This book contains a variety of songs and dances, originally written in the 12th through 16th centuries, arranged for the harp. The majority of the pieces are drawn from the medieval period and often existed in their original form as melody line only. All of the pieces in this book are playable on the folk harp.

Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring acast of music directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. SAMANTHA OWENS is Senior Lecturer in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia. Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARY OLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BAERBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RUEDIGER THOMSEN-FUERST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHN

The first in-depth study of Mendelssohn's two settings of Goethe's Die erste Walpurgisnacht, in the context of scenes from Goethe's Faust and other works. This paperback edition of Mendelssohn, Goethe, and the Walpurgis Night addresses tolerance and acceptance in the face of cultural, political, and religious strife. Its point of departure is the Walpurgis Night. The Night, also known as Beltane or May Eve, was supposedly an annual witches' Sabbath that centered around the Brocken, the highest peak of the Harz Mountains. After exploring how a notoriously pagan celebration came to be named after the Christian missionary St. Walpurgis (ca. 710-79), John Michael Cooper discusses the Night's treatments in several closely interwoven works by Goethe and Mendelssohn. His book situates those works in their immediate personal andprofessional contexts, as well as among treatments by a wide array of other artists, philosophers, and political thinkers, including Voltaire, Lessing, Shelley, Heine, Delacroix, and Berlioz. In an age of decisive political and religious conflict, Walpurgis Night became a heathen muse: a source of spiritual inspiration that was neither specifically Christian, nor Jewish, nor Muslim. And Mendelssohn's and Goethe's engagements with it offer new insightsinto its role in European cultural history, as well as into issues of political, religious, and social identity -- and the relations between cultural groups -- in today's world. John Michael Cooper is Professor of Music at Southwestern University and author of Mendelssohn's "Italian" Symphony (Oxford University Press).

A great deal of recent scholarship explores how narratives of encounter found in travel writing, whether scientific or literary, have historically related to colonial agendas, imperial rhetoric, and Orientalism. With a particular emphasis on sites and music at the imperial margins of nineteenth-century France, this book approaches its subject through the activities and writings of early song collectors and proto-ethnomusicologists, memoirists, and other "musical travelers."

Each of the book s discrete but interrelated chapters is devoted to a different geographic and discursive site, examining French representations of musical encounters in North America, the Middle East, as well as in contested areas within the borders of metropolitan France. Rosenberg highlights intersections between an emergent "ethnographie musicale "in France and narratives of musical encounter found in French travel literature, connecting both phenomena to France s imperial aspirations and nationalist anxieties in the period from the Revolution to the late-nineteenth century. It is therefore an excellent research tool for scholars in the fields of cultural studies, literary history, and postcolonial theory."

This collection brings together an anthology of articles by Thomas Christensen, one of the leading historians of music theory active today. Published over the span of the past 25 years, the selected articles provide a historical conspectus about a range of vital topics in the history of music theory, focusing in particular upon writings from the seventeenth and eighteenth centuries. Christensen examines a variety of theorists and their arguments within the intellectual and musical contexts of their time, in the process highlighting the diverse and idiosyncratic nature of the discipline of music theory itself. In the first section of the book Christensen offers general reflections on the meaning and interpretation of historical music theories, with especial attention paid to their value for music theorists today. The second section of the book contains a number of articles that consider the catalytic role of the thorough bass in the development of harmonic theory during the seventeenth and eighteenth centuries. In the final two sections of the anthology, focus turns to the writings of several individual music theorists, including Marin Mersenne, Seth Calvisius, Johann Mattheson, Johann Nicolaus Bach, Denis Diderot and Johann Nichelmann. The volume includes essays from hard-to-find publications as well as newly-translated material and the articles are prefaced by a new, wide-ranging autobiographical essay by the author that offers a broad re-assessment of his historical project. This book is essential reading for music theorists and seventeenth- and eighteenth-century musicologists.

Combining musical insight with the most recent research, William Kinderman's Beethoven is both a richly drawn portrait of the man and a guide to his music. Kinderman traces the composer's intellectual and musical development from the early works written in Bonn to the Ninth Symphony and the late quartets, looking at compositions from different and original perspectives that show Beethoven's art as a union of sensuous and rational, of expression and structure. In analyses of individual pieces, Kinderman shows that the deepening of Beethoven's musical thought was a continuous process over decades of his life. In this new updated edition, Kinderman gives more attention to the composer's early chamber music, his songs, his opera Fidelio, and to a number of often-neglected works of the composer's later years and fascinating projects left incomplete. A revised view emerges from this of Beethoven's aesthetics and the musical meaning of his works. Rather than the conventional image of a heroic and tormented figure, Kinderman provides a more complex, more fully rounded account of the composer. Although Beethoven's deafness and his other personal crises are addressed, together with this ever-increasing commitment to his art, so too are the lighter aspects of his personality: his humor, his love of puns, his great delight in juxtaposing the exalted and the commonplace.

Just as America was observed in French literary and political commentary, we find representations of America in French music, dance, and theatre which serve as the focus of this volume. Following the American Revolution, French authors often viewed the United States as a laboratory for the forging of new practices of liberte and egalite, in affinity with France's own Revolutionary ideals but in competition with lingering anti-American depictions of an inferior, untamed New World. The volume examines French imagining of America through musical/theatrical portrayals of the American Revolution and Republic, soundscapes of the Statue of Liberty, homages to Washington, Franklin and Lafayette and negotiations of Francophone identity in New Orleans. The subject of race features prominently in paradoxical depictions of slavery, freedom, and revolution in the United States and French Caribbean colonies of 'Amerique' and in varied interpretations of American music and gendered identity. Essays consider French constructions of the Indigenous American and Black American 'exotic' that intersect with tropes of noble, pastoral savagery, menacing barbarism and the 'civilising' potency of French culture. Such French constructions reveal both a revulsion of racial alterity and an attraction to the expressive, even subversive, freedom of Americanness. Investigations of French conceptions of America extend to critiques of American orchestral music, Gottschalk's Louisianan-Caribbean Creole works, Buffalo Bill's spectacles and the cakewalk in Paris. With scholarly contributions on music, dance, theatre and opera, the volume will be essential reading for students and scholars of these disciplines.

Schubert wrote approximately 650 songs, based on poems by some 110 authors. Goethe led this formidable list, but after Goethe, came Johann Mayrhofer, now a totally forgotten poet. Schubert set 47 songs and two operas to Mayrhofer's writings. Here, each song and the two operas are discussed within musical and literary perspectives. Background information and technical vocabulary have been kept at a minimum but new translations of the Lieder are included.

Daniels' Orchestral Music is the gold standard for all orchestral professionals--from conductors, librarians, programmers, students, administrators, and publishers, to even instructors--seeking to research and plan an orchestral program, whether for a single concert or a full season. This sixth edition, celebrating the fiftieth anniversary of the original edition, has the largest increase in entries for a new edition of Orchestral Music: 65% more works (roughly 14,050 total) and 85% more composers (2,202 total) compared to the fifth edition. Composition details are gleaned from personal inspection of scores by orchestral conductors, making it a reliable one-stop resource for repertoire. Users will find all the familiar and useful features of the fifth edition as well as significant updates and corrections. Works are organized alphabetically by composer and title, containing information on duration, instrumentation, date of composition, publication, movements, and special accommodations if any. Individual appendices make it easy to browse works with chorus, solo voices, or solo instruments. Other appendices list orchestral works by instrumentation and duration, as well as works intended for youth concerts. Also included are significant anniversaries of composers, composer groups for thematic programming, a title index, an introduction to Nieweg charts, essential bibliography, internet sources, institutions and organizations, and a directory of publishers necessary for the orchestra professional. This trusted work used around the globe is a must-have for orchestral professionals, whether conductors or orchestra librarians, administrators involved in artistic planning, music students considering orchestral conducting, authors of program notes, publishers and music dealers, and instructors of conducting.

Analyzing Classical Form builds upon the foundations of the author's critically acclaimed Classical Form by offering an approach to the analysis of musical form that is especially suited for classroom use. Providing ample material for study in both undergraduate and graduate courses, Analyzing Classical Form presents the most up-to-date version of the author's "theory of formal functions." Students will learn how to make complete harmonic and formal analyses of music drawn from the instrumental works of Haydn, Mozart, and Beethoven. Part 1 introduces the principal theme-types of classical instrumental music; part 2 provides a methodology for analyzing sonata form, the most important formal type in this style period; and part 3 considers other full-movement forms found in this repertory (such as minuet, rondo, and concerto). The chapters are organized in a way that presents the most basic materials upfront and then leads the student through more details and finer points of theory. Every topic is illustrated with annotated musical examples; as well, the book contains many unannotated examples that can be used for in-class discussion and for out-of-class analytical exercises. A complete glossary of terms and questions for reviewing the theory will help students assimilate the many theoretical concepts employed in the book. A companion website provides audio and musical scores for all of the examples in the book as well as additional examples for the analysis of the simple theme-types presented in part 1.

In contrast to today's music industry, whose principal products are recorded songs sold to customers round the world, the music trade in Georgian England was based upon London firms that published and sold printed music and manufactured and sold instruments on which this music could be played. The destruction of business records and other primary sources has hampered investigation of this trade, but recent research into legal proceedings, apprenticeship registers, surviving correspondence and other archived documentation has enabled aspects of its workings to be reconstructed. The first part of the book deals with Longman & Broderip, arguably the foremost English music seller in the late eighteenth century, and the firm's two successors - Broderip & Wilkinson and Muzio Clementi's variously styled partnerships - who carried on after Longman & Broderip's assets were divided in 1798. The next part shows how a rival music seller, John Bland, and his successors, used textual and thematic catalogues to advertise their publications. This is followed by a comprehensive review of the development of musical copyright in this period, a report of efforts by a leading inventor, Charles 3rd Earl Stanhope, to transform the ways in which music was printed and recorded, and a study of Georg Jacob Vollweiler's endeavour to introduce music lithography into England. The book should appeal not only to music historians but also to readers interested in English business history, publishing history and legal history between 1714 and 1830.

This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire. In so doing, it provides a wide range of subject-based scholarship. It also reveals a fascinating window upon the historical performance debate of the last few decades in music where such matters still stimulate controversy.

For 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. For The Baroque Masters: Bach, the editor has chosen thirty-three 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 future direction of Bach studies.

This 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, and the nature of popular anecdotal evidence), and fill gaps in the mainstream Handelian literature.

The 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.

Claudio 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 more significant strands in Monteverdi studies.

Vanishing Sensibilities examines once passionate cultural concerns that shaped music of Schubert, Beethoven, Schumann, and works of their contemporaries in drama or poetry. Music, especially music with text, was a powerful force in lively ongoing conversations about the nature of liberty, which included such topics as the role of consent in marriage, same-sex relationships, freedom of the press, and the freedom to worship (or not). Among the most common vehicles for stimulating debate about pressing social concerns were the genres of historical drama, and legend or myth, whose stories became inflected in fascinating ways during the Age of Metternich. Interior and imagined worlds, memories and fantasies, were called up in purely instrumental music, and music was privately celebrated for its ability to circumvent the restrictions that were choking the verbal arts.
Author Kristina Muxfeldt invites us to listen in on these cultural conversations, dating from a time when the climate of censorship made the tone of what was said every bit as important as its literal content. At this critical moment in European history such things as a performer's delivery, spontaneous improvisation, or the demeanor of the music could carry forbidden messages of hope and political resistance--flying under the censor's radar like a carrier pigeon. Rather than trying to decode or fix meanings, Muxfeldt concerns herself with the very mechanisms of their communication, and she confronts distortions to meaning that form over time as the cultural or political pressures shaping the original expression fade and are eventually forgotten. In these pages are accounts of works successful in their own time alongside others that failed to achieve more than a liminal presence, among them Schubert's Alfonso und Estrella and his last opera project Der Graf von Gleichen, whose libretto was banned even before Schubert set to work composing it. Enlivening the narrative are generous music examples, reproductions of artwork, and facsimiles of autograph material.

1) Adopts a completely new approach, compared to the major textbooks -- retaining the European tradition and a historically framed narrative, within a history of all the world's music. 2) Better reflects the realities of musical life today in the United States 3) Teaches students the value of examining music from a perspective that values diversity, equity, and inclusion. 4) Unique pedagogical structure that offers one guided listening example per "Gateway," and asks students to ponder the same five questions per example: what is it, how does it work (musically), what does it mean (socially, culturally), what is its history, and where can I go from here (to learn more about this tradition)

The eighteenth century arguably boasts a more remarkable group of significant musical figures, and a more engaging combination of genres, styles and aesthetic orientations, than any century before or since, yet huge swathes of its musical activity remain under-appreciated. The Cambridge History of Eighteenth-Century Music provides a comprehensive survey, examining little-known repertories, works and musical trends alongside more familiar ones. Rather than relying on temporal, periodic and composer-related phenomena to structure the volume, it is organised by genre; chapters are grouped according to the traditional distinctions of music for the church, music for the theatre and music for the concert room that conditioned so much thinking, activity and output in the eighteenth century. A valuable summation of current research in this area, the volume also encourages readers to think of eighteenth-century music less in terms of overtly teleological developments than of interacting and mutually stimulating musical cultures and practices.

Franz Schubert (1797-1828) is now rightly recognized as one of the greatest and most original composers of the nineteenth century. His keen understanding of poetry and his uncanny ability to translate his profound understanding of human nature into remarkably balanced compositions marks him out from other contemporaries in the field of song. Schubert was one of the first major composers to devote so much time to song and his awareness that this genre was not rated highly in the musical hierarchy did not deter him, throughout a short but resolute and hard-working career, from producing songs that invariably arrest attention and frequently strike a deeply poetic note. Schubert did not emerge as a composer until after his death, but during his short lifetime his genius flowered prolifically and diversely. His reputation was first established among the aristocracy who took the art music of Vienna into their homes, which became places of refuge from the musical mediocrity of popular performance. More than any other composer, Schubert steadily graced Viennese musical life with his songs, piano music and chamber compositions. Throughout his career he experimented constantly with technique and in his final years began experiments with form. The resultant fascinating works were never performed in his lifetime, and only in recent years have the nature of his experiments found scholarly favor. In The Unknown Schubert contributors explore Schubert's radical modernity from a number of perspectives by examining both popular and neglected works. Chapters by renowned scholars describe the historical context of his work, its relation to the dominant artistic discourses of the early nineteenth century, and Schubert's role in the paradigmatic shift to a new perception of song. This valuable book seeks to bring Franz Schubert to life, exploring his early years as a composer of opera, his later years of ill-health when he composed in the shadow of death, and his efforts to reflect in his music his own profound inner experience.

This book charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music written for it. Both the piano and piano music were very much the product of the intellectual, cultural and social environments of the period and both were subject to many influences, directly and indirectly. These included character (individualism), the vernacular ('folk/popular') and creativity (improvisation), all of which are discussed generally and with respect to the music itself. Derek Carew surveys the most important pianistic genres of the period (variations, rondos, and so on), showing how these changed from their received forms into vehicles of Romantic expressiveness. The piano is also looked at in its role as an accompanying instrument. The Mechanical Muse will be of interest to anyone who loves the piano or the period, from the non-specialist to the music postgraduate.

Intended as a supplement to The Mechanical Muse: The Piano, Pianism and Piano Music, c.1760-1850, this Companion provides additional information which, largely for reasons of space but also of continuity, it was not possible or desirable to include in that volume. The book is laid out alphabetically and full biographical entries are provided for all musical figures mentioned, including composers, performers, theoreticians and teachers, as well as piano makers and publishers of music, within the period covered by The Mechanical Muse. There are also entries on figures of importance from outside the period but whose influence is palpably important within it, such as J.S. Bach. As well as biographical information, all these entries contain lists of principal works and a section on further reading so that readers can follow up people and matters of particular interest. Also included in The Companion are entries devoted to particular works and other information of relevance, such as descriptions of musical forms, characteristics of dances and so on, as well as some technical information on music and explanations of technical terms pertaining to keyboard instruments themselves and to ways of playing them. This Companion is not intended to replace existing reference books such as Grove or Musik in Geschichte und Gegenwart, but will be useful for those who desire to know more about a particular topic and do not necessarily have access to more specialist reference works, or time to visit large or specialist libraries. As such it is indispensable to users of The Mechanical Muse.

Vol 1: This book charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music written for it. Both the piano and piano music were very much the product of the intellectual, cultural and social environments of the period and both were subject to many influences, directly and indirectly. These included character (individualism), the vernacular ('folk/popular') and creativity (improvisation), all of which are discussed generally and with respect to the music itself. Derek Carew surveys the most important pianistic genres of the period (variations, rondos, and so on), showing how these changed from their received forms into vehicles of Romantic expressiveness. The piano is also looked at in its role as an accompanying instrument. The Mechanical Muse will be of interest to anyone who loves the piano or the period, from the non-specialist to the music postgraduate. Vol 2: Intended as a supplement to The Mechanical Muse: The Piano, Pianism and Piano Music, c.1760-1850, this Companion provides additional information which, largely for reasons of space but also of continuity, it was not possible or desirable to include in that volume. The book is laid out alphabetically and full biographical entries are provided for all musical figures mentioned, including composers, performers, theoreticians and teachers, as well as piano makers and publishers of music, within the period covered by The Mechanical Muse. There are also entries on figures of importance from outside the period but whose influence is palpably important within it, such as J.S. Bach. As well as biographical information, all these entries contain lists of principal works and a section on further reading so that readers can follow up people and matters of particular interest. Also included in The Companion are entries devoted to particular works and other information of relevance, such as descriptions of musical forms, characteristics of dances and so on, as well as some technical information on music and explanations of technical terms pertaining to keyboard instruments themselves and to ways of playing them. This Companion is not intended to replace existing reference books such as Grove or Musik in Geschichte und Gegenwart, but will be useful for those who desire to know more about a particular topic and do not necessarily have access to more specialist reference works, or time to visit large or specialist libraries. As such it is indispensable to users of The Mechanical Muse.

Examines the remarkable career of leading soprano castrato Venanzio Rauzzini (1746-1810), the first castrato to make Britain his home. Venanzio Rauzzini (1746-1810), the celebrated Italian castrato, is best known for his performance in Mozart's Lucio Silla in 1772, with which Mozart was so pleased that he composed for the singer the famous motet Exsultate Jubilate. In 1774, Rauzzini moved to London where he performed three seasons of serious operas at the King's Theatre. From 1777 until his death in 1810, he was the director of the concert series in Bath, a series that matched the prestige of any that were given in London. In addition, he composed prolifically, writing music for eleven operas. This book is a study of Rauzzini's remarkable yet often overlooked career in Britain. Paul Rice chronicles Rauzzini's performances at the King's Theatre and examines his leadership of the Bath subscription concerts from 1780-1810, recovering much of the repertory. Rice shows in detail how Rauzzini responded musically to the social and political conditions of his adopted country, and analyzes the castrato's reception, as well as compositional choices, shedding new light on changing musical tastes in late eighteenth-century Britain. Paul F. Rice is Professor of Musicology at the School of Music, Memorial University of Newfoundland.

Whilst E.T.A. Hoffmann (1776-1822) is most widely known as the author of fantastic tales, he was also prolific as a music critic, productive as a composer, and active as a conductor. This book examines Hoffmann's aesthetic thought within the broader context of the history of ideas of the late-eighteenth and early-nineteenth centuries, and explores the relationship between his musical aesthetics and compositional practice. The first three chapters consider his ideas about creativity and aesthetic appreciation in relation to the thought of other German romantic theorists, discussing the central tenets of his musical aesthetic - the idea of a 'religion of art', of the composer as a 'genius', and the listener as a 'passive genius'. In particular the relationship between the multifaceted thought of Hoffmann and Friedrich Schleiermacher is explored, providing some insight into the way in which diverse intellectual traditions converged in early-nineteenth-century Germany. In the second half of the book, Hoffmann's dialectical view of music history and his conception of romantic opera are discussed in relation to his activities as a composer, with reference to his instrumental music and his two mature, large-scale operas, Aurora and Undine. The author also addresses broader issues pertaining to the ideological and historical significance of Hoffmann's musical and literary oeuvre.