Of the four sons of J.S. Bach who became composers, Carl Philipp Emanuel (1714-88) was the most prolific, the most original, and the most influential both during and after his lifetime. This first full-length English-language study critically surveys his output, examining not only the famous keyboard sonatas and concertos but also the songs, chamber music, and sacred works, many of which resurfaced in 1999 and have not previously been evaluated. The bookalso outlines the composer's career from his student days at Leipzig and Frankfurt (Oder) to his nearly three decades as court musician to Prussian King Frederick "the Great" and his last twenty years as cantor at Hamburg. Focusing on the composer's choices within his social and historical context, the book shows how C.P.E. Bach deliberately avoided his father's style while adopting the manner of his Berlin colleagues, derived from Italian opera. Anew perspective on the composer emerges from the demonstration that C.P.E. Bach, best known for his virtuoso keyboard works, refashioned himself as a writer of vocal music and popular chamber compositions in response to changingcultural and aesthetic trends. Supplementary texts and musical examples are included on a companion website. David Schulenberg is professor of music at Wagner College and teaches historical performance at the JuilliardSchool. He is the author of The Music of Wilhelm Friedemann Bach (University of Rochester Press, 2010).

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Research in the field of keyboard studies, especially when intimately connected with issues of performance, is often concerned with the immediate working environments and practices of musicians of the past. An important pedagogical tool, the keyboard has served as the ’workbench’ of countless musicians over the centuries. In the process it has shaped the ways in which many historical musicians achieved their aspirations and went about meeting creative challenges. In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The nineteen essays collected here encompass the range of research in the field, bringing together contributions from performers, organologists and music historians. Questions relevant to issues of creative practice in various historical contexts, and of interpretative issues faced today, form a guiding thread. Its scope is wide-ranging, with contributions covering the mid-sixteenth to early twentieth century. It is also inclusive, encompassing the diverse range of approaches to the field of contemporary keyboard studies. Collectively the essays form a survey of the ways in which the study of keyboard performance can enrich our understanding of musical life in a given period.

The Piano in Chamber Ensemble describes more than 3,200 compositions, from duos to octets, by more than 1,600 composers. It is divided into sections according to the number of instruments involved, then subdivided according to the actual scoring. Keyboard, string, woodwind, brass, and percussion players and their teachers will find a wealth of chamber works from all periods.

This collection of essays reflects the growth of interest in and research on Carl Philipp Emanuel Bach (1714-88) over the last twenty years. The contributors, including Christopher Hogwood, Hans-Günter Ottenberg, Darrell M. Berg, and Rachel Wade, discuss a wide range of topics surrounding Bach including musical innovations, relationships with contemporaries, aesthetics, and influence.

This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music. The Harvard Dictionary of Music has long been admired for its wide range as well as its reliability. This treasure trove includes entries on all the styles and forms in Western music; comprehensive articles on the music of Africa, Asia, Latin America, and the Near East; descriptions of instruments enriched by historical background; and articles that reflect today’s beat, including popular music, jazz, and rock. Throughout this Fourth Edition, existing articles have been fine-tuned and new entries added so that the dictionary fully reflects current music scholarship and recent developments in musical culture. Encyclopedia-length articles by notable experts alternate with short entries for quick reference, including definitions and identifications of works and instruments. More than 220 drawings and 250 musical examples enhance the text. This is an invaluable book that no music lover can afford to be without.