cambridge: Cambridge University Press, 1989.CHAPTER 36: Music in Paris and at the Court of Versailles: Instrumental Music48 (See also bibliography for Chapter 35.)Surveys:See the entries “Harpsichord, §4, 18th century, (i) France” “Lute (ii),” and “Ornaments, §7, French Baroque,” and “Couperin (4) François Couperin (ii) [le grand],” in NG.Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau. Rev. and exp. ed. Portland, OR: Amadeus Press, 1997.Palisca, Claude V. “Lute and Harpsichord Music in France,” in Baroque Music, 177–196.Schulenberg, David. “Baroque Keyboard Music II: Eighteenth-Century Keyboard Music in France,” in Music of the Baroque, 249–254.Source readings:Cooper, Kenneth, and Julius Zsako, trans. “Georg Muffat’s Observations of the Lully Style of Performance,” in Garland, VI, 70–96.MacClintock, Carol, ed. “Instructions for Playing the Clavecin,” in Performance, 211–238.Specialized studies:Gustafson, Bruce. French Harpsichord Music of the 17th Century: A Thematic Catalogue of the Sources, with Commentary. Ann Arbor, MI: UMI Research Press, 1979.Hefling, Stephen E. Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music: Notes Inégales and Overdotting. New York: Schirmer Books, 1993.Ledbetter, David. Harpsichord and Lute Music in 17th-Century France. Bloomington: Indiana University Press, 1988.49 Smith, Douglas Alton. A History of the Lute from Antiquity to the Renaissance. Lexington, VA: Lute Society of America, 2002.Composers:CouperinMellers, Wilfrid Howard. François Couperin and the French Classic Tradition. Rev. ed. London: Faber, 1987.CHAPTER 37: Music in London: Henry PurcellSurveys:See the entries “London (i): §II, Music at Court, 1, The Chapel Royal,” “Masque, §5, Restoration (1660–c1700),” and “Semi-opera,” in NG. Caldwell, John. “Music under the Later Stuarts,” in Oxford History, 561–615.Grout, Donald, and Hermine Weigel Williams. “Opera in England,” in Short History, 147–164.Hill, John Walter. “England from the Restoration through the Augustan Age,” in Baroque Music 1580–1750, 357–381.Palisca, Claude V. “Dramatic Music in England: Henry Purcell” and “English Church Music: Henry Purcell,” in Baroque Music, 249–251 and 308–317.Source readings:MacClintock, Carol, ed. “Henry Purcell, from A Choice Collection of Lessons,” in Performance, 155–158.Weiss, Piero, and Richard Taruskin, eds. “Purcell, Preface ‘To the Reader’,” in History in Documents, 208–209.50 Specialized studies:Harris, Ellen T. Henry Purcell’s “Dido and Aeneas.” Oxford: Oxford University Press, 1987.Price, Curtis A. Music in the Restoration Theatre. Ann Arbor, MI: UMI Research Press, 1979.White, Eric Walter. A History of English Opera. London: Faber and Faber, 1983.Composers:PurcellBurden, Michael, ed. The Purcell Companion. Portland, OR: Amadeus Press, 1995.Holman, Peter. Henry Purcell. Oxford: Oxford University Press, 1994.Keates, Jonathan. Purcell: A Biography. Boston: Northeastern University Press, 1996.King, Robert. Henry Purcell. New York: Thames and Hudson, 1994.Price, Curtis A. Henry Purcell and the London Stage. Cambridge: Cambridge University Press, 1984.———. ed. Purcell Studies. Cambridge: Cambridge University Press, 1995.CHAPTER 38: Music in London: George Frideric HandelSurveys:See the entries “London (i) §V, Musical Life: 1660–1800,” “Opera Seria, §1, Dramaturgy, and §2, 1720–1740,” and “Oratorio §8, Handel and the English Oratorio,” in NG.Burrows, Donald. “London: Commercial Wealth and Cultural Expansion,” in Late Baroque, 355–392.51 Grout, Donald, and Hermine Weigel Williams. “Opera Seria: General Characteristics,” and “Opera Seria: The Composers,” in Short History, 203–252.Palisca, Claude V. “Dramatic Music in England: George Frideric Handel,” in Baroque Music, 252–274.Schulenberg, David. “Late Baroque Opera,” “Late Baroque Opera: Handel,” and “Late Baroque Music: Handel: Jephtha,” in Music of the Baroque, 157–172 and 200–208.Source readings:Arundeli, Dennis. “Up to 1800 – Sound.” Pages 157–280 in The Critic at the Opera: Contemporary Comments on Opera in London over Three Centuries. London: Benn, 1957. Reprint, New York: Da Capo Press, 1980.Deutsch, Otto Erich. Handel: A Documentary Biography. London: Adam and Charles Black, 1955.Specialized studies:Burrows, Donald. Handel and the English Chapel Royal. Oxford: Oxford University Press, 2005.———. Handel, Messiah. Cambridge: Cambridge University Press, 1991.Dean, Winton. Handel and the Opera Seria. Berkeley: University of California Press, 1969.———. Handel’s Dramatic Oratorios and Masques. London: Oxford University Press, 1959.Dean, Winton, and J. Merrill Knapp. Handel’s Operas, 1704–1726. Oxford: Oxford University Press, 1995.52 Ledbetter, David. Continuo Playing According to Handel. Oxford: Oxford University Press, 1990.Mann, Alfred. Handel: The Orchestral Music. New York: Schirmer Books, 1996.Smith, Ruth. Handel’s Oratorios and Eighteenth-Century Thought. Cambridge: Cambridge University Press, 1995.Composers:HandelBurrows, Donald. Handel. New York: Schirmer Books, 1994.———. ed. The Cambridge Companion to Handel. Cambridge: Cambridge University Press, 1997.Hogwood, Christopher. Handel. New York: Thames and Hudson, 1985.CHAPTER 39: Johann Sebastian Bach: Instrumental Music in Weimar and CöthenSurveys:See the entries “Concerto, §2, The Instrumental Concerto: Origins to 1750, vii, Germany after Vivaldi,” “Fugue, §5, The Golden Age: Early 18th century,” “Organ, §V, 1450–1800, 11, The Organ of J. S. Bach,” and “Temperaments,” in NG.Baselt, Berndt. “Brandenburg-Prussia and the Central German Courts,” in Late Baroque, 230–254.Palisca, Claude V. “Organ and Clavier Music in Germany: Johann Sebastian Bach,” in Baroque Music, 208–18.Schulenberg, David. “Baroque Keyboard Music II: Fugues, Pièces, and Sonatas: Late Baroque German Keyboard Music: J. S. Bach’s Keyboard Music,” and “The 53 Baroque Instrumental Concerto: J. S. Bach and the Concerto,” in Music of the Baroque, 245–249 and 301–306.Source readings:David, Hans T., and Arthur Mendel, eds. The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, revised and enlarged by Christoph Wolff. New York: Norton, 1998.Specialized studies:Barbour, J. Murray. “Bach and The Art of Temperament,” in Garland, VI, 2–27.Boyd, Malcolm. Bach, The Brandenburg Concertos. Cambridge: Cambridge University Press, 1993.Dirst, Matthew. “Bach’s French Overtures and the Politics of Overdotting.” EM 25 (1997): 35–44.Lester, Joel. Bach’s Works for Solo Violin: Style, Structure, Performance. Oxford: Oxford University Press, 1999.Marissen, Michael. The Social and Religious Designs of J. S. Bach’s Brandenburg Concertos. Princeton, NJ: Princeton University Press, 1995.Melamed, Daniel R., and Michael Marissen. An Introduction to Bach Studies. New York:Oxford University Press, 1998.Schulenberg, David. The Keyboard Music of J. S. Bach. New York: Schirmer Books, 1992.Stinson, Russel. Bach: The Orgelbüchlein. NewYork: Oxford University Press, 1999.Thistlethwaite, Nicholas, and Geoffrey Webber, eds. The Cambridge Companion to the Organ. Cambridge: Cambridge University Press, 1998.54 Williams, Peter. The Organ Music of J. S. Bach. 2nd ed. Cambridge: Cambridge University Press, 2003.Composers:BachBoyd, Malcolm. Bach. 3rd ed. Oxford: Oxford University Press, 2000.———, ed. J.S. Bach. Oxford: Oxford University Press, 1999.Butt, John. The Cambridge Companion to Bach. New York: Cambridge University Press,1997.Dreyfus, Laurence. Bach and the Patterns of Invention. Cambridge, MA: Harvard University Press, 1996.Wolff, Christoph. Johann Sebastian Bach: The Learned Musician. New York: Norton, 2000.CHAPTER 40: Johann Sebastian Bach: Vocal Music in LeipzigSurveys:See the entries “Cantata, §II: The German Cantata to 1800,” “Chorale Settings, §I, Vocal Settings, 5, Early 18th century: J.S. Bach,” and “Passion, §6: 18th Century,” in NG.Butt, John. The Sacred Choral Music of J.S. Bach – A Handbook. Brewster, MA: Paraclete Press, 1997.Palisca, Claude V. “Johann Sebastian Bach,” in Baroque Music, 318–337.Stauffer, George B. “Leipzig: A Cosmopolitan Trade Center,” in Late Baroque, 254–296.55 Schulenberg, David. “Late Baroque Sacred Music: Johann Sebastian Bach,” in Music of the Baroque, 181–199.Source readings:(See bibliography for Chapter 39.)Specialized studies:Butt, John. Bach, Mass in B Minor. Cambridge, Cambridge University Press, 1991.Chafe, Eric T. Analyzing Bach Cantatas. New York: Oxford University Press, 2000.———. Tonal Allegory in the Vocal Music of J. S. Bach. Berkeley: University of California Press, 1991.Herz, Gerhard, ed. Cantata no. 140: Wachet auf, ruft uns die Stimme. The Score of the New Bach Edition: Backgrounds, Analysis, Views and Comments. New York: Norton, 1972.Parrott, Andrew. The Essential Bach Choir. Rochester, NY: Boydell Press, 2000.Stauffer, George. Bach: The Mass in B Minor (The Great Catholic Mass). New York: Schirmer Books, 1997.Williams, Peter. Bach, The Goldberg Variations. Cambridge: Cambridge University Press, 2001.Wolff, Christoph, ed. The World of Bach Cantatas. New York: Norton, 1997.Composers: Bach(See bibliography for chapter 39.)PART V: THE ENLIGHTENMENT AND THE CLASSICAL ERACHAPTER 41: Music in the Age of Enlightenment: Opera56 Surveys:See the entries “Opera §IV: The 18th Century,” “Hasse,” “Ballad Opera,” “Opera buffa,” “Opéra comique,” and “Gluck,” in NG.Heartz, Daniel. “Opéra-Comique” and “Gluck at the Opéra,” in European Capitals, 710–882.———. “Gluck and Operatic Reform,” in Viennese School, 143–234.Ruston, Julian. Classical Music: A Concise History from Gluck to Beethoven. New York: Thames and Hudson, 1986.Source readings:Allenbrook, Wye, ed. “Jean-Jacques Rousseau: From Letter on French Music (1753)” and “Christoph Willibald Gluck: Dedication for Alceste (1769),” in Source Readings, 895–908.Burney, Charles. The Present State of Music in France and Italy. 2nd ed. London: T. Becket and Co., 1773. Reprint, London: Eulenburg, 1974.Weiss, Piero, ed. Various excerpts regarding Metastasio, opera buffa, opéra comique, andGluck. Pages 90–129 in Opera: A History in Documents. Oxford: Oxford University Press, 2002.Weiss, Piero, and Richard Taruskin, eds. “The Rise of the Italian Comic Opera Style,” “From Rousseau’s Dictionary of Music,” and “Gluck’s Operatic Manifesto,” in History in Documents, 273–286 and 301–302.Specialized Studies:Bauman, Thomas, and Marita McClymonds, eds. Opera and the Enlightenment. Cambridge: Cambridge University Press, 1995.57 Charlton, David. Grétry and the Growth of Opéra Comique. Cambridge: Cambridge University Press, 1986.———. French Opera 1730–1830: Meaning and Media. Burlington, VT: Ashgate, 2003.Fiske, Roger. English Theatre Music in the Eighteenth Century. Oxford: Oxford University Press, 1986.Libby, Denis. “Italy: Two Opera Centres,” in Classical Era, 15–60.Rosen, Charles. “Serious Opera,” in Classical Style, 167–184.Strohm, Reinhard. Dramma per musica: Italian Opera Seria of the Eighteenth Century. New Haven, CT: Yale University Press, 1997.CHAPTER 42: Music in the Age of Enlightenment: Orchestral MusicSurveys: See the entries “Symphony,” Giovanni Battista Sammartini,” “Mannheim,” and “Johann Stamitz,” in NG.Heartz, Daniel. “Sammartini of Milan and the Symphony” and “Stuttgart and Mannheim,” in European Capitals, 230–242 and 441–594.Source readings:Allenbrook, Wye, ed. “Johann Joachim Quantz: From Essay on a Method for Playing theTransverse Flute (1752),” in Source Readings, 799–807.Quantz, Johann. On Playing the Flute. 2nd ed. Translated by Edward Reilly. Boston, MA: Northeastern University Press, 2001.Specialized studies: 58 Churgin, Bethia. “The Symphonies of G.B. Sammartini.” PhD diss., Harvard University, 1963.———. “G. B. Sammartini and the Symphony.” Musical Times 116 (1975): 26–29.Jenkins, Newell, and Bethia Churgin. Thematic Catalogue of the Works of Giovanni Battista Sammartini: Orchestral and Vocal Music. Cambridge, MA: Harvard University Press, 1976.Wolf, Eugene K. “The Mannheim Court,” in Classical Era, 213–239.———. The Symphonies of Johann Stamitz: a Study in the Formation of the Classic Style. Utrecht: Bohn, Scheltema, and Holkema, 1981.———. The Symphony at Mannheim. New York: Garland, 1984.CHAPTER 43: Music in the Age of Enlightenment: Keyboard MusicSurveys:See the entries “Keyboard Music, §1: Keyboard Music to 1750 4. The Period of J. S. Bach,” “Keyboard Muisc III. Piano Music from c1750,” “Domenico Scarlatti,” “Carl Philipp Emanuel Bach,” and “Johann Christian Bach,” in NG.Parakilas, James. “1700 to 1770s: The Need for the Piano.” In Piano Roles: Three Hundred Years of Life with the Piano, edited by James Parakilas, 9-29. New Haven, CT: Yale University Press, 1999.Source readings:Allenbrook, Wye. “Carl Philipp Emanuel Bach: From Essay on the Proper Manner of Playing a Keyboard Instrument (1753),” in Source Readings, 851–856.59 Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Translated by William Mitchell. New York: Norton, 1949.Weiss, Piero, and Richard Taruskin, eds. “The Piano is Invented,” in History in Documents, 238–240.Specialized studies: Heuschneider, Karin. The Piano Sonata of the Eighteenth Century in Italy. Cape Town: A. A. Balkema, 1967.———. The Piano Sonata of the Eighteenth Century in Germany. Cape Town: A. A. Balkema, 1970.Loesser, Arthur. “Section One: Germany,” “Section Two: Austria,” and “Section Three: England.” In Men, Women and Pianos: A Social History. New York: Simon and Schuster, 1954.Marshall, Robert, ed. Eighteenth-Century Keyboard Music. New York: Schirmer Books, 1994.Maunder, Richard. “J.C. Bach and the Early Piano in London.” PRMA 116 (1991): 201–210.Sadie, Stanley. “Concert Life in Eighteenth-Century London.” PRMA 58 (1958–1959): 17–30.Weber, William. “London: A City of Unrivalled Riches,” in Classical Era, 293–326.Zohn, Steven. “The Sonata auf Concertenart and Conceptions of Genre in the Late Baroque.” Eighteenth-Century Music 1 (2004): 205–247.Composers: Domenico Scarlatti60 Boyd, Malcolm. Domenico Scarlatti: Master of Music. New York: Schirmer Books, 1986.Kirkpatrick, Ralph. Domenico Scarlatti. Princeton, NJ: Princeton University Press, 1953.Carl Philipp Emanuel BachOttenberg, Hans-Günter. C.P.E. Bach. Translated by Philip J. Whitmore. Oxford: Oxford University Press, 1987.CHAPTER 44: Classical Music in ViennaSurveys:Brown, Bruce Alan. “Maria Theresa’s Vienna,” in Classical Era, 99–125.Downs, Philp G. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York:Norton, 1992.Heartz, Daniel. “Musical Life in Vienna,” in Viennese School, 3–78.Pauly, Reinhard G. Music in the Classic Period. 2nd ed. Englewood Cliffs, NJ: Prentice Hall, 1973.Rice, John A. “Vienna under Joseph II and Leopold II,” in Classical Era, 126–165.Source readings:Allanbrook, Wye, ed. “The Late Eighteenth Century,” in Source Readings, 735–819.Specialized studies:Edge, Dexter. “Mozart’s Viennese Orchestras.” Early Music 20 (1992): 64–88.Mongrédien, Jean. “Paris: the End of the Ancien Régime,” in Classical Era, 61–98.Ratner, Leonard. Classical Music: Expression, Form, and Style. New York: Schirmer Books, 1990.61 Rosen, Charles. “Ternary and Binary Forms,” “Concerto,” “Sonata Forms,” and “Evolution of Sonata forms,” in Sonata Forms, 16–27 and 71–132.Webster, James. “The Eighteenth Century as a Music-Historical Period.” Eighteenth-Century Music 1 (2004): 47–60.Composers:Haydn and Mozart(See the bibliographies for succeeding chapters.)ClementiPlantinga, Leon. Muzio Clementi: His Life and Music. London: Oxford University Press, 1977.CHAPTER 45: Joseph Haydn: Instrumental MusicSurveys:See the entries “Haydn,” “String Quartet: 1. Early Development-2. 1780–1800” and “Symphony, §1, 14: 18th Century: Haydn and Mozart (i) Haydn,” in NG.Heartz, Daniel. “Haydn: Early Years to ca. 1770” and “Haydn: The 1770s,” in Viennese School, 235–406.Source readings:Landon, H.C. Robbins. Haydn: A Documentary Study. New York: Rizzoli, 1981.Weiss, Piero, and Richard Taruskin, eds. “Haydn’s Duties in the Service of Prince Esterházy,” in History in Documents, 298–300.Specialized studies:62 Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution. New York: Pendragon, 1989.Sisman, Elaine, ed. Haydn and His World. Princeton, NJ: Princeton University Press, 1997.Sutcliffe, W. Dean, ed. Haydn Studies. Cambridge: Cambridge University Press, 1998.Todd, R. Larry. “Joseph Haydn and the Sturm und Drang: a Revaluation.” Music Review 61 (1980): 172–196.Webster, James. “Towards a History of Viennese Chamber Music in the Early Classical Period.” JAMS 27 (1974): 212–247.———. Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music. Cambridge: Cambridge University Press, 1991.Wheelock, Gretchen A. Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit andHumor. New York: Schirmer Books, 1992.Composers:HaydnGotwals, Vernon. Haydn: Eighteenth-Century Gentleman and Genius. Madison: University of Wisconsin Press, 1963.Landon, H. C. Robbins. Haydn: Chronicle and Works. 5 vols. London: Thames and Hudson, 1994.Landon, H. C. Robbins, and David Wyn. Haydn: His Life and Music. Bloomington: Indiana University Press, 1988.63 Somfai, László. Joseph Haydn: His Life in Contemporary Pictures. New York: Taplinger, 1969.CHAPTER 46: Joseph Haydn: Late Symphonies and Vocal Music(See also the sources cited in Chapter 45.)Surveys: See the entries “Symphony, §1, 14: 18th Century: Haydn and Mozart (i) Haydn” and “Mass, §III, 1600–2000: 18th Century (ii) Viennese,” in NG.Source readings:Landon, H.C. Robbins. Haydn: A Documentary Study. New York: Rizzoli, 1981.Specialized studies: Brown, A. Peter. “Critical Years for Haydn’s Instrumental Music: 1787–90.” The Musical Quarterly 62 (1976): 374–394.McVeigh, Simon. Concert Life in London from Mozart to Haydn. Cambridge: CambridgeUniversity Press, 1993.Rosen, Charles. “String Quartet,” “Symphony,” and “Haydn after the death of Mozart,” in Classical Style, 111–166 and 329–375.Sisman, Elaine. Haydn and the Classical Variation. Cambridge, MA: Harvard UniversityPress, 1993.Somfai, László. “The London Revision of Haydn’s Instrumental Style.” PRMA 100 (1973–1974): 159–174.Temperley, Nicolas. Haydn: ‘The Creation. Cambridge: Cambridge University Press, 1991.64 Webster, James. “The Creation, Haydn’s Late Vocal Music, and the Musical Sublime.” In Haydn and his World, edited by Elaine Sisman, 57–102. Princeton, NJ: Princeton University Press.———. “Haydn’s Sacred Vocal Music and the Aesthetics of Salvation.” In Haydn Studies, edited by W.D. Sutcliffe, 35–69. Cambridge: Cambridge University Press, 1998.CHAPTER 47: Wolfgang Amadeus Mozart: The Instrumental MusicSee the entries “Wolfgang Amadeus Mozart,” “Symphony, §1, 14: 18th Century: Haydn and Mozart (ii) Mozart,” and “Concerto, §III: The Classical Period (vii) Mozart,” in NG.Surveys:Heartz, Daniel. “Mozart, Apprentice,” “Mozart, Journeyman,” and “Mozart, Master Craftsman,” in Viennese School, 485–673.Landon, H. C. Robbins. The Mozart Compendium: A Guide to Mozart’s Life and Music. New York: Schirmer Books, 1990.Zaslaw, Neal, with William Cowdery. The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart. New York: Norton, 1990.Zaslaw, Neal, and Fiona Morgan Fein. The Mozart Repertory: A Guide for Musicians, Programmers, and Researchers. Ithaca, NY: Cornell University Press, 1991.Source Readings:Anderson, Emily, ed. The Letters of Mozart and His Family. 3rd ed. 3 vols. London: Macmillan, 1985.65 Deutsch, Otto Erich, ed. Mozart: A Documentary Biography. Stanford, CA: Stanford University Press, 1965.Marshall, Robert L., ed. Mozart Speaks: Views of Music, Musicians, and the World. New York: Schirmer Books, 1991.Specialized Studies:Girdlestone, Cuthbert. Mozart’s Piano Concertos. 3rd ed. London: Cassell, 1978.Irving, John. Mozart, the Haydn Quartets. New York: Cambridge University Press, 1998.———. Mozart’s Piano Sonatas: Context, Sources, Style. New York: Cambridge University Press, 1999.———. Mozart’s Piano Concertos. Burlington, VT: Ashgate, 2003.King, A. Hyatt. Mozart’s Chamber Music. Seattle: University of Washington Press, 1968.Rosen, Charles. “Concerto” and “String Quintet,” in Classical Style, 185–287.Sisman, Elaine. Mozart, the “Jupiter” Symphony: No. 41in C Major, K. 551. Cambridge: Cambridge University Press, 1993.Zaslaw, Neal. Mozart’s Symphonies: Context, Performance Practice, Reception. Oxford: Oxford University Press, 1989.———. Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996.Composers:MozartBraunbehrens, Volkmar. Mozart in Vienna 1781–1791. Translated by Timothy Bell. NewYork: Grove Weidenfeld, 1989.66 Einstein, Alfred. Mozart: His Character—His Work. Translated by Arthur Mendel. London: Oxford University Press, 1945.Gay, Peter. Mozart. New York: Lipper/Viking Book, 1999.Gutman, Robert. Mozart: A Cultural Biography. New York: Harcourt Brace, 1999.Solomon, Maynard. Mozart: A Life. New York: Harper Collins, 1995.CHAPTER 48: Wolfgang Amadeus Mozart: Vocal MusicSee the sources cited for Chapter 47 as well as the following sources dealing with Mozart’s vocal music:Specialized Studies:Brophy, Brigid. Mozart the Dramatist. London: Faber and Faber, 1964.Carter, Tim. W. A. Mozart: Le nozze di Figaro. Cambridge: Cambridge University Press, 1987.Dent, Edward J. Mozart’s Operas: A Critical Study: New York: Oxford University Press, 1947.Heartz, Daniel. “Constructing ‘Le nozze di Figaro’.” PRMA 112 (1987): 78–98.———. Mozart’s Operas. Berkeley: University of California Press, 1990.Hunter, Mary. Culture of Opera Buffa in Mozart’s Vienna. Princeton, NJ: Princeton University Press, 1999.Hunter, Mary, and James Webster, eds. Opera Buffa in Mozart’s Vienna. Cambridge: CambridgeUniversity Press, 1997.Link, Dorothea. National Court Theatre in Mozart’s Vienna: Sources and Documents. Oxford: Oxford University Press, 1998.Rosen, Charles. “Comic Opera,” in Classical Style, 288–328.67 Rushton, Julian. W. A. Mozart: Don Giovanni. Cambridge: Cambridge University Press, 1981.Stanley, Sadie, ed. Mozart and His Operas. London: Macmillan, 2000.Steptoe, Andrew. The Mozart-Da Ponte Operas. Oxford: Clarendon Press, 1998.Wolff, Christoph. Mozart’s Requiem: Historical and Analytical Studies. Documents. Score. Translated by Mary Whittall. Berkeley: University of California Press, 1991.CHAPTER 49 The Early Music of BeethovenSurveys:Kinderman, William. Beethoven. Berkeley: University of California Press, 1995.Lockwood, Lewis. Beethoven: The Music and the Life. New York: Norton, 2003.Rosen, Charles. Sonata Forms. New York: Norton, 1980.Solomon, Maynard. Beethoven. 2nd, rev. ed. New York: Schirmer Books, 1998.Thayer’s Life of Beethoven. Revised and edited by Elliot Forbes. Princeton, NJ: PrincetonUniversity Press, 1967.Source readings:Beethoven, Ludwig van. Letters. 3 vols. Translated and edited by Emily Anderson. New York: St. Martin’s Press, 1961.Landon, H. C. Robbins, comp. and ed. Beethoven: A Documentary Study. Translated by Richard Wadleigh and Eugene Hartzell. Abridged ed. New York: Macmillan, 1975.Letters to Beethoven and Other Correspondence. 3 vols. Translated and edited by Theodore Albrecht. Lincoln: University of Nebraska Press, 1996.68 Specialized studiesKinderman, William, ed. Beethoven’s Compositional Process. Lincoln: University of Nebraska Press, 1991.Newman, William S. The Sonata in the Classic Era. 2nd ed. New York: Norton, 1972.Plantinga, Leon. Beethoven’s Concertos: History, Style, Performance. New York:Norton, 1999.Rosen, Charles. Beethoven’s Piano Sonatas: A Short Companion. New Haven, CT: YaleUniversity Press, 2002.Sisman, Elaine. “Pathos and the Pathétique: Rhetorical Stance in Beethoven’s C-minorSonata, Op. 13.” Beethoven Forum 3 (1994): 81–105.CHAPTER 50 Beethoven’s Middle Period: 1802–1814Surveys and source readings: See the bibliography for Chapter 49.Specialized studies:Brinkmann, Reinhold. “In the Time of the Eroica.” In Beethoven and His World, 1–26. Princeton, NJ: Princeton University Press, 2000.Burnam, Scott G. “On the Programmatic Reception of Beethoven’s Eroica Symphony.” Beethoven Forum 1 (1992): 1–24.Kerman, Joseph. “Augenblicke in Fidelio.” In Ludwig van Beethoven: Fidelio. Edited by Paul Robinson, 132–44. Cambridge: Cambridge University Press, 1996.69 Palisca, Claude. “French Revolutionary Models for Beethoven’s Eroica.” In Music and Context: Essays for John M. Ward, edited by Anne Dhu Shapiro, 198–209. Cambridge, MA: Harvard University Department of Music, 1985.Tusa, Michael C. “Beethoven’s Essay in Opera: Historical, Text-Critical, and Interpretative Issues in Fidelio.” In The Cambridge Companion to Beethoven, edited by Glenn Stanley, 200–217. Cambridge: Cambridge University Press, 2000.Whittall, Arnold. “Against the Operatic Grain? Fidelio in History and Theory.” Beethoven Forum 8 (2000): 195–206.CHAPTER 51 After the Congress of Vienna: Beethoven’s Late MusicSurveys and source readings: Cooper, Martin. Beethoven: The Last Decade, 1817–1827. New York: Oxford UniversityPress, 1985.Also see the bibliography for Chapter 49.Specialized studies:Churgin, Bathia. “Beethoven and Mozart’s Requiem: A New Connection.” JM 5 (1987): 457–77.Kinderman, William. “Beethoven’s Symbol for the Deity in the Missa solemnis and the Ninth Symphony.” NCM 9 (1985): 102–18.Kramer, Richard A. “Between Cavatina and Ouverture: Opus 130 and the Voices of Narrative.” Beethoven Forum 1 (1992): 165–89.70 Lockwood, Lewis. “On the Cavatina of Beethoven’s String Quartet in B-flat Major, Opus130.” In Liedstudien: Wolfgang Osthoff zum 60. Geburtstag, 293–305. Tutzing: Hans Schneider, 1989.Sanders, Ernest H. “Beethoven’s Treatment of Form and Content in his Missa solemnis.” In Festschrift Walter Wiora zum 90. Geburtstag, 398–416. Tutzing: Hans Schneider, 1997.PART VI: ROMANTICISMCHAPTER 52 Franz SchubertSurveys:See the entries “Schubert” and “Song,” in NG.Miller, Philip L. The Ring of Words: An Anthology of Songs Texts. New York: Norton1973. A collection of translations of song texts.Plantinga, Leon. “The Lied: Schubert and His Predecessors,” in Romantic Music, 107–26.Steven, Denis, ed. A History of Song. Rev. ed. New York: Norton, 1960.Source readings:Deutsch, Otto Erich, ed. Schubert: Memoirs by His Friends. New York: Macmillan,1958.Specialized studies:Frisch, Walter. “Schubert’s Nähe des Geliebten (D. 162): Transformation of the Volkston.” In Schubert: Critical and Analytical Studies, edited by Walter Frisch, 175–99. Lincoln: University of Nebraska Press, 1986.71 Kramer, Lawrence. Distant Cycles: Schubert and the Conceiving of Song. Chicago: University of Chicago Press, 1994.———. “Song.” Pages 125–70 in Music and Poetry: The Nineteenth Century and After. Berkeley: University of California Press, 1984.Composers:SchubertDeutsch, Otto Erich. Schubert: Thematic Catalogue of all his Works in ChronologicalOrder. New York: Norton, 1951.McKay, Elizabeth Norman. Franz Schubert: A Biography. New York: Oxford UniversityPress, 1996.Newbould, Brian. Schubert: The Music and the Man. Berkeley: University of CaliforniaPress, 1997.CHAPTER 53 Music in Paris Under Louis Philippe: Berlioz and ChopinSurveys:See the entries “Chopin,” “Berlioz,” and “Paris,” in NG.Locke, Ralph. “Paris: Centre of Intellectual Ferment,” Early Romantic, 32–83.Longyear, Rey M. “Italian and French Romanticism,” in Romanticism in Music, 130–56.Plantinga, Leon. “Paris from 1830 to 1848,” in Romantic Music, 166–219Rosen, Charles. “Chopin: Counterpoint and the Narrative Form,” “Chopin: VirtuosityTransformed,” and “Chopin: From the Miniature Genre to the Sublime Style,”Romantic Generation, 279–471.Source readings:72 Berlioz, Hector. “On Conducting.” In Hector Berlioz and Richard Strauss. Treatise on Instrumentation, translated by Theodore Front, 410–20. New York: Dover, 1991.———. The Memoirs of Hector Berlioz. Translated by David Cairns. New York: Knopf, 2002.———. Selected Letters of Berlioz. Edited by Hugh Macdonald. Translated by Roger Nichols. New York: Norton, 1997.Chopin, Frédéric. Selected Correspondence. Translated and edited by Arthur Hedley. New York: Da Capo Press, 1979.Specialized studies:Crosten, William. French Grand Opera: An Art and a Business (1948). Reprint, New York: Da Capo Press, 1972.Grout, Donald Jay. “Grand Opera,” in Short History, 315–28.Kallberg, Jeffrey. “’Voice’ and the Nocturne.” In Pianist, Scholar, Connoisseur: Essays in Honor of Jacob Lateiner, edited by Bruce Brubaker and Jane Gottlieb, 1–46. Stuyvesant, NY: Pendragon, 2000.Locke, Ralph. “The French Symphony: David, Gounod, and Bizet to Saint-Saëns, Franck, and their Followers.” In The Nineteenth-Century Symphony, edited by D. Kern Holoman, 163–94. New York: Schirmer Books, 1997.Schumann, Robert. “A Symphony by Berlioz” (1835). Translated by Edward T. Cone. In Hector Berlioz, Fantastic Symphony: An Authoritative Score, 220–48. Norton Critical Scores. New York: Norton, 1971.Composers:Berlioz73 Cairns, David. Berlioz. 2nd ed. Berkeley: University of California Press, 2000.Holoman, D. Kern. Berlioz. Cambridge, MA: Harvard University Press, 1989.Rushton, Julian. The Music of Berlioz. New York: Oxford University Press, 2001.ChopinHedley, Arthur. Chopin. New York: Farrar, Straus and Cudahy, 1947.Samson, Jim. Chopin. New York: Schirmer Books, 1997.CHAPTER 54 Leipzig and the Gewandhaus: Mendelssohn and the Schumanns Surveys:See the entries “Schumann, Robert,” “Schumann, Clara,” “Mendelssohn,” and “Leipzig,” in NG.Döhring, Sieghart. “Dresden and Leipzig: Two Bourgeois Centres,” in Early Romantic, 141–59.Longyear, Rey M. “The German Romantic Efflorescence,” in Romanticism in Music, 112–29.Plantinga, Leon. “Schumann and his German Contemporaries,” in Romantic Music, 220–58.Rosen, Charles. “Schumann: Triumph and Failure of the Romantic Ideal,” in Romantic Generation, 646–710.Source readings:The Complete Correspondence of Clara and Robert Schumann. Edited by EvaWeissweiler. Translated by Hildegard Fritsch and Ronald L. Crawford. NewYork: Lang, 1994.74 The Marriage Diaries of Robert and Clara Schumann: From their Wedding Day through the Russia Trip. Edited by Gerd Neuhaus. Translated by Peter Ostwald. Boston:Northeastern University Press, 1993.Mendelssohn, Felix. A Life in Letters. Edited by Rudolf Elvers. Translated by CraigTomlinson. New York: Fromm, 1990.Specialized studies:Finson, Jon W. Robert Schumann and the Study of Orchestral Composition: The Genesis of the First Symphony, Op. 38. Oxford: Clarendon Press, 1989.Hallmark, Rufus. “The Rückert Lieder of Robert and Clara Schumann.” NCM 14 (1990):3–30.Composers:SchumannDaverio, John. Robert Schumann: Herald of a “New Poetic Age.” New York: OxfordUniversity Press, 1997.Ostwald, Peter F. Schumann: The Inner Voices of a Musical Genius. Boston:Northeastern University Press, 1985.Plantinga, Leon. Schumann as Critic. New Haven: Yale University Press, 1967.Reich, Nancy B. Clara Schumann: The Artist and the Woman. Rev. ed. Ithaca, NY:Cornell University Press, 2001.MendelssohnTodd, R. Larry. Mendelssohn: A Life in Music. New York: Oxford University Press,2003.75 CHAPTER 55 German Opera in the Nineteenth Century: Weber and WagnerSurveys:See the entries “Wagner,” “Weber,” and “Singspiel,” in NG.Abraham, Gerald. “Wagner and the Opera,” in Hundred Years, 77–136.Grout, Donald Jay. “The Romantic Opera in Germany” and “Wagner,” in Short History, 375–424.Longyear, Rey M. “The Music of the Future,” in Romanticism in Music, 157–86.Plantinga, Leon. “Wagner and the Music Drama,” in Romantic Music, 259–97.Source readings:Richard Wagner’s Prose Works. Translated by William Ashton Ellis. 8 vols. London: Kegan Paul, 1892–99. Reprinted with multiple titles, Lincoln: University of Nebraska Press, 1994–95.Selected Letters of Richard Wagner. Edited and translated by Stewart Spencer and Barry Millington. New York: Norton, 1988. Wagner, Richard. My Life. Edited by Mary Whittall. Translated by Andrew Gray. Cambridge: Cambridge University Press, 1983. Specialized studies:Bailey, Robert. “The Structure of the Ring and its Evolution.” NCM 1 (1977): 48–61.Darcy, Warren. Wagner’s Das Rheingold. New York: Oxford University Press, 1993.Kaufmann, F. W. “Richard Wagner (1813–1883).” Pages 152–77 in German Dramatists of the 19th Century. New York: Russell & Russell, 1940. Highly recommended.Composers:Wagner76 Newman, Ernst. The Life of Richard Wagner. 4 vols. Cambridge: Cambridge University Press, 1976.———. The Wagner Operas. 2 vols. New York: Harper & Row, 1983.Wagner Handbook. Edited by Ulrich Müller and Peter Wapnewski. Translated by John Deathridge. Cambridge, MA: Harvard University Press, 1992.Westernhagen, Curt von. Wagner: A Biography. 2 vols. Cambridge: Cambridge University Press, 1978.WeberWarrack, John. Carl Maria von Weber. 2nd ed. Cambridge: Cambridge University Press, 1976.CHAPTER 56: Opera in Italy: Rossini and VerdiSurveys:See the entries “Rossini,” “Verdi,” and “Opera,” in NG.Budden, Julian. “Italy,” in New Oxford 9, 409–37.Grout, Donald Jay. “Italian Opera: Verdi,” in Short History, 342–74.Plantinga, Leon. “Italian and French Opera in the Later Nineteenth Century,” inRomantic Music, 298–340.Rosselli, John. “Italy: The Centrality of Opera,” in Early Romantic, 160–200.Source readings:Busch, Hans, ed. Verdi’s “Otello” and “Simon Boccanegra” (Revised Version) inLetters and Documents. New York: Oxford University Press, 1988.77 Pleasants, Henry, ed. “Excerpts from Ferdinand Hiller’s ‘Chatting with Rossini (1856)’.”Opera Quarterly 9/4 (1993): 42–57.Werfel, Franz, and Paul Stefan, eds. Verdi: The Man in His Letters. Translated byEdward Downes. New York: Vienna House, 1973.Specialized studies:Coe, Doug. “The Original Production Book for Otello: An Introduction.” NCM 2 ( 1978):148–58.Gossett, Philip. “Gioachino Rossini and the Conventions of Composition.” Acta musicologica 42 (1970): 48–58.Hepokoski, James. Giuseppe Verdi, “Otello.” Cambridge: Cambridge University Press,1987.Kerman, Joseph. “Otello: Traditional Opera and the Image of Shakespeare,” 129–170. InOpera as Drama. New York: Vintage Books, 1956.———. “Verdi’s Use of Recurring Themes.” In Studies in Music History: Essays forOliver Strunk, edited by Harold S. Powers, 495–510. Princeton, NJ: PrincetonUniversity Press, 1968.Lawton, David. “On the ‘Bacio’ Theme in Otello.” NCM 1 (1978): 211–20.Martin, George. “Verdi and the Risorgimento.” In The Verdi Companion, edited byWilliam Weaver and Martin Chusid, 13–41. New York: Norton, 1979.Composers:VerdiBudden, Julian. The Operas of Verdi. Rev. ed. 3 vols. New York: Oxford UniversityPress, 1992.78 Phillips-Matz, Mary Jane. Verdi: A Biography. New York: Oxford University Press,1993.RossiniWeinstock, Herbert. Rossini: A Biography. New York: Knopf, 1968.CHAPTER 57 Nationalism and Virtuosity: Franz LisztSurveys:See the entries “Liszt” and “Hungary,” in NG.Longyear, Rey M. “Nineteenth-Century Nationalism in Music,” in Romanticism inMusic, 214–46.Plantinga, Leon. “Nationalist Music,” in Romantic Music, 341–404.Rosen, Charles. “Liszt: On Creation as Performance,” in Romantic Generation, 472–541.Whittall, Arnold. “Liszt and Wagner: The High Romantic Drama,” in Concise History,81–109.Source readings:Correspondence of Wagner and Liszt. Translated by Francis Hueffer. 2nd ed. 2 vols. NewYork: Vienna House, 1973.Liszt, Franz. Selected Letters. Edited and translated by Adrian Williams. New York:Oxford University Press, 1998.Specialized studies:Liszt, Franz. The Gipsy in Music [1859]. 2 vols. Translated by Edwin Evans. London:William Reeves, n.d.Composers:79 LisztSearle, Humphrey. The Music of Liszt. 2nd ed. New York: Dover, 1966.Walker, Alan. Franz Liszt. 3 vols. Rev. ed. Ithaca, NY: Cornell University Press, 1987–96.CHAPTER 58 Vienna in the Late Nineteenth Century: Brahms and BrucknerSurveys:See entries “Brahms, “Bruckner,” and “Vienna,” in NG.Abraham, Gerald. “Brahms and the Great Instrumental Tradition,” in Hundred Years,159–72.Plantinga, Leon. “Crosscurrents in the Late Century,” in Romantic Music, 405–62.Wiesman, Sigrid. “Vienna: Bastion of Conservatism,” in Early Romantic, 84–108.Source readings:Henschel, George. Personal Recollections of Johannes Brahms: Some of his Letters to and Pages from a Journal Kept by George Henschel. New York: AMS Press,1978.Johannes Brahms: Life and Letters. Edited by Styra Avins. Translated by Josef Eisinger and Styra Avins. New York: Oxford University Press, 1997.Letters of Clara Schumann and Johannes Brahms, 1853–1896. Edited by BertholdLitzmann. 2 vols. New York: Vienna House, 1973.Specialized studies:The Cambridge Companion to Bruckner. Edited by John Williamson. Cambridge:Cambridge University Press, 2004.80 Frisch, Walter. Brahms: The Four Symphonies. New York: Schirmer Books, 1996.Sams, Eric. The Songs of Johannes Brahms. New Haven, CT: Yale University Press,2000.Composers:BrahmsGeiringer, Karl. Brahms: His Life and Work. 3d ed. New York: Da Capo Press, 1982.Musgrave, Michael. The Music of Brahms. New York: Oxford University Press, 1994.BrucknerWatson, Derek. Bruckner. Master Musicians Series. 2nd ed. New York: Oxford University Press, 1996.CHAPTER 59 Music and Ballet in Nineteenth Century Russia: Mussorgsky andTchaikovskySurveys:See entries “Mussorgsky,” “Tchaikovsky,” and “St. Petersburg,” in NG. Abraham, Gerald. “Russia and Eastern Europe,” New Oxford 9, 213–27, 438–78.Seaman, Gerald R. “Moscow and St. Petersburg,” in Early Romantic, 236–58.Source readings:The Musorgsky Reader: A Life of Modeste Petrovich Musorgsky in Letters and Documents. Edited and translated by Jay Leyda and Sergei Bertensson. New York: Norton, 1947.81 To My Best Friend: Correspondence Between Tchaikovsky and Nadezhda von Meck, 1876–1878. Edited by Edward Garden and Nigel Gotteri. Translated by Galina von Meck. New York: Oxford University Press, 1993.Specialized studies:Taruskin, Richard. Musorgsky: Eight Essays and an Epilogue. Princeton, NJ: Princeton University Press, 1993.Wiley, Roland John. Tchaikovsky’s Ballets: “Swan Lake,” “Sleeping Beauty,” “Nutcracker.” Oxford: Clarendon Press, 1985.Composers:MusorgskyBrown, David. Musorgsky: His Life and Works. New York: Oxford University Press, 2002.TchaikovskyBrown, David. Tchaikovsky. 4 vols. New York: Norton, 1978.Poznansky, Alexander. Tchaikovsky: The Quest for the Inner Man. New York: Schirmer Books, 1991.Warrack, John. Tchaikovsky. New York: C. Scribner’s Sons, 1973.CHAPTER 60 Vienna at the Turn of the Twentieth Century: Gustav and Alma MahlerSurveys:82 See entries “Mahler, Gustav,” in NG; and “Mahler, Alma,” in Sadie, Julie Anne, and Rhian Samuel, eds. The Norton/Grove Dictionary of Women Composers. New York: Norton, 1995.Banks, Paul. “Vienna: Absolutism and Nostalgia,” in Late Romantic, 74–98.Whittall, Arnold. “Symphony and Song: Vienna in the Later Nineteenth Century,” in Concise History, 163–73.Source readings:Mahler-Werfel, Alma. Diaries, 1898–1902. Edited and translated by Antony Beaumont.Ithaca, NY: Cornell University Press, 1999.———. Gustav Mahler: Memories and Letters. Rev. ed. New York: Viking Press, 1969.Selected Letters of Gustav Mahler. Edited by Knud Martner. Translated by EithneWilkins, Ernst Kaiser, and Bill Hopkins. New York: Farar, Straus, Giroux, 1979.Specialized studies:Banks, Paul. “Aspects of Mahler’s Fifth Symphony: Performance Practice andInterpretation.” Musical Times 130 (no. 1755, 1989): 258–65.Forte, Allen. “Middleground Motives in the Adagietto of Mahler’s Fifth Symphony.”NCM 8 (1984): 153–63.Mitchell, Donald. “Eternity or Nothingness? Mahler’s Fifth Symphony.” In The MahlerCompanion, edited by Donald Mitchell and Andrew Nicholson, 236–325. NewYork: Oxford University Press, 1999.Murphy, Edward W. “Unusual Forms in Mahler’s Fifth Symphony.” Music Review 47(1986–87): 101–109.Composers:83 Mahler (Alma and Gustav)Franklin, Peter. The Life of Mahler. Cambridge: Cambridge University Press, 1997. La Grange, Henry-Louis de. Mahler [vol. 1]. Garden City, NY: Doubleday, 1973. Vols.2–3, New York: Oxford University Press, 1995–99. Monson, Karen. Alma Mahler: Music to Genius. Boston: Houghton Mifflin, 1983.Walter, Bruno. Gustav Mahler. Translated by Lotte Walter Lindt. New York: Knopf,1958.CHAPTER 61 England at the End of the Romantic Period: Elgar and VaughanWilliamsSurveys:See entries “Elgar,” Vaughan Williams,” and “Festival,” in NG.Burrows, David. “Victorian England: An Age of Expansion,” in Late Romantic, 266–94.Source readings:Elgar, Edward. Letters of a Lifetime. Edited by Jerrold Northrop Moore. New York:Oxford University Press, 1990.Specialized studies:Adams, Byron, and Robin Wells, eds. Vaughan William Essays. Burlington, VT: Ashgate, 2003.Rushton, Julian. Elgar: Enigma Variations. Cambridge Music Handbooks. Cambridge: Cambridge University Press, 1999.Composers:Elgar84 Kennedy, Michael. The Life of Elgar. Cambridge: Cambridge University Press, 2004.Moore, Jerrold Northrop. Edward Elgar: A Creative Life. New York: Oxford UniversityPress, 1984.Vaughan WilliamsKennedy, Michael. The Works of Ralph Vaughan Williams. 2nd ed. Oxford: ClarendonPress, 1992.CHAPTER 62 Opera in Milan after Verdi: Puccini, Toscanini, and VerismoSurveys:See entries “Puccini,” “Toscanini,” and “Verismo,” in NG. Rosselli, John. “Italy: The Decline of a Tradition,” in Late Romantic, 126–50.Source readings:Letters of Giacomo Puccini: Mainly Connected with the Composition and Production ofHis Operas. Edited by Giuseppe Adami. Translated by Ena Makin. New York:Vienna House, 1973.The Letters of Arturo Toscanini. Edited and translated by Harvey Sachs. New York:Alfred A. Knopf, 2002.Specialized studies:Carner, Mosco. Madam Butterfly: A Guide to the Opera. London: Barrie & Jenkins,1979.Composers:PucciniBudden, Julian. Puccini: His Life and Works. Oxford: Oxford University Press, 2002.85 Phillips-Matz, Mary Jane. Puccini: A Biography. Boston: Northeastern University Press,2002.CHAPTER 63 Paris of the Belle Époque: Debussy, Fauré, and Lili BoulangerSurveys:See entries “Debussy,” “Fauré,” “Boulanger, Lili,” and “Impressionism,” in NG. Abraham, Gerald. “The Reaction against Romanticism: Impressionism,” in HundredYears, 227–46.Pasler, Jann. “Paris: Conflicting Notions of Progress,” in Late Romantic, 389–416.Whittall, Arnold. “Into the Twentieth Century,” in Concise History, 174–84.Source readings:Debussy Letters. Edited by François Lesure, Roger Nichols. Translated by Roger Nichols. Cambridge, MA: Harvard University Press, 1987.Debussy on Music: The Critical Writings of the Great French Composer. Edited by François Lesure. Translated by Richard Langham Smith. Ithaca, NY: Cornell University Press, 1977.Fauré, Gabriel. Gabriel Fauré: A Life in Letters. Translated and edited by J. Barrie Jones.London: Batsford, 1989.Specialized studies:Braus, Ira L. “Clouds or Fog? Demystifying Meter, Harmony, and Structure in Debussy’sNuages.” Journal of Musicological Research 19 (2000): 329–72.Meister, Barbara. Nineteenth-Century French Song: Fauré, Chausson, Duparc, and Debussy. Bloomington: Indiana University Press, 1980. 86 Composers:BoulangerRosenstiel, Léonie. The Life and Works of Lili Boulanger. Rutherford, NJ: FairleighDickinson University Press, 1978DebussyLockspeiser, Edward. Debussy: His Life and Mind. 2 vols. London: Cassell, 1962–65.Nichols, Roger. The Life of Debussy. Cambridge: Cambridge University Press, 1998.Parks, Richard. The Music of Claude Debussy. New Haven, CT: Yale University Press,1989.FaureOrledge, Robert. Gabriel Fauré. London: Eulenburg Books, 1979.Part VII: THE EARLY 20TH CENTURYCHAPTER 64 Richard Strauss in BerlinSurveys:See entries “Strauss, Richard” and “Berlin,” in NG.Morgan, Robert P. “Some Transitional Figures,” in Musical Style, 18–61.Source readings:Strauss, Richard. Recollections and Reflections. Edited by Willi Schuh. Translated by L. J. Lawrence. Westport, CT: Greenwood Press, 1974.Specialized studies:Kristiansen, Morten. “Richard Strauss, Die Moderne, and the Concept of Stilkunst.” Musical Quarterly 86 (2002): 689–749.87 Puffett, Derrick, ed. Richard Strauss “Salome.” Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1989.Composers:StraussDel Mar, Norman. Richard Strauss: A Critical Commentary on his Life and Works. 3 vols. London: Barrie & Jenkins, 1962–72.CHAPTER 65 Music in Russia During the Silver Age: Igor StravinskySurveys:See entries “Stravinsky” and “Russia,” in NG.Simms, Bryan R. “Avant-Garde Composition in France and Russia,” in Style and Structure, 163–202.Source readings:Fokine, Michel. Memoirs of a Ballet Master. Translated by Vitale Fokine. Edited by Anatole Chujoy. Boston: Little, Brown, 1961.Stravinsky: Selected Correspondence. Ed. Robert Craft. 3 vols. New York: Knopf, 1982–85.Specialized studies:Garafola, Lynn. Diaghilev’s Ballets Russes. New York: Da Capo Press, 1998.Taruskin, Richard. Stravinsky and the Russian Traditions. 2 vols. Berkeley: University ofCalifornia Press, 1996.Toorn, Pieter C. Van Den. The Music of Igor Stravinsky. New Haven, CT: Yale University Press, 1983.88 Composers:StravinskyHill, Peter. Stravinsky: “The Rite of Spring.” Cambridge: Cambridge University Press, 2000.Walsh, Stephen. Stravinsky: A Creative Spring. Russia and France, 1882–1934. Berkeley: University of California Press, 2002.CHAPTER 66 Atonality: Schoenberg and ScriabinSurveys:See entries “Schoenberg,” “Scriabin,” and “Atonality,” in NG.Auner, Joseph. “Proclaiming a Mainstream: Schoenberg, Berg, and Webern,” in Cambridge, 228–59.Berg, Alban. “What is Atonality?,” in Composers, 61–68. Jarman, Douglas. “Vienna after the Empire,” in Modern Times, 60–82.Morgan, Robert P. “The Atonal Revolution,” in Musical Style, 62–88.Salzman, Eric. “The Revolution: Vienna,” in Twentieth-Century Music, 33–44.Source readings:Schoenberg, Arnold. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein. Translated by Leo Black. Berkeley: University of California Press, 1984.Specialized studies:89 Auner, Joseph. “The Second Viennese School as a Historical Concept.” In Schoenberg, Berg, and Webern: A Companion to the Second Viennese School, edited by BryanR. Simms, 1–26. Westport, CT: Greenwood Press, 1999Baker, James. The Music of Alexander Scriabin. New Haven, CT: Yale University Press, 1986.Forte, Allen. The Structure of Atonal Music. New Haven, CT: Yale University Press, 1976.Frisch, Walter. The Early Works of Arnold Schoenberg, 1893–1908. Berkeley: University of California Press, 1993.Simms, Bryan. The Atonal Music of Arnold Schoenberg, 1908–1923. New York: Oxford University Press, 2000.Straus, Joseph N. Introduction to Post-Tonal Theory. Englewood Cliffs, NJ: Prentice Hall, 1990.Composers:SchoenbergStuckenschmidt, H. H. Schoenberg: His Life, World and Work. Translated by Humphrey Searle. New York: Schirmer Books, 1977.ScriabinBowers, Faubion. Scriabin: A Biography. 2nd ed. Mineola, NY: Dover, 1996. CHAPTER 67 French Music at the Time of World War ISurveys:See entries “Ravel” and “Satie,” in NG.90 DeVoto, Mark. “Paris, 1918–45,” in Modern Times, 33–59.Source readings:Orenstein, Arbie, ed. The Ravel Reader: Correspondence, Articles, Interviews. New York: Columbia University Press, 1990.Satie, Erik. A Mammal’s Notebook: Collected Writings of Erik Satie. Edited by Ornella Volta. Translated by Antony Melville. London: Atlas Press, 1996.Specialized studies:Abbate, Carolyn. “Outside Ravel’s Tomb.” JAMS 52 (1999): 465–530.Hyde, Martha. “Neoclassic and Anachronistic Impulses in Twentieth-Century Music.” Music Theory Spectrum 18 (1996): 200–35.Orledge, Robert. “Satie’s Sarabandes and Their Importance to His Composing Career.” Music and Letters 77 (1996): 555–65.Composers:Orenstein, Arbie. Ravel: Man and Musician. New York: Columbia University Press, 1975.Perloff, Nancy. Art and the Everyday: Popular Entertainment and the Circle of Erik Satie. Oxford: Clarendon Press, 1991. Whiting, Steven M. Satie the Bohemian: From Cabaret to Concert Hall. New York: Oxford University Press, 1999.CHAPTER 68 New Music in Paris after World War I: Stravinsky and The SixSurveys:See entries “Stravinsky” and “Neo-classicism,” in NG.91 Danuser, Hermann. “Rewriting the Past: Classicisms of the Inter-War Period,” in Cambridge, 260–85.Salzman, Eric. “Stravinsky and Neo-Classicism” and “Neo-Classicism and Neo-Tonality in France,” in Twentieth-Century Music, 45–61.Simms, Bryan R. “Neoclassicism in France, Germany, and England,” Style and Structure,234–65.Watkins, Glenn. “Stravinsky and the Cubists,” in Pyramids, 229–76.Whittall, Arnold. “Igor Stravinsky: 1913–1951,” in Composition, 116–33.Source readings:Hindemith, Paul. “Musical Inspiration,” in Composers, 128–42.Koechlin, Charles. “Back to Bach,” in Composers, 72–82. Milhaud, Darius. My Happy Life: An Autobiography. Translated by Donald Evans, George Hall, and Christopher Palmer. London: Marion Boyars, 1995.Stravinsky, Igor, and Roland Manuel. “The Composition of Music” from Poetics of Music (1939), in Composers, 117–27.Specialized studies:Messing, Scott. Neoclassicism in Music: From the Genesis of the Concept Through the Schoenberg/Stravinsky Polemic. Rochester, NY: University of Rochester Press, 1996.Straus, Joseph N. Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition. Cambridge MA: Harvard University Press, 1990. Taruskin, Richard. “Back to Whom? Neoclassicism as Ideology.” NCM 16 (1993): 286–302.Composers:92 Walsh, Stephen. Stravinsky: A Creative Spring. Russia and France, 1882–1934. Berkeley: University of California Press, 2002.CHAPTER 69 Vienna in the Aftermath of War: Twelve-Tone MethodsSurveys:See entries “Schoenberg,” “Webern,” and “Twelve-note composition,” in NG.Morgan, Robert P. “The Twelve-Tone System,” in Musical Style, 187–219.Salzman, Eric. “The Viennese School,” in Twentieth-Century Music, 111–22.Simms, Bryan R. “Serialism,” in Style and Structure, 61–80.Whittall, Arnold. “Arnold Schoenberg,” in Composition, 160–83.Source readings:Schoenberg, Arnold. “Composition With Twelve-Tones.” In Schoenberg, Style and Idea:Selected Writings of Arnold Schoenberg, 214–44. Edited by Leonard Stein.Translated by Leo Black. Berkeley: University of California Press, 1984.Specialized studies:Haimo, Ethan. Schoenberg’s Serial Odyssey: The Evolution of his Twelve-Tone Method, 1914–1928. Oxford: Clarendon Press, 1990.Perle, George. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. 3d ed. Berkeley: University of California Press, 1972.Composers:Webern93 Moldenhauer, Hans, and Rosaleen Moldenhauer. Anton von Webern: A Chronicle of his Life and Work. New York: Knopf, 1979. Also see the bibliography for Chapter 66.CHAPTER 70 Musical Theater in German in the 1920s: Berg and WeillSurveys:See entries “Berg” and “Weill,” in NG.Crawford, John, and Dorothy L. Crawford. Expressionism in Twentieth-Century Music. Bloomington: Indiana University Press, 1993.Whittall, Arnold. “Alban Berg,” in Composition, 184–200.Source readings:The Berg-Schoenberg Correspondence: Selected Letters. Edited by Juliane Brand, Christopher Hailey, and Donald Harris. New York: Norton, 1987.Berg, Alban. “Berg’s Lecture on Wozzeck (1929).” In Alban Berg, Hans F. Redlich, 261–86. London: John Calder, 1957.Weill, Kurt. Speak Low (When You Speak of Love): The Letters of Kurt Weill and Lotte Lenya. Edited and translated by Lys Symonette and Kim Kowalke. Berkeley: University of California Press, 1996.Specialized studies:Jarman, Douglas. Alban Berg “Wozzeck.” Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1989.———. The Music of Alban Berg. Berkeley: University of California Press, 1979.94 Perle, George. The Operas of Alban Berg. 2 vols. Berkeley: University of California Press, 1980–85. Schmalfeldt, Janet. Berg’s “Wozzeck”: Harmonic Language and Dramatic Design. New Haven, CT: Yale University Press, 1983.Composers:WeillKowalke, Kim H. Kurt Weill in Europe, 1900–1935: A Study of his Music and Writings. Ann Arbor, MI: UMI Research Press, 1979.Schebera, Jürgen. Kurt Weill: An Illustrated Life. Translated by Caroline Murphy. New Haven, CT: Yale University Press, 1995.CHAPTER 71 Béla Bartók and Hungarian Folk MusicSurveys:See entries “Bartók” and “Hungary,” in NG.Beckerman, Michael, and Jim Samson. “Eastern Europe, 1918–45,” in Modern Times, 128–40.Whittall, Arnold. “Béla Bartók,” in Composition, 96–115.Source readings:Bartók, Béla. Essays. Edited by Benjamin Suchoff. Lincoln: University of Nebraska Press, 1976.———. Letters. Edited by János Demény. Translated by Péter Balabán and István Farkas. New York: St. Martin’s Press, 1971.Specialized studies:95 Antokoletz, Elliott. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley: University of California Press, 1984.Cooper, David. Bartok, Concerto for Orchestra. Cambridge: Cambridge University Press, 1996.Composers:Stevens, Halsey. The Life and Music of Béla Bartók. Rev. ed. Edited by Malcolm Gillies. Oxford: Clarendon Press, 1993.CHAPTER 72 Early JazzSurveys:See entries “Jazz,” “Ragtime,” “Blues,” “Armstrong, Louis,” “Johnson, James P.,” “Joplin, Scott,” “Oliver, King,” and “Smith, Bessie,” in NG.Collier, James Lincoln. “Classic Jazz to 1945,” in Cambridge, 123–51.Source readings:Armstrong, Louis. Louis Armstrong in his Own Words: Selected Writings. Edited by Thomas Brothers. New York: Oxford University Press, 1999.“Jazz from the Composer’s Point of View” [writings by Darius Milhaud, Virgil Thomson, Aaron Copland, Jelly Roll Morton, Gunther Schuller, and Duke Ellington], in Composers, 235–73.Southern, Eileen, ed. Readings in Black American Music. New York: Norton, 1972.Specialized studies:Berlin, Edward A. Ragtime: A Musical and Cultural History. Berkeley: University of California Press, 1980.96 Blesh, Rudi. Shining Trumpets: A History of Jazz. 2nd ed., rev. New York: Knopf, 1958.Gioia, Ted. The History of Jazz. New York: Oxford University Press, 1997.Schuller, Gunther. The History of Jazz. 2 vols. New York: Oxford University Press, 1968–89.Composers:ArmstrongCollier, James Lincoln. Louis Armstrong: An American Genius. New York: Oxford University Press, 1983.JoplinBerlin, Edward A. King of Ragtime: Scott Joplin and his Era. New York: Oxford University Press, 1994.SmithAlbertson, Chris. Bessie. Rev. ed. New Haven, CT: Yale University Press, 2003.CHAPTER 73 Paul Hindemith and Music in Nazi GermanySurveys:See entry “Hindemith,” in NG.Source readings:Hindemith, Paul. A Composer’s World: Horizons and Limitations. Garden City, NY: Doubleday, 1961.Specialized studies:Bruhn, Siglind. The Temptation of Paul Hindemith: “Mathis der Maler” as a Spiritual Testimony. Stuyvesant, NY: Pendragon Press, 1998.97 Kater, Michael H. The Twisted Muse: Musicians and Their Music in the Third Reich. New York: Oxford University Press, 1997.Levi, Erik. Music in the Third Reich. New York: St. Martin’s Press, 1994.Neumeyer, David. The Music of Paul Hindemith. New Haven, CT: Yale University Press,1986.Composers:HindemithSkelton, Geoffrey. Paul Hindemith: The Man Behind the Music. New York: Crescendo, 1975.CHAPTER 74 Music in Soviet Russia: Prokofiev and ShostakovichSurveys:See entries “Prokofiev,” “Shostakovich,” and “Russia,” in NG.Abraham, Gerald. “Music in the Soviet Union,” in New Oxford 10, 639–700.Fay, Laurel. “The USSR, 1918–45,” in Modern Times, 141–61.Source readings:“Chaos Instead of Music” [critique of Shostakovich’s Lady Macbeth], in Source Readings, 1397–98.Selected documents on Soviet music, in Music Since 1900, 1052–1071.Selected Letters of Sergei Prokofiev. Edited and translated by Harlow Robinson. Boston: Northeastern University Press, 1998.Shostakovich, Dmitri. About Himself and his Times. Moscow: Progress Publishers, 1981.98 ———. Testimony: The Memoirs of Dmitri Shostakovich. Edited by Solomon Volkov. Translated by Antonina W. Bouis. New York: Harper & Row, 1979.Specialized studies:Maes, Francis. A History of Russian Music: From “Kamarinskaya” to “Babi Yar.” Translated by Arnold J. Pomerans and Erica Pomerans. Berkeley: University of California Press, 1996.Schwarz, Boris. Music and Musical Life in Soviet Russia. Rev. ed. Bloomington: Indiana University Press, 1983.Composers:ProkofievRobinson, Harlow. Sergei Prokofiev: A Biography. Boston: Northeastern University Press, 1987.ShostakovichFay, Laurel E. Shostakovich: A Life. New York: Oxford University Press, 2000.CHAPTER 75 Self-Reliance in American Music: Ives, Seeger, NancarrowSurveys:See entries “Ives,” “Crawford, Ruth,” and “Nancarrow,” in NG.Goldman, Richard Franko. “Music in the United States,” in New Oxford 10, 569–634.Morgan, Robert P. “The United States,” in Musical Style, 283–314.Oja, Carol J. “The USA, 1918–45,” in Modern Times, 206–30.Simms, Bryan R. “Experimental Music in America,” in Style and Structure, 296–318.Source readings:99 Ives, Charles. Memos. New York: Norton, 1972.Perlis, Vivian. Charles Ives Remembered: An Oral History. Urbana: University of IllinoisPress, 2002.Rossiter, Frank. Charles Ives and his America. New York: Liveright, 1975.“The Search for an American Musical Language” [essays by Ives, Copland, and Elliott Carter], in Composers, 207–34.Specialized studies:Seeger, Charles. Studies in Musicology II: 1929–1979. Edited by Ann M. Pescatello. Berkeley: University of California Press, 1994. Contains Seeger’s “Manual on Dissonant Counterpoint.”Straus, Joseph N. The Music of Ruth Crawford Seeger. Cambridge: Cambridge University Press, 1995.Composers:IvesBurkholder, J. Peter. Charles Ives and his World. Princeton, NJ: Princeton University Press, 1996.Feder, Stuart. The Life of Charles Ives. Cambridge: Cambridge University Press, 1999.NancarrowGann, Kyle. The Music of Conlon Nancarrow. Cambridge: Cambridge University Press, 1995.CHAPTER 76 American Composers Return from Europe: Copland and BarberSurveys:100 See entries “Copland” and “Barber,” in NG.Simms, Bryan R. “Neoclassicism and Populism in American Music,” in Style and Structure, 266–95.Source readings:Copland, Aaron. Music and Imagination. Cambridge, MA: Harvard University Press, 1952.Copland, Aaron, and Vivian Perlis. Copland: 1900 Through 1942. New York: St. Martin’s Press, 1984.Specialized studies:Metzer, David. “‘Spurned Love’: Eroticism and Abstraction in the Early Works of Aaron Copland.” JM 15 (1997): 417–43.Composers:BarberHeyman, Barbara B. Samuel Barber: The Composer and his Music. New York: Oxford University Press, 1992.CoplandPollack, Howard. Aaron Copland: The Life and the Work of an Uncommon Man. New York: Henry Holt, 1999.CHAPTER 77 Tin Pan Alley and the Broadway MusicalSurveys:See entries “Rodgers, Richard,” “Bernstein, Leonard,” “Musical,” “Popular music” and “Tin pan alley,” in NG.101 Salzman, Eric. “Popular and World Music,” in Twentieth-Century Music, 231–45.Source readings:Bernstein, Leonard. The Unanswered Question: Six Talks at Harvard. Cambridge, MA: Harvard University Press, 1976.Specialized studies:The Cambridge Companion to the Musical. Edited by William A. Everett and Paul R. Laird. Cambridge: Cambridge University Press, 2002Forte, Allen. The American Popular Ballad of the Golden Era, 1924–1950. Princeton, NJ: Princeton University Press, 1995. Gilbert, Steven E. The Music of Gershwin. New Haven, CT: Yale University Press, 1995.Hamm, Charles. Yesterdays: Popular Song in America. New York: Norton, 1979.Swain, Joseph P. The Broadway Musical: A Critical and Musical Survey. New York: Oxford University Press, 1990.Wilder, Alec. American Popular Song: The Great Innovators, 1900–1950. Edited by James T. Maher. New York: Oxford University Press, 1990.Composers:BernsteinPeyser, Joan. Bernstein: A Biography. Rev. ed. New York: Billboard Books, 1998.GershwinJablonski, Edward. Gershwin. New York: Doubleday, 1987Part VIII: CONTEMPORARY MUSICCHAPTER 78 Reflections on War: Britten, Penderecki and Others102 Surveys:See the entries “Britten” and “Penderecki,” in NG.Whittall, Arnold. “The Subject of Britten,” in Exploring, 89–107.Source readings:Britten, Benjamin. “On Winning the First Aspen Award,” in Composers, 175–81.Specialized studies:Evans, Peter. The Music of Benjamin Britten. Rev. ed. London: Dent, 1989.Whittall. Arnold. The Music of Britten and Tippett: Studies in Themes and Techniques.2nd ed. Cambridge: Cambridge University Press, 1990.Composers:Kennedy, Michael. Britten. Rev. ed. New York: Oxford University Press, 2001.Schwinger, Wolfram. Krzysztof Penderecki: His Life and Work. Translated by WilliamMann. New York: Schott, 1989.CHAPTER 79 Twelve-Tone Music and Serialism After World War IISurveys:See the entries “Babbitt,” “Stravinsky,” “Boulez,” “Serialism” and “Twelve-note composition,” in NG.Griffiths, Paul. “Europe 2: Total Organization, 1949–1954,” in Modern Music, 29–49.Morgan, Robert P. “Integral Serialism,” in Musical Style, 333–58.Salzman, Eric. “Ultra-Rationality and Serialism,” in Twentieth-Century Music, 149–56.Simms, Bryan R. “The Revival of the Avant-Garde,” in Style and Structure, 319–42.103 Smith Brindle, Reginald. “Integral Serialism,” “Numbers,” and “Free Twelve-Note Music,” in New Music, 21–59.Source readings:Babbitt, Milton. The Collected Essays of Milton Babbitt. Edited by Stephen Peles. Princeton, NJ: Princeton University Press, 2003.Boulez, Pierre. Notes of an Apprenticeship. Translated by Herbert Weinstock. New York:Knopf, 1968.The Boulez-Cage Correspondence. Edited by Jean-Jacques Nattiez. Translated by Robert Samuels. Cambridge: Cambridge University Press, 1993.Specialized studies:Bernard, Jonathan W. “The Legacy of the Second Viennese School.” In Schoenberg, Berg, and Webern: A Companion to the Second Viennese School, edited by BryanR. Simms, 315–84. Westport, CT: Greenwood Press, 1999.Composers:BabbittMead, Andrew. An Introduction to the Music of Milton Babbitt. Princeton, NJ: PrincetonUniversity Press, 1994.BoulezJameux, Dominique. Pierre Boulez. Translated by Susan Bradshaw. Cambridge, MA:Harvard University Press, 1991.CHAPTER 80 Alternatives to Serialism: Chance, Electronics, TexturesSurveys:104 See the entries “Cage,” “Varèse,” “Messiaen,” “Aleatory,” and “Electronic music,” in NG.Cope, David. “Indeterminacy” and “ Electroacoustic Music,” in New Directions, 77–102, 131–58.Griffiths, Paul. “America 3: After Silence, 1952–1961,” in Modern Music, 94–103.Morgan, Robert P. “Indeterminacy,” and ”Developments in Technology: Electronic Music,” in Musical Style, 359–78, 461–80.Salzman, Eric. “Technological Culture and Electronic Music” and “Anti-Rationality and Aleatory,” in Twentieth-Century Music, 149–56, 163–69.Schwartz, Elliott, and Daniel Godfrey. “The Electronic Revolution I: Tape Composition and Early Synthesizers” and “The Electronic Revolution II: Computers and Digital Systems,” in Since 1945, 107–35, 342–69.Simms, Bryan R. “Indeterminacy” and “Electronic Music,” in Style and Structure, 343–82.Smith Brindle, Reginald. “Intederminacy, Chance, and Aleatory Music,” “Cage and Other Americans,” “Concrete Music,” and “Electronic Music,” in New Music, 60–80, 99–132.Source readings:Cage, John. Silence. Middletown, CT: Wesleyan University Press, 1961.Specialized studies:Bernard, Jonathan W. The Music of Edgard Varèse. New Haven: Yale University Press,1987.105 Lochhead, Judith. “Performance Practice in the Indeterminate Works of John Cage.” Performance Practice Review 7 (1994): 233–41.Pritchett, James. The Music of John Cage. Cambridge: Cambridge University Press,1993.Composers:MessiaenGriffiths, Paul. Olivier Messiaen and the Music of Time. Ithaca, NY: Cornell UniversityPress, 1985.Johnson, Robert Sherlaw. Messiaen. Berkeley: University of California Press, 1989.VarèseMacDonald, Malcolm. Varèse: Astronomer in Sound. London: Kahn & Averill, 2003.Varèse, Louise. Varèse: A Looking-Glass Diary. New York: Norton, 1972. CHAPTER 81 Harlem in the 1930s, 40s, and 50s: Big Bands, Bebop, Cool JazzSurveys:See the entries “Ellington,” “Parker, Charlie,” “Gillespie, Dizzy,” “Miles Davis,” “Bebop,” “Cool jazz,” and “Swing,” in NG.Cooke, Mervyn. “After Swing: Modern Jazz and its Impact,” in Cambridge, 395–417.Specialized studies:Owens, Thomas. Bebop: The Music and its Players. New York: Oxford University Press,1995.106 CHAPTER 82 Music in the 1960s and 1970s: Live Processes, Minimalism, Metric ModulationsSurveys:See the entries “Berio,” “Crumb,” “Carter, Elliott,” “Reich, Steve,” and “Minimalism,” inNG.Cope, David. “Minimalism,” in New Directions, 183–96.Griffiths, Paul. “Minimalism and Melody,” in Modern Music, 209–24.Morgan, Robert P. “A Return to Simplicity: Minimalism and the New Tonality,” in Musical Style, 423–40.Schwartz, Elliott, and Daniel Godfrey. “Process and Minimalism,” in Since 1945, 315–41.Simms, Bryan R. “Recent Music in Europe and America,” in Style and Structure, 403–24.Whittall, Arnold. “The Minimalist Experiment,” in Composition, 325–45.Source readings:Berio, Luciano. “Meditation on a Twelve-Tone Horse,” Composers, 182–88.Carter, Elliott. The Writings of Elliott Carter: An American Composer Looks at Modern Music. Edited by Else Stone and Kurt Stone. Bloomington: Indiana University Press, 1977.———. Collected Essays and Lectures, 1937–1995. Edited by Jonathan W. Bernard. Rochester, NY: University of Rochester Press, 1997.Specialized studies:Osmond-Smith, David. Berio. New York: Oxford University Press, 1991.107 Composers:CarterSchiff, David. The Music of Elliott Carter. London: Eulenburg Books, 1983.CHAPTER 83 Returning to the Known: Music of the Recent PastSurveys:See the entries “Ligeti,” “Adams, John,” “Tower, Joan,” “Pärt,” in NG.Fink, Robert. “(Post-)Minimalisms 1970–2000: The Search for a New Mainstream,” Cambridge, 539–56.Whittall, Arnold. “Modernism in Retreat,” in Exploring, 186–207.Source readings:Harbinson, John. “Two Tanglewood Talks: ‘Uses of Popular Music’ and ‘Accessibility’,” in Composers, 198–206.Rochberg, George. “Reflections on the Renewal of Music,” in Composers, 190–97.Composers:LigetiToop, Richard. György Ligeti. London: Phaidon, 1999.PärtHillier, Paul. Arvo Pärt. Oxford Studies of Composers. New York: Oxford University Press, 1997.108

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