Art music, orchestral and formal music Books
Taylor & Francis Messiaens Final Works
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Taylor & Francis Music on the Frontline Nicolas Nabokovs Struggle Against Communism and Middlebrow Culture
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Taylor & Francis Jean Cras Polymath of Music and Letters
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Taylor & Francis Art and Music in the Early Modern Period
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Taylor & Francis Schuberts Goethe Settings
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Taylor & Francis Ltd While Spring and Summer Sang Thomas Beecham and the Music of Frederick Delius
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Taylor & Francis Ltd Olivier Messiaen Journalism 19351939
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Taylor & Francis Hans Keller 1919 1985
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Taylor & Francis Ltd Henri Dutilleux Music Mystery and Memory
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Taylor & Francis Ltd Franois Couperin and The Perfection of Music
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Taylor & Francis Music and Medieval Manuscripts
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Taylor & Francis Ltd Poets and Singers
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Taylor & Francis Ltd Ars nova French and Italian Music in the
Book SynopsisIn the early fourteenth century, musicians in France and later Italy established new traditions of secular and sacred polyphony. This ars nova, or new art, popularized by theorists such as Philippe de Vitry and Johannes de Muris was the among the first of many later movements to establish the music of the present as a clean break from the past. The rich music of this period, by composers such as Guillaume de Machaut and Francesco Landini, is not only beautiful, but also rewards deep study and analysis. Yet contradictions and gaps abound in the ars nova of the fourteenth and early fifteenth centuries-how do we read this music? how do we perform this music? what was the cultural context of these performances? These problems are well met by the ingenuity of approaches and solutions found by scholars in this volume. The twenty-seven articles brought together reflect the broad methodological and chronological range of scholarly inquiry on the ars nova.Trade Review'...the introductions to each volume are excellent...' Early Music Review '...a valuable collection that collects and sums up critical decades of scholarly development in fourteenth century music...' Medieval ReviewTable of ContentsContents: Introduction; Part I Periodization and Boundaries: Novelty and renewal in Italy: 1300-1600, Nino Pirrotta; Ars nova and stil novo, Nino Pirrotta; Magister Egardus and other Italo-Flemish contacts, Reinhard Strohm; Problems of dating in ars nova and ars subtilior, Ursula Günther. Part II Sources: The ars nova fragments of Gent, Reinhard Strohm. Part III Music Theory: A phantom treatise of the 14th century? The ars nova, Sarah Fuller. Part IV Composers: Francesco Landini and the Florentine cultural élite, Michael P. Long; Gratiosus, Ciconia, and other musicians at Padua cathedral: some footnotes to present knowledge, Anne Hallmark; Further notes on Magister Antonius dictus Zacharias de Teramo, John Nádas; Musicology, archives, and historiography, Andrew Wathey. Part V Literary Studies: 'Un leggiadretto velo' ed altre cose petrarchesche, Pierluigi Petrobelli; Lyrics for reading and lyrics for singing in late medieval France: the development of the dance lyric from Adam de la Halle to Guillaume de Machaut, Lawrence Earp; On text forms from Ciconia to Dufay, Nino Pirrotta; Leonardo Giustinian and quattrocento polyphonic song, David Fallows. Part VI Secular Song: New glimpses of an unwritten tradition, Nino Pirrotta; Improvisation in the madrigals of the Rossi codex, Brooks Toliver; Landini's musical patrimony: a reassessment of some compositional conventions in trecento polyphony, Michael Long; Machaut's balades with 4 voices, Elizabeth Eva Leach; Playing the citation game in the late 14th-century chanson, Yolanda Plumley. Part VII Sacred Music: The sacred polyphony of the Italian trecento, Kurt von Fischer; Zacara's D'amor Languire and strategies for borrowing in the early 15th-century Italian mass, Michael Scott Cuthbert. Part VIII Motets: The emergence of ars nova, Daniel Leech-Wilkinson; Myth and mythography in the motets of Philippe de Vitry, Andrew Wathey; Imitation in the ars nova and ars subtilior, Virginia Ervin Newes; Deception, exegesis and sou
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Taylor & Francis Instruments and their Music in the Middle Ages
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Taylor & Francis Classical and Romantic Music The Library of Essays on Music Performance Practice
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Taylor & Francis Ltd Baroque Music
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Taylor & Francis Ltd Vivaldi The Baroque Composers
Book SynopsisSince 1978, the 300th anniversary of Vivaldi''s death, there has been an explosion of serious writing about his music, life and times. Much of this has taken the form of articles published in academic journals or conference proceedings, some of which are not easy to obtain. The twenty-two articles selected by Michael Talbot for this volume form a representative selection of the best writing on Vivaldi from the last 30 years, featuring such major figures in Vivaldi research as Reinhard Strohm, Paul Everett, Gastone Vio and Federico Maria Sardelli. Aspects covered include biography, Venetian cultural history, manuscript studies, genre studies and musical analysis. The intention is to serve as a ''first port of call'' for those wishing to learn more about Vivaldi or to refresh their existing knowledge. An introduction by Michael Talbot reviews the state of Vivaldi scholarship past and present and comments on the significance of the articles.Table of ContentsContents: Introduction; Part I Biographical Studies: The fortunes of Vivaldi biography, from Pincherle to the present, Michael Talbot; Antonio Vivaldi e i Vivaldi, Gastone Vio; Antonio Vivaldi prete, Gastone Vio; Vivaldi dagli archivi di Mantova, Claudio Gallico; I nove 'principi di altezza' corrispondenti di Vivaldi e la dedica enigmatica del Concerto RV 574. Alla ricerca dell'indirizzario perduto, Carlo Vitali; Documenti inediti su Vivaldi a Roma, Fabrizio Della Seta; Wenzel von Morzin as a patron of Antonio Vivaldi, Michael Talbot; Vivaldi e il Teatro La Pergola a Firenzi: nuove fonti, William C. Holmes. Part II Source Studies: Towards a Vivaldi chronology, Paul Everett; Vivaldi's marginal markings: clues to sets of instrumental works and their chronology, Paul Everett; Vivaldi at work: the autograph of the 'Gloria' RV 589, Paul Everett; Vivaldi's Quadro? The case of RV Anh. 66 reconsidered, Michael Talbot; La famosa mano di Monsieur Roger: Antonio Vivaldi and his Dutch publishers, Rudolf Rasch; Vivaldi and Lotti: two unknown borrowings in Vivaldi's music, Kees Vlaardingerbroek. Part III Analytical and Genre Studies: Le opere giovanili di Antonio Vivaldi, Federico Maria Sardelli; Vivaldi's 'Crucifixus' in its descriptive and rhetorical context, Jasmin Cameron; Formal structure in Vivaldi's variation sets, Nicholas Lockey; 'Die schwarze Gredel', or the parallel minor key in Vivaldi's instrumental music, Bella Brover-Lubovsky; Ueber die Beziehungen zwischen einigen Concerto- und Sinfonia-Sätzen Vivaldis, Karl Heller; The dramatic in Vivaldi's cantatas, Colin Timms; Vivaldi's Serenatas: long cantatas or short operas?, Michael Talbot; Antonio Vivaldi's setting of Teuzzone: dramatic speech and musical image, Reinhard Strohm; Name Index.
£285.00
Taylor & Francis Ltd Handel The Baroque Composers
Book SynopsisThis anthology represents scholarly literature devoted to Handel over the last few decades, and contains different kinds of studies of the composer''s biography, operatic career, singers, librettists, and his relationship with the music of other composers. Case studies range from recent research that transforms our knowledge of large-scale English works to an interdisciplinary exploration of an individual opera aria. Designed to bring easy and convenient access to students, performers and music lovers, the wide-ranging articles are selected by David Vickers (co-editor of the recent Cambridge Handel Encyclopedia) from diverse sources - not only familiar important journals, but also specialist yearbooks, festschrifts, not easily accessible newsletters, conference proceedings and exhibition catalogues. Many of these represent an up-to-date understanding of modern Handel studies, deal with fascinating biographical issues (such as the composer''s art collection, his chronic health problems,Table of ContentsContents: Introduction; Part I Biographical Aspects: Mythistorica Handeliana, Charles Cudworth; Organ playing in the Lateran and other remembrances on Handel: a report in the Voiage Historique of 1737, Ursula Kirkendale; Handel and the feuding royals, Thomas McGeary; Handel's art collection, Alison Meyric Hughes and Martin Royalton-Kisch; Joseph Goupy and George Frideric Handel: from professional triumphs to personal estrangement, Ellen T. Harris; Handel's ill health: documents and diagnoses, David Hunter. Part II Handel and the Opera House: Handel's Haymarket Theater, Mark W. Stahura; Box office reports for five operas mounted by Handel in London, 1732-1734, Judith Milhous and Robert D. Hume; Handel's 1736 performances of Ariodante, Donald Burrows. Part III Case Studies of Handel's Compositions: Benedetto Pamphilj as librettist: Mary Magdalene and the harmony of the spheres in Handel's Il trionfo del Tempo e del Disinganno, Huub van der Linden; Psychological realism in Il trionfo del Tempo e del Disinganno, Ruth Smith; A newly discovered Water Music source, Terence Best; Handel and the confus’d shepherdess: a case study of stylistic eclecticism, Graham Cummings; Handel, Jennens and Saul: aspects of a collaboration, Anthony Hicks; From Milton to Handel: the transformation of Milton's L'Allegro and Il Penseroso into a musical work for concert performance in the London theatres, Donald Burrows; Some thoughts on musical organization in L'Allegro il Penseroso ed il Moderato, Graydon Beeks. Part IV Handel's Performers: The unpublished Senesino, Elisabetta Avanzati; From Rinaldo to Orlando, or Senesino's path to madness, Melania Bucciarelli; Francesca Cuzzoni and Faustina Bordoni: the rival queens?, Suzana OgrajenÅ¡ek; Marie Sallé as muse: Handel's music for mime, Sarah McCleave; John Beard: the tenor voice that inspired Handel, Neil Jenkins. Part V Librettists: Handel's relations with the librettists of his operas, Winton Dean; The achievements of Charles Jennens (1
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Taylor & Francis Ltd Bach
Book SynopsisFor nearly two centuries Johann Sebastian Bach has been regarded as a cornerstone of Western musical culture. His music inspired subsequent generations of composers and philosophers alike, and continues to capture our imaginations in many ways. Bach studies is part of this picture, often seen as providing excellent examples of musicological scholarship. The volume editor has chosen thirty-one published articles which, in his view, not only represent a broad spectrum of the scholarly discussions on Bach''s life and works, but will also facilitate the on-going study of Bach''s creative genius. The articles have been selected to ensure that this volume will be considered useful for not only those students who are currently engaging in Bach studies at universities but also for more seasoned Bach scholars as they consider the future direction of Bach studies.Table of ContentsContents: Introduction; Part I Life and Context: Johann Christoph Bach (1671-1721), 'Organist und Schul Collega in Ohrdruf', Johann Sebastian Bachs erster Lehrer, Hans-Joachim Schulze; Johann Sebastian Bach als Schüler der Partikularschule zu St Michaelis in Lüneburg, oder Lüneburg eine Pflegstätte kirchlicher Musik, Wilhelm C. Junghans; The musician versus the grammarian: an early storm warning, Paul S. Minear; In defence of J.A. Scheibe against J.S. Bach, George J. Buelow; J.S. Bach: new light on his faith, Christoph Trautmann; Motive and motif in the church music of Johann Sebastian Bach, Robin A. Leaver. Part II Source Studies: Zum Wandel des Bach-Bildes. Zu Friedrich Blumes Mainzer Vortrag, Alfred Dürr; Antwort von Friedrich Blume, Friedrich Blume; Persönliches zur Geschichte der Jüngeren Bach-Forschung ( A personal message concerning the history of recent Bach scholarship), Arthur Mendel; Yoshitake Kobayashi's article On the Chronology of the Last Phase of Bach's Work - Compositions and Performances: 1736 to 1750 - an analysis with translated portions of the original text, Gerhard Herz. Part III Genre Studies: Bach's chorale cantatas, Alfred Dürr; Neue 'Texte zur Leipziger Kirchen-Music', Wolf Hobohm; Der Picander-Jahrgang, Klaus Häfner; Bach und der Picander-Jahrgang - Eine Erwiderung, William H. Scheide; Picander, der Textdichter von Bachs viertem Kantatenjahrgang. Ein neuer Hinweis, Klaus Häfner; Eindeutigkeit und Mehrdeutigkeit in Picanders Kantatenjahrgangs-Vorbemerkung und im Werkverzeichnis des Nekrologs auf Johann Sebastian Bach, William H. Scheide; Traces of the pre-history of Bach's St John and St Matthew Passions, Arthur Mendel; 'Et Incarnatus' and 'Crucifixus': the earliest and the latest settings of Bach's B-minor Mass, Christoph Wolff; Friedrich Smend's edition of the B-minor Mass by J.S. Bach, Georg von Dadelsen; Universality in Bach's B Minor Mass: a portrait of Bach in his final years, Yoshitake Kobayashi; Zur Parodiefrage in
£285.00
Taylor & Francis purcell
Book SynopsisThe 300th anniversary of Henry Purcell's death in 1995 stimulated a good deal of new research into his music, its sources, performance, reception and cultural context. The 23 articles in this volume have been chosen by Peter Holman as a representative selection of the best scholarly writing over the last few decades, featuring most of the leading Purcell scholars, including Curtis Price, Robert Thompson, Robert Shay, Bruce Wood, Rebecca Herissone, and Christopher Hogwood, though it also includes some earlier classic articles, by Michael Tilmouth, Richard Luckett, Margaret Laurie and others. The four sections are 'Biography and Contexts', 'Sources, Editing and Publishing', 'Styles, Genres and Compositional Process', and 'Performance, Performance Practice and Reception'. Peter Holman's introduction explores the history of Purcell scholarship, reviews its present state, comments on the significance of the articles, and offers a prospect for the future.Table of ContentsContents: Introduction; Part I Biography and Contexts: Only Purcell e're shall equal Blow, Bruce Wood; The Italian connection: Giovanni Battista Draghi and Henry Purcell, Peter Holman; Purcell's stage singers and Purcell's stage singers: a documentary list, Olive Baldwin and Thelma Wilson; 'He had the honour to be your master': Lady Rhoda Cavendish's music lessons with Henry Purcell, Michael Burden; Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas, Bryan White. Part II Sources, Editing and Dissemination: Manuscript music in Purcell's London, Robert Thompson; Creating the corpus: the 'complete keyboard music' of Henry Purcell, Christopher Hogwood; The Fairy Queen: a fresh look at the issues, Bruce Wood and Andrew Pinnock; Newly discovered autograph keyboard music of Purcell and Draghi, Curtis Price; Purcell's Rejoice in the Lord, all ways, Lionel Pike; Robert Pindar, Thomas Busby, and the mysterious scoring of Henry Purcell's Come Ye Sons of Art, Rebecca Herissone. Part III Styles, Genres and Compositional Process: The technique and forms of Purcell's sonatas, Michael Tilmouth; Purcell's extended solo songs, Margaret Laurie; Purcell's Laudate Ceciliam: an essay in stylistic experimentation, Martin Adams; Purcell's revisions to the funeral sentences revisited, Robert Shay; Compositional choices in Henry Purcell's Three Parts Upon a Ground, Peter Holman; Composition as an act of performance: artifice and expression in Purcell's sacred partsong Since God So Tender a Regard, Alan Howard; 'Fowle originalls' and 'fayre writeing': reconsidering Purcell's compositional process, Rebecca Herissone. Part IV Performance, Performance Practice and Reception: The Shakespeare-Purcell Fairy Queen: a defence and recommendation, Roger Savage; Continuity and tempo in Purcell's vocal works, A. Margaret Laurie; The first performance of Purcell's Funeral Music for Queen Mary, Bruce Wood; 'Or rather our musical Shakespeare': Charles Burney's Purcell, Richard Luckett; Purcell debauch'd: the Dramatick Operas in performance, Michael Burden; Name Index.
£285.00
Taylor & Francis Ltd Opera after 1900 The Ashgate Library of Essays in Opera Studies
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Taylor & Francis Ltd Monteverdi The Baroque Composers
Book SynopsisClaudio Monteverdi is now recognized as the towering figure of a critical transitional moment of Western music history: relentless innovator in every genre within chamber, church and theatre music; self-proclaimed leader of a ''new dispensation'' between words and their musical expression; perhaps even ''Creator of Modern Music''. During recent years, as his arrestingly attractive music has been brought back to life in performance, so too have some of the most outstanding musicologists focussed intensely on Monteverdi as they worked through the ''big'' questions in the historiography and hermeneutics of early Baroque music, including musical representation of language; compositional theory; social, institutional, cultural and gender history; performance practices and more. The 17 articles in this volume have been selected by Richard Wistreich to exemplify the best scholarship in English and because each, in retrospect, turns out to have been a ground-breaking contribution to one or morTable of ContentsContents: Introduction; Part I Text and Music: Monteverdi's poetic choices, Nino Pirrotta; Madrigal, monody, and Monteverdi's 'via naturale alla immitatione', Gary Tomlinson; Monteverdi's mimetic art: 'L'incoronazione di Poppea', Ellen Rosand; Resemblance and representation: towards a new aesthetic in the music of Monteverdi, Tim Carter. Part II Theory and Genre: Artusi, Monteverdi, and the poetics of modern music, Tim Carter; Gendering modern music: thoughts on the Monteverdi-Artusi controversy, Suzanne G. Cusick; Claudio Monteverdi's Ordine novo, bello et gustevole: the canzonetta as dramatic module and formal archetype, Massimo Ossi; Monteverdi's three genera: a study in terminology, Barbara Russano Hanning. Part III Criticism, Analysis and History: Constructions of gender in Monteverdi's dramatic music, Susan McClary; The Platonic agenda of Monteverdi’s Seconda Pratica: a case study from the 8th Book of Madrigals, Geoffrey Chew; Monteverdi, two sonnets and a letter, Anthony Pryer; Tacitus incognito: opera as history in L'incoronazione di Poppea, Wendy Heller. Part IV Institutional, Source and Performance Issues: Musicians at the court of Mantua during Monteverdi's time: evidence from the payrolls, Susan Parisi; Monteverdi's Mantuan 'Orfeo': some new documentation, Iain Fenlon; Transposition in Monteverdi's Vespers of 1610: an 'aberration' defended, Andrew Parrott; La Poppea Impasticciata or, who wrote the music to L'incoronazione (1643)?, Alan Curtis; Monteverdi's 'Mass of Thanksgiving' revisited, Jeffrey G. Kurtzman; Name index.
£285.00
Taylor & Francis Ltd Music and the Renaissance Renaissance Reformation and CounterReformation A Library of Essays on Renaissance Music
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Taylor & Francis Ltd Sources and the Circulation of Renaissance Music
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Taylor & Francis Musical Style and Social Meaning
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Taylor & Francis Ltd Institutions and Patronage in Renaissance Music A Library of Essays on Renaissance Music
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Taylor & Francis Ltd Sacred and Liturgical Renaissance Music
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Taylor & Francis Ltd Secular Renaissance Music
Book SynopsisSecular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else. This collection of essays addresses many of these practices, with a focus on polyphonic settings of vernacular texts, examining their historical and stylistic contexts, their transmission in written and printed sources, questions of performance, and composers' approaches to text setting. Essays have been selected to reflect the wide range of topics that have occupied scholars in recent decades, and taken together, they point to the more general significance of secular music within a broad complex of cultural practices and institutions.Table of ContentsContents: Introduction; Part I Sources and Transmission: The Vatican manuscript Urb. Lat. 1411: an undervalued source?, James Haar; Embellishment and urtext in the 15th-century song repertories, David Fallows; Pietrequin Bonnel and Ms. 2794 of the Biblioteca Riccardiana, Joshua Rifkin; Petrucci's Canti volumes: scope and repertory, David Fallows; Composition - copying: performance - recreation: the matrix of stemmatic problems for early music, Stanley Boorman; The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music, Donna G. Cardamone. Part II Genres: The constitution of the 15th-century German tenor lied: drafting the history of a musical genre, Martin Staehelin; Ockeghem and the motet-chanson in 15th-century France, Honey Meconi; Josquin's chansons as generic paradigms, Lawrence F. Bernstein; The frottola and the unwritten tradition, William F. Prizer; The early madrigal: a re-appraisal of its sources and its character, James Haar; Chanson and air, Kate van Orden; Lied and madrigal, 1580-1600, Ludwig Finscher. Part III Composers and Contexts: 'Trained and immersed in all musical delights': towards a new picture of Busnoys, David Fallows; Seigneur Leon's papal sword: Ferrara, Du Fay, and his songs of the 1440s, Sean Gallagher; Heinrich Isaac among the Florentines, Blake Wilson; Willaert and the canzone villanesca, Nino Pirrotta; Monteverdi, Marenzio, and Battista Guarini's 'cruda amarilli', Massimo Ossi. Part IV Performers and Performance Issues: The a capella heresy in Spain: an inquisition into the performance of the cancionero repertory, Tess Knighton; Psyche's Lament: some music for the Medici wedding in 1565, Howard Mayer Brown; From minstrel to courtier - the royal musique de chambre and courtly ideals in 16th-century France, Jeanice Brooks; Courtesans, muses, or musicians? Professional women musicians in 16th-century Italy, Anthony Newcomb. Part V Instrumental Music: The use of borrowed material in 16th-century instrumental music, John Ward; Innovation in instrumental music 1450-1510: the role of German performers within European culture, Keith Polk; Songs without words by Josquin and his contemporaries, Warwick Edwards. Part VI Music and Poetry: Ricercare and variations on O Rosa Bella, Nino Pirrotta; The composer as exegete: interpretations of Petrarchan syntax in the Venetian madrigal, Martha Feldman; Name index.
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Taylor & Francis The Ballets of Maurice Ravel
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Taylor & Francis Ltd Tradition and Style in the Works of Darius
Book SynopsisDescribed by Maurice Ravel as one of the most considerable talents in French music of his generation, Darius Milhaud remains a largely neglected composer. This book reappraises his contribution, focusing on the emergence of the composer's style until his Jewish background forced his exile to the United States on the eve of the World War II. The period 1912-1939 spans the crucial years that mark the development of Milhaud's mature style. It was also during this time that he published his most important writings on contemporary music and its relationship to the past. Barbara Kelly discusses the extent to which Milhaud's complex views on the idea of a French national musical heritage relate to his own practice, and considers how his works reflect the balance between innovation and tradition. Drawing comparisons with contemporaries, such as Debussy, Satie, Schoenberg, Stravinsky and Poulenc, the book argues that the rhythmic vitality of Milhaud's style and his modal approach within a poTrade Review'Kelly has done her work thoroughly, and she writes with clarity and acuity... useful to all students of 20th-century music.' Choice 'Barbara Kelly's [...] volume is not only a welcome addition to new Milhaud scholarship but an impressiverly detailed study which directly sets out to challenge the conventional preconceptions associated with the composer, including his involvement with Les Six... Kelly's study represents an impressive reassessment of Milhaud's contribution to French music and should be deemed essential reading for all scholars of the period.' Frankfurter Zeitschrift für MusikwissenschaftTable of ContentsContents: Preface; Milhaud, Les Six and musical politics in Paris; Milhaud's writings on tradition and identity; Works for music theatre 1: collaboration with Paul Claudel; Works for music theatre 2: the chamber operas; Vocal music: texts and voices; Polytonality, counterpoint and instrumentation; Milhaud and the past; Conclusions: Milhaud's musical achievements to 1939; Bibliography; Index.
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Taylor & Francis Ltd Aspects of British Music of the 1990s
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Taylor & Francis Ltd Max Reger and Karl Straube Perspectives on an Organ Performing Tradition
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Taylor & Francis Music in the British Provinces 16901914
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Taylor & Francis Ltd Viotti and the Chinnerys A Relationship Charted Through Letters Music in NineteenthCentury Britain
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Taylor & Francis Ltd Manuel de Falla and Visions of Spanish Music
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Taylor & Francis The Correspondence of Camille SaintSans and Gabriel Faur Sixty Years of Friendship
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Taylor & Francis The Stylus Phantasticus and Free Keyboard Music of the North German Baroque
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Taylor & Francis Bruce MontgomeryEdmund Crispin A Life in Music and Books
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Taylor & Francis Music Entries at Stationers Hall 17101818 from lists prepared for William Hawes DW Krummel and Alan Tyson and from other sources
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Taylor & Francis Ltd Charles Avisons Essay on Musical Expression With Related Writings by William Hayes and Charles Avison
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Taylor & Francis EighteenthCentury Russian Music
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Taylor & Francis Ltd Vincent Novello 17811861 Music for the Masses Music in NineteenthCentury Britain
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Taylor & Francis Synopsis of Vocal Musick by A.B. PhiloMus.
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Taylor & Francis The Music of Mauricio Kagel
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Taylor & Francis A Briefe Introduction to the Skill of Song by William Bathe
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Taylor & Francis Ltd Literary Music Writing Music in Contemporary Fiction
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Taylor & Francis Music and the Middle Class The Social Structure of Concert Life in London Paris and Vienna between 1830 and 1848 Music in NineteenthCentury Britain
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Taylor & Francis Ltd Salomon and the Burneys Private Patronage and a Public Career 12 Royal Musical Association Monographs
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