History of Music

Recognized as one of the finest surveys of Western music in the English language, this distinguished book has enlightened a multitude of music lovers since it first appeared in 1960. Includes the latest advances in music scholarship.

The New Oxford History of Music is an authoritative ten-volume survey of classical music from ancient times up to 1960. Each volume is devoted to a recognised period in music history, and is written by noted scholars in the field.

Drawing on the work of leading British and American scholars, this revised volume presents an informed, timely picture of music from the fourth through the fourteenth century A.D. It begins with a discussion of Christian chant in the Mediterranean and goes on to cover Gregorian chant, liturgical drama, medieval song, instrumental music, and early polyphony down to the monumental organa composed at the cathedral of Notre Dame in the twelfth century. The new edition has been revised to incorporate the wealth of new research on early music done since Hughes's first edition was published in 1954, and includes over 200 musical examples and an exhaustive bibliography.

The most informed reference book on nineteenth-century music currently available, this comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. Essays investigate the intellectual and socio-political history of the time, and examine topics such as nations and nationalism, the emergent concept of an avant garde, and musical styles and languages at the turn of the century. It contains a detailed chronology, and extensive glossaries.

"A major work of consistently striking originality and insight, produced by a mature scholar at the peak of his career. To his subject Kramer brings a distinctly impressive command of recent cultural and critical theory, and an equally impressive knowledge of a broad range of music literature, from Beethoven to Coltrane. Kramer reads music and musical practices with captivating, compelling insight. His work provides readers with an immeasurably better grasp of how and what music means, and also how music shapes people."--Richard Leppert, author of "The Sight of Sound

This volume offers an up-to-date overview of historical performance, surveying the various current issues (such as the influence of recording) and suggesting possible future developments. Its core comprises discussion of the period performer's myriad primary source materials and their interpretation, the various aspects of style and general technique that combine to make up a well-grounded, period interpretation, and a survey of performance conditions and practices, focusing on the period c. 1700-c. 1900. Many of the principles outlined are illustrated in case studies of works by Bach, Mozart, Berlioz and Brahms.

New technologies are rapidly changing the way music is recorded, sold, and enjoyed. Although these challenges appear to be unprecedented, Breaking Records offers a look back at the last 100 years that reveals that the recording industry has always initially feared--but eventually profited from--rapid shifts in the way music is recorded, distributed, and performed.

Here, for the first time, is a book which analyses popular music from a musical, as opposed to a sociological, biographical, or political point of view. Peter van der Merwe has made an extensive survey of Western popular music in all its forms - blues, ragtime, music hall, waltzes, marches, parlour ballads, folk music - uncovering the common musical language which unites these disparate styles. The book examines the split between `classical' and `popular' Western music in the nineteenth and early twentieth centuries, shedding light, in the process, on the `serious' music of the time. With a wealth of musical illustrations ranging from Strauss waltzes to Mississippi blues and from the Middle Ages to the 1920s, the author lays bare the tangled roots of the popular music of today in a book which is often provocative, always readable, and outstandingly comprehensive in its scope.

This series presents the music of the Western world to the nonspecialist in six original, strikingly illustrated volumes. In each one, an outstanding musicologist surveys the music of a specific period, discusses its major composers, and examines the forces that influenced and helped shape their oeuvre.

Here is the book jazz lovers have eagerly awaited, the second volume of Gunther Schuller's monumental The History of Jazz. When the first volume, Early Jazz, appeared two decades ago, it immediately established itself as one of the seminal works on American music. Nat Hentoff called it "a remarkable breakthrough in musical analysis of jazz," and Frank Conroy, in The New York Times Book Review, praised it as "definitive.... A remarkable book by any standard...unparalleled in the literature of jazz." It has been universally recognized as the basic musical analysis of jazz from its beginnings until 1933. The Swing Era focuses on that extraordinary period in American musical history--1933 to 1945--when jazz was synonymous with America's popular music, its social dances and musical entertainment. The book's thorough scholarship, critical perceptions, and great love and respect for jazz puts this well-remembered era of American music into new and revealing perspective. It examines how the arrangements of Fletcher Henderson and Eddie Sauter--whom Schuller equates with Richard Strauss as "a master of harmonic modulation"--contributed to Benny Goodman's finest work...how Duke Ellington used the highly individualistic trombone trio of Joe "Tricky Sam" Nanton, Juan Tizol, and Lawrence Brown to enrich his elegant compositions...how Billie Holiday developed her horn-like instrumental approach to singing...and how the seminal compositions and arrangements of the long-forgotten John Nesbitt helped shape Swing Era styles through their influence on Gene Gifford and the famous Casa Loma Orchestra. Schuller also provides serious reappraisals of such often neglected jazz figures as Cab Calloway, Henry "Red" Allen, Horace Henderson, Pee Wee Russell, and Joe Mooney. Much of the book's focus is on the famous swing bands of the time, which were the essence of the Swing Era. There are the great black bands--Duke Ellington, Count Basie, Jimmie Lunceford, Earl Hines, Andy Kirk, and the often superb but little known "territory bands"--and popular white bands like Benny Goodman, Tommy Dorsie, Artie Shaw, and Woody Herman, plus the first serious critical assessment of that most famous of Swing Era bandleaders, Glenn Miller. There are incisive portraits of the great musical soloists--such as Art Tatum, Teddy Wilson, Coleman Hawkins, Lester Young, Bunny Berigan, and Jack Teagarden--and such singers as Billie Holiday, Frank Sinatra, Peggy Lee, and Helen Forest.

Drawing upon a remarkable mix of intensive research and the personal experience of a career devoted to the music about which Dvorak so presciently spoke, Maurice Peress's lively and convincing narrative treats readers to a rare and delightful glimpse behind the scenes of the burgeoning American school of music and beyond. In Dvorak to Duke Ellington, Peress begins by recounting the music's formative years: Dvorak's three year residency as Director of the National Conservatory of Music in New York (1892-1895), and his students, in particular Will Marion Cook and Rubin Goldmark, who would in turn become the teachers of Ellington, Gershwin, and Copland. We follow Dvorak to the famed Chicago World's Fair of 1893, where he directed a concert of his music for Bohemian Honor Day. Peress brings to light the little known African American presence at the Fair: the piano professors, about-to-be-ragtimers; and the gifted young artists Paul Dunbar, Harry T. Burleigh, and Cook, who gathered at the Haitian Pavilion with its director, Frederick Douglass, to organize their own gala concert for Colored Persons Day. Peress, a distinguished conductor, is himself a part of this story; working with Duke Ellington on the Suite from Black, Brown and Beige and his "opera comique," Queenie Pie; conducting the world premiere of Leonard Bernstein's Mass; and reconstructing landmark American concerts at which George Antheil's Ballet Mecanique, George Gershwin's Rhapsody in Blue, James Reese Europe's Clef Club (the first all-black concert at Carnegie Hall), and Ellington's Black, Brown and Beige, were first presented. Concluding with an astounding look at Ellington and his music, Dvorak to Duke Ellington offers an engrossing, elegant portrait of the Dvorak legacy, America's music, and the inestimable African-American influence upon it.

From 1954 to 1984, the media made rock n’ roll an international language. In this era of rapidly changing technology, styles and culture changed dramatically, too. In the 1950s, wild-eyed Southern boys burst into national consciousness on 45 rpm records, and then 1960s British rockers made the transition from 45s to LPs. By the 1970s, rockers were competing with television, and soon MTV made obsolete the music-only formats that had first popularized rock n’ roll. Paper is temporarily out of stock, Cloth (0-87972-368-8) is available at the paper price until further notice.