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Subject Area: Music-Musicology

 Petty, Jonathan Christian
2021 1-4955-0859-5 744 pages
"This model has implications for music, language of emotions. For the psychological content reflected in the MNS and regulated by SES is emotion - primarily the feeling of personal safety in the presence of others, and secondarily, the eudaimonic or positive feelings made possible by such safety. The musical dimension of this maybe intuited when we consider the musical cadence - the 'descent to the tonic' - as a decisive feeling of arriving safely home, 'there's no place like home.' Music's ability to qualify feelings of mild apprehension - i.e. 'dissonance' - may well understood as maneuvers to heighten feelings of stability ('consonance') and homecoming ('tonic'), the essential feelings of personal belonging upon all other eudiamonic feelings are built."
From the Introduction



 Licata, Thomas
2020 1-4955-0913-3 448 pages
This is an anthology of historical and critical essays written by Thomas DeLio about music, edited by Thomas Licata.

 DeLio, Thomas
2017 1-4955-0592-8 380 pages
Over the past thirty years, Thomas DeLio, American composer and music theorist, has produced a highly original body of music and writings that have established his artistic and scholarly voice as unique amongst his peers. His writings have addressed music by a diverse collection of American and European composers including Iannis Xenakis, Morton Feldman, John Cage, Alvin Lucier, Arnold Schoenberg, Erik Satie and Luigi Dallapiccola.

 Bruhn, Siglind
2023 1-4955-1076-X 368 pages
"Scholars and audiences continue to debate whether the development of European music unfolded in parallel to that in the other arts, literature and the fine arts in particular. ...The five principle chapters of this book follow the major developmental steps through which Schoenberg passes in the course of the years 1899-1914. The introductory pages of each chapter illuminate the relevant aesthetic aim in the context of a few typical paintings and literary works created at the same time, with the aim of highlighting significant correspondences. The glances at cross-disciplinary parallels arise from a twofold intention. They lead lovers of literature and the fine arts to the recognition that the stylistic innovations with which they are familiar from paintings and poems, sculptures and Prose, architecture and drama created in the years preceding World War I have their counterparts in music. ....[They indicate that] Schoenberg's development in this phase of his creative life to be unique." -Siglind Bruhn (Preface) This book was originally published in 2015 by Pendragon Press.

 Ulmer, Marissa L.
2007 0-7734-5501-9 140 pages
This book provides a current listing of chamber works written during the twentieth and twenty-first centuries for voice, horn and piano. It is intended to serve as a resource for those musicians searching for such works to serve both performance and research-related purposes. Selected annotations provide background information about the works, as well as valuable performance-related information, such as timings, range, and difficulty levels. Also included are appendices for cross-referencing the entries, and information concerning the publishers and distributors of included works is listed in an appendix also.

 Wagner, Alan D.
2005 0-7734-6241-4 500 pages
Warren Frank Benson, a distinguished American composer, conductor, educator, performer and author, was born in Detroit, Michigan, in 1924. Self-taught in composition, Benson has composed nearly 150 works for solo instruments and voice, chamber ensembles, choirs, bands, and orchestras. His compositional output ranges in difficulty from simple songs written for young children to music for professionals.

 Neumeyer, David
1987 0-88946-436-7 396 pages
Offers material unique in the Schenker literature. Argues for the acoustical foundations of Schenker's theory of music, gives a concise tabulation of elements of his theory, and provides annotated analytic sketches.

 Flynn, Timothy
2024 1-4955-1239-8 468 pages
"The materials examined in the present study represent an overview of the scholarship regarding the life and music of Cesar Franck (1822-1890) as well as selected sources associated with nineteenth century French music in general. Studies pertaining to other composers and musical genres connected with Franck have been included to offer the researcher more extensive information regarding the composer's life and times. This monograph is not meant to be an exhaustive collection of material, but rather it consists of a cross section of what has been written about the composer, his music, and the history surrounding him. The purpose of this resource tool is to facilitate further research and deeper inquiry into Franck as a composer, teacher, and organist in addition to his influence upon music history through his works." (Dr. Timothy Flynn, "Preface") [This is a revised version of the book published by Pendragon Press in 2019].

 Sharp, Ian
2001 0-7734-7411-0 248 pages
“Ian Sharp’s book fills an important gap in the music education literature: the significance of important music by important composers and the essence of the childhood experience. Sharp’s book avoids being yet another teaching methodology. Instead, it links a thorough analysis of childhood qua childhood with music expressly about childhood. . . . Sharp first offers a comprehensive psychological and sociological study of childhood. Then, with sensitivity, skill and insight, Sharp shows. . . how music can express meaning that is accessible to children. This is followed by careful analysis of music by mainstream composers intended specifically either for children or about the theme of childhood. These include Robert Schumann, Benjamin Britten, Chopin, Kodaly, Bartok, Bizet, and a host of others. The analyses of the works of these composers should satisfy any music theorist. . . . In addition to classical works, Sharp generalizes his thesis across traditional aspects of music education: lullabies, folk songs, berceuse, rhymes and songs. Buy the way, Sharp’s discussion of musical games and children in opera is a peach! Music educators will welcome this work as a needed contribution to the literature. . . .should be made required reading in all university music education foundations courses.” – Harold E. Fiske

 Jones, Philip
2002 0-7734-7294-0 320 pages
Chop’s main claim to fame is his 1904 study of Delius, the first on the composer to be published; it laid the foundations for future Delius biographers. Chop also produced several scholarly articles on Delius in 1907, and played a crucial role in ensuring his opera A Village Romeo and Juliet reached the stage of Berlin’s Komische Oper that year. This book brings together Chop’s collected criticism of Delius in translation for the first time, and includes the original texts, a commentary and note on the author plus several previously unpublished letters. In his day he was widely respected as a musicologist, music journalist and newspaper editor. He published a number of compositions.

 Stokes, Harvey J.
1992 0-7734-9166-X 292 pages
The Second Act, composed by this book's author, is a musical representation of the events recorded in the second chapter of the Acts of The Apostles from the Holy Bible: New International Version. Performing forces include large orchestra, brass septet, mixed chorus (SATB), men's chorus (TTBB), soprano solo, tenor solo, baritone solo, and bass solo. Of central significance in this book is the utilization of an important analytical tool for investigation of much 20th-century music: Category Analysis. This methodology observes the composer's usage of various musical parameters in the establishment of structure. Part I provides an examination of textual and outer musical form. Part II explores the wide spectrum of melodic, harmonic, rhythmic, textural, and internal form procedures. Concludes with a comparison of salient features in the composition.

 Baroni, Mario
2003 0-7734-6928-1 572 pages
This is an English translation of the authors’ Le Regole Della Musica: Indagine Sui Meccanismi Della Communicazione, published in Italy in 1999. It is divided into three parts. Part one discusses the concepts of ‘rule’ and ‘grammar’ in the general theory of musical communication, and the role of the computer in studying musical communication. In part two, the authors use a computer program they designed to make a concrete application of the theory. The computer analyzed the arias from a volume of cantatas by Giovanni Legrenzi, a 17th century composer. Based on the analysis, the computer was able to output artificial arias in Legrenzi’s style. (The aim of the program is not to compose new music, but to verify the correctness and completeness of the rules.) In part three, one aspect of the grammar is taken into consideration: the rules of melody. Starting from the grammar of Legrenzi’s arias, a general theory of melody has been developed and its validity has been tested on repertories ranging from Gregorian chant to Arnold Schoenberg.

 Fiske, Harold E.
2005 0-7734-6192-2 240 pages
The book explores a series of neural network models designed to represent music listening processes. Backpropagation, Adaptive Resonance Theory, and other connectionist procedures are used to model melodic perception, interpretation, and expression. The history and theory of neural network research is presented, and development and construction of the music models is discussed in sufficient detail to interest both specialists and non-specialists. A series of listening experiments demonstrates the models’ validity. The book considers how neural network models can be used to bridge bottom-up and top-down theories of music perception and cognition in addressing questions such as musical imagery, memory and learning, lateral thinking, context and cultural effects on musical understanding. The outcome is a comprehensive theory of musical thinking and understanding. The book is intended for music researchers and graduate students in the fields of music psychology, artificial intelligence and neural network theory, music theory, music cognitive philosophy, and music education.

 Hoffman, Hadassah H.
2004 0-7734-6226-0 224 pages
This study explores how the development of humanistic psychology paralled the evolution of modern dance, and what the connections were between the fields as they grew. This is a study of three fields developing within the 20th century. It demonstrates the relevance of the arts to humanistic psychology, and the ways in which the psychologists and dancers influenced each other.

 Malloy, Joseph
1991 0-88946-579-7 272 pages
Will do much to improve the reputation of Constanze Mozart, who has been vilified as having been an unworthy wife to one of the greatest musical geniuses of all time and has been blamed for his poverty and his less-than-glorious, premature death. Although a work of fiction and historical surmise, Diez' Constanze, Formerly Widow of Mozart stays close enough to the sparse biographical details of Constanze's life that the book has a tone of veracity and authenticity that is augmented by Malloy's footnotes and afterword.

 Kimmey, John A. Jr.
1989 0-88946-437-5 328 pages
A phenomenological study of music that describes the history of musicology from the time of Pythagoras through the 19th-century movements. Includes bibliography, three appendices, and an index.

 Kruse, Robert J.
2005 0-7734-5940-5 180 pages
This book is the first comprehensive geographical analysis of the Beatles. While scholars in a variety of disciplines have analyzed the Beatles’ affect on popular culture, a study of the Beatles from a distinctly spatial perspective has been missing in the literature. This study fills that gap by employing traditional topics of cultural geography such as place and landscape associated with them. In addition, this work addresses the Beatles’ rise to worldwide fame in terms of the influences of particular places of their youth in Liverpool, places where they performed in England, and the changing settings of their international tours. Fieldwork conducted in London and Liverpool, England and New York City in the United States revealed a variety of spatial practices that occur at places associated with the Beatles. Such practices include inscriptions by fans or “pilgrims”, the leaving of artifacts, and re-enactments of famous photographs of the group. This book will appeal to scholars and students and cultural geography as well as sociology and culture studies.

 Nercessian, Andy
2007 0-7734-5385-7 368 pages
This work is an investigation of the areas that need to be considered in any attempts at defining music that aspire to take into account the wealth of ethnomusicological and philosophical materials of relevance. It introduces, in the opening chapter, a defining approach and certain characteristics of definition that place it somewhere between a description of perceptions of music and accounts of the music itself. It then applies this approach and framework in subsequent chapters, defining music in the broadest sense, while also defining each genre of popular, classical and folk music.

 Wilde, Denis
1990 0-88946-487-1 436 pages


 Yang, Carol L.
2011 0-7734-1561-0 364 pages
This book is a detailed investigation of T. S. Eliot’s work in the light of Bakhtin’s theories of dialogism and carnival. It employs a new paradigm for interpreting Eliot’s work, offering new points of analysis regarding, in particular, his later works.

 Glick, Andrew S.
2004 0-7734-6284-8 470 pages
This tremendous reference is in dictionary style for the easy reference and use by researchers, scholars, and any reader interested in the opera. It is an excellent source for looking up anything from specific data on a particular opera to which aria is connected with which opera. This volume is generously cross-referenced and should prove invaluable in answering many questions on the opera.

 Stoffel, Lawrence F.
2006 0-7734-5829-8 444 pages
This study comprises two major components – (1) an annotated discography of 73 concert band/wind ensemble compositions, and (2) interviews with leading conductors who have recorded concert band music on audio compact discs. A complete annotation for each recording identified provides thorough catalog information, including contents, performer, producer, and date. Only recordings that are readily available to consumers are included in this catalog. The discography lists a total of 342 albums. The subjects of the interviews are four conductors who were selected for having produced many recordings of concert band music

 van Boer, Bertil H. Jr.
1990 0-88946-440-5 450 pages
Joseph Martin Kraus (1756-1792), Kappellmeister to Gustavus III of Sweden, developed a unique style which embodied the application of Sturm und Drang principles to his works. The author seeks to prove how this style infiltrated many of Kraus's other musical endeavors, creating pieces that were favorably compared to Mozart's and were far ahead of their time in technique.

 Carleton, Frances Bridges
1977 0-7734-0311-6 251 pages
The focus of this study is on philosophical, psychological, and aesthetic elements in monologue traditions which begin in antiphonal song and culminate in the work of Robert Browning, whose innovations prefigure a number of significant modern monologue techniques.

 Scheppach, Margaret
1990 0-88946-447-2 204 pages


 Lurie, Toby
1995 0-7734-2727-9
Duets crosses the border of separation between language and music, moulding these disciplines into a single, unified form. As with music, these compositions should be read aloud by two voices in order to fully understand and appreciate the relationships which develop through their various articulations and weavings. These are compositions for the eye and the ear. They explore the musicality of language -- sound, dynamics, color and rhythm, which is its heartbeat. The publication of Duets concludes his quartet of language/music books that also includes Trios, Quartets, and Quintets, all available from Mellen.

 Merritt, Robert
1993 0-7734-9371-9 176 pages
The revival of instrumental music composed before Bach was an important cultural event in turn-of-the-century London. Pound's assimilation of some of the aesthetic values of the music of the 16th and 17th centuries formed one of the important bases for his more general critical convictions. Some of the qualities important to Pound's overall aesthetic philosophy also characterize the old music, including: the effect of medium on overall meaning; "impersonality"; concision and small-scale; tension between "fundamental irregularity" and "classicism of surface"; and the moral and intellectual value of sharp distinct form. Pound's studies of the technical foundations of music affected much of his poetic and theoretical work.

 Auric, Georges
2009 0-7734-3867-X 1616 pages
This book contains the majority of Georges Auric’s writings on music that appeared in published newspapers, literary journals, and reviews. The writings are prefaced by an extensive introductory essay that provides the most detailed biographical information yet available on Auric, discusses Auric’s relation to the sources in which his writings appeared, and places Auric in the continuum of French composer/critics of the twentieth century. In French. This is a four-volume work.

 Linton, Leslie
2015 1-4955-0321-6 360 pages
This work offers a potential paradigm shift in primary music education. The children in this study emerge not as passive recipients of an adult selected childhood musical culture but as active agents, producing, constructing and reproducing their own unique childhood musical cultures alongside their teacher/facilitator. This view places the child in an active role in the creation and reproduction of their childhood. There are no studies we know of that investigate this mode of music learning from this particular sociological perspective.

 Goins, Wayne E.
2001 0-7734-7439-0 208 pages


 Oby, Jason
1998 0-7734-2225-0 116 pages
A study of casting of the Black male opera singer and issues that have not been formally addressed or openly confessed before, enriched by significant statements by fellow professionals. Offers evidence of sociological problems that must be addressed to overcome serious misconceptions. Includes an interview with George Shirley, and quotes from Simon Estes, Arthur Thompson, and Vinson Cole.

 Holz, Ronald W.
1990 0-88946-472-3 432 pages
Deals with the life of Erik Leidzen, a band arranger and composer for the Salvation Army who was among the first generation of American musicians to be able to maintain a profession as a writer/arranger of band music.

 Licata, Thomas
2008 0-7734-5176-5 416 pages
A revealing look at the artistic and theoretical output of Thomas DeLio whose original compositions, books, and essays are innovative, wide-ranging and wholly provocative. Through essays written by and in tribute to this composer and theorist his contribution to music is more thoroughly appreciated and understood.

 Moreno, Enrique
1992 0-88946-485-5 203 pages
Comes with (optional) audio-tape.

 Grim, William E.
1992 0-7734-9464-2 236 pages
An interdisciplinary examination of the musico-literary interstices of the Faust legend, including works by German, French, and Italian authors, composers, and librettists.

 Fontecchio, Giovanni
1994 0-7734-9364-6 348 pages
This memoir records Elsa Resphighi's direct involvement with composers, performers, conductors, teachers, audiences, politicians, and patrons. The wife of Ottorino Respighi, she was professionally and socially close to such figures as Toscanini, Stravinsky, Richard Strauss, Casals, Segovia, Rubinstein, Ravel, Caruso, D'Annunzio, Puccini, and Isadora Duncan. She went to school with Beniamino Gigli, saw Gustav Mahler collapse at the podium, and witnessed Toscanini's defiance of Mussolini's Black Shirts. Her superbly informed narrative establishes a cultural, historical context for the major musical styles of the early twentieth century. Performers, composers, students of twentieth-century music and history, and those in women's studies will find valuable information, and a story written with passion and commitment.

 Hollard, Thoron
2012 0-7734-2592-6 644 pages
Here for the first time, the various French treatments of Dido’s tragic story in both drama and music, most of which are little known today, are brought together, examined, compared, and evaluated. In Virgil’s Aeneid, the evocation of Dido’s great and fateful passion had an impact that has continued to reverberate over two millennia. Among the vast array of artistic creations that Dido has inspired are a number of French tragedies and musical works from the sixteenth to the twentieth centuries. This study embraces different genres and spans several centuries, demonstrates the commonalities between the works, and reveals the individuality and uniqueness of each interpretation. This study first looks at the broader European context before the French dramas, cantatas and operas are each analyzed in detail. What emerges is that there is indeed a myriad of ways to tell and interpret a story. The various interpretations show an intriguing and sometimes surprising degree of individuality on the part of these writers and composers.

 Stone, Rob
2004 0-7734-6429-8 312 pages
This study explores the meaning and importance of flamenco in the works of two of the most important and influential figures in twentieth-century Spanish culture, the poet and playwright Federico García Lorca and the film-maker Carlos Saura. Lorca and Saura shared a fascination for flamenco as a medium for the existential ideology of the marginalized and disenfranchised and this work evaluates the development of these themes through a close, contextual study of their works, which are linked explicitly by Saura’s film adaptation of Lorca’s Bodas de sangre and, more profoundly, by their use of flamenco to express ideas of sexual and political marginalization in pre- and post-Francoist Spain respectively. The study demonstrates that an understanding of the symbolism, visual style, characters, themes and performance system of flamenco is key to a greater understanding of the social, sexual, political and existential themes in the works of Lorca and Saura, and that this in turn allows for an original and revealing analysis of the evolution of flamenco and the development of modern Spain.

 Rice, Paul F.
2004 0-7734-6438-7 352 pages
During the eighteenth century, the French court made yearly trips to the chateau of Fontainebleau during the autumn months enjoying evenings of operas and plays presented by the leading performers from Paris.

Jean-Philippe Rameau (1683-1764), the leading French composer of the period, was asked to present five new operas at the chateau in 1753 and 1754. Only one of these works was ever published and three of the five were never heard in Paris. Consequently, these works have remained little known.

This book presents Rameau’s works first heard at Fontainebleau in the context of their compositional and performance histories, a context which is rich in court intrigues and social change. This study is the first published work to investigate these operas in detail, Rameau’s relationship to the court and the public opera house of Paris is reevaluated, and the richness of Rameau’s musical imagination is revealed in works from his maturity.

 Bloomfield, Ruta
2015 0-7734-0081-8 88 pages
The first edition of this music by Bernarnd de Bury (1720-1785), who resided in Versailles his entire life and held various positions at the court, including that of “King’s Chamber Harpsichordist.”

ONLY IN SOFT-COVER EDITION

 Taggart, James L.
1988 0-88946-430-8 132 pages
Deals with form and style in the Haydn sonatas, their comparative importance in the keyboard literature, and their aesthetic and pedagogical value

 Kinsley, Eric B.
2001 0-7734-7471-4 100 pages
This work is edited from an unusual score from the library of Count Papafava in Padua. The score is signed but not dated by ‘Giuseppe Haydn’. The work is in three movements and is scored for 2 keyboards or keyboard 4 hands; 2 violins and violone (cello). It is entitled ‘Divertimento’. The ‘Divertimento’ consists of three movements and serves as the only known source of the ‘Moderato,’ first movement and the ‘Rondo Allegro’ third movement. The second movement exists in a 1778 four hand version (Hob. XVIIa:1) entitled Il maestro e lo scolare, which is based on the well known theme from Handel’s “Harmonious Blacksmith”. This edition serves not only to meet the performer’s needs as far as possible, but to maintain the original text as well. The format of the score has been changed for visual simplification, e.g., the violone part has been moved from the bottom staff and placed below the violin parts. The Viennese practice of using soprano clefs in the right hand part of the first keyboard has been exchanged for the modern system of treble clef.

 Hollard, Thoron
2015 1-4955-0327-5 376 pages
The relationship between humans and dolphins has been a subject of interest since earliest times… This fascinating book explores first the classical background to Arion and his dolphin story and then its treatment by French literary and artistic figures who, in a variety of genres and forms, have recreated the story and brought out new meanings more appropriate to their particular times.”
-Chris Dearden,
Emeritus Professor of Classics,
Victoria University of Wellington ,New Zealand


 Tolesa, Addisu
1999 0-7734-8193-1 232 pages
A study of Geerarsa, a type of folksong of Ethiopia's Oromo people, who reside in Oromia and Ethiopia as well as in diaspora in the West. In exploring their verbal art it attempts to address the social base and political scope of Oromo folklore. It presents Geerarsa as an important part of the Oromo's values, attitudes, and history as they have struggled, and continue to struggle, against colonial oppression and win back their cultural and national identity.

 Mazzini, Giuseppe
2004 0-7734-6469-7 133 pages
Political thinker, philosopher, patriot, and republican, Giuseppe Mazzini (1805-1872) sought solace from his intense activity as a political activist and writer by singing to his own guitar accompaniment. A genuine music lover, in 1836, Mazzini published a pamphlet (40 pages) entitled Filosofia della musica in which he denounced the condition into which music had fallen and suggested the remedy for its resurgence -- this time as a social art.

“The committed composer cannot restrict himself to writing notes and chords, but must understand the vast influence which [opera] could exercise on society. He should not renounce the idea in favor of the form; progressive operatic music must abandon the rigid rules of the classicists, to take on characteristic tint and historical reality; the idea of opera as entertainment must change to one of opera as a mission; the chorus, which portrays the people, must be used more.”

This publication of Mazzini’s Philosophy of Music comes at a juncture when musicologists, especially in the English-speaking world, are increasingly reconsidering the topics and formulas through which the history of music in the nineteenth century has familiarly, for a long time now, been written. Mazzini’s text offers this project some promising leads. It does not as theory but as practice, not for the answers it gives but for the questions it raises.

Little known among English-speaking musical scholars, Mazzini’s work is presented here in a version edited and annotated by Franco Sciannameo. It comprises (1) a Foreword by American leading musicologist Lawrence Kramer, (2) a historical introduction which also offers a critique of various commentaries on Mazzini’s work published in Italian and French during the past fifty years, (3) an English translation of Mazzini’s original text and notes published in 1867 by Emilie Ashurst Venturi with Mazzini’s full approval, (4) a full bibliographical apparatus, (5) Mazzini’s original Italian text.

This book is of interest to musicologists, philosophers, political, and social historians.

 van Boer, Bertil H. Jr.
1993 0-7734-9314-X 292 pages
Contains some of the latest contributions to Gustavian studies, both interdisciplinary and intuitive in approach. The first section contains articles surrounding the modern premiere of Joseph Martin Kraus's "Turkish" opera Soliman II in 1989. The articles show different perspectives as seen from each of the participants and gives unusual and penetrating insight into the artistic problems inherent in the revival of the 200-year-old work. The second section is more generalized and more scholarly -- contributions from the research of musicologists, dance historians, literary historians. The third section is devoted to a brief aesthetical perspective of Gern Schönfelder on cognitive intuition, which delineates the perceptive qualities of music. Contributors include Jacqueline Martin, Martin Tegen, Barbro Stribolt, Lennart Hedwall, Gunnar Larsson, and Newell Jenkins.

 Caldwell, Glenn. G.
2001 0-7734-7433-1 192 pages


 Anderson, Erland
1975 0-7734-0337-X 321 pages
Surveys the development of musical metaphors in the work of each poet and examines their knowledge of music.

 van Deusen, Nancy
1989 0-88946-429-4 456 pages
Essays dealing with music as it was understood, visualized, articulated, and interpreted in the Middle Ages. Argues that medieval discussions of music depended on a structural foundation which writers were certain that their readers possessed, and this influenced the subject matter of music.

 Grim, William E.
1990 0-88946-448-0 172 pages


 Harutunian, John
2005 0-7734-6202-3 324 pages
The names of Franz Joseph Haydn and Wolfgang Amadeus Mozart are so closely intertwined that most people speak them in the same breath. As contemporaneous composers, they spoke the same musical language, that of late eighteenth-century Classicism. Specifically, they shared the summit in the development of a procedure known as sonata style. Nevertheless, experienced listeners can readily distinguish between the two composers. Articulating these differences, however, is another matter entirely. This book does so, in a way which presents a clear and comprehensive picture of these two great figures of Western music.

 Giorgetti, Ferdinando
2003 0-7734-6759-9 162 pages
This work is a rare contribution to 19th-century viola literature. It has been mentioned in music dictionaries, Zeyringer’s Literature für Viola, Riley’s The History of the Viola, The Violexchange, and the American String Teacher. Its availability, however has been lacking for over a century. This modern edition, enriched with an historical introduction and English translation will be a welcome addition to libraries. It also contains a facsimile of the original text.

 Andrews, Deborah
2009 0-7734-4865-9 256 pages
This research gathers the stories of world-famous operatic baritone, Giuseppe De Luca (1876-1950), through his student, Charles Guild Reading (b. 1921), who was mentored by De Luca from 1945-1950. These narratives are explored through the teacher-student relationship of De Luca and Reading by way of the teacher-student relationship shared by Charles Reading and Deborah Andrews. The stories are followed by supporting scholarly and historical literature and then reflected upon by the author as to their possible implications on the past and present classical singing and vocal pedagogical communities. The study also contains a CD De Luca’s recordings 1907-1947. This book contains eight color photographs and seven black and white photographs.

 Regis, Humphrey A.
2015 1-4955-0365-8 132 pages
This work describes changes in the Jamaican and Caribbean reggae culture by examining the relationship between mass communication and the cultural domination of African, Caribbean, and other less powerful peoples that has been based primarily on importation/exportation theoretical framework of cultural domination. The author argues this importation/ exportation framework does not acknowledge the role of African, Caribbean, and other current less powerful peoples as originators in what history indicates is the millennia-old process of domination by the more powerful.


 Erdmann, Thomas R.
2010 0-7734-3790-8 592 pages
This work is one of the most complete collections of in-depth commentary on the state of jazz music today. These interviews illustrate the interplay of creativity that occurs during high-level interactions between musicians.

 Beeson, Jack
2008 0-7734-4947-7 572 pages
In this work Jack Beeson, the composer of ten operas, recounts his search for subjects and the writing of five of their librettos, his collaboration with the librettists of the other five (William Saroyan, Richard Plant, Kenward Elmslie, and Sheldon Harnick), and the varied and tangled events leading to their premieres in theatres and on television here and abroad. This book contains eighteen black and white photographs.

 Pérez-Villalba, Esther
2007 0-7734-5417-9 420 pages
This book explores the politics of identity in works by popular male singer-songwriters Víctor Manuel and Joaquín Sabina and in those by well-known female political singer Ana Belén between the years 1968 and 1982. It examines the connections that existed between their works and the broader Spanish context of the Transition (1960-1982) to democracy. It also explores the representations of Spanish national identity – with special reference to gender differences – that appeared in their texts between 1968 and 1982. It compares the relationship that existed between representations of the nation and national identity in their musical work and Francoist notions of Spain and Spanishness as constructed in different hegemonic discourses. Finally, this book examines some of the most relevant roles that Spanish canción de autor/a, cantautores and cantantes políticos fulfilled at the time of the Transition, especially among different anti-Francoist collectives.

 Erdmann, Thomas R.
2019 1-4955-0761-0 176 pages
This collection collects five interviews the author did for Saxophone Today, following its final issue in 2017. The interview subjects are: Geoffrey Deibel, (Saxophone Professor at Wichita State University), Jared Sims, (Saxophone Professor West Virginia University), Ed Calle, (Professional Saxophonist), Michael Lington, (Danish Smooth and Contemporary Jazz Musician), and Brian Utley, (Saxophone Professor Vanderbilt University).

 Smialek, William
1992 0-88946-230-5 232 pages
Makes available for the first time in English a study of Dobryzinski's life and music, and information on the cultural scene of 19th century Warsaw.

 Bruhn, Siglind
2023 1-4955-1108-1 428 pages
"This study undertakes to show that some music can be understood as portraying and nuancing, commenting on and interpreting a non-musical stimulus, and to elaborate in detail just how this is achieved in a number of small musical works. The result reveals that there is a wealth of possible relationships between musical components and the extra-musical stimuli that presumably brought them into being." Siglind Bruhn (Preface) This book was originally published in 1997 by Pendragon Press.

 Niebur, Loretta
2001 0-7734-7340-8 192 pages
This work provides a vibrant narrative description of classroom practice in elementary-level general music education in the 1990’s. It address social, educational, and developmental influences that enhance or constrain curriculum, instruction, and assessment in everyday music classrooms. It uses case studies of four classroom instructors.

 Brooks, Edward
2001 0-7734-7546-X 236 pages
This study examines Armstrong’s cornet and trumpet work during his most innovative period, 1923-28, with a view to laying bare the sources of some of the impulses which contribute to the great outburst of emotion and variety of styles that inform that work. Analysis of the styles of contemporaries such as Bunk Johnson, King Oliver, Sidney Bechet, Bessie Smith, Bix Beiderbecke, Earl Hines and others reveals characteristics which affected Armstrong. Influences such as white bands, opera and radio, minor modality, other compositions and the desire for anonymity are also treated. The study identifies influential passages, figures, devices and techniques, as well as tracing Armstrong’s assimilation of these influences as reflected in specific aspects of his playing. A concluding chapter considers an Armstrong cornet solo in a more holistic fashion: a scrutiny of his manner of integrating influence, with self-reference and original material, in an extended passage.

 Canova-Green, Marie-Claude
2000 0-7734-7605-9 140 pages
These essays focus on courtly musical entertainments in Early Modern Europe, providing a framework within which to locate the many aesthetic considerations which lay behind the creation of opera and other musical forms, and, through analyses of individual events, the modalities of the circulation and adaptation of a so-called Italian model throughout Europe. They highlight the constant evolution of the musical entertainments of the Baroque age, and in so doing invite us to reexamine clichés about the origin and nature of operatic genres. With illustrations.

 Magome, Kiyoko
2008 0-7734-5135-8 300 pages
Music and literature are the so-called “sister arts,” and since around 1890, many of the American writers who use music in their works have created their hybrid, musico-literary worlds by focusing on two or three of the following musical elements: counterpoint, Wagnerian music dramas, and player pianos. This work explores the changing American discourse as a contrapuntal rope consisting of three symbolic elements/threads interacting in a unique way in the periods of realism/naturalism, modernism, and postmodernism.

 Inwood, Margaret
1999 0-7734-7774-8 228 pages
This book presents the historical evidence of Wagner’s own writings, reported conversations about Shakespeare, and the circumstantial evidence of the Shakespearean traits to be found in some of his works, including Das Liebesverbot, Parsifal, and the Ring cycle.

 Demaray, Donald E.
1988 0-88946-824-9 392 pages
Surveys the message, homiletical method, and the effect of Newton's preaching during the Olney and London periods, along with Newton as hymnwriter and the influence of his Olney hymns. Includes many previously unpublished photographs and new data.

 Mukuna, Kazadi wa
2003 0-7734-6690-8 274 pages
This interdisciplinary study sheds light on the communal creative process of music and discusses the process of music change in Bumba-meu-Boi, and provides an example of exo-semantic analysis in the quest for the truth of this folk drama. It argues that Bumba-meu-Boi, sheds light on 18th century Brazil, and reveals existing levels of interaction between classes (master-slave, oppressor-oppressed) on sugar can plantations and mills. A sociologist perspective demonstrates that the structure of the Bumba-meu-Boi reflects a similar network of relations as they exist in communities where it is performed. The study contains a glossary, comprehensive bibliography, and a reproduction of the entire play.

 Avorgbedor, Daniel K.
2003 0-7734-6821-8 464 pages
These essays present new critical perspectives on the dynamic configurations of music, religion (indigenous, Islam, Christian), and ritual in contemporary African societies. Examples demonstrate issues and processes of accommodation, the construction of religious, ethnic, and cultural identities, and local articulations of gender and the aesthetic. Examples from African-American Pentecostalism, independent Christianity, Tumbuka healing, Yoruba kingship ritual, Senegalese Sufism, etc confirm both common and divergent patterns in African cultural traditions.

 Olson, Carl
2012 0-7734-3923-4 484 pages
Olson produces a case study in creative pedagogy that incorporates popular culture into religious studies. Utilizing rock music to discuss religious themes provides a new and unique approach to theological topics. The book does not only focus on overtly religious rock music but rather posits that lyrical usage of themes by rock musicians over the years has inevitably come across themes from world religions sometimes even unbeknownst to themselves.

 Blankenhorn, V. S.
2003 0-7734-6782-3 544 pages
This work is a systematic analysis and classification of Irish accentual verse-metres. It will interest linguists and students of metre, as well as ethnomusicologists studying the context of Irish traditional song, and musicologists studying the historical development of European song-forms. An assessment of previous contributions to the study of Irish verse-practice is followed by a general survey of metrical scholarship, which in turn lays the groundwork for a metrical theory of Irish accentual verse. Space is devoted to a phenomenologically-based discussion of the role of rhythm in spoken Irish and its implications for verse-structure. The heart of the work consists of a taxonomical survey of Irish accentual verse-types, in which the principal criterion for inclusion in a given category is the number of stressed syllables in a line. Following chapters deal with stanzaic and supra-stanzaic structure and verse-ornament, the musical context of verse, the ways in which musical metre differs from verse metre, and the implications of such differences for a system of versification primarily transmitted through a musical medium.

 Rouse, Marilyn A.
2000 0-7734-7650-4 332 pages
This first in-depth study of the entire genre of Jamaican folk music illustrates the effect that acculturation has had. It contains nearly 200 musical examples, the majority of which are Jamaican, with some British and West African to illustrate comparative points made in the text. It is the largest comprehensive collection of Jamaican folk music covering all categories of the genre. An appraisal of the multifarious races which constitute the population of Jamaica enable comparisons to be made between the music contained in each of the categories with the ethnic musics of the peoples who make up the population. The study disagrees with several previously accepted prognoses, which were based on small samples in individual genres. In addition to the ethnic analysis, this study includes the categories of play, work, and religion.

 Goins, Wayne E.
2003 0-7734-6708-4 374 pages
This book provides an overview of the basic practices found in jazz education and provides individual essays as a foundation for teaching strategies and resource materials, and a series of discourses on a wide variety of issues related to establishing and maintaining an effective jazz ensemble program.

 Ruhling, Michael E.
2004 0-7734-6312-7 332 pages
When the violinist and orchestra leader Johann Peter Salomon invited Joseph Haydn to London as the featured composer for his public concert series in 1791-92 and again in 1794-95, he could not have imagined the significance these concerts would assume in the history of orchestral performance, nor could he have foreseen that the twelve symphonies Haydn wrote for his orchestra would become important models of the mature Classical symphonic style. In light of the historical significance of the concerts and symphonies composed for them, considerable effort has gone into understanding the complex web of interrelationships of contemporary sources for these “London” symphonies. H. C. Robbins Landon’s monumental study in the 1950s and ‘60s, followed by the more recent critical scores compiled by the editors of the Joseph Haydn Werke, have answered many of the questions regarding the authenticity of the many sources, including Haydn’s autograph scores, score and part copies made by Haydn’s amanuensis Johann Elssler, and early printed parts by various publishers. In the early 1980s, Arthur Searle and A. Hyatt King uncovered Salomon’s own scores for the twelve “London” symphonies among the Royal Philharmonic Society Collection of the British Library. Haydn’s autograph scores of two of the symphonies from his first trip to London were bound with score copies of the other four from this trip. These four score copies were made sometime between 1792 and 1794 from Salomon’s performance parts rather than other scores, and thus reflect the details of the early performances in London under Salomon’s leadership, quite possibly even their premières.

This book presents these significant scores in a modern edition that is suitable for scholars and performers. Copious critical notes and discussions of various aspects of the manuscripts, including physical descriptions, and their provenance and relationship to other contemporary sources, will be most enlightening for musicologists interested in Haydn source materials. Conductors will find that the careful, clear editing of the scores can easily translate to performance. In addition, the description of important performance aspects found in Salomon’s scores, but not all other authentic sources, will reveal to scholar and conductor musical details that were likely part of the earliest performances of these works in London, but have not been included in other modern editions.

 Palmer, John
2001 0-7734-7436-6 196 pages
Jonathan Harvey’s Bhakti, commissioned by Pierre Boulez in association with IRCAM, has been widely recognized as one of the most influential works of the 1980s and one of the major electroacoustic compositions ever to be produced at IRCAM, Paris. It has been performed worldwide by the most influential ensembles of contemporary music. This study provides the reader with a comprehensive platform of discussion including a rigorous analytical scrutiny of the serial techniques used by the composer, an in-depth exploration of the electroacoustic techniques employed for the realisation of the tape part, a discussion about the composer’s aesthetics and the correspondence between the music and its metaphysical meaning in conjunction with the Rig Veda texts that have inspired the work, an interview with the composer, and a final forum about the work including eminent musicologists, composers and conductors such as Joel Chadabe, Arnold Whittall, James Wood, Eric De Visscher and other leading personalities of the international contemporary music circuit.

 Radice, Mark A.
2002 0-7734-6975-3 260 pages
Karel Husa studied with Nadia Boulanger and Arthur Honegger in France during the 1940s and early ‘50s. He and his music were banned from his native Czechoslovakia during the Soviet era and he emigrated to the USA, subsequently teaching at Cornell University and Ithaca College. He has written works for the New York Philharmonic, the Chicago Symphony, and others. Mr. Husa’s Third String Quartet won the Pulitzer Prize. This is the first book-length monograph exploring his work. Includes photographs and musical examples.

 Yeoland, Rosemary Hamilton
2008 0-7734-4860-8 364 pages
This work situates itself in the intertextual domain of literature and music. It examines how the French homme de lettres, Camille Mauclair (1872-1945) made a significant contribution to the musical education of the Parisian public at the end of the nineteenth century. In French.

 Kleine-Ahlbrandt, W. Laird
1990 0-88946-444-8 152 pages
Translation of La Tosca, the play that inspired the Puccini opera, complete with annotations and critical comments. Gives a well-rounded picture of Sardou as a playwright who imbued his pieces with a wealth of historical knowledge.

 Graham-Jones, Ian
2010 0-7734-1383-9 204 pages
This study of the nineteenth-century British composer Alice Mary Smith’s life and music draws on newly discovered documents and manuscripts. The volume also includes information on five other women composers from this era.

Author’s Abstract:
At a time when women were thought to succeed only in composing drawing-room songs or light-weight piano pieces, Alice Mary Smith (1839-1884) wrote by far the greatest number of larger-scale art works of any British woman composer in the nineteenth century. She was most probably the first woman to have written – and had performed – a symphony, composed in 1863 at the age of twenty-four. Two of her six concert overtures were regularly performed by distinguished conductors of the time, and her four cantatas for choir and orchestra achieved some popularity in the last years of her short life.

This study also briefly outlines the work of five other women composers of her time who attempted the higher forms of the art, and examines, from contemporary sources, the argument, current at the time, as to whether a woman could ever compose a ‘great’ work.



 Markiw, Victor Radosar
2010 0-7734-3690-1 184 pages
This study examines the life and solo piano works of Ukrainian composer Myroslav Skoryk. Included are interviews with Myroslav Skoryk as well as biographical information, historical and stylistic insights, and expert analytical readings.

 Metting, Fred
2006 0-7734-5840-9 300 pages
Arthel “Doc” Watson, an 82-year-old musician from North Carolina, is one of the two or three most important acoustic guitarists in American musical history. The story of Watson’s music is a rich and complex narrative which involves the listener in an exploration of the music of the Scottish settlers in the Appalachian Mountains and the changes in that music as the mountaineers were influenced by the African American music of itinerant laborers in the nineteenth century and by sounds from records and radio early in the twentieth century. Despite Watson’s importance to American acoustic music and despite the richness of the story of his music, a full study of his music has not been realized until now. This book explores the musical culture of Watson’s immediate family (the hymns of Watson’s church, the ballads and fiddle tunes of his immediate family, and the music of his mountain home) as well as the extended aural world that came to the mountains through records and radio when Watson was a young boy. Finally this study explores Watson’s important contributions to the folk revival of the 1960s when he helped change the role of the acoustic guitar in American music. This work will be important to students of American music and folk culture.

 Williams, Amédée Daryl
1994 0-7734-9086-8 202 pages


 Swain, Joseph P.
2023 1-4955-1155-3 324 pages
[This] is a work of traditional music criticism. It asks why these two German composers, born less than one month and 125 kilometers apart--cultural twins--could compose so differently from each other as well as their colleagues and yet both achieve universal acclaim as the greatest exponents of the Baroque. Finding even partial answers to this question naturally deepens readers' knowledge and appreciation of their art, and thereby amplifies the experience of listening to it. I wrote the book especially for those who love the music of Bach and Handel of course, but because their work underlies in so many ways all the music that came after them." -Joseph P. Swain (Preface) This book was originally published by Pendragon Press in 2018.

 Windham, Donald H.
1992 0-7734-9589-4 308 pages
Gives a vivid and penetrating account of many aspects of the composer's playing, emphasizing not only Liszt's own playing, but its enormous influence on pianism in general and the far-reaching effect on teaching methods through his dedicated work with numerous pupils from various countries.

 Little, Jonathan David
2011 0-7734-1553-X 468 pages
This volume is the first of its type to comprehensively survey the major sources of literary inspiration for western composers who sought to depict in their musical works on “Eastern” flavor.

 Eckelmeyer, Judith A.
1979 0-88946-955-5 96 pages
The libretto.

 Thomson, Ian
2014 0-7734-0059-1 480 pages
This libretto-based study exposes the existence of an overriding purpose rooted in late-eighteenth-century eschatological thought. It also offers a new perspective on the opera’s origins.

Dr. Thomson examines the Alberti libretto of The Magic Flute (Die Zauberflöte) as a literary form and reveals unexamined literary, historical and religious sources, leading to a new, more coherent interpretation of the opera and to hypotheses about the identity of the libretto’s author and Mozart’s death.



 Parsons, Charles H.
2008 0-7734-4960-4 152 pages


 Hester, Karlton E.
1997 0-7734-8574-0 288 pages
This study posits an essential relationship between the spontaneous compositions of John Coltrane's late period, his musical evolution from his formative years to the end of his career, his spiritual development, and the socioculture in which he lived and created. Because of this interdependence, it proposes that racism in American society had significant negative impact upon the music of this African-American composer and his musical colleagues.

 Lee, Sylvia Olden
2001 0-7734-7621-0 256 pages
This is the only autobiography of America’s first internationally renowned African-American classical vocal coach for concert, oratorio, and opera as well as a distinguished arranger and interpretive authority on Negro Spirituals. Mrs. Lee has been a pioneer in the musical field as the first African-American hired onto the staffs of the Metropolitan Opera and the Curtis Institute of Music. She worked with world-acclaimed singers Elisabeth Schumann, Paul Robeson, Dorothy Maynor, Lawrence Winters, Mattiwilda Dobbs, Jessye Norman, and Kathleen Battle. Her appearance on PBS TV with Kathleen Battle and Wynton Marsalis was a fascinating critical interaction between artists and teacher. She has been honored by the United Nations and the National Women’s Hall of Fame. With illustrations.

 Thomson, William
2010 0-7734-3807-6 252 pages
This study utilizes knowledge banks: acoustics, cognition/perception, ethnomusicology and cultural records in probing Serialism’s basic assumptions. It examines analyses by such leaders in the serialist world as Milton Babbitt, David Lewin and Allen Forte.

 Fisher, Larry
1996 0-7734-8771-9 210 pages
This is an oral history based on conversations with David Liebman about his musical career and his association with Miles Davis. Chapter One examines Liebman's background and early influences (Elvin Jones and Miles Davis). Two - information about Liebman and his band, artistic objectives, interaction with an audience; teaching and aesthetics. Three - Liebman's place in the jazz spectrum; performance style; musical and language communication; the ideal audience. Four - Lifestyles and attitudes of jazz musicians; the jazz musician as a businessman and world traveler; the student musician and careers in jazz today. Five - David Liebman on Miles Davis, May 28, 1991, a few months before Miles' death. Six - David Liebman on Miles Davis, Oct. 16, 1991, shortly after Miles' death.

 Tuttle, Marshall
2016 1-4955-0516-2 260 pages
This work examines a specific technical and expressive means by which the various ecclesiastical modes persisted and were integrated into compositional practices of the tonal period, from the time of Bach through to the early twentieth century. It is demonstrated that a technique of integrating modes into tonal music is not through the use of melodic or harmonic materials, but through modulation. Modulations can be drawn from and limited to those keys which derive from chords that exist in the modal scale of the final key of a composition. This leads to what can only be referred to as a kind of pseudo-diatonic chromaticism. Modulations are limited by a diatonic scale, but that scale is distinct from the major-minor scale system which characterizes the surface level musical activity of a composition. Hence the modulations are chromatic according to a given key, but individual keys visited are limited by a very traditional set of diatonic relationships among themselves.

 Jorgenson, Dale A.
1986 0-88946-427-8 248 pages
The first definitive biography of Moritz Hauptmann, a leading musical theorist of mid-19th-century Germany. The book encompasses the many aspects of Hauptmann's activity, teachings, and thought, and deals with his concepts of harmony and meter.

 Fiske, Harold E.
1990 0-88946-473-1 180 pages
A philosophical and empirical study of the music-listening process and what we already know about it. Six axioms develop the theory that music is a meta-language, a semantically closed tonal-rhythmic system through which meaning results from realized self-referenced inter-pattern relationships. It is shown that this meta-language represents the functioning of an independent multi-staged module, and that the description of this module applies to all accepted music (theory) systems. Will be of interest to music aestheticians, theorists, psychomusicologists, music educators, music education researchers, and music therapists.

 White, Sylvia
1999 0-7734-7910-4 292 pages
This book provides a basis for understanding the essential principles and concepts of music. It attempts to develop a musical language for anyone who needs to explore and communicate the sounds of music. It will benefit those who need to develop a command of the musical language but have neither knowledge of, nor experience in, the musical world. A typical user of this text would be someone who needs to read music and acquire a working knowledge of a keyboard, or anyone who sings or plays a musical instrument but can neither explain nor read music. Detailed chapters include summaries and skill exercises.

 Fiske, Harold E.
1993 0-7734-9334-4 184 pages
This study develops a theory about the interaction between music cognition and affective response. The theory demonstrates how musical thinking, knowledge, and decision-making result in qualitative musical behavior. It reports new findings about the cognitive representation of musical structures, imagery as an auditory-phenomenological descriptor of music, aesthetic response as an outcome of specific cognitive decisions, and the value of music in cross-cultural human development. Each of seven essays identifies a problem in music psychology that is critical to an explanation of the musical process, reviews the literature relevant to that problem, and, through systematic philosophical analysis, offers a solution. This book will interest music philosophers, and psychologists working in the areas of cognition, aesthetics, music theory, music education, and music therapy.

 Dura, Marian T.
2002 0-7734-7040-9 300 pages


 Greene, David B.
2005 0-7734-6335-6 188 pages
Many contemporary composers and music critics say in an offhand way that all music written in the past quarter century is about music—that it is reflexive and self-referential in some significant sense. It is music in search of an understanding of itself. This book tries to deepen the understanding of music about music as well as music itself in four ways. First, it puts music’s own self-understanding onto an equal footing with philosophical aesthetics of music. It subjects pieces of music about music to close, detailed analysis, and puts the statements about the nature of music that emerge from these analyses into conversation with philosophical statements about music. Second, it investigates whether and in what way the concept of reflexive music makes sense and to what extent music about music is possible. Third, it inquires into the need for music to search for itself, and evaluates the connection between this need and the European fascination and then disillusion with the concept of aesthetic experience. Fourth, it brings to the surface a sense, embedded in music’s self-understanding, that there are severe limits to the meaningfulness of music in general that it is thus impossible for music about music to be fully meaningful.

 Stamm, K. Brad
2000 0-7734-7646-6 160 pages
This focus and main contribution of this study is to develop an econometric model which, through empirical analysis, determines those factors that affect the demand for prerecorded audio software. Through the creation and use of a hedonic demand model, the study finds that changes in technology that result in perceived quality improvements, increases in real national income, and a youthful population are all determinants in the demand for prerecorded music. It examines pertinent issues regarding the supply side of pre-recorded music within the structure of the industry, recent literature in the entertainment industry, and areas for research. Uses time-series, cross-sectional analysis, pooled regression, along with descriptive statistics to analyze explanatory factors upon which independent researchers, economists, sociologists, and trade organizations generally agree. These outcomes assist in predicting the demand for prerecorded music. The study then pools the regression according to United Nations’ income designations and a world aggregate.

 Schmidt, Carl B.
2012 0-7734-4058-5 1740 pages
This serves as the first comprehensive catalogue of the orchestral, vocal, and chamber music composed by Georges Auric, one of France’s most important twentieth-century musicians. Approximately three hundred-fifty compositions are considered here with full descriptions of all known printed and manuscript sources; locations of literary works on which some are based; selections of important reviews; discographies and lists of videos; and relevant performance data including first performances or showings.

Auric was an influential figure in French art and culture and was widely known to the entire French artistic establishment. His compositional abilities were extremely facile and he could write a significant film score in the short time of a few weeks. On more than one occasion he scored four or more films in the same year in addition to a myriad of other duties.

He was a child prodigy who studied at the Paris Conservatory and the Schola Cantorum while still a teenager. Later in life he was a major member of the so called Les Six (Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre), which was a major force in twentieth century music. With the recent interest in Auric’s contribution to films, it provides rich detail culled from libraries and private archives around the world, numerous newspapers and journals, unpublished letters by Auric, and the secondary literature. With the publication of this catalogue all the members of Les Six are now represented.

 Wilmeth, Thomas L.
1998 0-7734-8255-5
Bill Malone, noted historian and author of Country Music USA, calls the Louvin Brothers ‘the most important vocal duet in the history of country music’. This book pays tribute to the Louvins, placing their music in perspective and context. The author conducted extensive interviews with Mr. Charlie Louvin, the surviving brother, and other sources include interviews with Chet Atkins, Don Everly, and Gordon Stoker of the Jordanaires. Country singer Emmylou Harris speaks of the great influence the Louvins had on her late vocal partner, country-rock pioneer Gram parsons. The Louvins toured extensively with Elvis Presley in 1956, at the height of his career.

 Luoma, Robert
1989 0-88946-435-9 202 pages
Applies 16th-century music theory to an analysis of Orlando di Lasso's Le Lagrime di San Pietro.

 Taylor, Clifford
1990 0-88946-432-4 386 pages
Proposes a reaffirmation, for musical composition, of imaginative figurational invention as idea within expressive harmonic syntax. This challenges the tendency in 20th-century music toward systematization and process affording only textural

 Love, Andrew A.
2003 0-7734-6726-2 380 pages
This book locates musical improvisation within an ontological framework, which is both scientific and Heideggerian, and ultimately encompasses the whole Christian understanding of reality. Part One deals with historical and cultural issues surrounding musical improvisation. Part Two initiates the author’s philosophical and theological proposal that, from the time of foetal and infantile experience, every human person’s fundamental integration with reality is inseparable from improvisatory musicality. His argument is interdisciplinary, involving music history, critical musicology, 20th-century continental philosophy, ideas from infancy studies and music therapy, and finally ideas from a Christian theology which is both ecumenical and rooted in the Catholic tradition.

 Tuttle, Marshall
2000 0-7734-7642-3 372 pages
This monograph presents original research based on Wagner’s theoretical writings and demonstrates that there is a precise logic to his tonal structures.

 Rasmussen, Jane
1986 0-88946-664-5 632 pages
A study of music in the Episcopal Church from 1804 to 1859, based on research in church periodicals and other ecclesiastical writings.

 Lazarevic, Slobodan
2015 1-4955-0269-4 184 pages
“This work written by authors Slobodan Lazarevic and Radmila Paunovic Stajn is a true scientific contribution to contemporary aesthetic thinking and post-structural study of the semantic and meta-semantic in the artifacts of contemporary art… using musicological and narrative methods, when discussing librettos and carefully composing their idea through overall Britten’s oeuvre, the authors emphasize the presence of mythological pattern in the work of this prolific and significant artist.”
-Prof. Dr. Miomir Petrovic,
Faculty for Culture and Media,
Megatrend University, Belgrade



 White, John D.
2023 1-4955-1162-6 600 pages
This book consists of five parts. Each part offers an overview of new music in a specific Nordic country--Denmark, Finland, Iceland, Norway, and Sweden. For more details about each part, please see the "Table of Contents" section below. This book was originally published by Pendragon Press in 2002.

 Richardson, Herbert W.
1992 0-88946-445-6 200 pages
Papers presented at the 1988 Wagner conference in Seattle exploring this opera cycle as music, myth, theater art, and literature, including comparisons with T. S. Eliot's The Wasteland and with James Joyce's Finnegan's Wake.

 Sciannameo, Franco
2005 0-7734-6099-3 108 pages
Federico Fellini entered the pantheon of 20th-Century artists for his path-breaking films like, La dolce vita (1960) and Otto e mezzo (1963). However, it was with Amarcord (1973), that Fellini achieved universal fame. That celebration of youth and memory transcends all barriers of ethnic origin and national belonging by simply appealing to human commonalities. Similarly, Nino Rota’s music, an integral part of this film, eludes cultural boundaries by blending learned and popular musical styles – as in a folk-opera in which stories or episodes are expressed through song and dance representative of everyday life. By juxtaposing music and images, their own creative personae and their youth as it relates to our collective memories, Fellini and Rota made this film about “remembering youth” an unforgettable experience for generations of viewers and listeners. This monograph is of interest to scholars of music, cinema, and cultural studies.

 Gay-White, Pamela
2015 1-4955-0300-3 252 pages
This work of essays explores and interrogates the libretto’s role as revolutionary genre during the Enlightenment and mise en abime of linguistic liberation, while focusing on specific ways its evolution reflected Enlightenment thought on the nature of music, text, and the individual. Especially, welcome are explorations of texts by Diderot and Rousseau, as well as topics addressing readership of libretti, influence on musical performance, and theoretical strategies challenging conventional concepts of representation.

 Martin, Jessie Wright
2014 0-7734-4273-1 256 pages
This is the first ever English language resource encompassing an extensive survey of all Emmerich Kálmán’s operettas and illuminating his enormous contribution to the genre of operetta. It is supported with explanations of musical inheritance and synthesis including musical examples. This book is filled with fascinating contextual details never before presented.

 Ott, Leonard
1997 0-7734-8601-1 344 pages
Works by Haydn, Mozart, Beethoven, Mendelssohn, Berlioz, Tchaikovsky, Rimsky-Korsakov, Mahler, Strauss, Debussy, Ravel, Stravinsky, Schoenberg, Webern are analyzed symphonically.

 Wilson, Brian Scott
2001 0-7734-7330-0 124 pages
This study examines the orchestrational techniques in four of Percy Grainger’s wind band compositions: Colonial Song, Irish Tune From Country Derry, Molly On The Shore, and five movements from Lincolnshire Posy: Lisbon, Horkstow Grange, The Brisk Young Sailor, and The Lost Lady Found. These are works which are representative of Grainger’s techniques. This information has been used to newly orchestrate three of Grainger’s pieces for band: The Cutting of the Hay; Lord Maxwell’s Goodnight, and British Waterside (or The Jolly Sailor). This study shows specifically why Grainger’s wind band music is so readily identifiable, asserting that his sound is a function of recurring orchestrational techniques rather than other compositional elements such as melody or harmony.

 Parris, Ralph L.
2015 0-7734-4271-5 192 pages
This book is about the origin and evolution of the steel band orchestra and its diffusion in the Caribbean and beyond with special attention given to the nature and evolution of its origin and spatial movement within the culture. The Steel band was created by descendants of African Captives in the Caribbean who struggled to retain some elements of their culture while simultaneously rejecting elements of the captive culture that controlled their lives for three centuries.

 Kolman, Barry Araujo
2013 0-7734-4351-7 200 pages
This book traces the origins of American Wind Music during the Federal Era specifically the instrumental instruction books called tutors that were published by American printers. The immense popularity of amateur music making in Federal America is apparent when one discovers the huge quantity of ensemble scores included in the tutors. These tutors mark the true beginning of indigenous instrumental ensemble music in America.


 Shafer, Gloria
1989 0-88946-439-1 107 pages
Provides an historical overview of the song cycle and a survey of the children's song cycle, including structural, stylistic, and interpretative analysis of four representative children's song cycles and an original cycle.

 Kirkpatrick, Linda
2006 0-7734-5785-2 212 pages
This book presents the teaching philosophies, pedagogical approaches, techniques, and methods of flutist William Montgomery. His concept of flute tone production, his philosophy of other aspects of flute playing, and his innovative approach to technical exercise have been documented for use by future generations of flutists. Many of the techniques and ideas he has developed reflect the pedagogical influence of his teachers, Marcel Moyse and William Kincaid. Montgomery, however, has developed his own approach to technical exercises, and frequently employs special or alternate and sensitive fingerings in his pedagogy.

Presenting the philosophies and methods of Marcel Moyse and William Kincaid demonstrates the continuities and establishes the innovations of William Montgomery’s pedagogy. Examining the methods for teaching tone production and vibrato, articulation, finger technique, musical expression and interpretation of both Moyse and Kincaid establishes a foundation from which to compare Montgomery’s methods and philosophies.

 Raad, Virginia
1994 0-7734-9138-4 92 pages
This study discusses only those elements in Claude Debussy's work that are directly associated with the qualities of a particular instrument and what they inspire. The piano music that Debussy composed evolved in part from his own particular performance. Debussy knew all the technical possibilities available to a skilled pianist. In his full development, he uniquely employed the piano's sonorous resources and painted atmospheric scenes. This volume explores early, mature and late work, including the Préludes and the twelve Etudes, examining forms, harmonies, rhythms, touch, pitches, sustained sounds, and compositions. With photographs.

 Scarambone, Bernardo
2012 0-7734-2936-0 164 pages
This presents a detailed and well articulated analysis of the piano works of Marlos Nobre. Nobre is a Brazilian composer who has taught at Yale, the Universities of Indiana, Oklahoma, Arizona, and the Juilliard School. His strong personal connection to the beloved instrument in his first composition, Homenagem a Ernesto Nazareth, Op. 1a 1959, until his latest piano creation, Frevo, Op.105 in 2007 are explained and discussed. The music represents the rich cultural heritage of his current home in Pernambuco, and in the introduction the early musical influences are explained in his own words. The background information on his early life provides a fascinating glimpse into the musical tastes that formed his personal identity as a composer. In alluding to Brazilian folk music, this work will appeal to ethnomusicologists, sociologists, as well as musicologists, and piano composers.

 Coroniti, Joseph
1992 0-7734-9774-9 112 pages
This work explores the many aesthetic and theoretical issues that arise when poems are set to music. Is a setting a hybrid form, a support for the text, or simply a piece of music? All such inquiry is an effort to define, and then either integrate or resolve the tension that is the driving force of the musical setting. This explores the differing aesthetic theories and tests them against the practice of modern composers. Topics include: speech rhythms in music; Ezra Pound and music; Shakespeare's Sonnets; Recitations with music - Ginsberg, Ferlinghetti, Baraka; Stravinsky -- Shakespeare Songs, "In Memoriam Dylan Thomas," Symphony of Psalms; "The Tyger", settings by Britten and Thomson; Emily Dickinson/Aaron Copland; more.

 Berrong, Richard M.
1992 0-7734-9230-5 160 pages
Catalani's letters contain a fascinating eyewitness account of the process of creating opera in turn-of-the-century Italy. They show what he and his contemporaries, among them Puccini, Mascagni, Leoncavallo, and Giordano, went through to obtain a libretto, arrange a premiere, and encourage subsequent productions of a new score. And, since there is no English-language biography of Catalani, this volume also provides readers not versed in Italian an opportunity to learn about the composer of La Wally and Loreley.

 Erdmann, Thomas R.
2001 0-7734-7374-2 184 pages
This text covers a wide variety of topics and problems, from band seating to planning festivals, dealing with soloists to taking the ensemble on the road. It tackles complex problems presented to directors of concert bands and wind ensembles, problems such as how to teach a march quickly to an ensemble, how to warm-up an ensemble properly for both tone and intonation, and basic band repertoire. This book is available at a special price when ordered for text use. Call (716) 754-2788 for text information.

 Goldenberg, Yosef
2008 0-7734-4846-2 364 pages
Offers for the first time a systematic survey of the entire spectrum of contrapuntal-harmonic configurations that enable the prolongation of seventh chords, arranged logically by seventh-chord type and voice-leading procedure.

 Goldenberg, Yosef
2008 0-7734-4852-7 284 pages
Offers for the first time a systematic survey of the entire spectrum of contrapuntal-harmonic configurations that enable the prolongation of seventh chords, arranged logically by seventh-chord type and voice-leading procedure.

 Kinder, Keith
2016 1-4955-1118-9 252 pages
"Franz Liszt and Richard Wagner stand at the center of European music in the nineteenth century. These two musical giants cast such broad shadows over their century that it is virtually impossible to discuss any aspect of Romantic music without making reference to one or both of them. ...It is rather surprising that, to date, their wind music has attracted little attention--an oversight this volume addresses." - Keith Kinder

 Ring, Kenneth
2002 0-7734-7108-1 152 pages


 Levy, Alan H.
1991 0-7734-9621-1 80 pages
Examines the relationship of the process of creative human endeavors and of the creators themselves to their surroundings. Shows how political, economic and intellectual pressures intensify and affect developments in many sectors of the arts.

 Lancos, Jonette
2007 0-7734-5463-2 620 pages
Charles Weidman (1901-1975), a distinguished dancer and choreographer, is recognized as an originator of twentieth-century American dance. This study traces Weidman’s life from his early years in the Midwest, including his training at the Denishawn School, his friendship with Martha Graham and José Limón, his partnership with Doris Humphrey and Pauline Lawrence, in establishing their Humphrey-Weidman School and Company, to the formation of the Expression of Two Arts Theatre with visual artist Mikhail Santaro. This work examines Weidman’s concert works, Broadway shows, and opera productions, where his modern dance ideas revitalized these theatrical forms. Weidman’s training system is analyzed by stressing its lineage, his men’s group, rebound principle, floor work, use of drums and rhythm, and his kinetic pantomime. The study follows global influences on early modern dance, of which Weidman was a part, and which were motivating factors in his artistic development. This work investigates how Weidman’s aesthetic values are related to modernism; his interest in preserving his works for future generations; it also contains recollections from dancers who have performed with Weidman. Now, thirty years after his death, evidence is beginning to shed new light on Charles Weidman’s enormous influence upon and legacy for modern American dance. This book contains 39 photos.

 Marx, Adolph Bernhard
2023 1-4955-1129-4 232 pages
This book was translated by Stephen Thomson Moore. "At first glance, Marx's legal and musical careers are at variance; he himself makes it clear that his judicial work crowded out his music. But while the two appeared to pull in different directions, the conflict was in a sense creative: Marx the musician--or at least the particular type of musician he turned out to be--would have been unimaginable without Marx the lawyer. This sort of dynamic was evidently fundamental to Marx's character and method: one might be reminded here that Marx's notion of musical form was itself based in the energetic confrontation of rest and motion. If Marx's memoirs, therefore, come across as at times inconsistent, incoherent or inconclusive, that is an expression of the various competing forces that are at work in his personality. His attempts to express some of the contingency of the human experience result in a prose that can be seen as clumsy or garbled, but this is deeply eloquent of an era that was itself garbled, that was making itself anew with extraordinary vigor, and that was conscious of the complexity and conflict inherent in that process." --James Arnold (Introduction) This book was originally published by Pendragon Press in 2016.

 Hodgins, Paul
1992 0-7734-9552-5 240 pages
This study examines the aesthetic interdependence of the two disciplines. It begins with a questionnaire-based survey which reveal the pervasive influence of music on a viewer's perception of movement. It proposes a paradigm which can be used to identify and categorize relationships between choreography and score. Acknowledged classics such as Apollo, Agon, Errand Into the Maze, and The Catherine Wheel are subjected to detailed choreomusical analysis, utilizing the paradigm as part of a comprehensive examination of music-movement affinities. Current dance scholarship has virtually ignored the area of music-dance relationships, so this book will be useful for courses on music for dancers, dance philosophy and aesthetics, dance history, choreography, movement and analysis, and other areas of dance scholarship.

 Holliday, Kent
1989 0-88946-438-3 192 pages
The reproducing piano rendered faithful 'reperformances' of classical and popular piano solos at a time when cylinder and disc recorders were in their infancy. It played notes from a perforated paper roll, but unlike the player piano it was able to replicate expressive performance elements such as articulation, dynamics, and pedaling. Busoni, Granados, Hofmann, Rachmaninoff, and Ravel made thousands of piano rolls for the reproducing piano. To hear how a famous composer performed his own music is of immense value to the contemporary listener, providing insight into nuances of interpretation too suble to be notated in the musical score. This is the only work which traces the history of reproducing pianos from inception (1904) to the present day. Examines the origin, history, design, and construction of these devices, as well as the present-day resurgence in interest.

 Lipori, Daniel
2003 0-7734-6913-3 396 pages
This book is a valuable tool for anyone researching the bassoon or bassoon-related topics. It includes citations for nearly every book, article, dissertation, thesis, and video dealing with the bassoon. It is divided into different sections, allowing one to easily look up available information on a particular bassoon player, composer, information on bassoon reeds, or other aspects of the instrument. There is also an alphabetical section by author included along with the category listings. The set-up of the volume is similar to that of a telephone book, with headers at the top of each page, allowing one to readily browse through and find the needed information quickly.

 Parsons, Charles H.
2002 0-7734-7278-9 372 pages
The Ohio Light Opera at The College of Wooster is the only professional repertory company in the United States devoted exclusively to the performance of late 19th and early 20th century operetta. In addition to Gilbert and Sullivan, they perform many classics of the European and American operetta repertoire. All are performed in English, with many of the foreign-language works specially translated for the Ohio Light Opera. This book is a personal memoir as well as a history. Includes many color and black-and-white illustrations.

 Grossman, Morley
2006 0-7734-5648-1 186 pages
This book provides an illuminating and detailed look at the triumphs and difficulties faced by this great composer, both personal and professional, not often revealed in other sources. Included are citations from a number of sources (mostly interviews from periodicals of the day) that are no longer generally available or commonly quoted.

The central focus of this collection of writings is a detailed study of the First Piano Concerto in F-sharp Minor, Op. 1, based upon three sources: the composer’s personal manuscript copy of the original version in full score (1890-91), which remains in the permanent collection of the New York Public Library; an intermediate revision completed during the October uprising of 1917 in the Soviet Union inexplicably issued (though never previously approved by the composer for publication) in 1965 by the (Soviet) State Publishing House; and the final version of 1919, as it is commonly performed (approved and proofread prior to publication). The latter was published in New York by Boosey & Hawkes. Applying quantitative analysis as a fundamental approach, the study demonstrates that Rachmaninoff’s writing (including the orchestrations) tended toward thinner, more transparent textures as his style continued to evolve.

For the Rachmaninoff enthusiast, this volume serves as a ready and convenient source of readings on a variety of topics. Illustrated with a wealth of examples from a myriad of sources, it is hoped this work will prove useful and a welcome addition to the literature currently available on this great composer.

 Helmig, Martina
2006 0-7734-5736-4 404 pages
This is the first monograph about Ruth Schonthal, the internationally renowned composer whose works are performed worldwide. Parts of the work are based on conversations that the author conducted with Ms. Schonthal over the past 20 years. The book is also the first contribution to exile research that is concerned with artists that fled from Nazi Germany in their childhood. This is the English translation and updated version of Dr. Martina Helmig’s musicological book, which gained much attention in the German-speaking countries.

Ruth Schonthal’s unique and dramatic biography encompassed three continents and now spans eight decades. She was a composing and piano-playing “Wunderkind” in the twenties and thirties in Europe. At age five, she was the youngest student ever accepted at the famous “Stern'sches Konservatorium” in Berlin. As Jews, she and her family were forced to flee the country in 1938. Their odyssey led first to Sweden, then to Mexico, where she studied with Manuel Ponce. Paul Hindemith discovered her there and brought her to Yale University as his student. Since 1976, Ms. Schonthal has been Professor of Composition at the New York University and living in the Greater New York City area.

This book presents a case study in the area of research dealing with a specific exiled generation: those who were forced to flee from Nazi Germany before finishing their professional education. This is a field that has been almost completely neglected over the years. The book contains Ruth Schonthal’s biography, analyses of some of her outstanding compositions, and an examination of the ways in which the cruelties of the Nazi regime and condition of exile affected this younger group of artists. It also describes the cultural perspective they gained from living in various countries. Both the places of exile and the necessity of living, studying, and working in the midst of so many different cultures have had, and still have, many implications for the compositional process that go far beyond mere folkloristic influences. According to Lion Feuchtwanger, exile is no coincidental and peripheral circumstance, but the motivating force behind all work undertaken once in exile. This also applies to the younger generation of exiled artists.

 Cox, Franklin
2011 0-7734-1589-0 484 pages
This volume addresses discourses of critical theory; contemporary musicology and ethnomusicology that have been profoundly important to music scholarship, significantly important in this study is contemporary music by living composers. A valuable resource for scholars of contemporary music, theorist and musicologists and institutions with music programs.

 Stokes, Harvey J.
1990 0-88946-577-0 80 pages
A listing of articles and books on the music of eleven Italian serial composers: Berio, Bussotti, Castiglioni, Clementi, Dallapiccola, Donatoni, Maderna, Nono, Petrassi, Togni, and Vlad. Listed documents take the form of interviews, musical critiques and analyses, stylistic surveys, biographies, and listings of companies.

 Fiske, Harold E.
1996 0-7734-9771-4 176 pages
This is an historical and philosophical analysis of eight major theories that concern music perception, cognition, and meaning. These theories, developed in the 20th century, are among those most often cited by the music psychology and philosophy research literature. Included are Carl Seashore's theory of musical inheritance, Information theory, Mary Louise Serafine's theory of music as thought, music cognition versus speech cognition, neural network and Connectionist theory, and the musical meaning and communication theories of Susanne Langer, Leonard Meyer, and Peter Kivy. The links between these theories and other experimental and philosophical research are considered as well. The final chapter offers a list of 21 principles of music cognition and aesthetic communication derived from the analysis of each theory. The analyses reflect the recent historical development of music psychology and philosophy research, and serve as a useful guide for future investigations.

 Metting, Fred
2022 1-4955-1017-4 140 pages
"I was a college teacher for several decades and I taught...American music. The following essays touch upon the many voices I found most interesting as I discovered so much fun, rich, exciting American culture. ...The result is this loving catalogue, this inventory of some of my 'appreciations'--those musicians who moved me." -Fred Metting

 Graham, Arthur
1997 0-7734-8515-5 232 pages
A unique work in the study of music and literature. The reader is introduced to music from several centuries and to five of the most popular plays in great detail (Macbeth, Romeo & Juliet, The Merry Wives of Windsor, Othello, A Midsummer Night's Dream). Other plays are discussed (1 & 2 Henry IV, Henry V, The Taming of the Shrew, The Merchant of Venice). The book treats opera, ballet, symphonic music, song, incidental music, Shakespeare's use of music and his use of music as metaphor. It contains no musical notation and assumes no previous knowledge of music or of Shakespeare. Suggested CD and video recordings are listed and keyed by page number to examples in the book. Contrasting the musical works with the plays is an unusual and successful teaching technique, offering insights in to the plays that are not available through the study of the plays alone. (As with all Mellen books, this work is available at a special price when ordered for text use. For text ordering information, call (716) 754-2788.)

 Williams, Hermine W.
1998 0-7734-8376-4 280 pages
This study of Sibelius's Musique réligieuse (opus 113) is based upon newly discovered autographed documents and related materials held in Masonic Lodge archives and private collections. It considerably augments and reinterprets the only other study of this particular study (published in Finnish more than a decade ago by Einari Marvia). Part 1 chronicles the evolution of opus 113 from its initial creation in 1927 for use by the Masonic lodge in Helsinki where Sibelius held membership to its final authorized English-language publication in 1950 by the Grand Lodge of New York. Part 2 contains an analysis of the texts and music, and includes a discussion of the orchestral version of the 1927 manuscript created by Leo Funtek. In addition to addressing Sibelius's association with Freemasonry and the significance of his music for Masonic rituals, it sheds light on the composer's activities during his 'period of silence' (1927-1957), provides insight into the composer's religious views, and offers a different perspective on Sibelius's relationship with Americans. The author had access to and permission to print a number of letters from/to Sibelius held in private collections. These, and a number of photos taken of Sibelius by his American visitors, add significantly to the value of the study. Not only musicologists but scholars working in the field of Freemasonry will be interested in this work, for it not only illumines the close ties between New York and Finnish Masonic lodges, but is also one of the first to focus attention on the music used in American Masonic rituals.

 Heavner, Tracy Lee
2003 0-7734-6850-1 168 pages
For many music students, the most difficult skill to develop is the ability to sight sing. This book utilitzes solfege, rhythmic syllables, handsigns, memorized melodies, body rhythms, echo chains, chord progressions, four-part singing and conducting patters. It is the only textbook to combine all these features into an effective approach of teaching sight singing and rhythmic reading. This approach works well with young students as well as college students. With proper practice and mastery of each exercise presented in this book, students will develop excellent sight singing, rhythmic reading and conducting skills.

 Stocken, Frederick
2009 0-7734-3879-3 300 pages
Contrary to the many commentators who presumed there to be a tension between Sechter’s theory and Bruckner’s mature musical language, this study demonstrates their compatibility. Using the Adagio of Bruckner’s Ninth Symphony, the case is made for fundamental-bass theory as a revealing tool for analyzing the composer’s music.

 Dailey, Jeff S.
2008 0-7734-5068-8 256 pages
Explores the drama behind the trajectory of the opera, Ivanhoe, and Arthur Sullivan’s venture into Grand Opera. The back story is complex and entertaining, dealing with issues of English nationalism, socialism, politics and real estate. This book contains ten black and white photographs.

 Froehlich, Hildegard C.
2015 1-4955-0302-X 456 pages
This book employs the lens of interactionism to explore and explain the field of music education as an empowering area of professional pursuit. Personal vignettes, stories by others, and relevant scholarly literature from several fields are used to demonstrate how awareness of the symbolizing power behind communicative acts of teaching, learning, performing, writing, conducting research (or doing all of the above) can turn interactions that may be perceived as communicative barriers into opportunities for pro-active discourse.

 Frederickson, Jon
1993 0-7734-9281-X 180 pages
This is a sociological study of musicians who play for musical shows, operas, ballets, and receptions. These are musicians who trained to be artists on stage, but ended up being accompanists in the pit. The focus of the study, which is aimed toward sociologists and musicians, is what life is like in the pit, the fascinating artistic conflicts of pit musicians, and the source of those conflicts. It is written in a direct and readable style.

 McGinnis, Pearl Yeadon
2004 0-7734-6432-8 540 pages
John La Montaine is known primarily for his Concerto for Piano and Orchestra, Opus 9, which was awarded the Pulitzer Prize for Music in 1959. In addition, he has won countless awards for composition. However, his compositions for voice and piano are not yet an established part of the vocal solo repertoire.

This work illustrates La Montaine’s music for voice and piano through an analysis of musical and dramatic elements that support the text and drama. A biographical study provides details about the composer’s life such as musical training, personal influences, awards and goals. In addition, the issues of philosophy, creativity, methods, musical styles, and textual considerations are discussed and are the basis for the following analysis.

 St. Pierre, Paul Matthew
2003 0-7734-6656-8 360 pages
This is the first book, scholarly or popular, on Elsie and Doris Waters, the most successful female double-act in the history of British music hall and variety. They distinguished themselves in the male-dominated field and in the movement of female artists who, after WWI, elected not to marry, the better to pursue their careers. Elsie and Doris Waters wrote almost all their own comic songs and sketches, created an original gynocentric comedy, anticipating feminist movements, controlled their means of production in the male-dominated British stage, radio, and recording industries, and performed together in Britain and around the Commonwealth for half a century. This study shows them to be precursors of contemporary female double-acts and patter-based comedians such as French and Saunders, Flanders and Swann, Beyond the Fringe, and Monty Python’s Flying Circus. The study also contains fifty transcribed songs and sketches, their original compositions and arrangements, from recordings on 78rpm gramophone records made between 1929 and 1944. The words to their entire oeuvre of songs and sketches have never before been available in print.

 Elashiry, Mohammed R.
2008 0-7734-4836-5 380 pages
This work reports the results of an instrumental investigation into some phonetic aspects of Qur’anic recitation as performed in Egypt today. Particular attention is given to comparisons between styles, voice registers and trained and untrained performers. Seven reciters, four non-professional and three professional, served as subjects.

 Soder, Aidan
2008 0-7734-5178-7 136 pages
This study offers a brief history of Sprechstimme and Pierrot lunaire, Schoenberg’s recordings of Pierrot, and the ambiguity inherent in the execution of Sprechstimme. The book also presents the substantial Pierrot discography and the range of interpretational styles heard in the recordings. The author provides a thorough discussion of Pierrot’s technical vocal requirements and how the sound recordings can assist in the interpretation and performance of the Sprechstimme.

 Herrala, Meri Elisabet
2012 0-7734-2611-6 704 pages
During the sixteen critical years of tumultuous artistic upheaval from 1932-1948, the Soviet Union’s cultural authorities strove diligently to establish and refine a functional administrative infrastructure with which to direct and control Soviet Music. Yet in reality, this music policy system did not function as it had been intended to, which was to ensure the creation of Soviet operas acceptable to the Party. Because the agencies controlling the operas could not define which style best represented Socialist Realism, the music policy failed to establish adequate centralized control of Soviet music. Therefore, musical discussions deteriorated into ritualistic forums for revealing heretical composers, making scapegoats of them, and requiring them to perform self-criticism, yet providing little practical guidance on how to reach the artistic goals of Socialist Realism.

 Stegman, Sandra Frey
1999 0-7734-7926-0 320 pages
A guide to educating those who teach choral music in the classroom, this text provides a comprehensive review and analysis of the relevant literature, drawing on qualitative methodologies to collect and interpret primary source data. Student-teacher portraits are provided as examples. The author presents a convincing argument for assigning a special role to the development of reflective capacities and to image construction in the process of becoming a teacher, and her recommendations for music teacher education and research are thorough and developed.

 Cockshott, Gerald
1980 0-7734-0105-9 405 pages


 Trenkamp, Anne
1990 0-88946-449-9 336 pages
A Festschrift containing essays by the honoree, the Hungarian-born American composer Marcel Dick, who is one of the very last members of Arnold Schoenberg's "inner circle" during the 1920s and whose place in the history of the Second Viennese School is assured. Includes studies of Dick's music, an appendix on The Marcel Dick Collection at Case Western Reserve University, and another appendix covering Marcel Dick's curriculum vitae. Also includes contributions by Walter A. Strauss, Joan Allen Smith, Wendy Williams Keyes, Michael Nott, Anne Trenkamp, John G. Suess, John K. Ogasapian, Jody D. Rockmaker, and many others.

 Zalkind, Ann
2002 0-7734-7231-2 212 pages
This study examines Mompou’s Música Callada within the context of musical, literary, and philosophical influences. Mompou’s piano miniatures reflect the concentrated expression of his primitivista philosophy. Mompou thought his ideals of concentrated expression were best realized in the four volumes of Música Callada (1959-1967). The title for Música Callada , loosely translated as “Silent Music,” is taken from Cántico Espiritual entre el alma y Cristo, su esposo, by the great Spanish mystic and poet, St. John of the Cross. The study addresses interpretive issues in each of the work’s 28 pieces, and considers recorded performances of the work by Herbert Henck, Joseph Colom and Mompou himself. “This is a scholarly thesis with an unusual amount of musical analysis. It integrates in detail the influence of other composers. This book should be invaluable for any study of Mompou’s work. Nothing of its depth is in publication. . . . Each composition of the Música Callada is described in infinite detail with the most lucid discussion in the most difficult and hermetic section, the fourth book or Mompou’s favorite. It is the most austere and in many ways climactic. . . . does show remarkable piano literature, rich in sonority, vivid in historical reminiscence and inventive within small but beautiful measure of music.” – Virginia Raad

 Coker, Niyi
2004 0-7734-6520-0 178 pages
This work is an analysis of the music and politics of Fela Anikulapo-kuti. It traces Fela’s development through several stages of political consciousness, awareness and artistic maturity. His evolution from Fela Ransome-Kuti to Fela Anikulapo-Kuti, and from Koola Lobito’s to Nigeria 70 to Africa 70 and ultimately Egypt 80. He had spent a life producing music that spoke to the existence of the masses in Africa. He had also spent a tremendous amount of time in court, in prison, in jail and receiving beatings from the army and police. Through it all, he remained true to his vision and his music.

 Casler, Lawrence
2001 0-7734-7489-7 404 pages
This encyclopedic survey will serve as an indispensable reference for scholars and students interested in relationships between music and literature. After an extensive introduction that includes a history of program music and a discussion of the aesthetic issues peculiar to this genre, the book provides brief analyses of approximately 260 pieces of orchestral program music based on specific literary sources. Each entry consists of three sections: an account of relevant aspects of the composer’s life, an account of relevant aspects of the author’s life, and an account of the relationships between the music and the literary source. Appropriate musical quotations are used to illustrate these relationships. Up to the cut-off point of 1950, the discussions cover virtually every work that is likely to be encountered on recordings or in concert halls. Because of the book’s user-friendly format, the reader/listener can quickly locate each musical or literary work.


 Casler, Lawrence
2001 0-7734-7491-9 448 pages
This is a text of great importance and achievement, and is indispensable to all lay music lovers, professional musicians (conductors in particular), scholars, libraries, artist and repertory directors, classical radio programmers, and all who appreciate music and literature.” – Peter Bay, Music Director, Austin Symphony Orchestra

 Oerke, Andrew
2000 0-7734-3119-5
Symphony Number One is the first part of a trilogy. It investigates the nature of human identity and concludes that who we really are is created by our individual, common and uncommon choices of words, and is revealed in the true equations between words and action. This book is about primal, radical cure, and it is Mozart and Mingus played by a combo in blue jeans jamming to a new millennial swing. Poet Andrew Oerke’s work has been published in The New Yorker, The New Republic, Poetry, Mademoiselle, and other leading magazines. Golden Gloves champ, football player, University professor, Peace Corps Director in Africa and the Caribbean, US Korean War veteran, and United Nations Gulf War consultant, he has lived many lives. In feature articles, The New York Times and International Herald Tribune have said that here is a poet “whose muse is a world traveler.” With Notes and Comments by James O. Allsup

 Brand, Manny
2006 0-7734-5871-9 216 pages
Feeling dismayed instead of inspired by much of the traditional professional scholarly literature in music education, the author undertook what he called a “music teacher journey,” a music education adventure and discovery from an exotic perspective. The result is this narrative research based on meeting and observing fascinating and unusual music teachers throughout China, Laos, Cambodia, Malaysia, Thailand, Singapore, Myanmar, Indonesia, and Vietnam.

This work encourages music education majors and assists them in embracing, often for the first time, the possibilities, pleasures, and promises of a life of music teaching. Within a uniquely multi-cultural perspective, this text offers inspiration and ideals to help motivate and sustain the beginning music teacher and to assist the experienced music teacher in recapturing an enthusiasm for a life-long career of challenges, difficulties, and joys of music teaching. Scholars in music education have, at last, a splendid model of narrative research offering a penetrating analysis of music teaching and an insightful understanding of the music teacher’s beliefs, role, and contribution to humanity.

 Proskurnya, Oleg
2014 0-7734-0051-6 752 pages
The best English translation of the conducting methodology of Professor Ilia Musin, the creator of the “Leningrad/St. Petersburg school of conducting. Musin was an internationally known innovator in advanced conducting techniques. This book makes available, for the first time, to English-speaking conducting students, pedagogues, and professional conductors, access to Ilia Musin’s legacy. It is a paragon in the fundamental analyses of the advanced techniques of the art of conducting. A must have book for anyone in this specialized field.


 Zhong, Mei
2002 0-7734-7190-1 228 pages
Difficulties in establishing tempos for Puccini’s soprano arias arise from the lack of markings in some cases, ambiguous or impractical markings in others, doubts about the authorship of some markings, and wide variations in tempo among recorded performances. This study seeks to establish the originally intended tempos for these operas. By examining Puccini’s autographs, the first edition vocal scores, and many early recordings – especially those by the sopranos or conductors who worked with the composer or performed the arias during Puccini’s lifetime – it establishes tempos that conform to Puccini’s musical and dramatic intentions. Additional sources include the commentaries of Luigi Ricci, Puccini’s rehearsal pianist; contemporaneous and contemporary commentaries; and current scholarship.

 Cord, William O.
1991 0-88946-441-3 244 pages
An exhaustive, three-volume presentation of the totality of mythological thought associated with Wagner's Ring. Certain to become a classic in its field. Volume One, Nine Dramatic Properties, includes extensive treatments of: the World Ash, the Rainbow Bridge, Donner's Golden Hammer, Valhalla, and the Ring. Volume Two, The Family of Gods, presents each god in rich detail and unprecedented breadth of coverage. Volume Three (Parts 1 and 2), The Natural and Supernatural Worlds, includes a supplement on the names presented in the first two volumes with specific examination of every person, thing, or object given a proper name in the drama. Assembles and explicates the many miscellaneous elements, difficult to categorize, that are vital to appreciation of the Ring.

 Cord, William O.
1991 0-88946-442-1 225 pages
An exhaustive, three-volume presentation of the totality of mythological thought associated with Wagner's Ring. Certain to become a classic in its field. Volume One, Nine Dramatic Properties, includes extensive treatments of: the World Ash, the Rainbow Bridge, Donner's Golden Hammer, Valhalla, and the Ring. Volume Two, The Family of Gods, presents each god in rich detail and unprecedented breadth of coverage. Volume Three (Parts 1 and 2), The Natural and Supernatural Worlds, includes a supplement on the names presented in the first two volumes with specific examination of every person, thing, or object given a proper name in the drama. Assembles and explicates the many miscellaneous elements, difficult to categorize, that are vital to appreciation of the Ring.

 Cord, William O.
1991 0-88946-443-X 630 pages
An exhaustive, three-volume presentation of the totality of mythological thought associated with Wagner's Ring. Certain to become a classic in its field. Volume One, Nine Dramatic Properties, includes extensive treatments of: the World Ash, the Rainbow Bridge, Donner's Golden Hammer, Valhalla, and the Ring. Volume Two, The Family of Gods, presents each god in rich detail and unprecedented breadth of coverage. Volume Three (Parts 1 and 2), The Natural and Supernatural Worlds, includes a supplement on the names presented in the first two volumes with specific examination of every person, thing, or object given a proper name in the drama. Assembles and explicates the many miscellaneous elements, difficult to categorize, that are vital to appreciation of the Ring.

 Brewer, Mary Kathryn
2019 1-4955-0752-1 252 pages
Giuseppe Fortunino Francesco Verdi was one of the most successful opera composers of the nineteenth century. His operas, including Rigoletto, La traviata, and Otello, are still frequently performed in opera houses around the world. In comparison, his 27 art songs are far less known and rarely performed. This guide examines Verdi's 26 published art songs to highlight their profound musical and historical value and to encourage the study and performance of these pieces. The songs are discussed in terms of their composition and publication history and musical and text analyses, including examination of melody, harmony, rhythm, tempo, text, and form.

 Eppstein, Ury
1994 0-7734-9151-1 172 pages
This investigation into the introduction of Western music into the educational system of Japan reveals the existence of conflicting tendencies within both the Early Meiji period and then again in the Late Meiji period. While the acceptance of other Western cultural values in Japan, such as philosophy, the arts, natural sciences, and many more, have been studied extensively, this book contributes on a subject not treated in great detail until now.

 Bute, Daniela
2010 0-7734-1328-6 352 pages
This book documents the impact of democratization, globalization and European integration on the Romanian music education system since the Revolution in 1989. Particular emphasis is placed on government deregulation of public music education.

 Cho, Gene Jinsiong
2003 0-7734-6941-9 360 pages
This study provides little-known mathematical, musicological and scientific facts regarding the discovery of musical equal temperament, and narrates the circumstances of the discovery in the historical and cultural contexts of the period (mid 16th to early 17th centuries) which, in turn, is placed in the intellectual chronology of the Eastern and Western worlds. By offering documentary evidence and information not found in Western publications, the book invites the reader to see the mathematics of the equal temperament and its discovery in an entirely new light.

 Crispin, Judith Michelle
2007 0-7734-5407-1 332 pages
This study explores an elite esoteric tradition of music composition, transmitted to succeeding generations by practicing musicians with an avid interest in the occult. Motivated by a conception of music as an agent of transcendence, this tradition has been most clearly articulated by Ferruccio Busoni as Junge Klassizität, or Young Classicality. The core ideas of Busoni’s Junge Klassizität have been passed from teacher to pupil in the manner of esoteric school, and encrypted as symbols within original compositions. One inheritor of Busoni’s esoteric legacy was the Australian composer Larry Sitsky, a composition student of Busoni via Egon Petri. Building on existing research into the esoteric nature of Busoni’s Junge Klassizität, this study traces the passage of the esoteric tradition along the Budoni-Petri-Sitsky line. It outlines a new, living and evolving tradition born from Sitsky’s reinterpretation and revitalization of Busoni’s model. Within the Busoni-Sitsky tradition of orientation of Junge Klassizität remains unchanged but has flowered into new esoteric manifestations. To further elucidate this tradition, this study examines the two major operas it has generated: Busoni’s Doktor Faust and Sitsky’s The Golem. It is demonstrated that the tradition’s core ideas are transmitted through these operas as encrypted symbols, awaiting future decipherment. This work will appeal to scholars of music history, pedagogy, and composition, as well as scholars of Australian music, Busoni, Sitsky and Western esotericism.

 Frantz, Charles Frederick
2017 1-4955-0572-3 236 pages
This work presents an analytical perspective grounded in correspondences to contemporary movements in visual art. Inquiry focuses on the world of Art Nouveau, Symbolism, decadence, and Orientalism with Debussy, to some demonstrable extent, was in direct contact. It reviews relevant Debussy scholarship , particularly in respect those dealing with the perception of musical time.

 LeSaux, Françoise H.M
1995 0-7734-9119-8 208 pages
Papers cover the phenomenon of trans-cultural contact in the areas of Medieval English, French, Latin and Welsh literature and historiography, as well as musicology and material culture. Essays include: Constance Bullock-Davies, 1900-1989 (Rachel Bromwich) Malory as Translator (Barbara Belyea) Oez veraie estoire: History as Mediation in Jordan Fantosme's Chronicle (Jean Blacker) Fifeenth-Century History in Malory's Morte Darthur (P. J. C. Field) Languages at the Norman Court of England (Nancy Helen Goldsmith-Rose) Old Llywarch's Jawbone: Mediating Old and New Translation in Middle Welsh Studies (Sarah L. Higley) From Ami to Amys: Translation and Adaptation in the Middle English Amis and Amylion (Françoise H. M. LeSaux) Gerald of Wales and Welsh Tradition (Brynley F. Roberts) The Bayeux Tapestry: Epic Narrative, not Stichic but Stitched (Michael Swanton) The Politics of Romance: Some Observations on the Political Content of the Roman d'Yder (Neil Thomas) The 'Newness' of the lai breton (Lawrence Wright) Constance Bullock-Davies: Chief Publications

 de Silva, Preethi
2008 0-7734-4874-8 688 pages
Provides the original texts and translations of two early German-language fortepiano manuals by Andreas Streicher (1801) and by Carl Dieudonné and Johann Lorenz Schiedmayer (1824). Also included is a transcription and translation of a related, previously unpublished workshop notebook of Johann David and Johann Lorenz Schiedmayer.

 Ranum, Patricia M.
2023 1-4955-1112-X 496 pages
"[Patricia Ranum] and I both believe in the inherent musicality of language itself and the necessity to treat music and written text on an equal basis. Words and their organization create melody, rhythm, and dynamics. ...Patricia Ranum's book reveals and explains to her readers this essential aspect of French musical art." -William Christie (Preface) This book was originally published by Pendragon Press in 2001.

 Moore, Carol-Lynne
2009 0-7734-4777-6 376 pages
This study of Rudolf Laban, pre-eminent dance theorist of the twentieth century, provides the first comprehensive analysis of his theoretical explorations. Based upon an examination of unpublished writings and drawings from the final two decades of Laban’s career, the work traces Laban’s systematic integration of various strands of research and delineates how he used “harmony” as an analogic metaphor to illuminate the deep structure of dance and movement. This book contains thirteen color photographs.

 Quist, Robert
2010 0-7734-1290-5 440 pages
Examines Swedish art music during modern times. It includes an examination of lateromantic composers and styles, the modernist devotion to international styles and its influence on neoclassical composers, and who blended the modern avant garde with traditional styles and genres. This book contains fourteen black and white photographs.

 Little, Jonathan David
2011 0-7734-1426-6 492 pages
This is the most comprehensive survey of the major sources of inspiration for Western composers who sought to infuse their musical works with an ‘Eastern’ flavor. The book discusses the aesthetic, philosophical, political , geographical, literary and historical forces at work during the period. This book contains thirty-one black and white photographs and fifteen color photographs.

 Sugg, Andrew N.
2014 0-7734-4281-2 448 pages
This book investigates the influence of Coltrane’s music on the improvising of post-Coltrane saxophonist by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece.
A ground-breaking study that examine the magnitude of Jazz legend, John Coltrane’s influence, from an analytical perspective, on subsequent Post-Coltrane saxophonist in the development of their respective improvisatory styles and creative approaches to this music genre.



 Gray, Colleen Gail
2015 1-4955-0298-8 216 pages
This book includes an extensive biography of Lee Hoiby drawn from dissertations, published interviews with the composer, and personal correspondence between Mr. Hoiby and the author. The book also includes a comprehensive list of Hoiby’s songs with their dates of composition and revision, information that is almost impossible to find since the composer’s death in 2011.


 Bohn, James Matthew
2004 0-7734-6440-9 352 pages


 Bendikas, Kristina
2004 0-7734-6485-9 220 pages
This work is the first full-length analysis of the major productions of Jean-Pierre Ponnelle (1932-1988), who has been hailed internationally as one of the most important opera directors/ designers of the last century. In a career spanning four decades he was in demand at the leading opera houses of the world where he regularly collaborated with world-class conductors and singer-actors producing an enormous range of operas representing every period, genre and style from Monteverdi and Rossini to Wagner and Strauss. He was instrumental in reinstating the seria operas of Mozart into the active repertoire and was a formidable champion for new works. These credentials require an investigation into the reasons why he was so critically and popularly successful and the influence that he has had on opera production.

Kristina Bendikas has crafted a uniquely scholarly investigation into Ponnelle’s most important and influential productions at the San Francisco Opera, the Metropolitan Opera and the Houston Grand Opera, as well as those he premiered throughout Europe. In meticulously documented chapters the author draws from substantial primary source material including reviews, interviews, and production notes in order to document and analyze the choices of the director/ designer in operas ranging from Mozart’s La Clemenza di Tito to Rossini’s La Cenerentola to modern operas such as Reimann’s Lear. Ponnelle’s views on the relationship between the music of opera and theatre of opera – still central to debates about the future of opera production – construct the critical juncture “opera theatre” which lies at the heart of the book. This book illuminates the work of a formidable artist and more importantly, leads to a deeper understanding of the concerns and controversies that shaped opera production in the late twentieth century.

 Rowat, Malcolm
2012 0-7734-3078-4 252 pages
The main purpose of this volume is to provide an overview to all of Richard Strauss’s musical and operatic compositions. Usually the operas are ignored by scholars and composers who only perform his instrumental works. This book shows that there is incredible musical value in the operas as well. It also showcases his compositional style and techniques, as the author states, Strauss could compose while riding on a noisy train, he was just that talented.

Because of his involvement with the Nazi Party, Richard Strauss has been ignored by musical scholars for quite some time. Even when he is studied his operas are often viewed as being less important than his instrumental works. This book remedies that misconception by addressing how his operas were created and pin pointing the musical importance by chronicling their compositional qualities. There is also quite a bit about Strauss’s life in this book as well.

 Zhang, Juwen
2017 1-4955-0577-4 244 pages
Exploring the ideas of harmony and dissonance with the Confucian notions of ritual-propriety and music, this book sheds light upon our understanding of how these concepts have been practiced within Chinese society, by providing commentaries on and introduction to the first English translations of some important texts. This text includes twelve color photos and six black and white photos.

 Rastall, Richard
2010 0-7734-1404-5 280 pages


 Stepien, Wojciech
2023 1-4955-1179-0 268 pages
"Many musicologists and music theorists investigating the music of Einojuhani Rautavaara (b. 1928) explore it through a detailed analysis only on the syntactic level, leaving the semantic content aside. Such an approach...needs to be complemented by an understanding of its wider cultural context. The present study attempts to fill this gap by focusing on five instrumental compositions whose titles refer to angels. ...The aim is to explore the link between musical phenomena and their extramusical references both in the case of the individual works and in the composer's general aesthetics." -Wojciech Stepien (Preface)

 Russell, Peter
2002 0-7734-7293-2 476 pages
This is the first study systematically to map and classify the major German lieder according to the themes of their texts. It also traces in detail the extent to which each theme as evolved from German folk-song, or derives from elsewhere, notably the Romantic movement. This analysis also affords new insights into the differing personalities of the major lieder composers. It constitutes a comprehensive reference-work, an encyclopedia of lieder themes. Through its lists of contents and its detailed indexes (by composers, poets, song-titles, and themes) it provides an easy means of racing lieder by theme.

 Greene, David B.
2012 0-7734-2589-6 120 pages
In pieces of music set to biblical or liturgical texts, the musical connections of one passage or one movement to one another. In a musical sense, these texts have a meaning and significance that can be and often distinct from the meanings achieved by syntactic relationships. Sometimes the syntactic meanings are lost in the musical repetitions and overlapping entries of many voices; in the case of texts for different movements, syntactic relations often simply do not exist. Consequently, the music does not merely parallel or illustrates the text’s theological meaning or guide an affective response to an already familiar contemplation of God and the Divine presence in the world. Rather, it relates the texts’ images to one another in a specific and particular way and achieves a theological coherence that is distinctive to the particular piece. The book carries out this approach in analyzing three works of sacred music: The Christmas portion of Handel’s Messiah, the Credo of Beethoven’s Mass in D, and the Dies Irae of Verdi’s Requiem. The analyses show how the composers’ melodic, harmonic, and structural events work on and determine the ideas and images in the texts. The goal is to point to the “heard analogy” that becomes available when listeners pay attention to the musical relationships and their impact on the contemplation of God.

 Cho, Gene Jinsiong
1992 0-7734-9917-2 132 pages
This volume brings together the essential information regarding the theories of harmonic analysis. It provides a list of concerns and proposes procedural perspectives and recommendations for analysis and for harmonic analysis in particular. It is also a critical review and reassessment of Gottfried Weber's contribution to harmonic analysis and demonstrates proper application of Weber's analytic system. The text is augmented by over sixty musical examples.

 Holowchak, Mark Andrew
2022 1-4955-1000-X 120 pages
From the editor's introduction: "Following a scheme of Francis Bacon, Jefferson cataloged the books in his library according to Memory (History), Reason (Philosophy), and Imagination (Fine Arts). Study in all three areas was needed for an intelligent, fully educated person. ...Acknowledging that there was no consensus on the number of Fine Arts, Jefferson included among them gardening, architecture, sculpture, painting, music, poetry, oratory, and criticism--with music, poetry, and oratory having further subcategories. This edition...is a critical investigation of the Fine Arts through the eyes of Jefferson and other significant figures of his day: James Macpherson and Lord Kames." M. Andrew Holowchak

 Lefkovitz, Aaron
2016 1-4955-0513-8 196 pages
The purpose of this book is to ask how Baker, Holiday, and Fitzgerald's transnational power compromises enlarge ideas of power beyond fixed barriers. In addition, the book explores the ways these compromises contribute to an understanding of film and popular music's transnational influence.


 Boyd, Melinda J.
2019 1-4955-0759-9 296 pages
This book is intended to broaden our understanding of opera by investigating the contributions of selected women composers who successfully navigated educational, institutional and social restrictions, and traditions in order to bring their operas to the public theaters, where their lives, as well as their works, were subject to scrutiny and criticism of the musical press. Ingeborg von Bronsart (1840-1913), Ethel Smyth (1858-1944), and Thea Musgrave (b. 1928) all made distinguished contributions to their art, producing operas of considerable artistic merit that were admired by many of their contemporaries.

 Tucker, Gary
2001 0-7734-7559-1 168 pages
This is the first published detailed analysis of all four of Alban Berg’s Four Songs, op.2. This early work lies exactly at the boundary between ‘tonal’ and ‘atonal’ means of pitch organization, a boundary often taken as central to the understanding of 20th century music. This study offers a new look at the conceptions of those categories, and traces their development in technical detail and context across all four songs. Includes texts and translations of the songs.

 Josephson, David
2023 1-4955-1117-0 324 pages
This is a biography of Kathi Meyer-Baer. "I first encountered Meyer-Baer while rummaging in the Rare Books and Manuscripts Room of the New York Public Library among the files of the Emergency Committee in Aid of Displaced Foreign Scholars. This was an organization established in New York soon after the formation of a Nazi government in Germany to help secure academic positions in the United States for scholars dismissed on racial or political grounds from their posts in Germany. Among the hundreds considered for funding from the Emergency Committee during its twelve years of operation were thirty-eight musicians and music scholars, all but one of the men; the exception was Meyer-Baer." (Introduction) This book was originally published by Pendragon Press in 2012.

 Raisor, Steven C.
1999 0-7734-7914-7 136 pages
Although the 12-tone technique is one of the more important compositional techniques of this century, there is virtually no scholarly writing on 12-tone pieces for guitar. This work explores the 12-tone technique of composition as applied to the solo guitar, undertaking a comparative analysis of four works which exploit this technique. The pieces chosen represent four individual styles of 12-tone composition.

 Fiske, Harold E.
2008 0-7734-5168-4 340 pages
This work amalgamates music psychology, philosophy, and sociology into a fresh view of the musical learning experience. It demonstrates that explanations of musical understanding are not found in analyzing musical activities per se but rather in examining underlying cognitive activities: principles of melodic and rhythmic construction, language-like template tuning protocols, sensory awareness and quality assessment, and the effects of cultures on neural network formation.

 Ranum, Patricia M.
2023 1-4955-1110-3 64 pages
Originally published by Pendragon Press in 1994, this book presents, notebook by notebook, the watermarks in the Charpentier autograph Meslanges, part of the grande réserve of the Music Department of the Bibliothèque nationale de France, Paris. (This is a softcover book written in the French)

 Bruhn, Siglind
2023 1-4955-1167-7 326 pages
This edited volume focuses on various aspects of the connections between the sacred, religion, or spirituality and music. "Up to the Middle Ages, music employed for ritual expressions of faith in sacred contexts and for evocations ...was contrasted with music presented for entertainment." -Siglind Bruhn [Introduction] This book was originally published by Pendragon Press in 2002.

 Petty, Jonathan Christian
2005 0-7734-6007-1 632 pages
This book re-theorizes Wagner’s post-Opera and Drama tonal language in the linguistic terms in which the composer himself conceived and executed the Ring of the Nibelung and Parsifal. Topics include Wagner’s lexical use of key; the composition of semantics from tonal lexicality and orthodox tonal syntax; the cognitive structure of tonal language [TL] semantics, the linguistic coordination of words and keys; Wagner’s concept of Tonal Households and the alignment of TL syntax with poetically specified protagonists, objects, and dramatic situations; key characteristics and TL Lexemes as public cultural linguistic properties; the virtual spatiality of TL syntax and semantics; TL spatiality and spatialized emotions; and tonal cartography. The four scores of the Ring dramas are analyzed bar-by-bar to derive a complete linear harmonic analysis-based readout of each of its keys and claimed lexical referent. The result–over 3,780 TL lexemes–is the first TL Lexicon of the entire Ring. Two concluding chapters on Parsifal discuss its mediaeval sources as suggested by Wagner’s prose writings, letters, and religious discourse to argue for the Gnostic and alchemistic basis of its libretto imagery, lexical tonality, and anti-Semitism. Throughout, lexical theory is argued against in-depth critiques of the theories of Heinrich Schenker and others.

 Thomson, William
2015 1-4955-0355-0 252 pages
This book is a re-titled soft cover version of Meta Music versus the Sound of Music which was first published in hard cover in the year 2010.This study utilizes knowledge banks: acoustics, cognition/perception, ethnomusicology and cultural records in probing Serialism’s basic assumptions. It examines analyses by such leaders in the serialist world as Milton Babbitt, David Lewin and Allen Forte.
Professor Thomson argues that serial twelve-tone music is an artificial construction by academics who do not realize that musical tonality is routed in deep biological or cultural forces. Professor Thomson calls such music “metamusic” by which he means that one can only understand it through a non-musical intervention of the mind.