In recent decades, increased specialization has sharply separated music theory from historical musicology. "Music Theory and the Exploration of the Past" brings together a group of essays--written by theorists and musicologists--that seek to bridge this gap. This collection shows that music theory can join forces with historical musicology to produce a more humanistic form of musical scholarship.
In nineteen essays dealing with musical theories from the twelfth to the twentieth century, two recurring themes emerge. One is the need to understand the historical circumstances of the writing and reception of theory, a humanistic approach that gives theory a place within social and intellectual history. The other is the advantages of applying contemporaneous theory to the music of a given period, thus linking theory to the history of musical styles and structures. The periods given principal attention in these essays are the Renaissance, the years around 1800, and the twentieth century.
Abundantly illustrated with musical examples, "Music Theory and the Exploration of the Past" offers models of new practical applications of theory to the analysis of music. At the same time, it raises the broader question of how historical knowledge can deepen the understanding of an art and of systematic writings about that art.

This volume looks at the creative work of the great avant-gardist John Cage from an exciting interdisciplinary perspective, exploring his activities as a composer, performer, thinker, and artist.
The essays in this collection grew out of a pivotal gathering during which a spectrum of participants including composers, music scholars, and visual artists, literary critics, poets, and filmmakers convened to examine Cage's extraordinary artistic legacy. Beginning with David Bernstein's introductory essay on the reception of Cage's music, the volume addresses topics ranging from Cage's reluctance to discuss his homosexuality, to his work as a performer and musician, and his forward-looking, provocative experimentation with electronic and other media. Several of the essays draw upon previously unseen sketches and other source materials. Also included are transcripts of lively panel discussions among some of Cage's former colleagues. Taken together, this collection is a much-needed contribution to the study of one of the most significant American artists of the twentieth century.

At the present time Vivaldi's music is enjoying a renewed life. His music is played in the concert halls and on the radio, and has been extensively recorded. Public interest in the composer is tremendous; yet until recently there has not been any book in English to which the reader could turn for information on his life and work. Marc Pincherle's book fills this need perfectly. His aim is to present the life and music of Vivaldi to those generally musical readers who do not claim specialized knowledge. He has made wide use of contemporary writings which are delightfully evocative of the Venice in which Vivaldi lived and worked. He follows the events of the composer's life and then proceeds to a detailed consideration of his music, discussing Vivaldi the violinist, the symphonist, the composer of concertos, of opera and of sacred music. Finally he describes the incalculable influence that Vivaldi exercised on Italian, French, English, and German composers, and most especially on the music of Bach.