Facsimile reprint of "The Seventh edition, Corrected and Elarged. Printed by W. Godbid, for J. Playford at his Shop in the Temple near the Church. 1674."

The Romantic pianist-the solo pianist who plays nineteenth-century piano music-has become an attractive figure in the popular imagination, considering the innumerable artworks, literature, and films representing this performer's seductive allure. Dreams of Love pursues a wide-ranging interdisciplinary approach to understanding the "romantic" pianist as a cultural icon, focusing on the role of technology in producing and perpetuating this mythology over the past two centuries. Sound recording and cinema have shaped the pianist's music and image since the early twentieth century, but these contemporary media technologies build upon practices established during the early nineteenth century: the influence of the piano keyboard on early telegraphs and typewriters, the invention of the solo recital alongside developments in photography, and the ways that piano design and the placement of the instrument on stage structure our viewing-listening perspectives. The concept of technology can be broadened to include the performance of gender and sexuality as further ways of making the pianist into an attractive cultural figure. The book's three sections deal with the touch, sights, and sounds of the Romantic pianist's playing as mediated through various forms of technology. Analyzing these persistent Liebestraume and exploring how they function can reveal their meaning for performers, audiences, and music lovers of the past and present too.

Sebastien Erard's (1752-1831) inventions have had an enormous impact on instruments and musical life and are still at the foundation of piano building today. Drawing on an unusually rich set of archives from both the Erard firm and the Erard family, author Robert Adelson shows how the Erard piano played an important and often leading role in the history of the instrument, beginning in the late eighteenth century and continuing into the final decades of the nineteenth. The Erards were the first piano builders in France to prioritise the more sonorous grand piano, sending gifts of their new model to both Haydn and Beethoven. Erard's famous double-escapement action, which improved the instrument's response while at the same time producing a more powerful tone, revolutionised both piano construction and repertoire. Thanks to these inventions, the Erard firm developed close relationships with the greatest pianist composers of the nineteenth century, including Hummel, Liszt, Moscheles and Mendelssohn. The book also presents new evidence concerning Pierre Erard's homosexuality, which helps us to understand his reluctance to found a family to carry on the Erard tradition, a reluctance that would spell the end of the golden era of the firm and lead to its eventual demise. The book closes with the story of Pierre's widow Camille, who directed the firm from 1855 until 1889. Her influential position in the male-dominated world of instrument building was unique for a woman of her time.

Paul Marie Thodore Vincent d'Indy (1851-1931), was a composer and teacher. He initially read law and then moved to music. He studied under Csar Franck at the Conservatoire de Paris. He co-founded the Schola Cantorum in 1894.

Burney is recognised as the great musical writer of his day. This is a facsimile reprint of the first edition in 1771.

Honoring God and the City is a documentary history of musical activities at Venetian lay confraternities from their origins in the thirteenth century to their suppression in the early nineteenth, demonstrating the vital role they played in the cultural life of Venice.

Designed as a practical reference guide for professional pianists and piano teachers, "A Guide to Piano Music by Women Composers, Volume I," is an annotated catalogue of the available piano music in print composed by 144 women born before the 20th century. The work also features biographies and extensive bibliographical information for each composer. Arranged alphabetically by composer into categories including single works, collections, and anthologies, the music is also described in terms of grade level, genre, mood, style characteristics, and technical requirements, and ranges in difficulty from late elementary to virtuoso concert repertoire.

Far too many teachers, students, professional musicians, and audiences are unaware of the contributions made by women in music, and of the beauty and merit of their specific compositions. This reference work provides an invaluable addition to the current literature.

The role of natural magic in the rise of seventeenth-century experimental science has been the subject of lively controversy for several decades. Now Penelope Gouk introduces a new element into the debate: how music mediated between these two domains. Arguing that changing musical practice in sixteenth-century Europe affected seventeenth-century English thought on science and magic, she maps the various relationships among these apparently separate disciplines. Gouk explores these relationships in several ways. She adopts the methods of social geography to discuss the disciplinary, social, and intellectual overlapping of music, science, and natural magic. She gives a historical account of the emergence of acoustics in English science, the harmonically based physics of Robert Hooke, and the position of harmonics within Newton's transformation of natural philosophy. And she provides a gallery of images in which contemporary representations of instruments, practices, and concepts demonstrate the way in which musical models informed and transformed those of natural philosophy. Gouk shows that as the "occult" features of music became subject to the new science of experimentation, and as their causes became evident, so natural magic was pushed outside the realms of scientific discourse.

This, the second edition, was significantly revised and expanded. It incorporates a substantial amount of new material - notably three sections on the operas Hugh the Drover, Sir John in Love and The Poisoned Kiss. Also Wilfrid inserted into the final chapter A Double Man's Last Harvest, an account of the late A minor sonata for violin and piano.

This is a facsimile of the first edition, printed for the Author, in Edinburgh in 1721.

The Black Horn: The Story of Classical French Hornist Robert Lee Watt tells the story of the first African American French Hornist hired by a major symphony in these United States. Today, the number of African Americans who hold chairs in major American symphony orchestras are few and far between, and Watt is the first in many years to write about this uniquely exhilarating and at times painful experience. The Black Horn chronicles the upbringing of a young boy first fascinated by the sound of the French horn. Watt walks readers through the many obstacles presented by the racial climate in the United States both on and off stage in his efforts learn and eventually master an instrument little considered in the African American community, with even the author s own father, who played trumpet, seeking to dissuade the young classical musician in the making. Opposition from within the community--a middle instrument suited only for thin-lipped white boys, Watt s father once chided and from without, Watt document his struggles as a student at an all-white major music conservatory as well as his first job in a major symphony orchestra after his conservatory canceled his scholarship. Watt subsequently chronicles his triumphs and travails as a musician, sometimes alone when confronting the realities of race in America and the world of classical music. This work will surely interest any working classical musician and student, particularly those of color, seeking to grasp firsthand the sometimes troubled history of being the only black horn. "

This is a facsimile reprint of the 1773 edition. Originally in two volumes but now bound as one. There is a small bibliography provided by the publisher.