BIBLIOGRAPHIES - Higher Ed eBooks & Digital … · Web viewVol. 1. Oxford: Clarendon Press, 1991. Performance = Readings in the History of Music in Performance, ed. Carol MacClintock

BIBLIOGRAPHY

The following bibliography lists introductory studies and is intended to help students in the

preparation of course papers. All works listed here are in English. In most cases, each of these

books and articles contains either its own bibliography or copious footnotes that suggest yet

additional useful sources for research. For help in the challenging task of writing about the

ephemeral art of music, see the essay “Writing a Research Paper on a Musical Topic” by

Professor Sterling Murray contained in the Student Workbook for Music in Western Civilization.

Abbreviations:

Aesthetics = A History of Western Musical Aesthetics, ed. Edward Lippman. Lincoln: University

of Nebraska Press, 1992.

Age of the Renaissance = Music in the Age of the Renaissance, Leeman Perkins. New York:

Norton, 1999.

Antiquity = Antiquity and the Middle Ages, ed. James McKinnon, in the series Man and Society.

Englewood Cliffs, NJ: Prentice Hall, 1991.

Baroque Music = Baroque Music, 3rd ed., Claude V. Palisca. Upper Saddle River, NJ: Prentice

Hall, 1991.

Baroque Music 1580-1750 = Baroque Music: Music in Western Europe 1580-1750, John

Walter Hill. New York: Norton, 2005.

Cambridge = The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook

and Anthony Pople. Cambridge: Cambridge University Press, 2004.

1

Classical Era = The Classical Era: From the 1740s to the end of the 18th Century, ed.

Neal Zaslaw, in the series Man and Music. Englewood Cliffs, NJ: Prentice Hall,

1989.

Classical Style = The Classical Style: Haydn, Mozart, and Beethoven, expanded ed., ed.

Charles Rosen. New York: Norton, 1997.

Composers = Composers on Modern Musical Culture: An Anthology, ed. Bryan R.

Simms. New York: Schirmer Books, 1999.

Composition = Musical Composition in the Twentieth Century, ed. Arnold Whittall. New

York: Oxford University Press, 1999.

Concise History = Romantic Music: A Concise History from Schubert to Sibelius, ed.

Arnold Whittall. New York: Thames and Hudson, 1987.

Early Baroque = The Early Baroque Era: From the Late 16th Century to the 1660s, ed.

Curtis Price, in the series Music and Society. Englewood Cliffs, NJ: Prentice Hall,

1993.

Early Romantic = The Early Romantic Era: Between Revolutions: 1789 and 1848, ed.

Alexander Ringer, in the series Music and Society. Englewood Cliffs, NJ: Prentice

Hall, 1990.

EM = Early Music

European Capitals = Music in European Capitals: The Galant Style 1720-1780, Daniel

Heartz. New York: Norton, 2003.

Exploring = Exploring Twentieth-Century Music: Tradition and Innovation, Arnold

Whittall. Cambridge: Cambridge University Press, 2003.

2

Garland = The Garland Library of the History of Western Music, ed. Ellen Rosand. 14 vols. New

York: Garland, 1985.

Hearing the Motet = Hearing the Motet: Essays on the Motet of the Middle Ages and

Renaissance, ed. Dolores Pesce. New York: Oxford University Press, 1997.

History in Documents = Music in the Western World: A History in Documents, ed. Piero Weiss

and Richard Taruskin. New York: Schirmer Books, 1984.

Humanism = Humanism in Italian Renaissance Musical Thought, Claude V. Palisca.

New Haven, CT: Yale University Press, 1985.

Hundred Years = A Hundred Years of Music, Gerald Abraham. Chicago: Aldine, 1964.

JAMS = Journal of the American Musicological Society

JM = Journal of Musicology

Josquin Companion = The Josquin Companion, ed. Richard Sherr. Oxford: Oxford

University Press, 2000.

Late Baroque = The Late Baroque Era: From the 1680s to 1740, ed. George J. Buelow,

in the series Man and Society. Englewood Cliffs, NJ: Prentice Hall, 1994.

Late Renaissance = Music in Late Renaissance and Early Baroque Italy, Tim Carter.

London: B. T. Batsford, 1992.

Late Romantic = The Late Romantic Era, ed. Jim Samson, in the series Music and

Society. Englewood Cliffs, NJ: Prentice Hall, 1991.

Medieval Music = Medieval Music, Richard H. Hoppin. New York: Norton, 1978.

Medieval Music 1978 = Medieval Music, John Caldwell. Bloomington: Indiana University Press,

1978.

3

Middle Ages = Music of the Middle Ages: Style and Structure, David Fenwick Wilson.

New York: Schirmer Books, 1990.

Modern Music = Modern Music and After, Paul Griffiths. New York: Oxford University

Press, 1995.

Modern Times = Modern Times: From World War I to the Present, ed. Robert P. Morgan,

in the series Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1993.

Music as Concept = Music as Concept and Practice in the Late Middle Ages, ed.

Reinhard Strohm and Bonnie J. Blackburn. Oxford: Oxford University Press,

2001.

Music of the Baroque = Music of the Baroque, David Schulenberg. Oxford: Oxford


Music Since 1900 = Music Since 1900, Nicolas Slonimsky. 5th ed. New York: Schirmer

Books, 1994.

Musical Style = Twentieth-Century Music: A History of Musical Style in Modern Europe

and America, Robert Morgan. New York: Norton, 1991.

NCM = 19th Century Music

New Directions = New Directions in Music, 7th ed., David Cope. Prospect Heights, IL:

Waveland Press, 2001.

NG = The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie.

London: Macmillan, 2001 (including Grove Music Online).

New Music = The New Music: The Avant-Garde Since 1945, 2nd ed., Reginald Smith

Brindle. Oxford and New York: Oxford University Press, 1987.

4

New Oxford 9 = The New Oxford History of Music, vol. 9 (Romanticism [1830–1890]),

ed. Gerald Abraham. Oxford: Oxford University Press, 1990.

New Oxford 10 = The Modern Age: 1890–1960. New Oxford History of Music, vol. 10.

London: Oxford University Press, 1974.

Oxford History = The Oxford History of the English Music, John Caldwell. Vol. 1.

Oxford: Clarendon Press, 1991.

Performance = Readings in the History of Music in Performance, ed. Carol MacClintock.

Bloomington: Indiana University Press, 1979.

PRMA = Proceedings of the Royal Musical Association

Pyramids = Pyramids at the Louvre, Glenn Watkins. Cambridge, MA: Harvard


Renaissance = The Renaissance: From the 1470s to the End of the 16th Century, ed. Iain

Fenlon, in the series Man and Society. Englewood Cliffs, NJ: Prentice Hall, 1989.

Renaissance Music = Renaissance Music: Music in Western Europe, 1400-1600, Allan

W. Atlas. New York: Norton, 1998.

Rise of European Music = The Rise of European Music 1380-1500, Reinhard Strohm.

Cambridge: Cambridge University Press, 1993.

Romantic Generation = The Romantic Generation, Charles Rosen. Cambridge, MA:

Harvard University Press, 1995.

Romantic Music = Romantic Music: A History of Musical Style in Nineteenth-Century

Europe, Leon Plantinga. New York: Norton, 1984.

Romanticism in Music = Nineteenth-Century Romanticism in Music, 3rd ed., Rey M.

Longyear. Englewood Cliffs, NJ: Prentice-Hall, 1988.

5

Short History = A Short History of Opera, 4th ed., Donald Grout and Hermine Weigel

Williams. New York: Columbia University Press, 2003.

Since 1945 = Music Since 1945: Issues, Materials, and Literature, Elliott Schwartz and

Daniel Godfrey. New York: Schirmer Books, 1993.

Sonata Forms = Sonata Forms, Rev. ed., Charles Rosen. New York: Norton, 1987.

Source Readings = Source Readings in Music History, Rev. ed., ed. Oliver Strunk. (Leo

Treitler, gen. ed.) New York: Norton, 1998.

Studies = Studies in the History of Italian Music and Music Theory, Claude V. Palisca,


Style and Structure = Music of the Twentieth Century: Style and Structure, 2nd ed., Bryan

R. Simms. New York: Schirmer Books, 1986.

Twentieth-Century Music = Twentieth-Century Music: An Introduction, 4th ed., Eric

Salzman. Englewood Cliffs, NJ: Prentice Hall, 2002.

Viennese School = Haydn, Mozart and the Viennese School 1740-1780, Daniel Heartz.

New York: Norton, 1995.

Western Music Theory = Cambridge History of Western Music Theory, ed. Thomas

Christensen. Cambridge: Cambridge University Press, 2002.

PART I: ANTIQUITY AND THE MIDDLE AGES

CHAPTER 1: Music in Ancient Greece

Surveys:

Barbera, André. “Greece.” In New Harvard Dictionary of Music, edited by Don Michael

Randel. Cambridge, MA: Harvard University Press, 2003.

6

Mathiesen, Thomas J. Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the

Middle Ages. Lincoln: University of Nebraska Press, 1999.

———. “Greece I. Ancient,” in NG.

———. “Greek Music Theory,” in Western Music Theory, 109–135.

Source Readings:

Barker, Andrew, ed. Greek Musical Writings: Vol. I. The Musician and His Art.


———. Greek Musical Writings: Vol. II. Harmonic and Acoustic Theory. Cambridge:

Cambridge University Press, 1989.

Mathiesen, Thomas J., ed. “Greek Views of Music,” in Source Readings, 3–109.

Weiss, Piero, and Richard Taruskin, eds. History in Documents, 1–14.

Specialized Studies:

Barbera, André, ed. Music Theory and Its Sources: Antiquity and the Middle Ages. Notre

Dame, IN: Notre Dame University Press, 1990.

Barbour, J. Murray. “The Principles of Greek Notation.” JAMS 13 (1960): 1–17.

Maas, Martha, and Jane McIntosh Snyder. Stringed Instruments of Ancient Greece. New

Haven, CT: Yale University Press, 1989.

CHAPTER 2: Antiquity to the Middle Ages: Music in Rome, Jerusalem and the

Early Christian World

Surveys:

See the entry “Plainchant. Introduction: Chant in East and West,” in NG.

7

Hoppin, Richard H. “Historical Introduction (to A.D. 1000)” and “Christian Liturgy to

A.D. 1000,” in Middle Ages, 1–42.

Idelsohn, Abraham Z. Jewish Music and Its Historical Development. New York: Holt,

1919. Reprint, New York: Dover, 1995.

McKinnon, James. “Christian Antiquity,” in Antiquity, 68–87.

Wellesz, Egon. A History of Byzantine Music and Hymnody. 2nd rev. ed. Oxford:

Clarendon Press, 1961.

Source Readings:

Boethius, Anicius Manlius Severinus. Fundamentals of Music. Translated by Calvin

Bower. Edited by Claude V. Palisca. New Haven, CT: Yale University Press,

1989.

McKinnon, James, ed. Music in Early Christian Literature. Cambridge: Cambridge


———. “Early Christian Views of Music” and “Music as a Liberal Art,” in Source

Readings, 113–155.

Weiss, Piero, and Richard Taruskin, eds. “The Heritage of Antiquity,” in History in

Documents, 15–40.


Jeffrey, Peter. “Rome and Jerusalem: From Oral Tradition to Written Repertory in Two

Ancient Liturgical Centers.” In From Rome to the Passing of the Gothic:

Festschrift for David G. Hughes, edited by Graeme Boone, 207–248. Cambridge,

MA: Harvard University Department of Music, 1995.

8

Lippmann, Edward A. “The Place of Music in the System of Liberal Arts.” In Aspects of

Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, edited

by Jan LaRue et al., 545–559. New York: Norton, 1966.

McKinnon, James W. “The Question of Psalmody in the Ancient Synagogue.” Early

Music History 6 (1986): 159–191.

CHAPTER 3: Music in the Monastery and the Convent

Music:

The Liber Usualis. Tournai: Desclée, 1921. A useful collection of thousands of melodies

serving the liturgy of the Roman Catholic Church prior to 1962.

Surveys:

See the entries “Plainchant. History to the 10th Century,” “Plainchant. Basic Repertory,”

and “Plainchant. Style,” in NG.

Crocker, Richard L. An Introduction to Gregorian Chant. New Haven, CT: Yale


Hiley, David. Western Plainchant: A Handbook. Oxford: Clarendon Press, 1993.

Hoppin, Richard H. “Christian Liturgy to A. D. 1000,” “Gregorian Chant: General

Characteristics,” “The Music of the Offices,” and “The Roman Mass,” in Middle

Ages, 42–142.

McKinnon, James. “The Emergence of Gregorian Chant in the Carolingian Era,” in

Antiquity, 88–119.

Wilson, David Fenwick. “Liturgy and Chant,” in Middle Ages, 37–67.

Source Readings:

9

McKinnon, James, ed. “Chant and Liturgy in the Early Middle Ages,” in Source



Gallagher, Sean, ed. Western Plainchant in the First Millennium: Studies in the Medieval

Liturgy and its Music. Burlington, VT: Ashgate, 2003.

King, James C., and Werner Vogler, eds. The Culture of the Abbey of St. Gall. St. Gall:

Abbey Archives, 2000.

CHAPTER 4: Music Theory In The Monastery

Surveys:

See the entry “Theory, Theorists. Early Middle Ages,” in NG.

Wilson, David Fenwick. “Medieval Chant,” in Middle Ages, 78–96.

Sources Readings:

McKinnon, James, ed. “Music Theory and Pedagogy in the Middle Ages,” in Source


Palisca, Claude V., ed. Hucbald, Guido, and John on Music. Translated by Warren Babb.


Weiss, Piero, and Richard Taruskin, eds. Various extracts, in History in Documents, 41–

55.


Bower, Calvin. “The Transmission of Ancient Music Theory into the Middle Ages,” in

Western Music Theory, 136–167.

10

Cohen, David. “Notes, Scales and Modes in the Earlier Middle Ages,” in Western Music

Theory, 307–363.

CHAPTER 5: Later Medieval Chant

Surveys:

See the entry “Plainchant. Expansion of the Repertory,” in NG.

Hiley, David. “Tropes,” “Sequences,” and “Liturgical Drama.” Pages 172–235 in

Western Plainchant: A Handbook. Oxford: Clarendon Press, 1993.

Hoppin, Richard H. “Expansion of the Liturgy in the Later Middle Ages: Tropes and

Sequences,” in Medieval Music, 143–186.

Source Readings:

McKinnon, James, ed. “Chant and Liturgy in the Early Middle Ages,” in Source



Atkinson, Charles. “The Earliest Agnus Dei Melody and Its Tropes.” JAMS 30 (1977): 1–

19.

Smolden, William L. The Music of the Medieval Church Dramas. London: Oxford


Composers:

Hildegard of Bingen

Fassler, Margot. “Music for the Love Feast: Hildegard of Bingen and the Song of Songs,”

in Women’s Voices Across Musical Worlds, edited by Jane Bernstein, 92–117.

Boston: Northeastern University Press, 2004.

11

Hildegard of Bingen. Symphonia. Edited by Barbara Newman. Ithaca, NY: Cornell


———. Book of Divine Works with Letters and Songs. Edited by Matthew Fox. Santa Fe,

NM: Bear & Company, 1987.

———. Secrets of God: Writings of Hildegard of Bingen. Edited by Sabina Flanagan.

Boston: Shambhala, 1996.

CHAPTER 6: Troubadours And Trouvères

Surveys:

See the entry “Troubadours, Trouvères,” in NG.

Aubrey, Elizabeth. The Music of the Troubadours. Bloomington: Indiana University

Press, 1997.

Bogin, Meg. The Women Troubadours: An Introduction to the Women Poets of 12th–

Century Provence and a Collection of Their Poems. New York: Norton, 1980.

Dronke, Peter. The Medieval Lyric. 3rd ed. Rochester, NY: Brewer, 1996.

Vander Werf, Hendrik. The Chansons of the Troubadours and Trouvères: A Study of the

Melodies and Their Relation to the Poems. Utrecht: Oosthoek, 1972.

Wilson, David Fenwick. “Secular Monophonic Music,” in Middle Ages, 165–180.

Source readings:

Doss-Quinby, E., J. T. Grimbert, W. Pfeffer, and E. Aubrey, eds. The Songs of the

Women Trouvères. New Haven, CT: Yale University Press, 2001.


59.

12


Page, Christopher. The Owl and the Nightingale: Musical Life and Ideas in France 1100–

1300. London: Dent, 1989.

Peters, Gretchen. “Urban Minstrels in Late Medieval Southern France: Opportunities,

Status and Professional Relationships.” Early Music History 19 (2000): 201–235.

CHAPTER 7: Early Polyphony

Surveys:

See the entry “Organum,” in NG.

Caldwell, John. “The Growth of Polyphony, 900–1160,” in Medieval Music 1978, 114-

130.

Gushee, Marion S. “The Polyphonic Music of the Medieval Monastery, Cathedral and

University,” in Antiquity, 143–169.

Hoppin, Richard. “The Rise of Polyphony,” in Medieval Music, 187–214.

Wilson, David Fenwick. “Early Polyphony,” “Free Organum,” and “The Sacred Music of

Southern France,” in Middle Ages, 97–163.

Source Readings:

Palisca, Claude V., ed. Hucbald, Guido, and John on Music. Translated by Warren Babb.

New Haven, CT: Yale University Press, 1978, 77–82 and 159–161.


Karp, Theodore. The Polyphony of St. Martial and Santiago de Compostela. 2 vols.

Oxford: Oxford University Press, 1992.

13

Planchart, Alejandro. The Repertoire of Tropes at Winchester. 2 vols. Princeton, NJ:

Princeton University Press, 1979.

CHAPTER 8: Polyphony at Notre Dame

Surveys:

See the entries “Organum, 8–10,” “Magnus liber,” “Discant,” “Leoninus,” and

Perotinus.” in NG.

Hoppin, Richard. “The School of Notre Dame,” in Medieval Music, 215–255.

Wilson, David Fenwick. “Sacred Music in Paris,” in Middle Ages, 189–223.

Source Readings:

Anonymous IV. De mensuris et discantu. In The Music Treatise of Anonymous IV: A New

Translation. Translated by Jeremy Yudkin. Neuhausen-Stuttgart: Hänsler-Verlag,

1985.

McKinnon, James, ed. “Discantus positio vulgaris” and “De musica mensurabili,” in

Source Readings, 218–226.


Apel, Willi. “Square Notation.” In The Notation of Polyphonic Music. 5th ed. Cambridge,

MA: Medieval Academy of America, 1961.

Baltzer, Rebecca. “Thirteenth-Century Illuminated Miniatures and the Date of the

Florence Manuscript.” JAMS 25 (1971): 1–18.

Roesner, Edward, ed. Le Magnus liber organi de Notre Dame de Paris. Monaco:

L’Oiseau-Lyre, 1993–.

14

Wright, Craig. Music and Ceremony at Notre Dame of Paris: 500–1550. Cambridge:


CHAPTER 9: Conductus and Motet

Surveys:

See the entries “Philippe the Chancellor,” “Conductus,” and “Motet: France: Middle

Ages,” in NG.

Hoppin, Richard. “The School of Notre Dame, II: Conductus and Motet,” in Medieval

Music, 242–255.

Wilson, David Fenwick. “The Early Motet (ca. 1200–1270)” and “The Continental Motet

of the Late Thirteenth Century (ca. 1270–1300),” in Middle Ages, 230–271.


Baltzer, Rebecca A. “The Polyphonic Progeny of an Et Gaudebit,” in Hearing the Motet,

17–27.

Everist, Mark. French Motets in the Thirteenth Century: Music, Poetry and Genre.


Falck, Robert. The Notre Dame Conductus: A Study of the Repertory. Henryville, PA:

Institute of Mediaeval Music, 1981.

Payne, Thomas B. “Politics and Polyphony: Philip the Chancellor's Contribution to

the Music of the Notre Dame School.” PhD diss., University of Chicago, 1991.

CHAPTER 10: Music Theory of the Ars Antiqua and Ars Nova

Surveys:

15

Busse Berger, Anna Maria. “The Evolution of Rhythmic Notation,” in Western

Music Theory, 628–656.

Herlinger, Jan. “Music Theory of the Fourteenth and Fifteenth Centuries,” in Music

as Concept, 244–300.

Hoppin, Richard. “From Modal to Mensural Notation,” in Medieval Music, 333–338.

Wilson, David Fenwick. “Mensural Rhythm,” in Middle Ages, 255–260.

Source Readings:

McKinnon, James, ed. Translations of treatises by Franco of Cologne, Jean des

Murs, and Jacques de Liège in Source Readings, 226–245, 261–269, and 269–

278.

Weiss, Piero, and Richard Taruskin, eds. Translations of treatises by Jean des Murs

and Jacques de Liège, as well as the papal bull Docta sanctorum, in History in

Documents, 67–72.


Crosby, Alfred W. “Music.” Pages 139–163 in The Measure of Reality:

Quantification and Western Society, 1250–1600. Cambridge: Cambridge


Fuller, Sarah. “A Phantom Treatise of the Fourteenth Century? The Ars Nova.” JM

4 (1985–1986): 23–50.

CHAPTER 11: Music at the Court of the French Kings

Surveys:

See the entries “Roman de Fauvel,” “Philippe de Vitry,” and “Isorhythm,” in NG.

16

Hoppin, Richard. “The Ars Nova in France,” in Medieval Music, 353–374.

Leech-Wilkinson, Daniel. “Ars Antiqua-Ars Nova-Ars Subtilior,” in Antiquity, 219–240.

Wilson, David Fenwick. “The Continental Motet in the Fourteenth Century,” in Middle

Ages, 289–318.

Source Readings:

Philippe de Vitry. Ars nova. A translation of this treatise attributed to Vitry is given by

Leon Plantinga, in Journal of Music Theory 5 (1961): 204–223.


Avril, François, Nancy Regalado, and Edward Roesner, eds. Le Roman de Fauvel and

Other Works: Facsimile with Introductory Essay. New York: Broude Brothers,

1986.

Bent, Margaret, and Andrew Wathey, eds. Fauvel Studies: Allegory, Chronicle, Music,

and Image in Paris, Bibliothèque nationale de France, MS français 146. Oxford:


Leech-Wilkinson, Daniel. “The Emergence of Ars Nova.” JM 13 (1995): 285–317.

McGee, Timothy J. Medieval Instrumental Dances. Bloomington: Indiana University

Press, 1989.

CHAPTER 12: Fourteenth-Century Music in Reims: Guillaume de Machaut

Surveys:

Apel, Willi. “The Development of French Secular Music During the Fourteenth

Century.” Musica Disciplina 27 (1973): 41–59.

Hoppin, Richard. “Guillaume de Machaut,” in Medieval Music, 397–432.

17

Wilson, David Fenwick. “Polyphonic Song in Fourteenth–Century France,” in Middle

Ages, 329–356.


Leech-Wilkinson, Daniel. Machaut’s Mass: An Introduction. New York: Oxford


Reaney, Gilbert. “Fourteenth-Century Harmony and the Ballades, Rondeaux and Virelais

of Guillaume de Machaut.” Musica Disciplina 7 (1953): 129–146.

Robertson, Anne W. “The Mass of Guillaume de Machaut in the Cathedral of Reims.” In

Plainsong in the Age of Polyphony, edited by Thomas F. Kelly, 100–139.


———. Guillaume de Machaut and Reims: Context and Meaning in his Musical Works.


Composers:

Machaut

Earp, Lawrence. Guillaume de Machaut: A Guide to Research. New York: Garland,

1995.

CHAPTER 13: Avignon, Symbolic Scores, and the Ars Subtilior

Surveys:

See the entries “Avignon” and “Ars subtilior,” in NG.

Hoppin, Richard. “Transition to the Renaissance,” in Medieval Music, 469–501.

Source Readings:

18

Philippus de Caserta. Tractarum figuarum (Treatise on Note Shapes). Translated by

Philip Schreur. Lincoln: University of Nebraska Press, 1989.


Leech-Wilkinson, Daniel. “Articulating Ars Subtilior Song.” Early Music 31 (2003): 6–

18.

Tomasello, Andrew. Music and Ritual at Papal Avignon. Ann Arbor, MI: UMI Research

Press, 1983.

PART II: THE LATE MIDDLE AGES AND THE RENAISSANCE

CHAPTER 14: Music in Florence 1350–1450

Surveys:

Beck, Elenora M. Singing in the Garden: Music and Culture in the Tuscan Trecento.

Innsbruck: Bibliotheca Musicologica, 1998.

Hoppin, Richard. “The Italian Ars Nova,” in Medieval Music, 433–469.

Long, Michael. “Trecento Italy,” in Antiquity, 241–268.

Wilson, David Fenwick. “Polyphonic Song in Fourteenth-Century Italy,” in Middle Ages,

357–377.

Source Readings:

McKinnon, James, ed. “Marchetto of Padua,” in Source Readings, 251–261.

Weiss, Piero, and Richard Taruskin, eds. Various extracts, in A History

in Documents, 72–75.


19

Herlinger, Jan. “What Trecento Music Theory Really Tells Us.” In Explorations in

Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, edited by E.

Narmour and R. Solie, 177–197. Stuyvesant, NY: Pendragon, 1988.

Long. Michael. “Francesco Landini and the Florentine Cultural Elite.” Early Music

History 3 (1983): 83–99.

Pirrotta, Nino. Music and Culture in Italy from the Middle Ages to the Baroque.

Cambridge, MA: Harvard University Press, 1984.

CHAPTER 15: Music at the Cathedral of Florence

Surveys:

Strohm, Reinhard. “Dufay and his Colleagues in Italy (1420–c. 1436),” in Rise of

European Music, 153–181.


Cumming, Julie E. The Motet in the Age of Dufay. Cambridge: Cambridge University

Press, 1999.

King, Ross. Brunelleschi’s Dome: How a Renaissance Genius Reinvented Architecture.

New York: Walker, 2000.

Nosow, Robert. “Dufay and the Cultures of Renaissance Florence,” in Hearing the Motet,

104–121.

Tacconi, Marica S. Cathedral and Civic Ritual in Late Medieval and Renaissance

Florence: The Service Books of Santa Maria del Fiore. Cambridge: Cambridge


20

Trachtenberg, Marvin. “Architecture and Music Reunited: A New Reading of Dufay’s

Nuper Rosarum Flores and the Cathedral of Florence.” Renaissance Quarterly 54

(2001): 740–775.

Wright, Craig. “Dufay’s Nuper Rosarum Flores, King Solomon’s Temple, and the

Veneration of the Virgin.” JAMS 47 (1994): 395–441.

Composers:

Dufay

Fallows, David. Dufay. New York: Vintage, 1988.

CHAPTER 16: Music in England

Surveys:

See the entries “Rondellus,” “English Discant,” “Faburden,” “Carol,” and “Dunstaple,” in

NG.

Caldwell, John. “English Music from Norman Conquest to the Death of Dunstaple,” in

Medieval Music 1978, 198–227.

Harrison, Frank Ll. Music in Medieval Britain. 2nd ed. London: Routledge and Kegan

Paul, 1963.

Hoppin, Richard. “An English Epilogue,” in Medieval Music, 502–524.

Perkins, Leeman. “The Contenance Angloise: English Music at Home and Abroad,” in

Age of the Renaissance, 212–256.

Strohm, Reinhard. “West and East,” in Rise of European Music, 197–238.

Composers:

Dunstaple

21

Bent, Margaret. Dunstaple. New York: Oxford University Press, 1980.

CHAPTER 17: Music at the Court of Burgundy

Surveys:

See the entries “Chanson. 2. 1430 to About 1525,” “Binchois,” “Cantus Firmus,” and

“Dufay,” in NG.

Atlas, Allan, “French Secular Song,” in Renaissance Music, 57–76.

Caldwell, John. “The Fifteenth Century, Especially France and the Low Countries,” in

Medieval Music 1978, 230–257.

Perkins, Leeman. “French Secular Music of the Fifteenth Century,” in Age of the

Renaissance, 257–308.

Strohm, Reinhard. “The Close of the Middle Ages,” in Antiquity, 269–312.

Source Readings:

Tomlinson, Gary, ed. Various extracts, in Source Readings, 311–316.


83.


Boone, Graeme. Patterns in Play: A Model for Text Setting in the Early Songs of

Guillaume Dufay. Lincoln: University of Nebraska Press, 1999.

Kemp, Walter H. Burgundian Court Song in the Time of Binchois. Oxford: Clarendon

Press, 1990.

Perkins, Leeman. “The Polyphonic Ordinary: From Pairs to Cycles,” in Age of the


22

Planchart, Alejandro. “The Origins and Early History of L’Homme armé.” JM 20 (2003):

305–357.

Strohm, Reinhard. “The Chanson and Binchois,” in Rise of European Music, 181–196.

Wright, Craig. Music at the Court of Burgundy 1364–1419: A Documentary History.

Henryville, PA: Institute of Mediaeval Music, 1979.

Composers:

Binchois

Kirkman, Andrew, and Denis Slavin, eds. Binchois Studies. New York: Oxford


Dufay

Fallows, David. Dufay. New York: Vintage, 1988.

CHAPTER 18: Music at the French Royal Court

Surveys:

See the entries “Imitation,” “Ockeghem,” “Basiron,” and “Busnoys,” in NG.

Atlas, Allan W. “Toward Abstraction in Mass and Motet” and “More Secular Song,” in

Renaissance Music, 146–167 and 185–205.

Source Readings:

Tomlinson, Gary, ed. Extracts from Johannes Tinctoris’s Liber de arte contrapuncti, in



Macey, Patrick. “Josquin’s Misericordias Domini and Louis XI.” Early Music 19 (1991):

163–177.

23

Meconi, Honey. “Ockeghem and the Motet-Chanson in Fifteenth-Century France.” In

Johannes Ockeghem, edited by Philippe Vendrix, 381–402. Paris: Klincksieck,

1998.

Perkins, Leeman. “Mass Ordinaries Based on Canonic Procedures,” in Age of the


———. “Musical Patronage at the Royal Court of France under Charles VII and Louis

XI (1422–83).” JAMS 37 (1984): 507–66.

Composers:

Busnoys

Higgins, Paula, ed. Method, Meaning and Context in Late Medieval Music. Oxford:


Ockeghem

Picker, Martin. Johannes Ockeghem and Jacob Obtrecht: A Guide to Research. New


CHAPTER 19: Music in the Low Countries

Surveys:

Atlas, Allan W. “Instrumental Music” and “Masses Built on Multiple Cantus firmi,” in

Renaissance Music, 215–233 and 309–311.

Strohm, Reinhard. Music in Late Medieval Bruges. Oxford: Clarendon Press, 1985.


Brown, Howard M., and Keith Polk. “Instrumental Music 1300–1520,” in Music as

Concept, 97–161.

24

Perkins, Leeman. “The Court Minstrels,” in Age of the Renaissance, 105–119.

Polk, Keith. “Municipal Wind Music in Flanders in the Late Middle Ages.” Brass and

Woodwind Quarterly 2 (1969): 1–15.

Salmen, Walter. “Dances and Dance Music,” in Music as Concept, 162–190.

Strohm, Reinhard. “Instrumental Ensemble Music” and “Keyboard Music,” in Rise of

European Music, 357–374.

Composers:

Obrecht

Picker, Martin. Johannes Ockeghem and Jacob Obrecht: A Guide to Research. New


Wegman, Rob. Born for the Muses: The Life and Masses of Jacob Obrecht. Oxford:


PART III: THE LATE RENAISSANCE

CHAPTER 20: Popular Music in Florence, 1475–1540

Surveys:

See the entries “Canti carascialeschi,” “Lauda,” “Frottola,” and “Madrigal,” in NG.

Atlas, Allan W. “Lorenzo de’ Medici” and “The Madrigal,” in Renaissance Music, 208–

214 and 428–440.

Carter, Tim. “The City-States of Italy” and “The Early Madrigal,” in Late Renaissance,

23–32.

Levy, Michael. “Lorenzo de’ Medici and ‘The Most Beautiful City’.” Pages 211–235 in

Florence: A Portrait. Cambridge, MA: Harvard University Press, 1996.

25

Macey, Patrick. Bonfires Songs: Savonarola’s Musical Legacy. Oxford: Clarendon Press,

1998.

Source Readings:

Tomlinson, Gary, ed. “Baldassare Castiglione [The Book of the Courtier],” in Source



Fenlon, Iain, and James Haar. The Italian Madrigal in the Early Sixteenth Century.


Palisca, Claude V. “A Natural New Alliance of the Arts,” in Humanism, 333–368.

Prizer, William. Courtly Pastimes: The Frottole of Marchetto Cara. Ann Arbor, MI: UMI

Research Press, 1980.

Wilson, Blake. Music and Merchants: The Laudesi Companies of Republican Florence.


CHAPTER 21: Josquin des Prez and Music in Ferrara

Surveys:

See the entries “Ferrara” and “Josquin des Prez,” in NG.

Lockwood, Lewis. “Music at Ferrara under Ercole I d’Este (1471–1505).” Pages 121–212

in Music in Renaissance Ferrara: 1400–1505. Cambridge, MA: Harvard


Prizer, William. “The North Italian Courts,” in Renaissance, 133–155.

26

Strohm, Reinhard. “Josquin and his Competitors in Milan and Ferrara.” Pages 608–633 in

The Rise of European Music, 1380–1500. Cambridge: Cambridge University

Press, 1993.

Source Readings:

Weiss, Piero, and Richard Taruskin, eds. “Josquin des Prez in the Eyes of His

Contemporaries,” in History in Documents, 97–100.


Atlas, Allan W. “Josquin’s Miserere mei, Deus,” in Renaissance Music, 274–277.

Blackburn, Bonnie J. “Masses Based on Popular Songs and Solmization Syllables,” in

Josquin Companion, 51–87.

Macey, Patrick. “Savonarola and the Sixteenth-Century Motet.” JAMS 36 (1983): 422–

452.

———. “Josquin and Musical Rhetoric: Miserere mei, Deus and Other Motets,” in

Josquin Companion, 485–530.

Composers:

Josquin des Prez

Lowinsky, Edward, ed. Proceedings of the International Josquin Festival-Conference.

New York: Oxford University Press, 1976.

Sherr, Richard, ed. Josquin Companion.

CHAPTER 22: Music in Renaissance Paris

Surveys:

27

See the entries “François I,” “Attaingnant,” “Chanson 3. 1525 to the Mid-16th Century,”

“Pavan,” and “Galliard,” in NG.

Atlas, Allan W. “The Parisian Chanson,” in Renaissance Music, 424–428.

Cazeaux, Isabelle. French Music in the Fifteenth and Sixteenth Centuries. Oxford:

Blackwell, 1975.

Freedman, Richard. “Paris and the French Court under François I,” in Renaissance, 174–

196.

Source Readings:

Arbeau, Thoinot. Orchesography. Translated by Mary Steward Evans. Reprint, New

York: Dover, 1967.

Tomlinson, Gary, ed. “Francis I, King of France, Royal Privilege for Music Printing to

Pierre Attaingnant,” in Source Readings, 330–331.

Weiss, Piero, and Richard Taruskin, eds. “Music and Dancing as Social Graces,” in

History in Documents, 150–157.


Bernstein, Lawrence F. “Melodic Structure in the Parisian Chanson: A Preliminary Study

of the Transmission of Musical Style.” In Studies in Musical Sources and Style:

Essays in Honor of Jan LaRue, edited by E.K. Wolf and E.H. Roesner, 121–189.

Madison, WI: A-R Editions, 1990.

Brobeck, John T. “Musical Patronage in the Royal Chapel of France under Francis I.”

JAMS 47 (1995): 187–239.

Heartz, Daniel. Pierre Attaingnant: Royal Printer of Music; a Historical Study and

Bibliographical Catalogue. Berkeley: University of California Press, 1969.

28

Knecht, R. J. Renaissance Warrior and Patron: The Reign of Francis I. Cambridge:


Seward, Desmond. Prince of the Renaissance: The Life of François I. London:

Macmillan, 1974.

CHAPTER 23: Renaissance Instruments and Instrumental Music

Surveys:

See the entries on the various instruments as well as the genres “Prelude,” “Ricercar,”

“Fantasia,” and “Canzona,” in NG.

Atlas, Allan W. “Instrumental Music,” in Renaissance Music, 367–391.

Brown, Howard M., and Keith Polk. “Instrumental Music 1300–1520,” Music as

Concept, 97–161.

Ongaro, Giulio. “Musical Instruments.” Pages 149-171 in Music of the Renaissance.

Westport, CT: Greenwood Press, 2003.

Perkins, Leeman. “Performance Practice and Instrumental Music,” “Instrumental

Repertoires: The Sources,” and “Instrumental Genres,” in Age of the Renaissance,

757–775, 776–788, and 789–866.

Source Readings:

Bullard, Beth, ed. and trans. Musica getutscht: A Treatise on Musical Instruments by

Sebastian Virdung. Cambridge: Cambridge University Press, 1993.

Hettrick, William, ed. and trans. Musica instrumentalis deudsch: A Treatise on Musical

Instruments (1529 and 1545) by Martin Agricola. Cambridge: Cambridge


29


Kite-Powell, Jeffrey T. ed. A Performer’s Guide to Renaissance Music. New York:

Schirmer Books, 1994.

Polk, Keith. German Instrumental Music of the Late Middle Ages: Players, Patrons, and

Performance Practice. Cambridge: Cambridge University Press, 1992.

Southern, Eileen. The Buxheim Organ Book. Brooklyn, NY: Institute of Mediaeval

Music, 1963.

CHAPTER 24: Music in Three German Cities

Surveys:

See the entries on “Maximilian I,” “Isaac,” “Luther,” and “Lassus,” in NG.

Atlas, Allan W. “The Protestant Reformation,” in Renaissance Music, 510–527.

Haar, James. “Munich at the Time of Orlande de Lassus,” in Renaissance, 243–262.

Leaver, Robin A. “The Lutheran Reformation,” in Renaissance, 263–285.

Perkins, Leeman. “Orlande de Lassus,” in Age of the Renaissance, 927–968.

Picker, Martin. “The Habsburg Courts in the Netherlands and Austria, 1477–1530,” in


Source Readings:

Tomlinson, Gary, ed. “Music and Religious Reform,” in Source Readings, 361–367.

Weiss, Piero, and Richard Taruskin, eds. “The Triumph of Emperor Maximilian,”

“Luther and Music,” and “The Swiss Reformers,” in History in Documents, 83–89

and 100-109.


30

Crook, David. “Tonal Compass in the Motets of Orlando di Lasso,” in Hearing the Motet,

286–306.

Keyl, Stephen. “Tenorlied, Discantlied, Polyphonic Lied: Voices and Instruments in

German Secular Polyphony of the Renaissance.” EM 20 (1992): 434–445.

Oettinger, Rebecca Wagner. Music as Propaganda in the German Reformation.

Burlington, VT: Ashgate, 2001.

Schalk, Carl. Music in Early Lutheranism: Shaping the Tradition (1524–1672). St. Louis,

MO: Concordia Academic Press, 2001.

Composers:

Isaac

Picker, Martin. Henricus Isaac: A Guide to Research. New York: Garland, 1991.

Lassus

Erb, James. Orlando di Lasso: A Guide to Research. New York: Garland, 1990.

Roche, Jerome. Lassus. Oxford: Oxford University Press, 1982.

CHAPTER 25: Rome and the Music of the Counter-Reformation

Surveys:

See the entries “Palestrina,” “Parody Mass,” and “Victoria,” in NG.

Atlas, Allan W. “The Counter-Reformation in Italy and Spain,” in Renaissance Music,

580–605.

Carter, Tim. “Sacred Polyphony in Late Sixteenth-Century Rome and Venice,” in Late


31

Perkins, Leeman. “Giovanni Pierluigi da Palestrina,” and “Tomás Luis de Victoria,” in

Age of the Renaissance, 871–915.

Reynolds, Christopher. “Rome: A City of Rich Contrast,” in Renaissance, 63–101.

Source Readings:

Tomlinson, Gary, ed. “Music and Religious Reform,” in Source Readings, 368–375.

Weiss, Piero, and Richard Taruskin, eds. “The Counter-Reformation” and “Palestrina:

Fact and Legend,” in History in Documents, 135–143.


Lockwood, Lewis, ed. Pope Marcellus Mass: An Authoritative Score, Backgrounds and

Sources, History and Analysis, Views and Comments. New York: Norton, 1975.

Owens, Jessie Ann. “Palestrina at Work.” In Papal Music and Musicians in Late

Medieval and Renaissance Rome, edited by Richard Sherr, 270–300. New York:

Oxford University Press, 1998.

Palisca, Claude V. “Bernardino Cirillo’s Critique of Polyphonic Church Music of 1549:

Its Background and Resonance.” In Music in Renaissance Cities and Courts:

Studies in Honor of Lewis Lockwood, edited by Jessie Ann Owens and Anthony

M. Cummings, 281–292. Warren, MI: Harmonie Park, 1997.

Sherr, Richard. “Performance Practice in the Papal Chapel during the Sixteenth Century.”

EM 15 (1987): 453–462.

CHAPTER 26: Music in Elizabethan England

Surveys:

See the entries “Henry VIII,” “Partsong,” “Elizabeth I,” and “Byrd,” in NG.

32

Atlas, Allan. W. “Early Tudor England” and “Elizabethan England,” in Renaissance

Music, 528–551 and 661–700.

Caldwell, John. “The Period of the Reformation” and “The Elizabethan and Jacobean

Period: Music for the Church,” in Oxford History, 267–388.

Monson, Craig. “Elizabethan London,” in Renaissance, 304–340.


Le Huray, Peter. Music and the Reformation in England, 1549–1660. New York: Oxford


Monson, Craig. “Byrd, the Catholics, and the Motet,” in Hearing the Motet, 348–374.

Stevens, John. Music and Poetry at the Early Tudor Court. London: Methuen, 1961.

Turbet, Richard. Tudor Music: A Research and Information Guide. New York: Garland,

1994.

Composers:

Byrd

Harley, John. William Byrd: Gentleman of the Chapel Royal. Burlington, VT: Ashgate,

1997.

Kerman, Joseph. The Masses and Motets of William Byrd. London: Faber and Faber,

1981.

Tallis

Doe, Paul. Tallis. 2nd ed. Oxford: Oxford University Press, 1976.

CHAPTER 27: Music in Elizabethan England

Surveys:

33

See the entries “Madrigal IV. The English Madrigal,” “Air 2. The English Ayre,”

“Virginal 4. England,” “Morley,” and “Dowland,” in NG.

Atlas, Allan W. “Elizabethan England,” in Renaissance Music, 661–700.

Caldwell, John. “Secular Vocal Music 1575–1625” and “Instrumental Music 1575–1625”

in Oxford History, 389–459.

Monson, Craig. “Elizabethan London,” in Renaissance, 304–340.

Perkins, Leeman. “Italian Madrigals Englished and English Madrigals,” in Age of the


Source Readings:

Morley, Thomas. A Plain and Easy Introduction to Practical Music. Edited by R. Alec

Harman. 2nd ed. New York: Norton, 1973.

Weiss, Piero, and Richard Taruskin, eds. “Madrigals and Madrigalism,” in History in

Documents, 143–145.


Kerman, Joseph. The Elizabethan Madrigal: A Comparative Study. New York: American

Musicological Society, 1962.

Le Huray, Peter. Music and the Reformation in England, 1549–1660. New York: Oxford


Composers:

Dowland

Poulton, Diana. John Dowland: His Life and Works. Berkeley: University of California

Press, 1972.

Weelkes

34

Brown, David. Thomas Weelkes: A Biographical and Critical Study. New York: Praeger,

1969.

CHAPTER 28: The Later Madrigal in Ferrara and Mantua

Surveys:

See the entries “Ferrara,” “Luzzaschi,” “Gesualdo,” “Monteverdi,” and “Artusi,” in NG.

Atlas, Allan W. “The Italian Madrigal,” in Renaissance Music, 634–653.

Carter, Tim. “The Late Sixteenth-Century Madrigal,” in Music in Late Renaissance, 126–

150.

Perkins, Leeman. “Ferrara as a Center of Stylistic Innovation,” in Age of the Renaissance,

681–693.

Source Readings:

Stevens, Denis, ed. The Letters of Claudio Monteverdi. New York: Columbia University

Press, 1980.

Tomlinson, Gary, ed. “Artusi” and “Monteverdi,” in Source Readings, 526–544.

Weiss, Piero, and Richard Taruskin, eds. “Gesualdo, Nobleman Musician,” “The Most

Musical Court in Europe,” and “The ‘Second Practice’,” in History in Documents,

146–147, 147–150, and 171–174.


Fenlon, Iain. Music and Patronage in Sixteenth-Century Mantua. 2 vols.

Cambridge: Cambridge University Press, 1980–1982.

Newcomb, Anthony. The Italian Madrigal at Ferrara, 1579–1597. Princeton, NJ:

Princeton University Press, 1980.

35

———. “Courtesans, Muses, or Musicians? Professional Women Musicians in

Sixteenth-Century Italy.” In Women Making Music: The Western Art

Tradition, 1150–1950, edited by Jane Bowers and Judith Tick, 90–115.

Urbana: University of Illinois Press, 1986.

Composers:

Gesualdo

Arnold, Denis. Gesualdo. London: British Broadcasting Corporation, 1984.

Watkins, Glen. Gesualdo: The Man and His Music. 2nd ed. Oxford: Clarendon Press,

1991.

Monteverdi

Arnold, Denis, and Nigel Fortune. The New Monteverdi Companion. Oxford: Clarendon

Press, 1985.

Fabbri, Paolo. Monteverdi. Translated by Tim Carter. Cambridge: Cambridge University

Press, 1994.

Leopold, Silke. Monteverdi: Music in Transition. Translated by Anne Smith. Oxford:


Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of

California Press, 1987.

PART IV: BAROQUE MUSIC

CHAPTER 29: Early Baroque Music

Surveys:

See the entries “Theory of the Affects,” “Continuo,” and “Monody,” in NG.

36

Fortune, Nigel. “Italian secular monody from 1600 to 1635: An Introductory Study,” in

Garland, V, 47–71.

Hill, John Walter. “Introduction: Monarchy, Religion, and the Rhetoric of the Arts,” in

Baroque Music 1580–1750, 1–21.

Palisca, Claude V. “The Baroque Ideal” and “Origins and Foundations,” in Baroque

Music, 1–29.

Price, Curtis. “Music, Style, and Society,” in Early Baroque, 1–23.

Schulenberg, David. “Transitions around 1600,” in Music of the Baroque, 40–58.

Source readings:

Lippman, Edward, ed. “Expression and Rhetoric,” in Aesthetics, 26–41.

Murata, Margaret, ed. “Ancient and Modern Music” and “Agostino Agazzari: Of Playing

upon a Bass with All Instruments,” in Source Readings, 521–554 and 621–628.

Weiss, Piero, and Richard Taruskin, eds. “Basso Continuo and Figured Bass,” in History

in Documents, 178–179.


Arnold, Frank T. The Art of Accompaniment from a Through-Bass. 2 vols. Oxford:

Oxford University Press, 1932. Reprint, New York: Dover, 1965.

Carter, Tim. “Artusi, Monteverdi, and the Poetics of Modern Music.” In Musical

Humanism and its Legacy: Essays in Honor of Claude V. Palisca, edited by

Nancy Kovaleff Baker and Barbara Russano Hanning, 171–194. Stuyvesant, NY:

Pendragon, 1992.

Dahlhaus, Carl. Studies on the Origin on Harmonic Tonality. Translated by Robert O.

Gjerdingen. Princeton, NJ: Princeton University Press, 1990.

37

Palisca, Claude V. “The Artusi-Monteverdi Controversy,” in Studies, 54–88.

CHAPTER 30: The Birth of Opera: Florence, Mantua, and Venice

Surveys:

See the entries “Aria, §2, 17th-century Vocal Music,” “Opera, §III, 1, Early Opera,

Humanist Court Music,” and “Recitative, §1, Up to 1800,” in NG.

Carter, Tim. “The North Italian Courts,” in Early Baroque, 23–48.

Grout, Donald, and Hermine Weigel Williams. “The Beginnings: Opera in Florence and

Mantua,” in Short History, 41–59.

Hill, John Walter. “Florence: Musical Spectacle and Drama, 1570–1650,” in Early

Baroque, 121–145.

———. “The Birth of Opera, Monody, and the Concerted Madrigal,” in Baroque Music:

1580–1750, 22–54.

Palisca, Claude V. “The Recitative Style,” in Baroque Music, 30–57.

Schulenberg, David. “Monteverdi and Early Baroque Music Drama,” in Music of the

Baroque, 59–87.

Source readings:

Murata, Margaret, ed. “Jacopo Peri: Preface to The Music for Euridice,” in Source


Palisca, Claude V. “The ‘Camerata fiorentina’: A Reappraisal,” in Garland, XI, 45–80.

———. “Theory of Dramatic Music,” in Humanism, 408–433.

———. The Florentine Camerata: Documentary Studies and Translations. New Haven,

CT: Yale University Press, 1989.

38

Savage, Roger, and Matteo Sansone. “Il corago and the Staging of Early Opera: Four

Chapters from an Anonymous Treatise circa 1630.” EM 17(1989): 494–511.

Weiss, Piero, and Richard Taruskin, eds. “The Earliest Operas,” in History in Documents,

174–178.

Specialized studies:

Brown, Howard Mayer. “How Opera Began: An Introduction to Jacopo Peri’s Euridice

(1600),” in Garland, XI, 1–45.

Fenlon, Iain, and Peter Miller. Song of the Soul: Understanding Poppea. London: Royal

Music Association, 1992.

Pirrotta, Nino. “Temperaments and Tendencies in the Florentine Camerata” and

“Monteverdi and the Problems of Opera.” Pages 217–253 in Music and Culture in

Italy from the Middle Ages to the Baroque. Cambridge, MA: Harvard University

Press, 1984.

Pirrotta, Nino, and Elena Povoledo. Music and Theater from Poliziano to Monteverdi.

Translated by Karen Eales. Cambridge: Cambridge University Press, 1982.

Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre.

Berkeley: University of California Press, 1991.

Whenham, John, ed. Claudio Monteverdi: Orfeo. Cambridge: Cambridge University

Press, 1986.

Composers:

Monteverdi

Arnold, Denis, and Nigel Fortune. The New Monteverdi Companion. Oxford:


39

Fabbri, Paolo. Monteverdi. Translated by Tim Carter. Cambridge: Cambridge


Leopold, Silke. Monteverdi: Music in Transition. Translated by Anne Smith.


Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University

of California Press, 1987.

CHAPTER 31: The Concerted Style in Venice and Dresden

Surveys:

See the entries “Cantata, §I, 2, The Italian Cantata to 1800: c1620–c1725 (iv) Venice,”

“Madrigal, §3: The Concerted Madrigal,” and “Motet, §2, Italy,” in NG.

Carter, Tim. “Sacred Music in the Early Seventeenth Century” and “From Madrigal to

Cantata,” in Late Renaissance, 222–255.

Palisca, Claude V. “The Rise of the Sacred Concerto,” “The Sacred Concerto in

Germany,” and “Italian Cantata, Oratorio, and Opera at Mid Century: The

Cantata,” in Baroque Music, 58–81, 100–113, and 114–123.

Rosand, Ellen. “Venice, 1580–1680: St. Mark’s,” in Early Baroque, 75–85.

Schulenberg, David. “Secular Vocal Music of the Later Seventeenth Century: Barbara

Strozzi” and “Seventeenth-century Sacred Music,” in Music of the Baroque, 110–

14 and 131–148.

Spagnoli, Gina. “Dresden at the Time of Heinrich Schütz,” in Early Baroque, 164–185.

Source readings:

MacClintock, Carol, ed. “The Performance of Sacred Music,” in Performance, 137–149.

40

Murata, Margaret, ed. “Heinrich Schütz: Memorandum to the Elector of Saxony” and

“Claudio Monteverdi: Preface to Madrigali guerrieri, et amorosi,” in Source

Readings, 557–561 and 665–667.


Arnold, Dennis. Giovanni Gabrieli and the Music of the Venetian High Renaissance.


Roche, Jerome. North Italian Church Music in the Age of Monteverdi. Oxford: Clarendon

Press, 1984.

Rosand, Ellen. “The Voice of Barbara Strozzi.” In Women Making Music: The Western

Art Tradition, 1150–1950, edited by Jane Bowers and Judith Tick, 168–190.

Urbana: University of Illinois, 1986.

Whenham, John. Monteverdi, Vespers (1610). Cambridge: Cambridge University Press,

1997.

Composers:

Monteverdi

(See bibliography for Chapter 30.)

Schütz

Smallman, Basil. Schütz. New York: Oxford University Press, 1999.

CHAPTER 32: Religious Music in Baroque Rome

Surveys:

41

See the entries “Cantata, §I, 2, The Italian Cantata to 1800: (i) c1620–c1725 and (ii) c.

1675–c. 1725,” “Oratorio, §4, ‘Oratorio Latino,’ Carissimi and his

Contemporaries,” and “Rome, §II, 3, The Christian Era: The Baroque,” in NG.

Boyd, Malcolm. “Rome: The Power of Patronage,” in Late Baroque, 39–65.

Hill, John Walter. “Church Music in Italy, 1600–1650,” in Baroque Music 1580–1750,

86–108.

Leopold, Silke. “Rome: Sacred and Secular,” in Early Baroque, 49–74.

Palisca, Claude V. “Italian Cantata, Oratorio, and Opera in Mid Century: The Oratorio,”

in Baroque Music, 124–128.

Rose, Gloria. “ The Italian Cantata of the Baroque Period,” in Garland, V, 241–

264.

Schulenberg, David. “Seventeenth-Century Sacred Music: Seventeenth-Century

Oratorio,” in Music of the Baroque, 148–156.

Source readings:

MacClintock, Carol, ed. “André Maugars, Response to an Inquisitive Person on the

Italian Feeling about Music,” in Performance, 117–126.

Weiss, Piero, and Richard Taruskin, eds. “Music in the Churches of Rome, 1639,” in

History in Documents, 194–197.


Gianturco, Carolyn. “The Italian Seventeenth-century Cantata: A Textual Approach.” In

The Well Enchanting Skill: Music, Poetry, and Drama in the Culture of the

Renaissance: Essays in Honour of F.W. Sternfeld, edited by John Caldwell,

Edward Olleson, and Susan Wollenberg, 41–51. Oxford: Clarendon, 1990.

42

Jackson, Roland. “On Frescobaldi’s Chromaticism and its Background,” in Garland, V,

179–194.

Marx-Weber, Magda. “W.A. Mozart's Miserere K.85/73.” In All Kinds of Music: In

Honour of Andrew D. McCredie, edited by Graham Strahle and David Swale,

117–120. Wilhelmshaven: Noetzel, 1998.

Moore, James H. “The Liturgical Use of the Organ in Seventeenth-Century Italy.” In

Frescobaldi Studies, edited by Alexander Silbiger, 351–384. Durham, NC: Duke


Murata, Margaret. Opera for the Papal Court. Ann Arbor, MI: UMI Research Press,

1981.

Silbiger, Alexander. “The Roman Frescobaldi Tradition, 1640–1670.” JAMS 33

(1980): 42–87.

Smither, Howard E. A History of the Oratorio, vol. 1: The Oratorio in the Baroque Era:

Italy, Vienna, Paris. Chapel Hill: The University of North Carolina Press, 1977.

CHAPTER 33: Instrumental Music in Italy

Surveys:

See the entries “Concerto, §2: The Instrumental Concerto: Origins to 1750,” “Rossi,

Salamone,” “Sonata da camera,” “Sonata da chiesa,” and “Torelli, Giuseppe,” in

NG.

Bonta, Stephen. “The uses of the ‘sonata da chiesa’,” in Garland, V, 2–34.

Boyd, Malcolm. “Rome: The Power of Patronage,” in Late Baroque, 39–65.

43

Hill, John Walter. “Sonata and Concerto in Late Seventeenth-Century Italy,” in Baroque

Music 1580–1750, 322–356.

Palisca, Claude V. “Sonata, Concerto, and Sinfonia,” in Baroque Music, 145–176.

Schnoebelen, Anne. “Bologna, 1500–1700,” in Early Baroque, 103–120.

Schulenberg, David. “Baroque Music for Instrumental Ensemble: The Sonata” and “The

Baroque Instrumental Concerto,” in Music of the Baroque, 260–306.

Source readings:

Weiss, Piero, and Richard Taruskin, eds. “The Baroque Sonata,” in Documents in

History, 207–210.


Allsop, Peter. The Italian Trio Sonata: From its Origins until Corelli. Oxford: Clarendon

Press, 1992.

Boyden, David D. “When is a concerto not a concerto?,” in Garland, V, 34–46.

Harrán, Don. Salamone Rossi, Jewish Musician in Late Renaissance Mantua. Oxford:


Pollens, Stewart. The Violin Forms of Antonio Stradivari. London: Peter Biddulph, 1992.

Talbot, Michael. Venetian Music in the Age of Vivaldi. Burlington, VT: Ashgate, 1999.

Composers:

Corelli

Allsop, Peter. Arcangelo Corelli: New Orpheus of our Times. Oxford: Oxford University

Press, 1999.

Vivaldi

44

Everett, Paul. Vivaldi, The Four Seasons and Other Concertos, Op. 8. Cambridge:


Heller, Karl: Antonio Vivaldi: The Red Priest of Venice. Translated by David Marinelli.

Portland, OR: Amadeus Press, 1997.

Landon, H. C. Robbins. Vivaldi: Voice of the Baroque. London: Thames and Hudson,

1993.

Talbot, Michael. Vivaldi. New York: Schirmer Books, 1992.

CHAPTER 34: Instrumental Music in Germany and Austria

Surveys:

See the entries “Biber, Heinrich Ignaz Franz von,” “Froberger, Johann Jacob,” “Kuhnau,

Johann,” “Suite, §6: The Classical Suite after the Addition of the Gigue (ii)

Germany,” and “Sonata, §1: Baroque (iii) Development, 1650–1750,” in NG.

Buelow, George J. “Hamburg and Lübeck,” in Late Baroque, 191–215.

Hill, John Walter. “Music in the Empire through the Thirty Years’ War,” in Baroque

Music 1580–1750, 139–163.

Palisca, Claude V. “Organ and Clavier Music in Germany,” in Baroque Music, 197–220.

Schulenberg, David. “Baroque Keyboard Music I: Toccata and Suite” and “Baroque

Keyboard Music II: Fugues, Pièces, and Sonatas: Late Baroque German

Keyboard Music: Buxtehude,” in Music of the Baroque, 209–244.

Source readings:

MacClintock, Carol, ed. “On Organ Playing,” in Performance, 127–136.

45

Murata, Margaret, ed. “Johann Mattheson: From The Complete Music Director,” in


Weiss, Piero, and Richard Taruskin, eds. “The Mature Baroque: The Doctrine of the

Affections,” in History in Documents, 212–219.


Buelow, George J. “Johann Mattheson and the Invention of the Affektenlehre.” In New

Mattheson Studies, edited George J. Buelow and Hans Joachim Marx, 393–407.


Chafe, Eric T. The Church Music of Heinrich Biber. Ann Arbor, MI: UMI Research

Press, 1987.

Dann, Elias. Heinrich Biber and the Seventeenth-Century Violin. Ann Arbor, MI: UMI

Research Press, 1968.

Park, Sally C. The Seventeenth-Century Keyboard Suite in South Germany and Austria.

PhD diss., Bryn Mawr College, 1980.

Thistlethwaite, Nicholas, and Geoffrey Webber, eds. The Cambridge Companion to the

Organ. Cambridge: Cambridge University Press, 1998.

Webber, Geoffrey. North German Church Music in the Age of Buxtehude. Oxford:


CHAPTER 35: Music in Paris and at the Court of Versailles: Vocal Music

Surveys:

See the entries “Ballet de cour,” “Cantata §III, The French Cantata to 1800,” “Lully, (1)

Jean-Baptiste Lully (i),” and “Tragédie en musique,” in NG.

46

Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau. Rev. and

exp. ed. Portland, OR: Amadeus Press, 1997.

Benoit, Marcelle. Paris, 1661–87: The Age of Lully, in Early Baroque, 238–269.

Bianconi, Lorenzo. “The tragédie lyrique: Jean-Baptiste Lully.” In Music in the

Seventeenth Century, translated by David Bryant, 237–251. Cambridge:


Hill, John Walter. “Music at the Court of Louis XIV to the Death of Lully” and “French

Music from the War of the Grand Alliance to the End of the Regency,” in

Baroque Music 1580–1750, 216–256.

Palisca, Claude V. “Opera in France and Italy from Lully to Scarlatti: Jean-Baptiste

Lully” and “Sacred Music in France,” in Baroque Music, 222–230 and 265–294.

Schulenberg, David. “Lully and French Musical Drama,” in Music of the Baroque, 88–

109.

Source readings:

Murata, Margaret, ed. “From the First Supplement to The Parnassus of France,” in


Weiss, Piero, and Richard Taruskin, eds. “Music under the Sun King,” “Rationalistic

Distaste for Opera,” and “A New Sound Ideal,” in History in Documents, 197–

206.


Griffiths, Wanda R. “Jacquet de la Guerre's Céphale et Procris: Style and Drama.” In

Music in Performance and Society: Essays in Honor of Roland Jackson, edited by

47

Malcolm Cole and John Koegel, 251–268. Warren, MI: Harmonie Park Press,

1997.

Grout, Donald, and Hermine Weigel Williams. “Opera in France from Lully to

Charpentier,” in Short History, 132–136.

Hilton, Wendy. Dance Music of the Court and Theater: Selected Writings of Wendy

Hilton. Stuyvesant, NY: Pendragon Press, 1997.

Hitchcock, H. Wiley. Marc-Antoine Charpentier. Oxford: Oxford University Press, 1990.

Isherwood, Robert M. Music in the Service of the King: France in the Seventeenth

Century. Ithaca, NY: Cornell University Press, 1973.

Marsh, Carol G. Musical Theatre at the Court of Louis XIV. Cambridge: Cambridge


Palisca, Claude V. “The Recitative of Lully’s Alceste: French Declamation or Italian

Melody?,” in Studies, 491–507.

Rosow, Lois. “French Baroque Recitative as an Expression of Tragic Declamation.” EM

9 (1983): 468–479.

Wood, Caroline. Music and Drama in the Tragédie en musique, 1673–1715: Jean-

Baptiste Lully and his Successors. New York: Garland, 1996.

Composers:

Lully

Heyer, John Hajdu, ed. Jean-Baptiste Lully and the Music of the French Baroque: Essays

in Honor of James R. Anthony. Cambridge: Cambridge University Press, 1989.

CHAPTER 36: Music in Paris and at the Court of Versailles: Instrumental Music

48

(See also bibliography for Chapter 35.)

Surveys:

See the entries “Harpsichord, §4, 18th century, (i) France” “Lute (ii),” and “Ornaments,

§7, French Baroque,” and “Couperin (4) François Couperin (ii) [le grand],” in

NG.

Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau. Rev. and

exp. ed. Portland, OR: Amadeus Press, 1997.

Palisca, Claude V. “Lute and Harpsichord Music in France,” in Baroque Music, 177–196.

Schulenberg, David. “Baroque Keyboard Music II: Eighteenth-Century Keyboard Music

in France,” in Music of the Baroque, 249–254.

Source readings:

Cooper, Kenneth, and Julius Zsako, trans. “Georg Muffat’s Observations of the Lully

Style of Performance,” in Garland, VI, 70–96.

MacClintock, Carol, ed. “Instructions for Playing the Clavecin,” in Performance, 211–

238.


Gustafson, Bruce. French Harpsichord Music of the 17th Century: A Thematic Catalogue

of the Sources, with Commentary. Ann Arbor, MI: UMI Research Press, 1979.

Hefling, Stephen E. Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music:

Notes Inégales and Overdotting. New York: Schirmer Books, 1993.

Ledbetter, David. Harpsichord and Lute Music in 17th-Century France. Bloomington:

Indiana University Press, 1988.

49

Smith, Douglas Alton. A History of the Lute from Antiquity to the Renaissance.

Lexington, VA: Lute Society of America, 2002.

Composers:

Couperin

Mellers, Wilfrid Howard. François Couperin and the French Classic Tradition. Rev. ed.

London: Faber, 1987.

CHAPTER 37: Music in London: Henry Purcell

Surveys:

See the entries “London (i): §II, Music at Court, 1, The Chapel Royal,” “Masque, §5,

Restoration (1660–c1700),” and “Semi-opera,” in NG.

Caldwell, John. “Music under the Later Stuarts,” in Oxford History, 561–615.

Grout, Donald, and Hermine Weigel Williams. “Opera in England,” in Short History,

147–164.

Hill, John Walter. “England from the Restoration through the Augustan Age,” in Baroque

Music 1580–1750, 357–381.

Palisca, Claude V. “Dramatic Music in England: Henry Purcell” and “English Church

Music: Henry Purcell,” in Baroque Music, 249–251 and 308–317.

Source readings:

MacClintock, Carol, ed. “Henry Purcell, from A Choice Collection of Lessons,” in

Performance, 155–158.

Weiss, Piero, and Richard Taruskin, eds. “Purcell, Preface ‘To the Reader’,” in History in


50


Harris, Ellen T. Henry Purcell’s “Dido and Aeneas.” Oxford: Oxford University Press,

1987.

Price, Curtis A. Music in the Restoration Theatre. Ann Arbor, MI: UMI Research Press,

1979.

White, Eric Walter. A History of English Opera. London: Faber and Faber, 1983.

Composers:

Purcell

Burden, Michael, ed. The Purcell Companion. Portland, OR: Amadeus Press, 1995.

Holman, Peter. Henry Purcell. Oxford: Oxford University Press, 1994.

Keates, Jonathan. Purcell: A Biography. Boston: Northeastern University Press, 1996.

King, Robert. Henry Purcell. New York: Thames and Hudson, 1994.

Price, Curtis A. Henry Purcell and the London Stage. Cambridge: Cambridge University

Press, 1984.

———. ed. Purcell Studies. Cambridge: Cambridge University Press, 1995.

CHAPTER 38: Music in London: George Frideric Handel

Surveys:

See the entries “London (i) §V, Musical Life: 1660–1800,” “Opera Seria, §1,

Dramaturgy, and §2, 1720–1740,” and “Oratorio §8, Handel and the English

Oratorio,” in NG.

Burrows, Donald. “London: Commercial Wealth and Cultural Expansion,” in Late

Baroque, 355–392.

51

Grout, Donald, and Hermine Weigel Williams. “Opera Seria: General Characteristics,”

and “Opera Seria: The Composers,” in Short History, 203–252.

Palisca, Claude V. “Dramatic Music in England: George Frideric Handel,” in Baroque

Music, 252–274.

Schulenberg, David. “Late Baroque Opera,” “Late Baroque Opera: Handel,” and “Late

Baroque Music: Handel: Jephtha,” in Music of the Baroque, 157–172 and 200–

208.

Source readings:

Arundeli, Dennis. “Up to 1800 – Sound.” Pages 157–280 in The Critic at the Opera:

Contemporary Comments on Opera in London over Three Centuries. London:

Benn, 1957. Reprint, New York: Da Capo Press, 1980.

Deutsch, Otto Erich. Handel: A Documentary Biography. London: Adam and Charles

Black, 1955.


Burrows, Donald. Handel and the English Chapel Royal. Oxford: Oxford University

Press, 2005.

———. Handel, Messiah. Cambridge: Cambridge University Press, 1991.

Dean, Winton. Handel and the Opera Seria. Berkeley: University of California Press,

1969.

———. Handel’s Dramatic Oratorios and Masques. London: Oxford University Press,

1959.

Dean, Winton, and J. Merrill Knapp. Handel’s Operas, 1704–1726. Oxford: Oxford


52

Ledbetter, David. Continuo Playing According to Handel. Oxford: Oxford University

Press, 1990.

Mann, Alfred. Handel: The Orchestral Music. New York: Schirmer Books, 1996.

Smith, Ruth. Handel’s Oratorios and Eighteenth-Century Thought. Cambridge:


Composers:

Handel

Burrows, Donald. Handel. New York: Schirmer Books, 1994.

———. ed. The Cambridge Companion to Handel. Cambridge: Cambridge University

Press, 1997.

Hogwood, Christopher. Handel. New York: Thames and Hudson, 1985.

CHAPTER 39: Johann Sebastian Bach: Instrumental Music in Weimar and Cöthen

Surveys:

See the entries “Concerto, §2, The Instrumental Concerto: Origins to 1750, vii, Germany

after Vivaldi,” “Fugue, §5, The Golden Age: Early 18th century,” “Organ, §V,

1450–1800, 11, The Organ of J. S. Bach,” and “Temperaments,” in NG.

Baselt, Berndt. “Brandenburg-Prussia and the Central German Courts,” in Late Baroque,

230–254.

Palisca, Claude V. “Organ and Clavier Music in Germany: Johann Sebastian Bach,” in

Baroque Music, 208–18.

Schulenberg, David. “Baroque Keyboard Music II: Fugues, Pièces, and Sonatas: Late

Baroque German Keyboard Music: J. S. Bach’s Keyboard Music,” and “The

53

Baroque Instrumental Concerto: J. S. Bach and the Concerto,” in Music of the

Baroque, 245–249 and 301–306.

Source readings:

David, Hans T., and Arthur Mendel, eds. The New Bach Reader: A Life of Johann

Sebastian Bach in Letters and Documents, revised and enlarged by Christoph

Wolff. New York: Norton, 1998.


Barbour, J. Murray. “Bach and The Art of Temperament,” in Garland, VI, 2–27.

Boyd, Malcolm. Bach, The Brandenburg Concertos. Cambridge: Cambridge University

Press, 1993.

Dirst, Matthew. “Bach’s French Overtures and the Politics of Overdotting.” EM 25

(1997): 35–44.

Lester, Joel. Bach’s Works for Solo Violin: Style, Structure, Performance. Oxford:


Marissen, Michael. The Social and Religious Designs of J. S. Bach’s Brandenburg

Concertos. Princeton, NJ: Princeton University Press, 1995.

Melamed, Daniel R., and Michael Marissen. An Introduction to Bach Studies. New York:


Schulenberg, David. The Keyboard Music of J. S. Bach. New York: Schirmer Books,

1992.

Stinson, Russel. Bach: The Orgelbüchlein. NewYork: Oxford University Press, 1999.

Thistlethwaite, Nicholas, and Geoffrey Webber, eds. The Cambridge Companion to the

Organ. Cambridge: Cambridge University Press, 1998.

54

Williams, Peter. The Organ Music of J. S. Bach. 2nd ed. Cambridge: Cambridge


Composers:

Bach

Boyd, Malcolm. Bach. 3rd ed. Oxford: Oxford University Press, 2000.

———, ed. J.S. Bach. Oxford: Oxford University Press, 1999.

Butt, John. The Cambridge Companion to Bach. New York: Cambridge University Press,

1997.

Dreyfus, Laurence. Bach and the Patterns of Invention. Cambridge, MA: Harvard


Wolff, Christoph. Johann Sebastian Bach: The Learned Musician. New York: Norton,

2000.

CHAPTER 40: Johann Sebastian Bach: Vocal Music in Leipzig

Surveys:

See the entries “Cantata, §II: The German Cantata to 1800,” “Chorale Settings, §I, Vocal

Settings, 5, Early 18th century: J.S. Bach,” and “Passion, §6: 18th Century,” in

NG.

Butt, John. The Sacred Choral Music of J.S. Bach – A Handbook. Brewster, MA:

Paraclete Press, 1997.

Palisca, Claude V. “Johann Sebastian Bach,” in Baroque Music, 318–337.

Stauffer, George B. “Leipzig: A Cosmopolitan Trade Center,” in Late Baroque, 254–296.

55

Schulenberg, David. “Late Baroque Sacred Music: Johann Sebastian Bach,” in Music of

the Baroque, 181–199.

Source readings:

(See bibliography for Chapter 39.)


Butt, John. Bach, Mass in B Minor. Cambridge, Cambridge University Press, 1991.

Chafe, Eric T. Analyzing Bach Cantatas. New York: Oxford University Press, 2000.

———. Tonal Allegory in the Vocal Music of J. S. Bach. Berkeley: University of


Herz, Gerhard, ed. Cantata no. 140: Wachet auf, ruft uns die Stimme. The Score of the

New Bach Edition: Backgrounds, Analysis, Views and Comments. New York:

Norton, 1972.

Parrott, Andrew. The Essential Bach Choir. Rochester, NY: Boydell Press, 2000.

Stauffer, George. Bach: The Mass in B Minor (The Great Catholic Mass). New York:

Schirmer Books, 1997.

Williams, Peter. Bach, The Goldberg Variations. Cambridge: Cambridge University

Press, 2001.

Wolff, Christoph, ed. The World of Bach Cantatas. New York: Norton, 1997.

Composers: Bach

(See bibliography for chapter 39.)

PART V: THE ENLIGHTENMENT AND THE CLASSICAL ERA

CHAPTER 41: Music in the Age of Enlightenment: Opera

56

Surveys:

See the entries “Opera §IV: The 18th Century,” “Hasse,” “Ballad Opera,” “Opera buffa,”

“Opéra comique,” and “Gluck,” in NG.

Heartz, Daniel. “Opéra-Comique” and “Gluck at the Opéra,” in European Capitals, 710–

882.

———. “Gluck and Operatic Reform,” in Viennese School, 143–234.

Ruston, Julian. Classical Music: A Concise History from Gluck to Beethoven. New York:

Thames and Hudson, 1986.

Source readings:

Allenbrook, Wye, ed. “Jean-Jacques Rousseau: From Letter on French Music (1753)”

and “Christoph Willibald Gluck: Dedication for Alceste (1769),” in Source


Burney, Charles. The Present State of Music in France and Italy. 2nd ed. London: T.

Becket and Co., 1773. Reprint, London: Eulenburg, 1974.

Weiss, Piero, ed. Various excerpts regarding Metastasio, opera buffa, opéra comique, and

Gluck. Pages 90–129 in Opera: A History in Documents. Oxford: Oxford


Weiss, Piero, and Richard Taruskin, eds. “The Rise of the Italian Comic Opera Style,”

“From Rousseau’s Dictionary of Music,” and “Gluck’s Operatic Manifesto,” in

History in Documents, 273–286 and 301–302.


Bauman, Thomas, and Marita McClymonds, eds. Opera and the Enlightenment.


57

Charlton, David. Grétry and the Growth of Opéra Comique. Cambridge: Cambridge


———. French Opera 1730–1830: Meaning and Media. Burlington, VT: Ashgate, 2003.

Fiske, Roger. English Theatre Music in the Eighteenth Century. Oxford: Oxford


Libby, Denis. “Italy: Two Opera Centres,” in Classical Era, 15–60.

Rosen, Charles. “Serious Opera,” in Classical Style, 167–184.

Strohm, Reinhard. Dramma per musica: Italian Opera Seria of the Eighteenth Century.


CHAPTER 42: Music in the Age of Enlightenment: Orchestral Music

Surveys:

See the entries “Symphony,” Giovanni Battista Sammartini,” “Mannheim,” and “Johann

Stamitz,” in NG.

Heartz, Daniel. “Sammartini of Milan and the Symphony” and “Stuttgart and

Mannheim,” in European Capitals, 230–242 and 441–594.

Source readings:

Allenbrook, Wye, ed. “Johann Joachim Quantz: From Essay on a Method for Playing the

Transverse Flute (1752),” in Source Readings, 799–807.

Quantz, Johann. On Playing the Flute. 2nd ed. Translated by Edward Reilly. Boston,

MA: Northeastern University Press, 2001.


58

Churgin, Bethia. “The Symphonies of G.B. Sammartini.” PhD diss., Harvard University,

1963.

———. “G. B. Sammartini and the Symphony.” Musical Times 116 (1975): 26–29.

Jenkins, Newell, and Bethia Churgin. Thematic Catalogue of the Works of Giovanni

Battista Sammartini: Orchestral and Vocal Music. Cambridge, MA: Harvard


Wolf, Eugene K. “The Mannheim Court,” in Classical Era, 213–239.

———. The Symphonies of Johann Stamitz: a Study in the Formation of the Classic

Style. Utrecht: Bohn, Scheltema, and Holkema, 1981.

———. The Symphony at Mannheim. New York: Garland, 1984.

CHAPTER 43: Music in the Age of Enlightenment: Keyboard Music

Surveys:

See the entries “Keyboard Music, §1: Keyboard Music to 1750 4. The Period of J. S.

Bach,” “Keyboard Muisc III. Piano Music from c1750,” “Domenico Scarlatti,”

“Carl Philipp Emanuel Bach,” and “Johann Christian Bach,” in NG.

Parakilas, James. “1700 to 1770s: The Need for the Piano.” In Piano Roles: Three

Hundred Years of Life with the Piano, edited by James Parakilas, 9-29. New


Source readings:

Allenbrook, Wye. “Carl Philipp Emanuel Bach: From Essay on the Proper Manner of

Playing a Keyboard Instrument (1753),” in Source Readings, 851–856.

59

Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments.

Translated by William Mitchell. New York: Norton, 1949.

Weiss, Piero, and Richard Taruskin, eds. “The Piano is Invented,” in History in



Heuschneider, Karin. The Piano Sonata of the Eighteenth Century in Italy. Cape Town:

A. A. Balkema, 1967.

———. The Piano Sonata of the Eighteenth Century in Germany. Cape Town: A. A.

Balkema, 1970.

Loesser, Arthur. “Section One: Germany,” “Section Two: Austria,” and “Section Three:

England.” In Men, Women and Pianos: A Social History. New York: Simon and

Schuster, 1954.

Marshall, Robert, ed. Eighteenth-Century Keyboard Music. New York: Schirmer Books,

1994.

Maunder, Richard. “J.C. Bach and the Early Piano in London.” PRMA 116 (1991): 201–

210.

Sadie, Stanley. “Concert Life in Eighteenth-Century London.” PRMA 58 (1958–1959):

17–30.

Weber, William. “London: A City of Unrivalled Riches,” in Classical Era, 293–326.

Zohn, Steven. “The Sonata auf Concertenart and Conceptions of Genre in the Late

Baroque.” Eighteenth-Century Music 1 (2004): 205–247.

Composers:

Domenico Scarlatti

60

Boyd, Malcolm. Domenico Scarlatti: Master of Music. New York: Schirmer Books,

1986.

Kirkpatrick, Ralph. Domenico Scarlatti. Princeton, NJ: Princeton University Press, 1953.

Carl Philipp Emanuel Bach

Ottenberg, Hans-Günter. C.P.E. Bach. Translated by Philip J. Whitmore. Oxford: Oxford


CHAPTER 44: Classical Music in Vienna

Surveys:

Brown, Bruce Alan. “Maria Theresa’s Vienna,” in Classical Era, 99–125.

Downs, Philp G. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York:

Norton, 1992.

Heartz, Daniel. “Musical Life in Vienna,” in Viennese School, 3–78.

Pauly, Reinhard G. Music in the Classic Period. 2nd ed. Englewood Cliffs, NJ: Prentice

Hall, 1973.

Rice, John A. “Vienna under Joseph II and Leopold II,” in Classical Era, 126–165.

Source readings:

Allanbrook, Wye, ed. “The Late Eighteenth Century,” in Source Readings, 735–819.


Edge, Dexter. “Mozart’s Viennese Orchestras.” Early Music 20 (1992): 64–88.

Mongrédien, Jean. “Paris: the End of the Ancien Régime,” in Classical Era, 61–98.

Ratner, Leonard. Classical Music: Expression, Form, and Style. New York: Schirmer

Books, 1990.

61

Rosen, Charles. “Ternary and Binary Forms,” “Concerto,” “Sonata Forms,” and

“Evolution of Sonata forms,” in Sonata Forms, 16–27 and 71–132.

Webster, James. “The Eighteenth Century as a Music-Historical Period.” Eighteenth-

Century Music 1 (2004): 47–60.

Composers:

Haydn and Mozart

(See the bibliographies for succeeding chapters.)

Clementi

Plantinga, Leon. Muzio Clementi: His Life and Music. London: Oxford University Press,

1977.

CHAPTER 45: Joseph Haydn: Instrumental Music

Surveys:

See the entries “Haydn,” “String Quartet: 1. Early Development-2. 1780–1800” and

“Symphony, §1, 14: 18th Century: Haydn and Mozart (i) Haydn,” in NG.

Heartz, Daniel. “Haydn: Early Years to ca. 1770” and “Haydn: The 1770s,” in Viennese

School, 235–406.

Source readings:

Landon, H.C. Robbins. Haydn: A Documentary Study. New York: Rizzoli, 1981.

Weiss, Piero, and Richard Taruskin, eds. “Haydn’s Duties in the Service of Prince

Esterházy,” in History in Documents, 298–300.


62

Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical

and Social Institution. New York: Pendragon, 1989.

Sisman, Elaine, ed. Haydn and His World. Princeton, NJ: Princeton University Press,

1997.

Sutcliffe, W. Dean, ed. Haydn Studies. Cambridge: Cambridge University Press, 1998.

Todd, R. Larry. “Joseph Haydn and the Sturm und Drang: a Revaluation.” Music Review

61 (1980): 172–196.

Webster, James. “Towards a History of Viennese Chamber Music in the Early Classical

Period.” JAMS 27 (1974): 212–247.

———. Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style: Through-

Composition and Cyclic Integration in his Instrumental Music. Cambridge:


Wheelock, Gretchen A. Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and

Humor. New York: Schirmer Books, 1992.

Composers:

Haydn

Gotwals, Vernon. Haydn: Eighteenth-Century Gentleman and Genius. Madison:

University of Wisconsin Press, 1963.

Landon, H. C. Robbins. Haydn: Chronicle and Works. 5 vols. London: Thames and

Hudson, 1994.

Landon, H. C. Robbins, and David Wyn. Haydn: His Life and Music. Bloomington:

Indiana University Press, 1988.

63

Somfai, László. Joseph Haydn: His Life in Contemporary Pictures. New York:

Taplinger, 1969.

CHAPTER 46: Joseph Haydn: Late Symphonies and Vocal Music

(See also the sources cited in Chapter 45.)

Surveys:

See the entries “Symphony, §1, 14: 18th Century: Haydn and Mozart (i) Haydn” and

“Mass, §III, 1600–2000: 18th Century (ii) Viennese,” in NG.

Source readings:

Landon, H.C. Robbins. Haydn: A Documentary Study. New York: Rizzoli, 1981.


Brown, A. Peter. “Critical Years for Haydn’s Instrumental Music: 1787–90.” The

Musical Quarterly 62 (1976): 374–394.

McVeigh, Simon. Concert Life in London from Mozart to Haydn. Cambridge: Cambridge


Rosen, Charles. “String Quartet,” “Symphony,” and “Haydn after the death of Mozart,”

in Classical Style, 111–166 and 329–375.

Sisman, Elaine. Haydn and the Classical Variation. Cambridge, MA: Harvard University

Press, 1993.

Somfai, László. “The London Revision of Haydn’s Instrumental Style.” PRMA 100

(1973–1974): 159–174.

Temperley, Nicolas. Haydn: ‘The Creation. Cambridge: Cambridge University Press,

1991.

64

Webster, James. “The Creation, Haydn’s Late Vocal Music, and the Musical Sublime.”

In Haydn and his World, edited by Elaine Sisman, 57–102. Princeton, NJ:

Princeton University Press.

———. “Haydn’s Sacred Vocal Music and the Aesthetics of Salvation.” In Haydn

Studies, edited by W.D. Sutcliffe, 35–69. Cambridge: Cambridge University

Press, 1998.

CHAPTER 47: Wolfgang Amadeus Mozart: The Instrumental Music

See the entries “Wolfgang Amadeus Mozart,” “Symphony, §1, 14: 18th Century: Haydn

and Mozart (ii) Mozart,” and “Concerto, §III: The Classical Period (vii) Mozart,”

in NG.

Surveys:

Heartz, Daniel. “Mozart, Apprentice,” “Mozart, Journeyman,” and “Mozart, Master

Craftsman,” in Viennese School, 485–673.

Landon, H. C. Robbins. The Mozart Compendium: A Guide to Mozart’s Life and Music.

New York: Schirmer Books, 1990.

Zaslaw, Neal, with William Cowdery. The Compleat Mozart: A Guide to the Musical

Works of Wolfgang Amadeus Mozart. New York: Norton, 1990.

Zaslaw, Neal, and Fiona Morgan Fein. The Mozart Repertory: A Guide for Musicians,

Programmers, and Researchers. Ithaca, NY: Cornell University Press, 1991.

Source Readings:

Anderson, Emily, ed. The Letters of Mozart and His Family. 3rd ed. 3 vols. London:

Macmillan, 1985.

65

Deutsch, Otto Erich, ed. Mozart: A Documentary Biography. Stanford, CA: Stanford


Marshall, Robert L., ed. Mozart Speaks: Views of Music, Musicians, and the World. New

York: Schirmer Books, 1991.


Girdlestone, Cuthbert. Mozart’s Piano Concertos. 3rd ed. London: Cassell, 1978.

Irving, John. Mozart, the Haydn Quartets. New York: Cambridge University Press, 1998.

———. Mozart’s Piano Sonatas: Context, Sources, Style. New York: Cambridge


———. Mozart’s Piano Concertos. Burlington, VT: Ashgate, 2003.

King, A. Hyatt. Mozart’s Chamber Music. Seattle: University of Washington Press, 1968.

Rosen, Charles. “Concerto” and “String Quintet,” in Classical Style, 185–287.

Sisman, Elaine. Mozart, the “Jupiter” Symphony: No. 41in C Major, K. 551. Cambridge:


Zaslaw, Neal. Mozart’s Symphonies: Context, Performance Practice, Reception. Oxford:


———. Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University

of Michigan Press, 1996.

Composers:

Mozart

Braunbehrens, Volkmar. Mozart in Vienna 1781–1791. Translated by Timothy Bell. New

York: Grove Weidenfeld, 1989.

66

Einstein, Alfred. Mozart: His Character—His Work. Translated by Arthur Mendel.


Gay, Peter. Mozart. New York: Lipper/Viking Book, 1999.

Gutman, Robert. Mozart: A Cultural Biography. New York: Harcourt Brace, 1999.

Solomon, Maynard. Mozart: A Life. New York: Harper Collins, 1995.

CHAPTER 48: Wolfgang Amadeus Mozart: Vocal Music

See the sources cited for Chapter 47 as well as the following sources dealing with

Mozart’s vocal music:


Brophy, Brigid. Mozart the Dramatist. London: Faber and Faber, 1964.

Carter, Tim. W. A. Mozart: Le nozze di Figaro. Cambridge: Cambridge University Press, 1987.

Dent, Edward J. Mozart’s Operas: A Critical Study: New York: Oxford University Press, 1947.

Heartz, Daniel. “Constructing ‘Le nozze di Figaro’.” PRMA 112 (1987): 78–98.

———. Mozart’s Operas. Berkeley: University of California Press, 1990.

Hunter, Mary. Culture of Opera Buffa in Mozart’s Vienna. Princeton, NJ: Princeton University

Press, 1999.

Hunter, Mary, and James Webster, eds. Opera Buffa in Mozart’s Vienna. Cambridge: Cambridge


Link, Dorothea. National Court Theatre in Mozart’s Vienna: Sources and Documents.


Rosen, Charles. “Comic Opera,” in Classical Style, 288–328.

67

Rushton, Julian. W. A. Mozart: Don Giovanni. Cambridge: Cambridge University Press,

1981.

Stanley, Sadie, ed. Mozart and His Operas. London: Macmillan, 2000.

Steptoe, Andrew. The Mozart-Da Ponte Operas. Oxford: Clarendon Press, 1998.

Wolff, Christoph. Mozart’s Requiem: Historical and Analytical Studies. Documents. Score.

Translated by Mary Whittall. Berkeley: University of California Press, 1991.

CHAPTER 49 The Early Music of Beethoven

Surveys:

Kinderman, William. Beethoven. Berkeley: University of California Press, 1995.

Lockwood, Lewis. Beethoven: The Music and the Life. New York: Norton, 2003.

Rosen, Charles. Sonata Forms. New York: Norton, 1980.

Solomon, Maynard. Beethoven. 2nd, rev. ed. New York: Schirmer Books, 1998.

Thayer’s Life of Beethoven. Revised and edited by Elliot Forbes. Princeton, NJ: Princeton


Source readings:

Beethoven, Ludwig van. Letters. 3 vols. Translated and edited by Emily Anderson. New

York: St. Martin’s Press, 1961.

Landon, H. C. Robbins, comp. and ed. Beethoven: A Documentary Study. Translated by

Richard Wadleigh and Eugene Hartzell. Abridged ed. New York: Macmillan,

1975.

Letters to Beethoven and Other Correspondence. 3 vols. Translated and edited by

Theodore Albrecht. Lincoln: University of Nebraska Press, 1996.

68

Specialized studies

Kinderman, William, ed. Beethoven’s Compositional Process. Lincoln: University of

Nebraska Press, 1991.

Newman, William S. The Sonata in the Classic Era. 2nd ed. New York: Norton, 1972.

Plantinga, Leon. Beethoven’s Concertos: History, Style, Performance. New York:

Norton, 1999.

Rosen, Charles. Beethoven’s Piano Sonatas: A Short Companion. New Haven, CT: Yale


Sisman, Elaine. “Pathos and the Pathétique: Rhetorical Stance in Beethoven’s C-minor

Sonata, Op. 13.” Beethoven Forum 3 (1994): 81–105.

CHAPTER 50 Beethoven’s Middle Period: 1802–1814

Surveys and source readings:

See the bibliography for Chapter 49.


Brinkmann, Reinhold. “In the Time of the Eroica.” In Beethoven and His World, 1–26.

Princeton, NJ: Princeton University Press, 2000.

Burnam, Scott G. “On the Programmatic Reception of Beethoven’s Eroica Symphony.”

Beethoven Forum 1 (1992): 1–24.

Kerman, Joseph. “Augenblicke in Fidelio.” In Ludwig van Beethoven: Fidelio. Edited by

Paul Robinson, 132–44. Cambridge: Cambridge University Press, 1996.

69

Palisca, Claude. “French Revolutionary Models for Beethoven’s Eroica.” In Music and

Context: Essays for John M. Ward, edited by Anne Dhu Shapiro, 198–209.

Cambridge, MA: Harvard University Department of Music, 1985.

Tusa, Michael C. “Beethoven’s Essay in Opera: Historical, Text-Critical, and

Interpretative Issues in Fidelio.” In The Cambridge Companion to Beethoven,

edited by Glenn Stanley, 200–217. Cambridge: Cambridge University Press,

2000.

Whittall, Arnold. “Against the Operatic Grain? Fidelio in History and Theory.”

Beethoven Forum 8 (2000): 195–206.

CHAPTER 51 After the Congress of Vienna: Beethoven’s Late Music

Surveys and source readings:

Cooper, Martin. Beethoven: The Last Decade, 1817–1827. New York: Oxford University

Press, 1985.

Also see the bibliography for Chapter 49.


Churgin, Bathia. “Beethoven and Mozart’s Requiem: A New Connection.” JM 5 (1987):

457–77.

Kinderman, William. “Beethoven’s Symbol for the Deity in the Missa solemnis and the

Ninth Symphony.” NCM 9 (1985): 102–18.

Kramer, Richard A. “Between Cavatina and Ouverture: Opus 130 and the Voices of

Narrative.” Beethoven Forum 1 (1992): 165–89.

70

Lockwood, Lewis. “On the Cavatina of Beethoven’s String Quartet in B-flat Major, Opus

130.” In Liedstudien: Wolfgang Osthoff zum 60. Geburtstag, 293–305. Tutzing:

Hans Schneider, 1989.

Sanders, Ernest H. “Beethoven’s Treatment of Form and Content in his Missa solemnis.”

In Festschrift Walter Wiora zum 90. Geburtstag, 398–416. Tutzing: Hans

Schneider, 1997.

PART VI: ROMANTICISM

CHAPTER 52 Franz Schubert

Surveys:

See the entries “Schubert” and “Song,” in NG.

Miller, Philip L. The Ring of Words: An Anthology of Songs Texts. New York: Norton

1973. A collection of translations of song texts.

Plantinga, Leon. “The Lied: Schubert and His Predecessors,” in Romantic Music, 107–26.

Steven, Denis, ed. A History of Song. Rev. ed. New York: Norton, 1960.

Source readings:

Deutsch, Otto Erich, ed. Schubert: Memoirs by His Friends. New York: Macmillan,

1958.


Frisch, Walter. “Schubert’s Nähe des Geliebten (D. 162): Transformation of the

Volkston.” In Schubert: Critical and Analytical Studies, edited by Walter Frisch,

175–99. Lincoln: University of Nebraska Press, 1986.

71

Kramer, Lawrence. Distant Cycles: Schubert and the Conceiving of Song. Chicago:

University of Chicago Press, 1994.

———. “Song.” Pages 125–70 in Music and Poetry: The Nineteenth Century and After.


Composers:

Schubert

Deutsch, Otto Erich. Schubert: Thematic Catalogue of all his Works in Chronological

Order. New York: Norton, 1951.

McKay, Elizabeth Norman. Franz Schubert: A Biography. New York: Oxford University

Press, 1996.

Newbould, Brian. Schubert: The Music and the Man. Berkeley: University of California

Press, 1997.

CHAPTER 53 Music in Paris Under Louis Philippe: Berlioz and Chopin

Surveys:

See the entries “Chopin,” “Berlioz,” and “Paris,” in NG.

Locke, Ralph. “Paris: Centre of Intellectual Ferment,” Early Romantic, 32–83.

Longyear, Rey M. “Italian and French Romanticism,” in Romanticism in Music, 130–56.

Plantinga, Leon. “Paris from 1830 to 1848,” in Romantic Music, 166–219

Rosen, Charles. “Chopin: Counterpoint and the Narrative Form,” “Chopin: Virtuosity

Transformed,” and “Chopin: From the Miniature Genre to the Sublime Style,”

Romantic Generation, 279–471.

Source readings:

72

Berlioz, Hector. “On Conducting.” In Hector Berlioz and Richard Strauss. Treatise on

Instrumentation, translated by Theodore Front, 410–20. New York: Dover, 1991.

———. The Memoirs of Hector Berlioz. Translated by David Cairns. New York: Knopf,

2002.

———. Selected Letters of Berlioz. Edited by Hugh Macdonald. Translated by Roger

Nichols. New York: Norton, 1997.

Chopin, Frédéric. Selected Correspondence. Translated and edited by Arthur Hedley.

New York: Da Capo Press, 1979.


Crosten, William. French Grand Opera: An Art and a Business (1948). Reprint, New

York: Da Capo Press, 1972.

Grout, Donald Jay. “Grand Opera,” in Short History, 315–28.

Kallberg, Jeffrey. “’Voice’ and the Nocturne.” In Pianist, Scholar, Connoisseur: Essays

in Honor of Jacob Lateiner, edited by Bruce Brubaker and Jane Gottlieb, 1–46.

Stuyvesant, NY: Pendragon, 2000.

Locke, Ralph. “The French Symphony: David, Gounod, and Bizet to Saint-Saëns,

Franck, and their Followers.” In The Nineteenth-Century Symphony, edited by D.

Kern Holoman, 163–94. New York: Schirmer Books, 1997.

Schumann, Robert. “A Symphony by Berlioz” (1835). Translated by Edward T. Cone. In

Hector Berlioz, Fantastic Symphony: An Authoritative Score, 220–48. Norton

Critical Scores. New York: Norton, 1971.

Composers:

Berlioz

73

Cairns, David. Berlioz. 2nd ed. Berkeley: University of California Press, 2000.

Holoman, D. Kern. Berlioz. Cambridge, MA: Harvard University Press, 1989.

Rushton, Julian. The Music of Berlioz. New York: Oxford University Press, 2001.

Chopin

Hedley, Arthur. Chopin. New York: Farrar, Straus and Cudahy, 1947.

Samson, Jim. Chopin. New York: Schirmer Books, 1997.

CHAPTER 54 Leipzig and the Gewandhaus: Mendelssohn and the Schumanns

Surveys:

See the entries “Schumann, Robert,” “Schumann, Clara,” “Mendelssohn,” and “Leipzig,”

in NG.

Döhring, Sieghart. “Dresden and Leipzig: Two Bourgeois Centres,” in Early Romantic,

141–59.

Longyear, Rey M. “The German Romantic Efflorescence,” in Romanticism in Music,

112–29.

Plantinga, Leon. “Schumann and his German Contemporaries,” in Romantic Music, 220–

58.

Rosen, Charles. “Schumann: Triumph and Failure of the Romantic Ideal,” in Romantic

Generation, 646–710.

Source readings:

The Complete Correspondence of Clara and Robert Schumann. Edited by Eva

Weissweiler. Translated by Hildegard Fritsch and Ronald L. Crawford. New

York: Lang, 1994.

74

The Marriage Diaries of Robert and Clara Schumann: From their Wedding Day through

the Russia Trip. Edited by Gerd Neuhaus. Translated by Peter Ostwald. Boston:

Northeastern University Press, 1993.

Mendelssohn, Felix. A Life in Letters. Edited by Rudolf Elvers. Translated by Craig

Tomlinson. New York: Fromm, 1990.


Finson, Jon W. Robert Schumann and the Study of Orchestral Composition: The Genesis

of the First Symphony, Op. 38. Oxford: Clarendon Press, 1989.

Hallmark, Rufus. “The Rückert Lieder of Robert and Clara Schumann.” NCM 14 (1990):

3–30.

Composers:

Schumann

Daverio, John. Robert Schumann: Herald of a “New Poetic Age.” New York: Oxford


Ostwald, Peter F. Schumann: The Inner Voices of a Musical Genius. Boston:


Plantinga, Leon. Schumann as Critic. New Haven: Yale University Press, 1967.

Reich, Nancy B. Clara Schumann: The Artist and the Woman. Rev. ed. Ithaca, NY:

Cornell University Press, 2001.

Mendelssohn

Todd, R. Larry. Mendelssohn: A Life in Music. New York: Oxford University Press,

2003.

75

CHAPTER 55 German Opera in the Nineteenth Century: Weber and Wagner

Surveys:

See the entries “Wagner,” “Weber,” and “Singspiel,” in NG.

Abraham, Gerald. “Wagner and the Opera,” in Hundred Years, 77–136.

Grout, Donald Jay. “The Romantic Opera in Germany” and “Wagner,” in Short History,

375–424.

Longyear, Rey M. “The Music of the Future,” in Romanticism in Music, 157–86.

Plantinga, Leon. “Wagner and the Music Drama,” in Romantic Music, 259–97.

Source readings:

Richard Wagner’s Prose Works. Translated by William Ashton Ellis. 8 vols. London:

Kegan Paul, 1892–99. Reprinted with multiple titles, Lincoln: University of

Nebraska Press, 1994–95.

Selected Letters of Richard Wagner. Edited and translated by Stewart Spencer and Barry

Millington. New York: Norton, 1988.

Wagner, Richard. My Life. Edited by Mary Whittall. Translated by Andrew Gray.



Bailey, Robert. “The Structure of the Ring and its Evolution.” NCM 1 (1977): 48–61.

Darcy, Warren. Wagner’s Das Rheingold. New York: Oxford University Press, 1993.

Kaufmann, F. W. “Richard Wagner (1813–1883).” Pages 152–77 in German Dramatists

of the 19th Century. New York: Russell & Russell, 1940. Highly recommended.

Composers:

Wagner

76

Newman, Ernst. The Life of Richard Wagner. 4 vols. Cambridge: Cambridge University

Press, 1976.

———. The Wagner Operas. 2 vols. New York: Harper & Row, 1983.

Wagner Handbook. Edited by Ulrich Müller and Peter Wapnewski. Translated by John

Deathridge. Cambridge, MA: Harvard University Press, 1992.

Westernhagen, Curt von. Wagner: A Biography. 2 vols. Cambridge: Cambridge


Weber

Warrack, John. Carl Maria von Weber. 2nd ed. Cambridge: Cambridge University Press,

1976.

CHAPTER 56: Opera in Italy: Rossini and Verdi

Surveys:

See the entries “Rossini,” “Verdi,” and “Opera,” in NG.

Budden, Julian. “Italy,” in New Oxford 9, 409–37.

Grout, Donald Jay. “Italian Opera: Verdi,” in Short History, 342–74.

Plantinga, Leon. “Italian and French Opera in the Later Nineteenth Century,” in

Romantic Music, 298–340.

Rosselli, John. “Italy: The Centrality of Opera,” in Early Romantic, 160–200.

Source readings:

Busch, Hans, ed. Verdi’s “Otello” and “Simon Boccanegra” (Revised Version) in Letters

and Documents. New York: Oxford University Press, 1988.

77

Pleasants, Henry, ed. “Excerpts from Ferdinand Hiller’s ‘Chatting with Rossini (1856)’.”

Opera Quarterly 9/4 (1993): 42–57.

Werfel, Franz, and Paul Stefan, eds. Verdi: The Man in His Letters. Translated by

Edward Downes. New York: Vienna House, 1973.


Coe, Doug. “The Original Production Book for Otello: An Introduction.” NCM 2 ( 1978):

148–58.

Gossett, Philip. “Gioachino Rossini and the Conventions of Composition.” Acta

musicologica 42 (1970): 48–58.

Hepokoski, James. Giuseppe Verdi, “Otello.” Cambridge: Cambridge University Press,

1987.

Kerman, Joseph. “Otello: Traditional Opera and the Image of Shakespeare,” 129–170. In

Opera as Drama. New York: Vintage Books, 1956.

———. “Verdi’s Use of Recurring Themes.” In Studies in Music History: Essays for

Oliver Strunk, edited by Harold S. Powers, 495–510. Princeton, NJ: Princeton


Lawton, David. “On the ‘Bacio’ Theme in Otello.” NCM 1 (1978): 211–20.

Martin, George. “Verdi and the Risorgimento.” In The Verdi Companion, edited by

William Weaver and Martin Chusid, 13–41. New York: Norton, 1979.

Composers:

Verdi

Budden, Julian. The Operas of Verdi. Rev. ed. 3 vols. New York: Oxford University

Press, 1992.

78

Phillips-Matz, Mary Jane. Verdi: A Biography. New York: Oxford University Press,

1993.

Rossini

Weinstock, Herbert. Rossini: A Biography. New York: Knopf, 1968.

CHAPTER 57 Nationalism and Virtuosity: Franz Liszt

Surveys:

See the entries “Liszt” and “Hungary,” in NG.

Longyear, Rey M. “Nineteenth-Century Nationalism in Music,” in Romanticism in

Music, 214–46.

Plantinga, Leon. “Nationalist Music,” in Romantic Music, 341–404.

Rosen, Charles. “Liszt: On Creation as Performance,” in Romantic Generation, 472–541.

Whittall, Arnold. “Liszt and Wagner: The High Romantic Drama,” in Concise History,

81–109.

Source readings:

Correspondence of Wagner and Liszt. Translated by Francis Hueffer. 2nd ed. 2 vols. New

York: Vienna House, 1973.

Liszt, Franz. Selected Letters. Edited and translated by Adrian Williams. New York:



Liszt, Franz. The Gipsy in Music [1859]. 2 vols. Translated by Edwin Evans. London:

William Reeves, n.d.

Composers:

79

Liszt

Searle, Humphrey. The Music of Liszt. 2nd ed. New York: Dover, 1966.

Walker, Alan. Franz Liszt. 3 vols. Rev. ed. Ithaca, NY: Cornell University Press, 1987–

96.

CHAPTER 58 Vienna in the Late Nineteenth Century: Brahms and Bruckner

Surveys:

See entries “Brahms, “Bruckner,” and “Vienna,” in NG.

Abraham, Gerald. “Brahms and the Great Instrumental Tradition,” in Hundred Years,

159–72.

Plantinga, Leon. “Crosscurrents in the Late Century,” in Romantic Music, 405–62.

Wiesman, Sigrid. “Vienna: Bastion of Conservatism,” in Early Romantic, 84–108.

Source readings:

Henschel, George. Personal Recollections of Johannes Brahms: Some of his Letters to

and Pages from a Journal Kept by George Henschel. New York: AMS Press,

1978.

Johannes Brahms: Life and Letters. Edited by Styra Avins. Translated by Josef Eisinger

and Styra Avins. New York: Oxford University Press, 1997.

Letters of Clara Schumann and Johannes Brahms, 1853–1896. Edited by Berthold

Litzmann. 2 vols. New York: Vienna House, 1973.


The Cambridge Companion to Bruckner. Edited by John Williamson. Cambridge:


80

Frisch, Walter. Brahms: The Four Symphonies. New York: Schirmer Books, 1996.

Sams, Eric. The Songs of Johannes Brahms. New Haven, CT: Yale University Press,

2000.

Composers:

Brahms

Geiringer, Karl. Brahms: His Life and Work. 3d ed. New York: Da Capo Press, 1982.

Musgrave, Michael. The Music of Brahms. New York: Oxford University Press, 1994.

Bruckner

Watson, Derek. Bruckner. Master Musicians Series. 2nd ed. New York: Oxford


CHAPTER 59 Music and Ballet in Nineteenth Century Russia: Mussorgsky and

Tchaikovsky

Surveys:

See entries “Mussorgsky,” “Tchaikovsky,” and “St. Petersburg,” in NG.

Abraham, Gerald. “Russia and Eastern Europe,” New Oxford 9, 213–27, 438–78.

Seaman, Gerald R. “Moscow and St. Petersburg,” in Early Romantic, 236–58.

Source readings:

The Musorgsky Reader: A Life of Modeste Petrovich Musorgsky in Letters and

Documents. Edited and translated by Jay Leyda and Sergei Bertensson. New

York: Norton, 1947.

81

To My Best Friend: Correspondence Between Tchaikovsky and Nadezhda von Meck,

1876–1878. Edited by Edward Garden and Nigel Gotteri. Translated by Galina

von Meck. New York: Oxford University Press, 1993.


Taruskin, Richard. Musorgsky: Eight Essays and an Epilogue. Princeton, NJ: Princeton


Wiley, Roland John. Tchaikovsky’s Ballets: “Swan Lake,” “Sleeping Beauty,”

“Nutcracker.” Oxford: Clarendon Press, 1985.

Composers:

Musorgsky

Brown, David. Musorgsky: His Life and Works. New York: Oxford University Press,

2002.

Tchaikovsky

Brown, David. Tchaikovsky. 4 vols. New York: Norton, 1978.

Poznansky, Alexander. Tchaikovsky: The Quest for the Inner Man. New York: Schirmer

Books, 1991.

Warrack, John. Tchaikovsky. New York: C. Scribner’s Sons, 1973.

CHAPTER 60 Vienna at the Turn of the Twentieth Century: Gustav and Alma

Mahler

Surveys:

82

See entries “Mahler, Gustav,” in NG; and “Mahler, Alma,” in Sadie, Julie Anne, and

Rhian Samuel, eds. The Norton/Grove Dictionary of Women Composers. New

York: Norton, 1995.

Banks, Paul. “Vienna: Absolutism and Nostalgia,” in Late Romantic, 74–98.

Whittall, Arnold. “Symphony and Song: Vienna in the Later Nineteenth Century,” in

Concise History, 163–73.

Source readings:

Mahler-Werfel, Alma. Diaries, 1898–1902. Edited and translated by Antony Beaumont.

Ithaca, NY: Cornell University Press, 1999.

———. Gustav Mahler: Memories and Letters. Rev. ed. New York: Viking Press, 1969.

Selected Letters of Gustav Mahler. Edited by Knud Martner. Translated by Eithne

Wilkins, Ernst Kaiser, and Bill Hopkins. New York: Farar, Straus, Giroux, 1979.


Banks, Paul. “Aspects of Mahler’s Fifth Symphony: Performance Practice and

Interpretation.” Musical Times 130 (no. 1755, 1989): 258–65.

Forte, Allen. “Middleground Motives in the Adagietto of Mahler’s Fifth Symphony.”

NCM 8 (1984): 153–63.

Mitchell, Donald. “Eternity or Nothingness? Mahler’s Fifth Symphony.” In The Mahler

Companion, edited by Donald Mitchell and Andrew Nicholson, 236–325. New

York: Oxford University Press, 1999.

Murphy, Edward W. “Unusual Forms in Mahler’s Fifth Symphony.” Music Review 47

(1986–87): 101–109.

Composers:

83

Mahler (Alma and Gustav)

Franklin, Peter. The Life of Mahler. Cambridge: Cambridge University Press, 1997.

La Grange, Henry-Louis de. Mahler [vol. 1]. Garden City, NY: Doubleday, 1973. Vols.

2–3, New York: Oxford University Press, 1995–99.

Monson, Karen. Alma Mahler: Music to Genius. Boston: Houghton Mifflin, 1983.

Walter, Bruno. Gustav Mahler. Translated by Lotte Walter Lindt. New York: Knopf,

1958.

CHAPTER 61 England at the End of the Romantic Period: Elgar and Vaughan

Williams

Surveys:

See entries “Elgar,” Vaughan Williams,” and “Festival,” in NG.

Burrows, David. “Victorian England: An Age of Expansion,” in Late Romantic, 266–94.

Source readings:

Elgar, Edward. Letters of a Lifetime. Edited by Jerrold Northrop Moore. New York:



Adams, Byron, and Robin Wells, eds. Vaughan William Essays. Burlington, VT:

Ashgate, 2003.

Rushton, Julian. Elgar: Enigma Variations. Cambridge Music Handbooks. Cambridge:


Composers:

Elgar

84

Kennedy, Michael. The Life of Elgar. Cambridge: Cambridge University Press, 2004.

Moore, Jerrold Northrop. Edward Elgar: A Creative Life. New York: Oxford University

Press, 1984.

Vaughan Williams

Kennedy, Michael. The Works of Ralph Vaughan Williams. 2nd ed. Oxford: Clarendon

Press, 1992.

CHAPTER 62 Opera in Milan after Verdi: Puccini, Toscanini, and Verismo

Surveys:

See entries “Puccini,” “Toscanini,” and “Verismo,” in NG.

Rosselli, John. “Italy: The Decline of a Tradition,” in Late Romantic, 126–50.

Source readings:

Letters of Giacomo Puccini: Mainly Connected with the Composition and Production of

His Operas. Edited by Giuseppe Adami. Translated by Ena Makin. New York:

Vienna House, 1973.

The Letters of Arturo Toscanini. Edited and translated by Harvey Sachs. New York:

Alfred A. Knopf, 2002.


Carner, Mosco. Madam Butterfly: A Guide to the Opera. London: Barrie & Jenkins,

1979.

Composers:

Puccini

Budden, Julian. Puccini: His Life and Works. Oxford: Oxford University Press, 2002.

85

Phillips-Matz, Mary Jane. Puccini: A Biography. Boston: Northeastern University Press,

2002.

CHAPTER 63 Paris of the Belle Époque: Debussy, Fauré, and Lili Boulanger

Surveys:

See entries “Debussy,” “Fauré,” “Boulanger, Lili,” and “Impressionism,” in NG.

Abraham, Gerald. “The Reaction against Romanticism: Impressionism,” in Hundred

Years, 227–46.

Pasler, Jann. “Paris: Conflicting Notions of Progress,” in Late Romantic, 389–416.

Whittall, Arnold. “Into the Twentieth Century,” in Concise History, 174–84.

Source readings:

Debussy Letters. Edited by François Lesure, Roger Nichols. Translated by Roger

Nichols. Cambridge, MA: Harvard University Press, 1987.

Debussy on Music: The Critical Writings of the Great French Composer. Edited by

François Lesure. Translated by Richard Langham Smith. Ithaca, NY: Cornell


Fauré, Gabriel. Gabriel Fauré: A Life in Letters. Translated and edited by J. Barrie Jones.

London: Batsford, 1989.


Braus, Ira L. “Clouds or Fog? Demystifying Meter, Harmony, and Structure in Debussy’s

Nuages.” Journal of Musicological Research 19 (2000): 329–72.

Meister, Barbara. Nineteenth-Century French Song: Fauré, Chausson, Duparc, and

Debussy. Bloomington: Indiana University Press, 1980.

86

Composers:

Boulanger

Rosenstiel, Léonie. The Life and Works of Lili Boulanger. Rutherford, NJ: Fairleigh

Dickinson University Press, 1978

Debussy

Lockspeiser, Edward. Debussy: His Life and Mind. 2 vols. London: Cassell, 1962–65.

Nichols, Roger. The Life of Debussy. Cambridge: Cambridge University Press, 1998.

Parks, Richard. The Music of Claude Debussy. New Haven, CT: Yale University Press,

1989.

Faure

Orledge, Robert. Gabriel Fauré. London: Eulenburg Books, 1979.

Part VII: THE EARLY 20TH CENTURY

CHAPTER 64 Richard Strauss in Berlin

Surveys:

See entries “Strauss, Richard” and “Berlin,” in NG.

Morgan, Robert P. “Some Transitional Figures,” in Musical Style, 18–61.

Source readings:

Strauss, Richard. Recollections and Reflections. Edited by Willi Schuh. Translated by L.

J. Lawrence. Westport, CT: Greenwood Press, 1974.


Kristiansen, Morten. “Richard Strauss, Die Moderne, and the Concept of Stilkunst.”

Musical Quarterly 86 (2002): 689–749.

87

Puffett, Derrick, ed. Richard Strauss “Salome.” Cambridge Opera Handbooks.


Composers:

Strauss

Del Mar, Norman. Richard Strauss: A Critical Commentary on his Life and Works. 3

vols. London: Barrie & Jenkins, 1962–72.

CHAPTER 65 Music in Russia During the Silver Age: Igor Stravinsky

Surveys:

See entries “Stravinsky” and “Russia,” in NG.

Simms, Bryan R. “Avant-Garde Composition in France and Russia,” in Style and

Structure, 163–202.

Source readings:

Fokine, Michel. Memoirs of a Ballet Master. Translated by Vitale Fokine. Edited by

Anatole Chujoy. Boston: Little, Brown, 1961.

Stravinsky: Selected Correspondence. Ed. Robert Craft. 3 vols. New York: Knopf, 1982–

85.


Garafola, Lynn. Diaghilev’s Ballets Russes. New York: Da Capo Press, 1998.

Taruskin, Richard. Stravinsky and the Russian Traditions. 2 vols. Berkeley: University of


Toorn, Pieter C. Van Den. The Music of Igor Stravinsky. New Haven, CT: Yale


88

Composers:

Stravinsky

Hill, Peter. Stravinsky: “The Rite of Spring.” Cambridge: Cambridge University Press,

2000.

Walsh, Stephen. Stravinsky: A Creative Spring. Russia and France, 1882–1934.


CHAPTER 66 Atonality: Schoenberg and Scriabin

Surveys:

See entries “Schoenberg,” “Scriabin,” and “Atonality,” in NG.

Auner, Joseph. “Proclaiming a Mainstream: Schoenberg, Berg, and Webern,” in

Cambridge, 228–59.

Berg, Alban. “What is Atonality?,” in Composers, 61–68.

Jarman, Douglas. “Vienna after the Empire,” in Modern Times, 60–82.

Morgan, Robert P. “The Atonal Revolution,” in Musical Style, 62–88.

Salzman, Eric. “The Revolution: Vienna,” in Twentieth-Century Music, 33–44.

Source readings:

Schoenberg, Arnold. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by

Leonard Stein. Translated by Leo Black. Berkeley: University of California Press,

1984.


89

Auner, Joseph. “The Second Viennese School as a Historical Concept.” In Schoenberg,

Berg, and Webern: A Companion to the Second Viennese School, edited by Bryan

R. Simms, 1–26. Westport, CT: Greenwood Press, 1999

Baker, James. The Music of Alexander Scriabin. New Haven, CT: Yale University Press,

1986.

Forte, Allen. The Structure of Atonal Music. New Haven, CT: Yale University Press,

1976.

Frisch, Walter. The Early Works of Arnold Schoenberg, 1893–1908. Berkeley: University

of California Press, 1993.

Simms, Bryan. The Atonal Music of Arnold Schoenberg, 1908–1923. New York: Oxford


Straus, Joseph N. Introduction to Post-Tonal Theory. Englewood Cliffs, NJ: Prentice

Hall, 1990.

Composers:

Schoenberg

Stuckenschmidt, H. H. Schoenberg: His Life, World and Work. Translated by Humphrey

Searle. New York: Schirmer Books, 1977.

Scriabin

Bowers, Faubion. Scriabin: A Biography. 2nd ed. Mineola, NY: Dover, 1996.

CHAPTER 67 French Music at the Time of World War I

Surveys:

See entries “Ravel” and “Satie,” in NG.

90

DeVoto, Mark. “Paris, 1918–45,” in Modern Times, 33–59.

Source readings:

Orenstein, Arbie, ed. The Ravel Reader: Correspondence, Articles, Interviews. New

York: Columbia University Press, 1990.

Satie, Erik. A Mammal’s Notebook: Collected Writings of Erik Satie. Edited by Ornella

Volta. Translated by Antony Melville. London: Atlas Press, 1996.


Abbate, Carolyn. “Outside Ravel’s Tomb.” JAMS 52 (1999): 465–530.

Hyde, Martha. “Neoclassic and Anachronistic Impulses in Twentieth-Century Music.”

Music Theory Spectrum 18 (1996): 200–35.

Orledge, Robert. “Satie’s Sarabandes and Their Importance to His Composing Career.”

Music and Letters 77 (1996): 555–65.

Composers:

Orenstein, Arbie. Ravel: Man and Musician. New York: Columbia University Press,

1975.

Perloff, Nancy. Art and the Everyday: Popular Entertainment and the Circle of Erik

Satie. Oxford: Clarendon Press, 1991.

Whiting, Steven M. Satie the Bohemian: From Cabaret to Concert Hall. New York:


CHAPTER 68 New Music in Paris after World War I: Stravinsky and The Six

Surveys:

See entries “Stravinsky” and “Neo-classicism,” in NG.

91

Danuser, Hermann. “Rewriting the Past: Classicisms of the Inter-War Period,” in


Salzman, Eric. “Stravinsky and Neo-Classicism” and “Neo-Classicism and Neo-Tonality

in France,” in Twentieth-Century Music, 45–61.

Simms, Bryan R. “Neoclassicism in France, Germany, and England,” Style and Structure,

234–65.

Watkins, Glenn. “Stravinsky and the Cubists,” in Pyramids, 229–76.

Whittall, Arnold. “Igor Stravinsky: 1913–1951,” in Composition, 116–33.

Source readings:

Hindemith, Paul. “Musical Inspiration,” in Composers, 128–42.

Koechlin, Charles. “Back to Bach,” in Composers, 72–82.

Milhaud, Darius. My Happy Life: An Autobiography. Translated by Donald Evans,

George Hall, and Christopher Palmer. London: Marion Boyars, 1995.

Stravinsky, Igor, and Roland Manuel. “The Composition of Music” from Poetics of

Music (1939), in Composers, 117–27.


Messing, Scott. Neoclassicism in Music: From the Genesis of the Concept Through the

Schoenberg/Stravinsky Polemic. Rochester, NY: University of Rochester Press, 1996.

Straus, Joseph N. Remaking the Past: Musical Modernism and the Influence of the Tonal

Tradition. Cambridge MA: Harvard University Press, 1990.

Taruskin, Richard. “Back to Whom? Neoclassicism as Ideology.” NCM 16 (1993): 286–

302.

Composers:

92

Walsh, Stephen. Stravinsky: A Creative Spring. Russia and France, 1882–1934.


CHAPTER 69 Vienna in the Aftermath of War: Twelve-Tone Methods

Surveys:

See entries “Schoenberg,” “Webern,” and “Twelve-note composition,” in NG.

Morgan, Robert P. “The Twelve-Tone System,” in Musical Style, 187–219.

Salzman, Eric. “The Viennese School,” in Twentieth-Century Music, 111–22.

Simms, Bryan R. “Serialism,” in Style and Structure, 61–80.

Whittall, Arnold. “Arnold Schoenberg,” in Composition, 160–83.

Source readings:

Schoenberg, Arnold. “Composition With Twelve-Tones.” In Schoenberg, Style and Idea:

Selected Writings of Arnold Schoenberg, 214–44. Edited by Leonard Stein.

Translated by Leo Black. Berkeley: University of California Press, 1984.


Haimo, Ethan. Schoenberg’s Serial Odyssey: The Evolution of his Twelve-Tone Method,

1914–1928. Oxford: Clarendon Press, 1990.

Perle, George. Serial Composition and Atonality: An Introduction to the Music of

Schoenberg, Berg, and Webern. 3d ed. Berkeley: University of California Press,

1972.

Composers:

Webern

93

Moldenhauer, Hans, and Rosaleen Moldenhauer. Anton von Webern: A Chronicle of his

Life and Work. New York: Knopf, 1979.

Also see the bibliography for Chapter 66.

CHAPTER 70 Musical Theater in German in the 1920s: Berg and Weill

Surveys:

See entries “Berg” and “Weill,” in NG.

Crawford, John, and Dorothy L. Crawford. Expressionism in Twentieth-Century Music.

Bloomington: Indiana University Press, 1993.

Whittall, Arnold. “Alban Berg,” in Composition, 184–200.

Source readings:

The Berg-Schoenberg Correspondence: Selected Letters. Edited by Juliane Brand,

Christopher Hailey, and Donald Harris. New York: Norton, 1987.

Berg, Alban. “Berg’s Lecture on Wozzeck (1929).” In Alban Berg, Hans F. Redlich, 261–

86. London: John Calder, 1957.

Weill, Kurt. Speak Low (When You Speak of Love): The Letters of Kurt Weill and Lotte

Lenya. Edited and translated by Lys Symonette and Kim Kowalke. Berkeley:

University of California Press, 1996.


Jarman, Douglas. Alban Berg “Wozzeck.” Cambridge Opera Handbooks. Cambridge:


———. The Music of Alban Berg. Berkeley: University of California Press, 1979.

94

Perle, George. The Operas of Alban Berg. 2 vols. Berkeley: University of California

Press, 1980–85.

Schmalfeldt, Janet. Berg’s “Wozzeck”: Harmonic Language and Dramatic Design. New


Composers:

Weill

Kowalke, Kim H. Kurt Weill in Europe, 1900–1935: A Study of his Music and Writings.

Ann Arbor, MI: UMI Research Press, 1979.

Schebera, Jürgen. Kurt Weill: An Illustrated Life. Translated by Caroline Murphy. New


CHAPTER 71 Béla Bartók and Hungarian Folk Music

Surveys:

See entries “Bartók” and “Hungary,” in NG.

Beckerman, Michael, and Jim Samson. “Eastern Europe, 1918–45,” in Modern Times,

128–40.

Whittall, Arnold. “Béla Bartók,” in Composition, 96–115.

Source readings:

Bartók, Béla. Essays. Edited by Benjamin Suchoff. Lincoln: University of Nebraska

Press, 1976.

———. Letters. Edited by János Demény. Translated by Péter Balabán and István

Farkas. New York: St. Martin’s Press, 1971.


95

Antokoletz, Elliott. The Music of Béla Bartók: A Study of Tonality and Progression in

Twentieth-Century Music. Berkeley: University of California Press, 1984.

Cooper, David. Bartok, Concerto for Orchestra. Cambridge: Cambridge University

Press, 1996.

Composers:

Stevens, Halsey. The Life and Music of Béla Bartók. Rev. ed. Edited by Malcolm Gillies.


CHAPTER 72 Early Jazz

Surveys:

See entries “Jazz,” “Ragtime,” “Blues,” “Armstrong, Louis,” “Johnson, James P.,”

“Joplin, Scott,” “Oliver, King,” and “Smith, Bessie,” in NG.

Collier, James Lincoln. “Classic Jazz to 1945,” in Cambridge, 123–51.

Source readings:

Armstrong, Louis. Louis Armstrong in his Own Words: Selected Writings. Edited by

Thomas Brothers. New York: Oxford University Press, 1999.

“Jazz from the Composer’s Point of View” [writings by Darius Milhaud, Virgil

Thomson, Aaron Copland, Jelly Roll Morton, Gunther Schuller, and Duke

Ellington], in Composers, 235–73.

Southern, Eileen, ed. Readings in Black American Music. New York: Norton, 1972.


Berlin, Edward A. Ragtime: A Musical and Cultural History. Berkeley: University of


96

Blesh, Rudi. Shining Trumpets: A History of Jazz. 2nd ed., rev. New York: Knopf, 1958.

Gioia, Ted. The History of Jazz. New York: Oxford University Press, 1997.

Schuller, Gunther. The History of Jazz. 2 vols. New York: Oxford University Press,

1968–89.

Composers:

Armstrong

Collier, James Lincoln. Louis Armstrong: An American Genius. New York: Oxford


Joplin

Berlin, Edward A. King of Ragtime: Scott Joplin and his Era. New York: Oxford


Smith

Albertson, Chris. Bessie. Rev. ed. New Haven, CT: Yale University Press, 2003.

CHAPTER 73 Paul Hindemith and Music in Nazi Germany

Surveys:

See entry “Hindemith,” in NG.

Source readings:

Hindemith, Paul. A Composer’s World: Horizons and Limitations. Garden City, NY:

Doubleday, 1961.


Bruhn, Siglind. The Temptation of Paul Hindemith: “Mathis der Maler” as a Spiritual

Testimony. Stuyvesant, NY: Pendragon Press, 1998.

97

Kater, Michael H. The Twisted Muse: Musicians and Their Music in the Third Reich.

New York: Oxford University Press, 1997.

Levi, Erik. Music in the Third Reich. New York: St. Martin’s Press, 1994.

Neumeyer, David. The Music of Paul Hindemith. New Haven, CT: Yale University Press,

1986.

Composers:

Hindemith

Skelton, Geoffrey. Paul Hindemith: The Man Behind the Music. New York: Crescendo,

1975.

CHAPTER 74 Music in Soviet Russia: Prokofiev and Shostakovich

Surveys:

See entries “Prokofiev,” “Shostakovich,” and “Russia,” in NG.

Abraham, Gerald. “Music in the Soviet Union,” in New Oxford 10, 639–700.

Fay, Laurel. “The USSR, 1918–45,” in Modern Times, 141–61.

Source readings:

“Chaos Instead of Music” [critique of Shostakovich’s Lady Macbeth], in Source


Selected documents on Soviet music, in Music Since 1900, 1052–1071.

Selected Letters of Sergei Prokofiev. Edited and translated by Harlow Robinson. Boston:


Shostakovich, Dmitri. About Himself and his Times. Moscow: Progress Publishers, 1981.

98

———. Testimony: The Memoirs of Dmitri Shostakovich. Edited by Solomon Volkov.

Translated by Antonina W. Bouis. New York: Harper & Row, 1979.


Maes, Francis. A History of Russian Music: From “Kamarinskaya” to “Babi Yar.”

Translated by Arnold J. Pomerans and Erica Pomerans. Berkeley: University of


Schwarz, Boris. Music and Musical Life in Soviet Russia. Rev. ed. Bloomington: Indiana


Composers:

Prokofiev

Robinson, Harlow. Sergei Prokofiev: A Biography. Boston: Northeastern University

Press, 1987.

Shostakovich

Fay, Laurel E. Shostakovich: A Life. New York: Oxford University Press, 2000.

CHAPTER 75 Self-Reliance in American Music: Ives, Seeger, Nancarrow

Surveys:

See entries “Ives,” “Crawford, Ruth,” and “Nancarrow,” in NG.

Goldman, Richard Franko. “Music in the United States,” in New Oxford 10, 569–634.

Morgan, Robert P. “The United States,” in Musical Style, 283–314.

Oja, Carol J. “The USA, 1918–45,” in Modern Times, 206–30.

Simms, Bryan R. “Experimental Music in America,” in Style and Structure, 296–318.

Source readings:

99

Ives, Charles. Memos. New York: Norton, 1972.

Perlis, Vivian. Charles Ives Remembered: An Oral History. Urbana: University of Illinois

Press, 2002.

Rossiter, Frank. Charles Ives and his America. New York: Liveright, 1975.

“The Search for an American Musical Language” [essays by Ives, Copland, and Elliott

Carter], in Composers, 207–34.


Seeger, Charles. Studies in Musicology II: 1929–1979. Edited by Ann M. Pescatello.

Berkeley: University of California Press, 1994. Contains Seeger’s “Manual on

Dissonant Counterpoint.”

Straus, Joseph N. The Music of Ruth Crawford Seeger. Cambridge: Cambridge


Composers:

Ives

Burkholder, J. Peter. Charles Ives and his World. Princeton, NJ: Princeton University

Press, 1996.

Feder, Stuart. The Life of Charles Ives. Cambridge: Cambridge University Press, 1999.

Nancarrow

Gann, Kyle. The Music of Conlon Nancarrow. Cambridge: Cambridge University Press,

1995.

CHAPTER 76 American Composers Return from Europe: Copland and Barber

Surveys:

100

See entries “Copland” and “Barber,” in NG.

Simms, Bryan R. “Neoclassicism and Populism in American Music,” in Style and

Structure, 266–95.

Source readings:

Copland, Aaron. Music and Imagination. Cambridge, MA: Harvard University Press,

1952.

Copland, Aaron, and Vivian Perlis. Copland: 1900 Through 1942. New York: St.

Martin’s Press, 1984.


Metzer, David. “‘Spurned Love’: Eroticism and Abstraction in the Early Works of Aaron

Copland.” JM 15 (1997): 417–43.

Composers:

Barber

Heyman, Barbara B. Samuel Barber: The Composer and his Music. New York: Oxford


Copland

Pollack, Howard. Aaron Copland: The Life and the Work of an Uncommon Man. New

York: Henry Holt, 1999.

CHAPTER 77 Tin Pan Alley and the Broadway Musical

Surveys:

See entries “Rodgers, Richard,” “Bernstein, Leonard,” “Musical,” “Popular music” and

“Tin pan alley,” in NG.

101

Salzman, Eric. “Popular and World Music,” in Twentieth-Century Music, 231–45.

Source readings:

Bernstein, Leonard. The Unanswered Question: Six Talks at Harvard. Cambridge, MA:



The Cambridge Companion to the Musical. Edited by William A. Everett and Paul R.

Laird. Cambridge: Cambridge University Press, 2002

Forte, Allen. The American Popular Ballad of the Golden Era, 1924–1950. Princeton,

NJ: Princeton University Press, 1995.

Gilbert, Steven E. The Music of Gershwin. New Haven, CT: Yale University Press, 1995.

Hamm, Charles. Yesterdays: Popular Song in America. New York: Norton, 1979.

Swain, Joseph P. The Broadway Musical: A Critical and Musical Survey. New York:


Wilder, Alec. American Popular Song: The Great Innovators, 1900–1950. Edited by

James T. Maher. New York: Oxford University Press, 1990.

Composers:

Bernstein

Peyser, Joan. Bernstein: A Biography. Rev. ed. New York: Billboard Books, 1998.

Gershwin

Jablonski, Edward. Gershwin. New York: Doubleday, 1987

Part VIII: CONTEMPORARY MUSIC

CHAPTER 78 Reflections on War: Britten, Penderecki and Others

102

Surveys:

See the entries “Britten” and “Penderecki,” in NG.

Whittall, Arnold. “The Subject of Britten,” in Exploring, 89–107.

Source readings:

Britten, Benjamin. “On Winning the First Aspen Award,” in Composers, 175–81.


Evans, Peter. The Music of Benjamin Britten. Rev. ed. London: Dent, 1989.

Whittall. Arnold. The Music of Britten and Tippett: Studies in Themes and Techniques.

2nd ed. Cambridge: Cambridge University Press, 1990.

Composers:

Kennedy, Michael. Britten. Rev. ed. New York: Oxford University Press, 2001.

Schwinger, Wolfram. Krzysztof Penderecki: His Life and Work. Translated by William

Mann. New York: Schott, 1989.

CHAPTER 79 Twelve-Tone Music and Serialism After World War II

Surveys:

See the entries “Babbitt,” “Stravinsky,” “Boulez,” “Serialism” and “Twelve-note

composition,” in NG.

Griffiths, Paul. “Europe 2: Total Organization, 1949–1954,” in Modern Music, 29–49.

Morgan, Robert P. “Integral Serialism,” in Musical Style, 333–58.

Salzman, Eric. “Ultra-Rationality and Serialism,” in Twentieth-Century Music, 149–56.

Simms, Bryan R. “The Revival of the Avant-Garde,” in Style and Structure, 319–42.

103

Smith Brindle, Reginald. “Integral Serialism,” “Numbers,” and “Free Twelve-Note

Music,” in New Music, 21–59.

Source readings:

Babbitt, Milton. The Collected Essays of Milton Babbitt. Edited by Stephen Peles.

Princeton, NJ: Princeton University Press, 2003.

Boulez, Pierre. Notes of an Apprenticeship. Translated by Herbert Weinstock. New York:

Knopf, 1968.

The Boulez-Cage Correspondence. Edited by Jean-Jacques Nattiez. Translated by Robert

Samuels. Cambridge: Cambridge University Press, 1993.


Bernard, Jonathan W. “The Legacy of the Second Viennese School.” In Schoenberg,

Berg, and Webern: A Companion to the Second Viennese School, edited by Bryan

R. Simms, 315–84. Westport, CT: Greenwood Press, 1999.

Composers:

Babbitt

Mead, Andrew. An Introduction to the Music of Milton Babbitt. Princeton, NJ: Princeton


Boulez

Jameux, Dominique. Pierre Boulez. Translated by Susan Bradshaw. Cambridge, MA:


CHAPTER 80 Alternatives to Serialism: Chance, Electronics, Textures

Surveys:

104

See the entries “Cage,” “Varèse,” “Messiaen,” “Aleatory,” and “Electronic music,” in

NG.

Cope, David. “Indeterminacy” and “ Electroacoustic Music,” in New Directions, 77–102,

131–58.

Griffiths, Paul. “America 3: After Silence, 1952–1961,” in Modern Music, 94–103.

Morgan, Robert P. “Indeterminacy,” and ”Developments in Technology: Electronic

Music,” in Musical Style, 359–78, 461–80.

Salzman, Eric. “Technological Culture and Electronic Music” and “Anti-Rationality and

Aleatory,” in Twentieth-Century Music, 149–56, 163–69.

Schwartz, Elliott, and Daniel Godfrey. “The Electronic Revolution I: Tape Composition

and Early Synthesizers” and “The Electronic Revolution II: Computers and

Digital Systems,” in Since 1945, 107–35, 342–69.

Simms, Bryan R. “Indeterminacy” and “Electronic Music,” in Style and Structure, 343–

82.

Smith Brindle, Reginald. “Intederminacy, Chance, and Aleatory Music,” “Cage and

Other Americans,” “Concrete Music,” and “Electronic Music,” in New Music, 60–

80, 99–132.

Source readings:

Cage, John. Silence. Middletown, CT: Wesleyan University Press, 1961.


Bernard, Jonathan W. The Music of Edgard Varèse. New Haven: Yale University Press,

1987.

105

Lochhead, Judith. “Performance Practice in the Indeterminate Works of John Cage.”

Performance Practice Review 7 (1994): 233–41.

Pritchett, James. The Music of John Cage. Cambridge: Cambridge University Press,

1993.

Composers:

Messiaen

Griffiths, Paul. Olivier Messiaen and the Music of Time. Ithaca, NY: Cornell University

Press, 1985.

Johnson, Robert Sherlaw. Messiaen. Berkeley: University of California Press, 1989.

Varèse

MacDonald, Malcolm. Varèse: Astronomer in Sound. London: Kahn & Averill, 2003.

Varèse, Louise. Varèse: A Looking-Glass Diary. New York: Norton, 1972.

CHAPTER 81 Harlem in the 1930s, 40s, and 50s: Big Bands, Bebop, Cool Jazz

Surveys:

See the entries “Ellington,” “Parker, Charlie,” “Gillespie, Dizzy,” “Miles Davis,”

“Bebop,” “Cool jazz,” and “Swing,” in NG.

Cooke, Mervyn. “After Swing: Modern Jazz and its Impact,” in Cambridge, 395–417.


Owens, Thomas. Bebop: The Music and its Players. New York: Oxford University Press,

1995.

106

CHAPTER 82 Music in the 1960s and 1970s: Live Processes, Minimalism, Metric

Modulations

Surveys:

See the entries “Berio,” “Crumb,” “Carter, Elliott,” “Reich, Steve,” and “Minimalism,” in

NG.

Cope, David. “Minimalism,” in New Directions, 183–96.

Griffiths, Paul. “Minimalism and Melody,” in Modern Music, 209–24.

Morgan, Robert P. “A Return to Simplicity: Minimalism and the New Tonality,” in

Musical Style, 423–40.

Schwartz, Elliott, and Daniel Godfrey. “Process and Minimalism,” in Since 1945, 315–

41.

Simms, Bryan R. “Recent Music in Europe and America,” in Style and Structure, 403–

24.

Whittall, Arnold. “The Minimalist Experiment,” in Composition, 325–45.

Source readings:

Berio, Luciano. “Meditation on a Twelve-Tone Horse,” Composers, 182–88.

Carter, Elliott. The Writings of Elliott Carter: An American Composer Looks at Modern

Music. Edited by Else Stone and Kurt Stone. Bloomington: Indiana University

Press, 1977.

———. Collected Essays and Lectures, 1937–1995. Edited by Jonathan W. Bernard.

Rochester, NY: University of Rochester Press, 1997.


Osmond-Smith, David. Berio. New York: Oxford University Press, 1991.

107

Composers:

Carter

Schiff, David. The Music of Elliott Carter. London: Eulenburg Books, 1983.

CHAPTER 83 Returning to the Known: Music of the Recent Past

Surveys:

See the entries “Ligeti,” “Adams, John,” “Tower, Joan,” “Pärt,” in NG.

Fink, Robert. “(Post-)Minimalisms 1970–2000: The Search for a New Mainstream,”


Whittall, Arnold. “Modernism in Retreat,” in Exploring, 186–207.

Source readings:

Harbinson, John. “Two Tanglewood Talks: ‘Uses of Popular Music’ and ‘Accessibility’,”

in Composers, 198–206.

Rochberg, George. “Reflections on the Renewal of Music,” in Composers, 190–97.

Composers:

Ligeti

Toop, Richard. György Ligeti. London: Phaidon, 1999.

Pärt

Hillier, Paul. Arvo Pärt. Oxford Studies of Composers. New York: Oxford University

Press, 1997.

108