Published in 1814, this two-volume compilation covers chiefly Italian, German and British musicians of the sixteenth, seventeenth and eighteenth centuries.

During the late eighteenth century, a musical–cultural phenomenon swept the globe. The English square piano—invented in the early 1760s by an entrepreneurial German guitar maker in London—not only became an indispensable part of social life, but also inspired the creation of an expressive and scintillating repertoire. Square pianos reinforced music as life’s counterpoint, and were played by royalty, by musicians of the highest calibre and by aspiring amateurs alike. On Sunday, 13 May 1787, a square piano departed from Portsmouth on board the Sirius, the flagship of the First Fleet, bound for Botany Bay. Who made the First Fleet piano, and when was it made? Who owned it? Who played it, and who listened? What music did the instrument sound out, and within what contexts was its voice heard? What became of the First Fleet piano after its arrival on antipodean soil, and who played a part in the instrument’s subsequent history? Two extant instruments contend for the title ‘First Fleet piano’; which of these made the epic journey to Botany Bay in 1787–88? The First Fleet Piano: A Musician’s View answers these questions, and provides tantalising glimpses of social and cultural life both in Georgian England and in the early colony at Sydney Cove. The First Fleet piano is placed within the musical and social contexts for which it was created, and narratives of the individuals whose lives have been touched by the instrument are woven together into an account of the First Fleet piano’s conjunction with the forces of history. View ‘The First Fleet Piano: Volume Two Appendices’. Note: Volume 1 and 2 are sold as a set ($180 for both) and cannot be purchased separately.

Published in 1814, this two-volume compilation covers chiefly Italian, German and British musicians of the sixteenth, seventeenth and eighteenth centuries.

Frontcover -- Contents -- List of Figures -- Preface and Acknowledgements -- Chronology of Newman's Life and Works -- Abbreviations -- 1 Ernest Newman and the Challenge of Critical Biography -- PART I The Freethought Years -- 2 Formation of a Critical Sensibility: The 1880s and 1890s -- 3 Social, Literary and Musical Criticism: 1893-1897 -- 4 A Rationalist Manifesto: Pseudo-Philosophy at the end of the Nineteenth Century, 1897 -- 5 Music History and the Comparative Method: Gluck and the Opera, 1895 -- PART II The Mainstream Years -- 6 From Manchester to Moscow: Essays on Music, 1900-1920 -- 7 'The World of Music': Essays in the Sunday Times, 1920-1958 -- 8 Biographical and Musicological Tensions: The Man Liszt, 1934 -- 9 Sceptical and Transforming: Books on Wagner, 1899-1959 -- 10 Conclusion: Ernest Newman Remembered -- Appendix: Newman's Freethought Lectures, 1894-1896 -- Bibliography -- Index

A History of Western Choral Music explores the various genres, key composers, and influential works essential to the development of the western choral tradition. Author Chester L. Alwes divides this exploration into two volumes which move from Medieval music and the Renaissance era up to the 21st century. Volume I surveys the choral music of composers including Josquin, Palestrina, Purcell, Handel, and J.S. Bach while detailing the stylistic, textual, and extramusical considerations unique to the topics covered. Consideration of Renaissance music includes both sacred and secular works, specifically addressing the growth of sacred music, the rise of secular music, and the proliferation of sacred polyphony from Josquin to Palestrina. Discussion of the Baroque era is organized by geographic location, exploring the spread of Baroque style from Italy to German, France, and England. Volume I concludes by examining the aesthetic underpinnings of the early Classical and Romantic eras. Framing discussion within the political, religious, cultural, philosophical, aesthetic, and technological contexts of each era, A History of Western Choral Music offers readers specialized insight into major composers and works while providing a cohesive understanding of choral music's place in Western history.

The East Central Europe in Exile series consists of two volumes which contain chapters written by both esteemed and renowned scholars, as well as young, aspiring researchers whose work brings a fresh, innovative approach to the study of migration. Altogether, there are thirty-eight chapters in both volumes focusing on the East Central European émigré experience in the nineteenth and twentieth centuries. The first volume, Transatlantic Migrations, focuses on the reasons for emigration from the lands of East Central Europe; from the Baltic to the Adriatic, the intercontinental journey, as well as on the initial adaptation and assimilation processes. The second volume is slightly different in scope, for it focuses on the aspect of negotiating new identities acquired in the adopted homeland. The authors contributing to Transatlantic Identities focus on the preservation of the East Central European identity, maintenance of contacts with the “old country”, and activities pursued on behalf of, and for the sake of, the abandoned homeland. Combined, both volumes describe the transnational processes affecting East Central European migrants.

This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music. The analysis of music took many forms (verbal, diagrammatic, tabular, notational, graphic), was pursued for many different purposes (educational, scholarly, theoretical, promotional) and embodied very different approaches. This, the first volume, is concerned with writing on fugue, form and questions of style in the music of Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents analyses of complete works or movements by the most significant theorists and critics of the century. The analyses are newly translated into English and are introduced and thoroughly annotated by Ian Bent, making this a volume of enormous importance to our understanding of the nature of music reception in the nineteenth century.

First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).

First published in 2006. Routledge is an imprint of Taylor & Francis, an Informa company.