Music Catalogue 2015

MUSIC cambridge.org/music2015

2015

Welcome to the Music books catalogue 2015.

Here you will find new and forthcoming titles, representing the highest level of academic research from renowned authors. Our highlights this year include The Cambridge Companion to Hip-Hop edited by Justin A. Williams and volume three of The Collected Documents of George Frideric Handel edited by Donald Burrows, Helen Coffey, John Greenacombe and Anthony Hicks.

Our publications are available in a variety of formats, including ebooks and print, as well as online collections for institutional purchase via our publishing service University Publishing Online, which incorporates the Cambridge Books Online platform.

We also publish a range of leading Music journals, including Organised Sound and Twentieth-Century Music (see back inside page for more information).

You can recommend our books, online collections and journals to your librarian by filling out the form at the back of this catalogue.

To see more book listings, product information, preview extracts and reviews, and to find out which conferences we are attending, you can find us online at www.cambridge.org/music2015.

You can also keep up to date with the latest news and author views from our academic blog at www.cambridgeblog.org.

We hope that you enjoy reading about our latest publications. For queries, suggestions or proposals, you can find a list of useful contacts at the back of this catalogue.

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Contents Music criticism 1 Music performance 1 Opera 3 Medieval and Renaissance music 5 Seventeenth-century music 9 Eighteenth-century music 10 Nineteenth-century music 13 Twentieth-century and contemporary music 16 Also of interest 21 Information on related journals Inside back cover

C ambridge Introductions to M usic

see page 2

Friedemann Sallis

Music Sketches

GeorGe Frideric

H a ndel

see page 10

collected documents Volu me 2 1 7 2 5 – 1 7 3 4

edited by donald Burrows, Helen coffey, John Greenacombe and anthony Hicks

C ambridge Introductions to M usic

see page 14

Jonathan Kregor

Program Music

The Cambridge Companion to

see page 17

Hip-Hop Edited by

Justin A. Williams

The Cambridge Companion to

Duke Ellington Edited by

Edward Green

see page 18

Featured authors Friedemann Sallis, University of Calgary Author of Music Sketches The term ‘music sketch’ refers to the vast variety of documents that composers produce as they work out a musical technique or idea, and as they prepare a performance or publication of their work. Covering a period from 1600 to the present, this

Camb ridge

Introduct

ions to Music

book examines the compositional practice of specific composers with the help of numerous high-quality black and white scans of manuscripts and autographs, many of which have never been

Sallis Friedemann

hes Music Sketc

published before.

Jonathon Kregor, University of Cincinnati Author of Program Music Using numerous interdisciplinary methods and primary-source materials, this book provides a comprehensive survey of program music from the long nineteenth century. Music by Beethoven, Cambridge Introductions to Music

Mendelssohn, Berlioz, Liszt, Saint-Saëns, Mahler, Strauss, and others are discussed with copious illustrative materials, providing numerous contexts for this fundamentally important practice of the period.

Jonathan Kregor

Program Music

Visit www.cambridge.org/authorhub for a range of step-by-step guides for authors

Music criticism / Music performance

Music criticism Rethinking Difference in Music Scholarship Edited by Olivia Bloechl University of California, Los Angeles

Melanie Lowe Vanderbilt University, Tennessee

and Jeffrey Kallberg University of Pennsylvania

Two decades after the publication of several landmark scholarly collections on music and difference, musicology has largely accepted difference-based scholarship. This collection of essays by distinguished international contributors is a major contribution to the field. It explores and re-evaluates the key issues and includes individual case studies and methodologies.

2015 247 x 174 mm 450pp 23 b/w illus. 49 music examples 978-1-107-02667-4 Hardback £75.00 / US$115.00 For all formats available, see

www.cambridge.org/9781107026674

Music and Ethical Responsibility Jeff R. Warren Quest University Canada

Music and Ethical Responsibility argues that musical experience involves encounters with others, and ethical responsibilities arise from those encounters.

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Music performance The Manual of Musical Instrument Conservation Stewart Pollens

This is the first book to combine museum-based conservation techniques with practical instructions on the maintenance, repair, adjustment, and tuning of virtually every type of historical musical instrument. As one of the world’s leading museum-based conservators of musical instruments, Stewart Pollens gives practical advice on the handling, storage, display, and use of historic musical instruments in museums and other settings, and provides technical information on such wideranging subjects as acoustics, cleaning, climate control, corrosion, disinfestation, conservation ethics, historic stringing practice, measurement and historic metrology, retouching, tuning historic temperaments, varnish, and writing treatment reports. There are informative essays on the conservation of each of the major musical instrument groups, the treatment of paper, textiles, wood, and metal, as well as historic techniques of wood and metalworking as they apply to musical instrument making and repair.

This is a practical guide that includes

2014 247 x 174 mm 213pp 5 b/w illus.

978-1-107-04394-7 Hardback £60.00 / US$90.00 For all formats available, see

www.cambridge.org/9781107043947

eBooks available at www.cambridge.org/ebookstore

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Music performance equations, formulas, tables, and step-bystep instructions.

2015 246 x 189 mm 550pp 62 b/w illus. 12 tables 978-1-107-07780-5 Hardback £89.99 / US$150.00 Publication April 2015 For all formats available, see

www.cambridge.org/9781107077805

Organising Music Theory, Practice, Performance Edited by Nic Beech University of Dundee

and Charlotte Gilmore University of Edinburgh

Dispelling the myth that the logic of creativity and business are opposed, this book sets up a unique dialogue between leading organisational theorists and music professionals to explore new ways to enhance performance. Balancing theory with a range of tales from the field, this innovative book will have wide appeal.

‘This excellent book is a major contribution to this field, providing both a succinct and accessible contribution to the field of organisational studies, and case studies and reflections on what the field might learn from music and the music industry. I can thoroughly recommend it.’

Richard J. Badham, Macquarie Graduate School of Management, Sydney 2015 228 x 152 mm 446pp 2 b/w illus. 2 tables 978-1-107-04095-3 Hardback £70.00 / US$115.00 For all formats available, see

www.cambridge.org/9781107040953

New in Paperback

A History of Singing John Potter University of York

and Neil Sorrell University of York

From its prehistoric past to its multicultural present, this history examines singing as a historical and universal phenomenon.

2014 228 x 152 mm 355pp 978-1-107-63009-3 Paperback £19.99 / US$34.99 Also available 978-0-521-81705-9 Hardback £84.99 / US$134.99 For all formats available, see

www.cambridge.org/9781107630093

Highlight

Music Sketches Friedemann Sallis University of Calgary

This introduction provides students and scholars with the skills they need to begin on research projects involving the study of composers’ working documents.

It includes numerous illustrations of original manuscripts and autographs and a selection of detailed case studies, which explore how sketches were created and the techniques involved.

Cambridge Introductions to Music

2015 247 x 174 mm 290pp 34 b/w illus. 6 tables 17 music examples 978-0-521-86648-4 Hardback £55.00 / US$85.00 978-0-521-68554-2 Paperback £19.99 / US$29.99 For all formats available, see

www.cambridge.org/9780521866484

Opera

Opera Understanding the Leitmotif From Wagner to Hollywood Film Music Matthew Bribitzer-Stull University of Minnesota

Leitmotifs are a type of associative theme found in dramatic music. In this book, Matthew Bribitzer-Stull explores the background and development of the musical leitmotif, from Wagner and art music to the Hollywood adaptations of The Lord of The Rings and the Harry Potter series.

Advance praise: ‘In eloquent prose, Dr Bribitzer-Stull offers a fascinating interpretation of the structural and expressive roles of the leitmotif in Wagnerian opera and Hollywood film music. His attractive semiotic theory of associative meaning yields fundamental insights into how musical motives enhance meaning in intermedial contexts.’

Robert S. Hatten, University of Texas, Austin 2015 247 x 174 mm 315pp 3 tables 176 music examples 978-1-107-09839-8 Hardback c. £60.00 / c. US$99.00 Publication May 2015 For all formats available, see

www.cambridge.org/9781107098398

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Key Reference

The Cambridge Verdi Encyclopedia Edited by Roberta Montemorra Marvin University of Iowa

A fascinating and comprehensive resource for information on Verdi’s works, his life and career, and his cultural influence.

A Classical Music Editor’s Choice Top Ten Book of the Year 2014 – Joint winner 2014 228 x 152 mm 614pp 10 b/w illus.

978-0-521-51962-5 Hardback £100.00 / US$160.00 For all formats available, see

www.cambridge.org/9780521519625

Key Reference

The Cambridge Wagner Encyclopedia Edited by Nicholas Vazsonyi University of South Carolina

As the only encyclopedia of Richard Wagner available, this comprehensive reference work is an essential resource for enthusiasts and academics.

A Classical Music Editor’s Choice Top Ten Book of the Year 2014 – Joint winner 2013 228 x 152 mm 897pp 8 tables 48 music examples 978-1-107-00425-2 Hardback £120.00 / US$180.00 For all formats available, see

www.cambridge.org/9781107004252

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Opera Textbook

The Cambridge Companion to French Music Edited by Simon Trezise Trinity College, Dublin

This accessible Companion provides a comprehensive introduction to the music of France from the early middle ages to the present day. With chapters on a range of music genres, internationally renowned authors provide a chronological history of music-making in France and analyse the key themes and topics.

Contents: Foreword; Part I. Chronological History of French Music from the Early Middle Ages to the Present: 1. From abbey to cathedral and court: music under the Merovingian, Carolingian, and Capetian kings in France, through Louis IX; 2. Cathedral and court: music under the late Capetian and Valois kings in France, to Louis XI; 3. The Renaissance; 4. Music under Louis XIII and XIV (1610–1715); 5. Music from the Regency to the Revolution (1715–89); 6. The Revolution and Romanticism to 1848; 7. Renaissance and change: 1848 to 1914; 8. La guerre et la paix: 1914–45; 9. Cultural and generational querelles in the musical domain: music in France from the Second World War; Part II. Opera: 10. Opera and ballet to the death of Gluck; 11. Opera and ballet after the Revolution; Part III. Other Musics: 12. Traditional music and its ethnomusicological study in France; 13. Popular music; Part IV. Themes and Topics: 14. Manuscript sources and

calligraphy; 15. Church and state in early medieval France; 16. Music and the court of the ancien régime; 17. Musical aesthetics of the Siècle des Lumières; 18. Paris and the regions from the Revolution to World War I. Cambridge Companions to Music

2015 247 x 174 mm 440pp 18 b/w illus. 20 music examples 978-0-521-87794-7 Hardback £60.00 / US$99.00 978-0-521-70176-1 Paperback £19.99 / US$33.00 For all formats available, see

www.cambridge.org/9780521877947

Opera Acts Singers and Performance in the Late Nineteenth Century Karen Henson University of Miami

Karen Henson uses four detailed case studies to explore a wealth of new historical material about singers in the late nineteenth century and to challenge the idea that this was a period of decline for the opera singer.

‘Karen Henson lovingly summons the voices of four singers of the fin de siècle, chronicling the moment when the opera star was no longer defined by beautiful singing alone. Spiraling out from Paris to aesthetics and performance practice in both Verdi and Wagner, Henson uncovers the roots of our current obsession with dramatic intensity, cinematic realism, and photogenic celebrity on the operatic stage.’

Mary Ann Smart, University of California, Berkeley

Opera / Medieval and Renaissance music Cambridge Studies in Opera

2015 247 x 174 mm 279pp 17 b/w illus. 44 music examples 978-1-107-00426-9 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9781107004269

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his discussion of Strauss’s stage works and their historical contexts.

Cambridge Studies in Opera

2014 247 x 174 mm 353pp 17 b/w illus. 3 tables 135 music examples 978-0-521-45659-3 Hardback £65.00 / US$99.00 For all formats available, see

Opera and Modern Spectatorship in Late NineteenthCentury Italy Alessandra Campana Tufts University, Massachusetts

Alessandra Campana examines four late nineteenth-century operas, Mefistofele

by Arrigo Boito, Simon Boccanegra

by Verdi, Otello by Verdi and Manon Lescaut by Puccini, and a silent film scored by Mascagni, to explore for the first time how opera participated in the making of a modern public in postunification Italy.

Cambridge Studies in Opera

2015 247 x 174 mm 220pp 22 b/w illus. 19 music examples 978-1-107-05189-8 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9781107051898

Rounding Wagner’s Mountain Richard Strauss and Modern German Opera Bryan Gilliam Duke University, North Carolina

Richard Strauss’ fifteen operas make up the largest German operatic legacy since Wagner’s operas of the nineteenth century. In the first book to discuss all of Strauss’ operas, Bryan Gilliam explores the composer’s response to Wagner in

www.cambridge.org/9780521456593

Medieval and Renaissance music Hildegard of Bingen and Musical Reception The Modern Revival of a Medieval Composer Jennifer Bain Dalhousie University, Nova Scotia

Hildegard of Bingen has attracted interest ever since her death in 1179.

In this book Jennifer Bain traces the reception of Hildegard, focusing particularly on the modern era. This book will appeal to those interested in the history of reception, culture, politics and religion, and women’s studies.

2015 247 x 174 mm 250pp 18 b/w illus. 7 tables 8 music examples 978-1-107-07666-2 Hardback £64.99 / US$99.99 Publication April 2015 For all formats available, see

www.cambridge.org/9781107076662

Visit our website at www.cambridge.org/academic

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Medieval and Renaissance music Music and Riddle Culture in the Renaissance

Medieval Music, Legend, and the Cult of St Martin

Katelijne Schiltz

The Local Foundations of a Universal Saint Yossi Maurey

Universität Regensburg, Germany

This is the first book on the theory, practice and cultural context of musical riddles during the Renaissance. Highly illustrated and including a catalogue of enigmatic inscriptions, it will be of interest not only to musicologists, but also to scholars of literature, art history, theology and the history of ideas.

2015 247 x 174 mm 385pp 58 b/w illus. 3 colour illus. 36 music examples 978-1-107-08229-8 Hardback £84.99 / US$135.00

Hebrew University of Jerusalem

The cult of St Martin of Tours was one of the most successful saintly cults in medieval Europe. Yossi Maurey’s study is the first to explore the music and liturgy of the cult and to address how Martin came to inspire a lively folkloric tradition and numerous works of art.

Publication April 2015

2014 247 x 174 mm 318pp 11 colour illus. 8 tables 26 music examples 978-1-107-06095-1 Hardback £70.00 / US$110.00

For all formats available, see

For all formats available, see

www.cambridge.org/9781107082298

www.cambridge.org/9781107060951

Tactus, Mensuration and Rhythm in Renaissance Music

St. Anne in Renaissance Music

Ruth I. DeFord

Devotion and Politics Michael Alan Anderson

Hunter College, City University of New York

Eastman School of Music, University of Rochester

Ruth DeFord offers new interpretations of the writings of Renaissance music theorists on the notation and performance of rhythm. Illustrated with more than 200 music examples, this book provides new analytical insights and performance recommendations for some of the best known musical repertories of the period.

Devotion to Saint Anne, the apocryphal mother of the Virgin Mary, reached its height in the fifteenth and early sixteenth centuries. Michael Alan Anderson highlights the political implications of the music that honoured Anne and explores its connections to some of the most prominent court cultures of western Europe.

2015 247 x 174 mm 512pp 27 b/w illus. 14 tables 240 music examples 978-1-107-06472-0 Hardback £80.00 / US$130.00

‘… Anderson explores brilliantly and exhaustively the many subtle influences music dedicated to the Mother of Mary had on the ‘political’ views of European nobility, especially females … The book is a triumph of prodigious research; close criticism of ‘orthodox’ views; mastery of a wide-

Publication April 2015 For all formats available, see

www.cambridge.org/9781107064720

Medieval and Renaissance music ranging literature; and tendentious … tireless, detailed, specifically targeted conclusions … [It] is a wonder …

A treat for scholars, musicologists, and historians of music and those specializing in the period.’

W. Metcalfe, Choice 2014 247 x 174 mm 359pp 70 b/w illus. 20 tables 39 music examples 978-1-107-05624-4 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9781107056244

The Making of Liturgy in the Ottonian Church Books, Music and Ritual in Mainz, 950–1050 Henry Parkes Yale University, Connecticut

This highly original study explores the religious life of early medieval Germany through its ritual books. Interdisciplinary in perspective, it sheds light on the histories of important manuscripts from the city of Mainz, challenging long-held assumptions about the ritual traditions and political dynamics of the Ottonian Church.

Cambridge Studies in Medieval Life and Thought: Fourth Series, 100

2015 228 x 152 mm 288pp 4 b/w illus. 2 maps 8 tables 978-1-107-08302-8 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9781107083028

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Manuscripts and Medieval Song Inscription, Performance, Context Edited by Helen Deeming Royal Holloway, University of London

and Elizabeth Eva Leach University of Oxford

This unique publication offers fresh perspectives on key manuscript sources of medieval song. In ten chapters leading experts each treat a single manuscript in detail, offering new findings, essential summaries of each manuscript’s contents and historiography, and detailed, accessible analyses of the songs’ music and texts.

Music in Context

2015 247 x 174 mm 352pp 7 b/w illus. 27 tables 25 music examples 978-1-107-06263-4 Hardback £64.99 / US$99.99 Publication April 2015 For all formats available, see

www.cambridge.org/9781107062634

The Monstrous New Art Divided Forms in the Late Medieval Motet Anna Zayaruznaya Yale University, Connecticut

In The Monstrous New Art Anna Zayaruznaya focuses on a group of late medieval musical compositions that foreground monstrous and hybrid creatures and ideas. The book is generously illustrated with figures and music examples and will be of interest to

eBooks available at www.cambridge.org/ebookstore

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Medieval and Renaissance music scholars of music history and fourteenthcentury French literature and culture.

Advance praise: ‘A thoroughly excellent, original, important, and thought-provoking book, which will prove to be of great interest to a broad constituency of readers in musicology.’

Elizabeth Eva Leach, University of Oxford Music in Context

2015 247 x 174 mm 245pp 25 b/w illus. 6 tables 44 music examples 978-1-107-03966-7 Hardback £64.99 / US$99.99 Publication April 2015 For all formats available, see

www.cambridge.org/9781107039667

Key Reference

The Cambridge History of FifteenthCentury Music Edited by Anna Maria Busse Berger University of California, Davis

and Jesse Rodin Stanford University, California

Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers.

Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics.

Multidisciplinary studies of music and

architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history.

Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement.

Contributors: Anna Maria Busse Berger, Jesse Rodin, Michael Long, Klaus Pietschmann, Laurenz Lütteken, Alejandro Enrique Planchart, Lawrence F. Bernstein, Philippe Canguilhem, John Milsom, Julie E. Cumming, Peter Schubert, James Hankins, Reinhard Strohm, Leofranc Holford-Strevens, Blake Wilson, Alison K. Frazier, Deborah Howard, Anthony M. Cummings, Yolanda Plumley, David Fiala, Richard Sherr, Pamela F. Starr, Bonnie J. Blackburn, Patrick Macey, M. Jennifer Bloxam, David J. Rothenberg, Anne Walters Robertson, Anne Stone, Emily Zazulia, Evan A. MacCarthy, Margaret Bent, Thomas Schmidt-Beste, Andrew Kirkman, Nicole Schwindt, Keith Polk, David Fallows, Honey Meconi, Richard Taruskin The Cambridge History of Music

2015 228 x 152 mm 850pp 50 b/w illus. 20 tables 97 music examples 978-1-107-01524-1 Hardback £110.00 / US$225.00 Publication May 2015 For all formats available, see

www.cambridge.org/9781107015241

Seventeenth-century music

Seventeenthcentury music The Lure and Legacy of Music at Versailles Louis XIV and the Aix School John Hajdu Heyer University of Wisconsin, Whitewater

Louis XIV and his court at Versailles had a profound influence on music in France and throughout Europe. Taking its departure from Louis XIV’s 1660 visit to Provence, this book explores the developments in sacred music during Louis’s reign, particularly in the musical forms of the French motet.

2014 247 x 174 mm 299pp 14 b/w illus. 4 tables 23 music examples 978-0-521-51988-5 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9780521519885

New in Paperback

The Cambridge History of SeventeenthCentury Music Edited by Tim Carter University of North Carolina, Chapel Hill

and John Butt University of Glasgow

The Cambridge History of SeventeenthCentury Music seeks to provide the most up-to-date knowledge on seventeenthcentury music together with a vital questioning of the way in which such a history can be told or put together for our present purposes. Written by a distinguished team of experts in the field, the chapters not only address

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traditional areas of knowledge such as opera and church music, but also look at the way this extremely diverse and dynamic musical world has been categorised in the past and how its products are viewed from various cultural points of view. While this history does not depart entirely from the traditional study of musical works and their composers, there is a strong emphasis on the institutions, cultures and politics of the age, together with an interrogation of the ways in which music related to contemporary arts, sciences and beliefs.

‘Each of the essays delivers on the book’s promise of a strong emphasis on the institutions, cultures, and politics of the age.’

Choice

Contributors: Tim Carter, John Butt, Stephen Rose, Victor Anand Coelho, Barbara Russano Hanning, Penelope Gouk, Lois Rosow, Noel O’Regan, Robert Kendrick, Margaret Murata, Alexander Silbiger, Gregory Barnett The Cambridge History of Music

2014 228 x 152 mm 614pp 978-1-107-68105-7 Paperback £30.00 / US$50.00 Also available 978-0-521-79273-8 Hardback £154.99 / US$274.99 For all formats available, see

www.cambridge.org/9781107681057

Visit our website at www.cambridge.org/academic

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Eighteenth-century music

Eighteenthcentury music Key Reference

George Frideric Handel Collected Documents Volume 3: 1734–1742 Edited by Donald Burrows The Open University, Milton Keynes

Helen Coffey The Open University, Milton Keynes

John Greenacombe The Open University, Milton Keynes

and Anthony Hicks

English works Alexander’s Feast, Saul and Messiah.

2015 247 x 174 mm 780pp 12 b/w illus. 3 music examples 978-1-107-01955-3 Hardback c. £100.00 / c. US$180.00 Publication July 2015 For all formats available, see

www.cambridge.org/9781107019553

Key Reference

George Frideric Handel Collected Documents Volume 2: 1725–1734 Edited by Donald Burrows The Open University, Milton Keynes

The Open University, Milton Keynes

Helen Coffey

The life and career of George Frideric Handel, one of the most frequently performed composers from the Baroque period, are copiously and intricately documented through a huge variety of contemporary sources. This multi-volume major publication is the most up-to-date and comprehensive collection of these documents. Presented chronologically in their original languages with English translations and with commentaries incorporating the results of recent research, the documents provide an essential and accessible resource for anyone interested in Handel and his music. This volume begins with Handel’s move to the Covent Garden theatre, during the period of his competition with the Opera of the Nobility, and ends with his season of oratorio performances in Dublin. These years saw the composition of Italian operas including Ariodante, Alcina and Serse but also of the major

The Open University, Milton Keynes

John Greenacombe The Open University, Milton Keynes

and Anthony Hicks The Open University, Milton Keynes

The life and career of George Frideric Handel, one of the most frequently performed composers from the Baroque period, are copiously and intricately documented through a huge variety of contemporary sources. This major multi-volume publication is the most up-to-date and comprehensive collection of these documents. Presented chronologically in their original languages with English translations and with commentaries incorporating the results of recent research, the documents provide an essential and accessible resource for anyone interested in Handel and his music. In charting his activities in Germany, Italy and Britain, the documents also offer a valuable insight into broader eighteenth-century topics, such as court life, theatrical history, public concerts and competition

Eighteenth-century music between music publishers. This volume covers the period of Handel’s London opera career during which he achieved gradual independence from the Royal Academy opera company, but also introduced English theatre oratorios and wrote the music for the 1727 coronation.

2015 247 x 174 mm 972pp 16 b/w illus. 4 colour illus.

978-1-107-01954-6 Hardback £120.00 / US$180.00 Publication April 2015 For all formats available, see

www.cambridge.org/9781107019546

Key Reference

George Frideric Handel Collected Documents Volume 1: 1609–1725 Edited by Donald Burrows

Bach’s Numbers Compositional Proportion and Significance Ruth Tatlow

In the eighteenth century the universal harmony of God’s creation and the perfection of the unity (1:1) were philosophically, morally and devotionally significant. Ruth Tatlow employs theoretical evidence and practical demonstrations to explain how and why Bach used numbers in his published compositions.

2015 247 x 174 mm 337pp 9 b/w illus. 119 tables 978-1-107-08860-3 Hardback c. £65.00 / c. US$99.00 Publication May 2015 For all formats available, see

www.cambridge.org/9781107088603

The Open University, Milton Keynes

Highlight

Helen Coffey The Open University, Milton Keynes

Music and the Exotic from the Renaissance to Mozart

and Anthony Hicks

Ralph P. Locke

The Open University, Milton Keynes

John Greenacombe The Open University, Milton Keynes

A multi-volume authoritative reference source for information about the life and career of George Frideric Handel.

2014 247 x 174 mm 855pp 20 b/w illus. 10 music examples 978-1-107-01953-9 Hardback £120.00 / US$180.00 For all formats available, see

www.cambridge.org/9781107019539

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Eastman School of Music, University of Rochester

During the years 1500–1800, Europeans became increasingly aware of ethnic Otherness. In this prequel to his 2009 book Musical Exoticism, Ralph P. Locke demonstrates Western culture’s rich response to this burgeoning awareness.

His insights into the period’s major works and genres are supported by numerous music examples and rare illustrations.

Advance praise: ‘European encounters with Asia and the Americas found echoes in the theater, church, and chamber, as music itself found new ways to convey

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Eighteenth-century music meaning and provoke a wide range of feelings. Ralph P. Locke’s magisterial tour of the exotic takes us not only to lands both far and near, but also through changing musical worlds laced with danger and excitement.’

Tim Carter, University of North Carolina, Chapel Hill 2015 247 x 174 mm 464pp 53 b/w illus. 25 music examples 978-1-107-01237-0 Hardback £84.99 / US$135.00 Publication April 2015 For all formats available, see

www.cambridge.org/9781107012370

Convent Music and Politics in EighteenthCentury Vienna Janet K. Page University of Memphis

Janet Page explores the golden age of convent music in Vienna, and the convents’ surprising engagement with contemporary politics.

2014 247 x 174 mm 318pp 17 b/w illus. 3 tables 68 music examples 978-1-107-03908-7 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9781107039087

New in Paperback

The Cambridge History of EighteenthCentury Music Edited by Simon P. Keefe University of Sheffield

The eighteenth century arguably boasts a more remarkable group of significant musical figures, and a more engaging combination of genres, styles and

aesthetic orientations, than any century before or since, yet huge swathes of its musical activity remain underappreciated. The Cambridge History of Eighteenth-Century Music provides a comprehensive survey, examining littleknown repertories, works and musical trends alongside more familiar ones.

Rather than relying on temporal, periodic and composer-related phenomena to structure the volume, it is organised by genre; chapters are grouped according to the traditional distinctions of music for the church, music for the theatre and music for the concert room that conditioned so much thinking, activity and output in the eighteenth century. A valuable summation of current research in this area, the volume also encourages readers to think of eighteenth-century music less in terms of overtly teleological developments than of interacting and mutually stimulating musical cultures and practices.

‘This must have been a very difficult book to edit, and Simon Keefe (together with David Wyn Jones, who planned the volume) deserves unqualified congratulations for having engaged the work of so many gifted contributors and for having lurked in the detail (as it were) to such good effect … one cannot doubt the immense significance of this volume in its authoritative engagement with a repertory that speaks at every turn to the central importance of music as a vital expression of eighteenth-century thought.’

Music and Letters

Contributors: Simon P. Keefe, Stephen Rose, Paul R. Laird, Jen-Yen Chen, Jean-Paul C. Montagnier, Charles E. Brewer, David Schroeder, Margaret R. Butler, Lois Rosow, Michael Fend, Claudia Maurer Zenck, Anke

Eighteenth-century music / Nineteenth-century music Caton, Michael Burden, Rainer Kleinertz, Greger Andersson, John Irving, Rohan Stewart-MacDonald, Stefanie Tcharos, Berta Joncus, Eva Zöllner, Steven Zohn, Simon McVeigh, Richard Will, Cliff Eisen, David Black The Cambridge History of Music

2014 228 x 152 mm 814pp 5 b/w illus. 4 tables 11 music examples 978-1-107-64397-0 Paperback £30.00 / US$50.00 Also available 978-0-521-66319-9 Hardback £159.99 / US$224.99 For all formats available, see

www.cambridge.org/9781107643970

Nineteenthcentury music Key Reference

The History of the Erard Piano and Harp in Letters and Documents, 1785–1959 Edited by Robert Adelson Musée du Palais Lascaris

Alain Roudier Centre International du Pianoforte

Jenny Nex Musical Instrument Museums Edinburgh

Laure Barthel and Michel Foussard Ministère de la Culture

Sébastien Erard and the firm that carried his name are seminal in the history of musical instruments. Erard’s inventions – especially the double escapement for the piano and the double-action for the harp – have had an enormous impact on instruments and musical life and are

13

still at the foundation of piano and harp building today. The recently discovered archives of the Erard piano and harp building firm are perhaps the largest and most complete record of musical instrument making anywhere, containing never-before-published correspondence from musicians including Mendelssohn, Liszt and Fauré. These volumes present the archive’s records and documents in two parts, the first relating to inventions, business, composers and performers and the second to the Erard family correspondence. In both the original French and with English translations, the documents offer fascinating insights into the musical landscape of Europe from the start of Erard’s career in 1785 to the closure of the firm in 1959.

2015 247 x 174 mm 1100pp 40 b/w illus.

978-1-107-09291-4 2-Volume Hardback Set c. £150.00 / c. US$250.00 Publication June 2015 For all formats available, see

www.cambridge.org/9781107092914

Gustav Mahler’s Symphonic Landscapes Thomas Peattie Boston University

Thomas Peattie provides a richly interdisciplinary account of Gustav Mahler’s music, considering the theatrical dimension of his symphonies and situating these works in the context of the musical, theatrical, and aesthetic traditions of the Austrian fin de siècle.

2015 247 x 174 mm 240pp 7 b/w illus.

978-1-107-02708-4 Hardback £64.99 / US$99.99 Publication April 2015 For all formats available, see

www.cambridge.org/9781107027084

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14

Nineteenth-century music The Other Worlds of Hector Berlioz

Schubert’s Beethoven Project

Travels with the Orchestra Inge van Rij

John M. Gingerich

Victoria University of Wellington

The negotiation between worlds that is characteristic of Berlioz’s writings also plays out in his music. Inge van Rij’s book combines historical, critical and analytical approaches to a selection of key works by the composer to offer new ways of thinking about the sights and sounds of the orchestra.

Gingerich provides a new understanding of Schubert’s relationship to Beethoven, and the ways in which he built on Beethoven’s legacy.

2014 247 x 174 mm 372pp 10 tables 83 music examples 978-0-521-65087-8 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9780521650878

2015 247 x 174 mm 370pp 8 b/w illus. 4 tables 77 music examples 978-0-521-89646-7 Hardback £74.99 / US$118.00

Program Music

For all formats available, see

Jonathan Kregor

www.cambridge.org/9780521896467

Brahms in the Home and the Concert Hall Between Private and Public Performance Edited by Katy Hamilton Royal College of Music, London

and Natasha Loges Royal College of Music, London

Johannes Brahms remains a figure of perennial appeal and significance to performers, scholars and music-lovers alike. This richly illustrated collection of essays, including a hitherto unpublished memoir of Brahms, explores the boundaries between the composer’s public, professional identity and his lifelong engagement with private and amateur music-making.

2014 247 x 174 mm 424pp 27 b/w illus. 6 tables 124 music examples 978-1-107-04270-4 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9781107042704

Highlight

University of Cincinnati

This accessible introduction provides a comprehensive survey of program music from the late eighteenth to the early twentieth century. Exploring works

by Beethoven, Mendelssohn, Berlioz, Liszt, Saint-Saëns, Mahler, Strauss, and others, it sets the ideas and repertoires of program music in context, with numerous illustrations and music examples.

Cambridge Introductions to Music

2015 247 x 174 mm 332pp 8 b/w illus. 26 tables 115 music examples 978-1-107-03252-1 Hardback £50.00 / US$85.00 978-1-107-65725-0 Paperback £17.99 / US$27.99 For all formats available, see

www.cambridge.org/9781107032521

Nineteenth-century music

Frauenliebe und Leben

New in Paperback

Chamisso’s Poems and Schumann’s Songs Rufus Hallmark

The Cambridge History of NineteenthCentury Music

Rutgers University, New Jersey

Rufus Hallmark sets Schumann’s famous song cycle in the context of the challenges and social expectations faced by women in early nineteenth-century Germany. His study offers insights on Schumann’s composing materials, reception of the song cycle, other contemporary poems about women, and comparisons with other musical settings of the poems.

Music in Context

2014 247 x 174 mm 292pp 14 tables 44 music examples 978-1-107-00230-2 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9781107002302

Beethoven’s Theatrical Quartets Opp. 59, 74 and 95 Nancy November University of Auckland

The first detailed contextual study of Beethoven’s middle-period quartets, encompassing reception history, early performance practices, aesthetic contexts and theatrical impetus.

Music in Context

2014 247 x 174 mm 295pp 9 b/w illus. 1 table 94 music examples 978-1-107-03545-4 Hardback £60.00 / US$95.00 For all formats available, see

www.cambridge.org/9781107035454

15

Edited by Jim Samson Royal Holloway, University of London

This comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. It avoids mere repertory surveys, focusing instead on issues which illuminate the subject in novel and interesting ways.

The book is divided into two parts (1800–1850 and 1850–1900), each of which approaches the major repertory of the period by way of essays investigating the intellectual and socio-political history of the time. The music itself is discussed in five central chapters within each part, amplified by essays on topics such as popular culture, nationalism, genius, and the emergent concept of an avant-garde.

The book concludes with an examination of musical styles and languages around the turn of the century. The addition of a detailed chronology and extensive glossaries makes this the most informed reference book on nineteenth-century music currently available. ‘… a comprehensive, impressive overview of the music of the period in question … Jim Samson has assembled an equally impressive selection of Anglo-American musicological minds to write it with him. There is in fact nothing gimmicky here, but much to admire. The book on its own terms remains a significant contribution to the current literature, of which any publisher should be proud.’

Musical Times

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Nineteenth-century music / Twentieth-century and contemporary music Contributors: Jim Samson, Andrew Bowie, John Rink, Roger Parker, K. M. Knittel, Julian Rushton, John Irving, John Butt, Derek Carew, John Williamson, Max Paddison, Katharine Ellis, Thomas Grey, James Hepokoski, Susan Youens, Jonathan Dunsby, Derek B. Scott, Anthony Pople

connections in Hollywood as well as within academia.

2015 247 x 174 mm 295pp 38 b/w illus. 1 table 978-1-107-06499-7 Hardback c. £60.00 / c. US$99.00 Publication May 2015

The Cambridge History of Music

For all formats available, see

2014 228 x 152 mm 785pp 978-1-107-67994-8 Paperback £30.00 / US$50.00

www.cambridge.org/9781107064997

Also available 978-0-521-59017-4 Hardback £139.99 / US$254.99 For all formats available, see

www.cambridge.org/9781107679948

Popular Musical Theatre in London and Berlin 1890 to 1939 Edited by Len Platt Goldsmiths, University of London

Twentiethcentury and contemporary music Schoenberg and Hollywood Modernism Kenneth H. Marcus University of la Verne, California

Schoenberg is often viewed as an isolated composer who was ill-at-ease in exile. Kenneth H. Marcus shows that, contrary to this perception, Schoenberg was deeply involved in the cultural and intellectual environment in which he found himself, and had multiple

Tobias Becker Freie Universität Berlin

and David Linton Goldsmiths, University of London

In the decades before the Second World War, popular musical theatre was a global industry. This collection brings together international contributors to offer new insights into historical popular culture in London and Berlin and the Anglo-German relationship during a period of intense hostility and rivalry.

2014 228 x 152 mm 227pp 15 b/w illus. 4 music examples 978-1-107-05100-3 Hardback £60.00 / US$95.00 For all formats available, see

www.cambridge.org/9781107051003

Twentieth-century and contemporary music The Musicology of Record Production

The Legacy of Johann Strauss

Simon Zagorski-Thomas

Political Influence and TwentiethCentury Identity Zoë Alexis Lang

London College of Music, Thames Valley University

Recorded music is as different to live music as film is to theatre. In this book, Simon Zagorski-Thomas sets out a framework for the study of recorded music and record production using current ideas from psychology and sociology.

2014 247 x 174 mm 275pp 978-1-107-07564-1 Hardback £60.00 / US$95.00 For all formats available, see

17

University of South Florida

Zoë Lang explores constructions of twentieth-century Austrian identity through an examination of commentary on Johann Strauss, Jr’s waltzes.

2014 228 x 152 mm 248pp 11 tables 11 music examples 978-1-107-02268-3 Hardback £60.00 / US$95.00 For all formats available, see

www.cambridge.org/9781107022683

www.cambridge.org/9781107075641

Becoming Heinrich Schenker Music Theory and Ideology Robert P. Morgan Yale University, Connecticut

Much controversy surrounds Schenker’s mature theory and its attempt to explain musical pitch motion. In this book, Robert Morgan provides a balanced view, showing that Schenker’s mature theory developed logically out of his earlier ideas yet reflected a troubled ideology dependent upon contemporary German thought.

2014 247 x 174 mm 294pp 61 music examples 978-1-107-06769-1 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9781107067691

Highlight

The Cambridge Companion to Hip-Hop Edited by Justin A. Williams University of Bristol

Written by renowned scholars and industry professionals, this Companion covers the key elements and methods, from Nerdcore hip-hop to the role of rappers in the Obama campaign. With case studies from around the world, this collection reflects the passion and scholarly activity occurring in the new generation of hip-hop studies.

Cambridge Companions to Music

2015 247 x 174 mm 365pp 20 b/w illus. 11 music examples 978-1-107-03746-5 Hardback £54.99 / US$89.99 978-1-107-64386-4 Paperback £19.99 / US$29.99 For all formats available, see

www.cambridge.org/9781107037465

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18

Twentieth-century and contemporary music Highlight

The Cambridge Companion to Duke Ellington Edited by Edward Green Manhattan School of Music

Duke Ellington is widely held to be the greatest jazz composer.

This comprehensive and accessible Companion is the first collection of essays to provide an in-depth overview of Ellington’s career, music, and place in popular culture and will be essential reading for anyone with an interest in his enduring legacy. ‘[I] couldn’t stop reading it. I am glad it has been published and the book can be recommended highly.’

Louis Tavecchio, Universiteit van Amsterdam Cambridge Companions to Music

2015 247 x 174 mm 320pp 2 b/w illus. 53 music examples 978-0-521-88119-7 Hardback £55.00 / US$90.00 978-0-521-70753-4 Paperback £15.99 / US$29.99 For all formats available, see

www.cambridge.org/9780521881197

Harrison Birtwistle Studies Edited by David Beard Cardiff University

Kenneth Gloag

issues through a wide-range of critical, theoretical and analytical interpretations and perspectives.

Cambridge Composer Studies

2015 247 x 174 mm 336pp 17 b/w illus. 18 tables 81 music examples 978-1-107-09374-4 Hardback £65.00 / US$99.00 Publication April 2015 For all formats available, see

www.cambridge.org/9781107093744

Highlight

British Musical Modernism The Manchester Group and their Contemporaries Philip Rupprecht Duke University, North Carolina

This panoramic study of musical modernism synthesizes cultural, biographical, and analytic perspectives to provide a group portrait of the leading figures in post-war British art music. Philip Rupprecht explores the music of the Manchester Group and other composers in works spanning sixties theatricality through to seventies pop, electronic and post-minimalist music.

Music Since 1900

2015 247 x 174 mm 445pp 13 b/w illus. 93 music examples 978-0-521-84448-2 Hardback c. £75.00 / c. US$115.00

Cardiff University

Publication May 2015

and Nicholas Jones

For all formats available, see

Cardiff University

This collection of essays represents current research on the music of Sir Harrison Birtwistle, reflecting the diversity of his music in terms of periods, genres, forms, techniques and related

www.cambridge.org/9780521844482

Twentieth-century and contemporary music French Music and Jazz in Conversation

Schoenberg’s Twelve-Tone Music

From Debussy to Brubeck Deborah Mawer

Symmetry and the Musical Idea Jack Boss

Birmingham Conservatoire

University of Oregon

This book explores the rich historicalcultural interactions between French concert music and American jazz in the first half of the twentieth century (1900– 65), from both perspectives. Deborah Mawer provides a set of detailed musical case studies on Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans and Dave Brubeck.

Jack Boss takes a unique approach to analyzing Schoenberg’s twelvetone music, adapting the composer’s notion of a ‘musical idea’ – problem, elaboration, solution – as a theoretical framework. Containing analytical readings of key works including Moses und Aron, the study provides the reader with a clearer understanding of this vitally important composer.

‘This is the book for which jazz scholarship has long been waiting: at last, the hugely significant interactions between jazz and modern concert music have been unravelled with the insight, technical understanding and contextual awareness they deserve.

Professor Mawer delves deeply into this two-way process in a series of fascinating case studies which celebrate some of the most exciting and far-reaching musical crossfertilizations of the twentieth century.’

Mervyn Cooke, Professor of Music, University of Nottingham

Music Since 1900

2014 246 x 189 mm 463pp 129 music examples 978-1-107-04686-3 Hardback £70.00 / US$110.00 For all formats available, see

www.cambridge.org/9781107046863

The Spectral Piano From Liszt, Scriabin, and Debussy to the Digital Age Marilyn Nonken New York University

2014 247 x 174 mm 319pp 3 b/w illus. 6 tables 54 music examples 978-1-107-03753-3 Hardback £60.00 / US$99.00

Marilyn Nonken finds precedent in the works of pianist-composers Liszt, Scriabin and Debussy for spectral attitudes towards the musical experience.

For all formats available, see

Music Since 1900

www.cambridge.org/9781107037533

2014 247 x 174 mm 207pp 21 music examples 978-1-107-01854-9 Hardback £55.00 / US$90.00

Music Since 1900

19

For all formats available, see

www.cambridge.org/9781107018549

eBooks available at www.cambridge.org/ebookstore

20

Twentieth-century and contemporary music The Orchestral Music of Michael Tippett Creative Development and the Compositional Process Thomas Schuttenhelm Central Connecticut State University

Thomas Schuttenhelm’s book presents an investigation into Michael Tippett’s creative process and a comprehensive critical commentary on his orchestral music.

Music Since 1900

2014 247 x 174 mm 338pp 12 b/w illus. 51 music examples 978-1-107-00024-7 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9781107000247

Schoenberg and Redemption Julie Brown

sands of Schoenberg’s thought in an authoritative manner, not an easy task … this stimulating book should be available to all who are interested in European culture … Recommended.’

M. Dineen, Choice New Perspectives in Music History and Criticism

2014 247 x 174 mm 272pp 2 b/w illus. 3 music examples 978-0-521-55035-2 Hardback £65.00 / US$99.00 For all formats available, see

www.cambridge.org/9780521550352

New in Paperback

The Cambridge History of TwentiethCentury Music Edited by Nicholas Cook University of Cambridge

and Anthony Pople

Royal Holloway, University of London

University of Nottingham

Julie Brown presents a new way of understanding Schoenberg’s step into atonality in 1908. Reconsidering his early atonal works, his theoretical writings and previously unexplored archival documents, she argues that Schoenberg’s revolutionary step was in part a response to Wagner’s negative charges concerning the Jewish influence on German music.

The Cambridge History of TwentiethCentury Music, first published in 2004, is an appraisal of the development of music in the twentieth century from the vantage-point of the twenty-first.

This wide-ranging and eclectic book traces the progressive fragmentation of the European ‘art’ tradition, and its relocation as one tradition among many at the century’s end. While the focus is on Western traditions, both ‘art’ and popular, these are situated within the context of world music, including a case study of the interaction of ‘art’ and traditional musics in post-colonial Africa.

An international authorship brings a wide variety of approaches to music history, but the aim throughout is to set musical developments in the context of social, ideological, and technological

‘This book reopens the subject of Jewish culture in the life and work of the twentieth-century classical composer Arnold Schoenberg … [it] draws on the writings of Austrian philosopher Otto Weininger, providing a welcome reintroduction of his work into musicological research. Above all, the author shows a remarkable ability to negotiate the shifting

Twentieth-century and contemporary music / Also of interest change, and to understand reception and consumption as integral to the history of music.

‘Its pluralist narrative finds room for pop, jazz and easy listening alongside classical mainstreams and avant-garde orthodoxies. The non-interventionist stance makes for lively debate between contributors, reflecting the revisionist brand of musicology where the importance of any musical culture must be constantly contested.’

The Independent

Contributors: Nicholas Cook, Anthony Pople, Jonathan Stock, Leon Botstein, Christopher Butler, Stephen Banfield, James Lincoln Collier, Susan C. Cook, Peter Franklin, David Nicholls, Joseph Auner, Hermann Danuser, Michael Walter, Derek B. Scott, David Osmond-Smith, Arnold Whittall, Mervyn Cooke, Robynn Stilwell, Richard Toop, Andrew Blake, Alastair Williams, Robert Fink, Dai Griffiths, Martin Scherzinger, Peter Elsdon, Björn Heile, Peter Jones The Cambridge History of Music

2014 228 x 152 mm 824pp 4 b/w illus. 1 music example 978-1-107-63199-1 Paperback £30.00 / US$50.00 Also available 978-0-521-66256-7 Hardback £154.99 / US$284.99 For all formats available, see

www.cambridge.org/9781107631991

21

Also of interest Porphyry’s Commentary on Ptolemy’s Harmonics A Greek Text and Annotated Translation Edited and translated by Andrew Barker University of Birmingham

Porphyry’s Commentary, the only surviving ancient commentary on a technical text, is not merely a study of Ptolemy’s Harmonics. It includes virtually free-standing philosophical essays on epistemology, metaphysics, scientific methodology, aspects of the Aristotelian categories and the relations between Aristotle’s views and Plato’s, and a host of briefer comments on other matters of wide philosophical interest.

For musicologists it is widely recognised as a treasury of quotations from earlier treatises, many of them otherwise unknown; but Porphyry’s own reflections on musical concepts (for instance notes, intervals and their relation to ratios, quantitative and qualitative conceptions of pitch, the continuous and discontinuous forms of vocal movement, and so on) and his snapshots of contemporary music-making have been undeservedly neglected. This volume presents the first English translation and a revised Greek text of the Commentary, with an Introduction and notes designed

Visit our website at www.cambridge.org/academic

22

Also of interest to assist readers in engaging with this important and intricate work.

2015 228 x 152 mm 528pp 30 b/w illus.

978-1-107-00385-9 Hardback £100.00 / US$160.00 Publication June 2015 For all formats available, see

www.cambridge.org/9781107003859

Index A Adelson, Robert.....................................13 Anderson, Michael Alan............................6

B Bach’s Numbers.....................................11 Bain, Jennifer...........................................5 Barker, Andrew.......................................21 Barthel, Laure.........................................13 Beard, David..........................................18 Becker, Tobias.........................................16 Becoming Heinrich Schenker...................17 Beech, Nic................................................2 Beethoven’s Theatrical Quartets..............15 Bloechl, Olivia..........................................1 Boss, Jack..............................................19 Brahms in the Home and the Concert Hall.....................................................14 Bribitzer-Stull, Matthew............................3 British Musical Modernism.....................18 Brown, Julie...........................................20 Burrows, Donald............................... 10, 11 Busse Berger, Anna Maria.........................8 Butt, John................................................9

C Cambridge Companion to Duke Ellington, The......................................18 Cambridge Companion to French Music, The.......................................................4 Cambridge Companion to Hip-Hop, The..17 Cambridge History of EighteenthCentury Music, The..............................12 Cambridge History of Fifteenth-Century Music, The.............................................8 Cambridge History of NineteenthCentury Music, The..............................15 Cambridge History of SeventeenthCentury Music, The................................9 Cambridge History of Twentieth-Century Music, The...........................................20 Cambridge Verdi Encyclopedia, The...........3 Cambridge Wagner Encyclopedia, The.......3 Campana, Alessandra...............................5 Carter, Tim................................................9

23

Coffey, Helen.................................... 10, 11 Convent Music and Politics in Eighteenth-Century Vienna..................12 Cook, Nicholas.......................................20

D Deeming, Helen........................................7 DeFord, Ruth I..........................................6

F Foussard, Michel....................................13 Frauenliebe und Leben...........................15 French Music and Jazz in Conversation...19

G George Frideric Handel..................... 10, 11 Gilliam, Bryan...........................................5 Gilmore, Charlotte....................................2 Gingerich, John M..................................14 Gloag, Kenneth......................................18 Green, Edward.......................................18 Greenacombe, John.......................... 10, 11 Gustav Mahler’s Symphonic Landscapes.13

H Hallmark, Rufus......................................15 Hamilton, Katy.......................................14 Harrison Birtwistle Studies......................18 Henson, Karen..........................................4 Heyer, John Hajdu.....................................9 Hicks, Anthony................................. 10, 11 Hildegard of Bingen and Musical Reception..............................................5 History of Singing, A.................................2 History of the Erard Piano and Harp in Letters and Documents, 1785–1959, The.....................................................13

J Jones, Nicholas.......................................18

K Kallberg, Jeffrey........................................1

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24

Index Keefe, Simon P........................................12 Kregor, Jonathan....................................14

L Lang, Zoë Alexis.....................................17 Leach, Elizabeth Eva.................................7 Legacy of Johann Strauss, The.................17 Linton, David..........................................16 Locke, Ralph P........................................11 Loges, Natasha.......................................14 Lowe, Melanie..........................................1 Lure and Legacy of Music at Versailles, The.......................................................9

M Making of Liturgy in the Ottonian Church, The...........................................7 Manual of Musical Instrument Conservation, The..................................1 Manuscripts and Medieval Song...............7 Marcus, Kenneth H.................................16 Marvin, Roberta Montemorra....................3 Maurey, Yossi...........................................6 Mawer, Deborah.....................................19 Medieval Music, Legend, and the Cult of St Martin...............................................6 Monstrous New Art, The...........................7 Morgan, Robert P...................................17 Music and Ethical Responsibility...............1 Music and Riddle Culture in the Renaissance..........................................6 Music and the Exotic from the Renaissance to Mozart........................11 Music Sketches.........................................2 Musicology of Record Production, The.....17

Opera and Modern Spectatorship in Late Nineteenth-Century Italy........................5 Orchestral Music of Michael Tippett, The.20 Organising Music.....................................2 Other Worlds of Hector Berlioz, The.........14

P Page, Janet K..........................................12 Parkes, Henry...........................................7 Peattie, Thomas......................................13 Platt, Len...............................................16 Pollens, Stewart........................................1 Pople, Anthony.......................................20 Popular Musical Theatre in London and Berlin..................................................16 Porphyry’s Commentary on Ptolemy’s Harmonics...........................................21 Potter, John..............................................2 Program Music.......................................14

R Rethinking Difference in Music Scholarship............................................1 Rodin, Jesse.............................................8 Roudier, Alain.........................................13 Rounding Wagner’s Mountain..................5 Rupprecht, Philip....................................18

S

Nex, Jenny.............................................13 Nonken, Marilyn.....................................19 November, Nancy...................................15

Sallis, Friedemann.....................................2 Samson, Jim...........................................15 Schiltz, Katelijne.......................................6 Schoenberg and Hollywood Modernism..16 Schoenberg and Redemption..................20 Schoenberg’s Twelve-Tone Music............19 Schubert’s Beethoven Project..................14 Schuttenhelm, Thomas............................20 Sorrell, Neil..............................................2 Spectral Piano, The.................................19 St. Anne in Renaissance Music..................6

O

T

Opera Acts...............................................4

Tactus, Mensuration and Rhythm in Renaissance Music................................6

N

Index Tatlow, Ruth...........................................11 Trezise, Simon..........................................4

U

25

W Warren, Jeff R...........................................1 Williams, Justin A...................................17

Understanding the Leitmotif.....................3

Z

V

Zagorski-Thomas, Simon.........................17 Zayaruznaya, Anna...................................7

van Rij, Inge...........................................14 Vazsonyi, Nicholas....................................3

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26

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Articles

An International Journal

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JAMES GRIER (ed.), Ademari Cabannensis opera liturgica et poetica: Musica cum textibus SAM BARRETT EMMA DILLON, The Sense of Sound: Musical Meaning in France, 1260–1330 JEREMY LLEWELLYN

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Volume 19

JOURNAL OF THE

TA B L E O F C O N T E N T S CONTRIBUTORS A RT I C L E S 435

479

“This Is America”: Jimi Hendrix’s Star Spangled Banner Journey as Psychedelic Citizenship Mark Clague The Inspector of Music Meets the French Raoul Camus

The Fugs, the Lower East Side, and the Slum Aesthetic in 1960s Rock Patrick Burke

REVIEWS

ce on Analyzing rpool, 2–4 July 2013

BOOKS 567

Daniel Cavicchi, Listening and Longing: Music Lovers in the Age of Barnum Karen Ahlquist

570

Agustín Gurza, with Jonathan Clark and Chris Strachwitz, The Arhoolie Foundation’s Strachwitz Frontera Collection of Mexican and Mexican American Recordings; Catherine L. Kurland and Enrique R. Lamadrid, Hotel Mariachi: Urban Space and Cultural Heritage in Los Angeles; Josh Kun, Songs in the Key of Los Angeles; Larry Rothe, Music for a City, Music for the World: 100 Years with the San Francisco Symphony Walter Aaron Clark Continued on inside back cover

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M I K H A I L L O PAT I N

Liturgical chant bibliography 23

201

G Ü N T H E R M I C H A E L P A U C K E R

Reviews László Dobszay and Janka Szendrei, eds., Responsories

241

K AT E H E L S E N

Helen Deeming, ed., Songs in British Sources, c.1150–1300

245

P E T E R M . L E F F E RT S

Anne-Zoé Rillon-Marne, Homo considera. La pastorale lyrique de Philippe le Chancelier: une étude des conduits monodiques

252

T H O M A S B . P AY N E

Michael Scott Cuthbert, Sean Gallagher and Christoph Wolff, eds., City, Chant, and the Topography of Early Music: In Honor of Thomas Forrest Kelly K AT E H E L S E N

Mediation: Notation and Communication in Electroacoustic Music Performance

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189 Notes on Contributors

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191 Actor-Networks in Music History: Clarifications and Critiques Benjamin Piekut 217 ‘Sound Effects (O.K., Music)’: Steve Reich and the Visual Arts in New York City,

VOLUME 8 • NUMBER 4 • NOVEMBER 2014 1966–1968 Ross Cole

245 Beware the Lamb: Staging Bach’s Passions Bettina Varwig

275 ‘The Age of the Golden Ear’: The Columbia World Library and Sounding out Post-war Field Recording Tom Western

Reviews 301 Rachel Beckles Willson, Orientalism and Musical Mission: Palestine and the West Benjamin Brinner 308 Carol Vernallis, Unruly Media: YouTube, Music Video, and the New Digital Cinema John Richardson, An Eye for Music: Popular Music and the Audiovisual Surreal Holly Rogers

315 Alexandra Hui, The Psychophysical Ear: Musical Experiments, Experimental Sounds, 1840–1910 Carolyn Birdsall, Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933–1945 Florence Feiereisen and Alexandra Merley Hill, eds, Germany in the Loud Twentieth Century: An Introduction Brı́an Hanrahan

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VOL.68 NO.270 - OCTOBER 2014

ISSN 0040-2982

TWENTIETH-

CENTURY

MUSIC VOLUME 1 1 | NUMBER 2

| SEPTEMBER 2014

1 1 | NUMBER 2 | SEPTEMBER 2 01 4

538

153

Canonic techniques in the caccia: compositional strategies and historical development 179

VOLUME

How Santa Claus Became a Slave Driver: The Work of Print Culture in a Nineteenth-Century Musical Controversy Douglas W. Shadle

NOVEMBER 2014

Guy of Saint-Denis on the tones: thinking about chant for Saint-Denis c.1300 C O N S TA N T J . M E W S , J O H N N . C R O S S L E Y A N D C A R O L W I L L I A M S

early modern music

ISSN 1478-5722

VOLUME 8 • NUMBER 4 • NOVEMBER 2014

501

NUMBER 3

125

SEAN CURRAN

TWENTIETH-CENTURY MUSIC

Popular MusicSOCIETY FOR AMERICAN MUSIC

VOLUME 26

CONTENTS Reading and rhythm in the ‘La Clayette’ manuscript (Paris, Bibliothèque nationale de France, nouv. acq. fr. 13521)

Studies in medieval and

PA RT 2 O C TO B E R 2 0 1 4

Volume 11 • Issue 1 • June 2014

Issue 3

33

VOL. 23

Review

ISSN 1355-7718

EARLY MUSIC HISTORY

PLAINSONG AND MEDIEVAL MUSI C

ISSN 1479-4098

259

271

volume 11 numberFor2furtherseptember 2014pleaseissn 1478-5706 40? information about this journal e

143

183

REVIEWS

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ERIC JAS (Utrecht University) What other Josquin?

EDWARD NOWACKI (College-Conservatory of Music, University of Cincinnati) The anonymous Musica in Leipzig, Universitätsbibliothek, MS 1492: A new edition and translation MURRAY STEIB (Ball State University) Herculean Labours: Johannes Martini and the manuscript Modena, Biblioteca Estense, MS a.M.1.13

no. 2 september 2014

283 John Callander and the Avison Connection: A Recently Rediscovered Letter Simon D. I. Fleming

JOURNAL OF THE SOCIETY FOR AMERICAN MUSIC

mponents in Jimmy

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257 The Triumph of Time in the Eighteenth Century: Handel’s Il trionfo del Tempo and Historical Conceptions of Musical Temporality Benedict Taylor

August 2014

emporary basics of the role of the r musics from 1960

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235 The Genevan Psalter in Eighteenth-Century Indonesia and Sri Lanka David R. M. Irving

46 / 2

in three songs from e (1971)

Welcome to This Situation: Tino Sehgal’s Impersonal Ethics Toni Pape, Noémie Solomon, and Alanna Thain

33/2 MAY 2014

es’: Zhanna roll, and the ‘outside’

Opening Hours Inés Moreno

POPULAR MUSIC

flicting nity

e ‘crisis of

Re-Cyclings. Shifting Time, Changing Genre in the Dancing Museum Susanne Foellmer

215 Multi-Day Passions and J. S. Bach’s Christmas Oratorio, bwv248 Daniel R. Melamed

1

61

e

362 364

The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney Claire Bishop

articles 173 John Gay, Ballad Opera and the Théâtres de la Foire Vanessa L. Rogers

MARY CHANNEN CALDWELL (Wichita State University) ‘Flower of the lily’: Late-medieval religious and heraldic symbolism in Paris, Bibliothèque nationale de France, MS français 146

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The Way We Perform Now Shannon Jackson

167 Editorial

CONTENTS

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Manifesto for a Dancing Museum Boris Charmatz

c o ntents 165 Notes on Contributors

EARLY MUSIC HISTORY 33

ROSS W. DUFFIN (Case Western Reserve University) Voices and viols, Bibles and bindings: The origins of the Blossom partbooks

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A QUARTERLY REVIEW OF NEW MUSIC EDITORIAL: IN PASSING WHAT IS FELDMAN? KEVIN VOLANS

AUTOMATIC WRITING AND GRAMMELOT IN CLAUDE VIVIER’S LANGUE INVENTÉE BRYAN CHRISTIAN

LIGETI’S DODECAPHONIC REQUIEM JENNIFER IVERSON

SOUND JUDGEMENT: PIERS HELLAWELL IN INTERVIEW BERNARD HUGHES

FORMAL DESIGN AND MATERIAL IN MAURICIO KAGEL’S ANTITHESE FÜR ELEKTRONISCHE UND ÖFFENTLICHE KLÄNGE MAKOTO MIKAWA

IN MEMORIAM: MALCOLM MACDONALD (1948–2014) REVIEWS: FIRST PERFORMANCES, CDs & DVDs, AND BOOKS PROFILE: ILAN VOLKOV

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Interview with Boris Charmatz

e

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Occupy MoMA, (the risks) and POTENTIALS of le musée de la danse Alessandra Nicifero

e

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360

Experience as Artifact: Transformations of the Immaterial Franz Anton Cramer

e

journals.cambridge.org/tcm

359

Play Dead: Dance, the Museum, and Time-Based Art Marcella Lista

journals.cambridge.org/drj

343

DIALOGUE: The Dancing Museum

volume 11 number 2 september 2014 issn 1478-5706

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319

journal

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297

journals.cambridge.org/ncm

281

Dance in the Museum André Lepecki and Mark Franko

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265

Aretha Franklin’s edding’s ‘Respect’

3

Special Issue: DANCE IN THE MUSEUM Edited by André Lepecki and Mark Franko

Editor’s Note

Congress on Research in Dance

Dance Research

vol. 11

BJME Music Education British Journal of

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NOVEMBER 2014

Forthcoming Articles in DRJ 46/3 (December 2014)

EARLY MUSIC HISTORY 33

245

NUMBER 3 Dance Research journal

eighteenth-century music

aunt

241

VOLUME 31

0265-0517

Dance Research journal

n in

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