Analysis of Latin sacred music written during the century illustrates the rapid and marked change in style and sophistication. Winner of the 2007 AMS Robert M. Stevenson prize The arrival of Francisco de Penalosa at the Aragonese court in May 1498 marks something of an epoch in the history of Spanish music: Penalosa wrote in a mature, northern-oriented style, and his sacred music influenced Iberian composers for generations after his death. Kenneth Kreitner looks at the church music sung by Spaniards in the decades before Penalosa, a repertory that has long been ignoredbecause much of it is anonymous and because it is scattered through manuscripts better known for something else. He identifies sixty-seven pieces of surviving Latin sacred music that were written in Spain between 1400 and the early 1500s, and he discusses them source by source, revealing the rapid and dramatic change, not only in the style and sophistication of these pieces, but in the level of composerly self-consciousness shown in the manuscripts. Withina generation or so at the end of the fifteenth century, Spanish musicians created a new national music just as Ferdinand and Isabella were creating a new nation. KENNETH KREITNER teaches at the University of Memphis.

This book explores Juan de Anchieta's life and his music and, for the first time, presents a critical study of the life and works of a major Spanish composer from the time of Ferdinand and Isabel. A key figure in musical developments in Spain in the decades around 1500, Anchieta served in the Castilian royal chapel for over thirty years, from his appointment in 1489 as a singer in the household of Queen Isabel, and he continued to receive a pension from her grandson, the Emperor Charles V, until his death in 1523. He traveled to Flanders in the service of the Catholic Monarchs' daughter Juana, and was briefly music master to Charles himself. Anchieta, along with Francisco de Penalosa, his contemporary in the Aragonese chapel, and a few others, was a key figure in the rise of elaborate written polyphony in the Spain of Josquin's time. The book brings together two of the leading specialists in Spanish music of the era in order to review and revise the rich biographical material relating to Anchieta's life, and the historiographical traditions which have dominated its telling. After a biographical overview, the chapters focus on specific genres of his music, sacred and secular, with suggestions as to a possible chronology of his work based on its codicology and style, and consideration of the contexts in which it was conceived and performed. A final chapter summarizes his achievement and his influence in his own time and after his death. As the first comprehensive study of Anchieta's life and works, The Music of Juan de Anchieta is an essential addition to the history of Spanish music.

A prolific American master whose work is rooted in the tonal tradition of nineteenth-century Romanticism, Robert Ward has had a long, varied, and successful musical career. Ward is noted for his keyboard and chamber music, songs and choral works, orchestral compositions, and operas, especially his musical rendering of The Crucible, which has become an established feature of the contemporary operatic repertoire. In this latest volume in the Bio-Bibliographies in Music series, Kenneth Kreitner presents a comprehensive bibliographic guide that includes the composer's complete works, recordings of his music, and relevant critical literature. In the introductory biographical section, Kreitner discusses Ward's life and career and examines the influence that have shaped his musical style. The complete list of works is arranged chronologically and supplies basic bibliographic data such as information on premieres and other selected performances. A discography offers data on commercially-produced recordings and an annotated bibliography lists writings by and about Ward and his music. The different sections are fully cross-referenced, and several indexes are provided. An important tool for scholars engaged in research on contemporary classical music, this volume will also be of interest to reference librarians and performing organizations.

This book explores Juan de Anchieta's life and his music and, for the first time, presents a critical study of the life and works of a major Spanish composer from the time of Ferdinand and Isabel. A key figure in musical developments in Spain in the decades around 1500, Anchieta served in the Castilian royal chapel for over thirty years, from his appointment in 1489 as a singer in the household of Queen Isabel, and he continued to receive a pension from her grandson, the Emperor Charles V, until his death in 1523. He traveled to Flanders in the service of the Catholic Monarchs' daughter Juana, and was briefly music master to Charles himself. Anchieta, along with Francisco de Penalosa, his contemporary in the Aragonese chapel, and a few others, was a key figure in the rise of elaborate written polyphony in the Spain of Josquin's time. The book brings together two of the leading specialists in Spanish music of the era in order to review and revise the rich biographical material relating to Anchieta's life, and the historiographical traditions which have dominated its telling. After a biographical overview, the chapters focus on specific genres of his music, sacred and secular, with suggestions as to a possible chronology of his work based on its codicology and style, and consideration of the contexts in which it was conceived and performed. A final chapter summarizes his achievement and his influence in his own time and after his death. As the first comprehensive study of Anchieta's life and works, The Music of Juan de Anchieta is an essential addition to the history of Spanish music.

We know what, say, a Josquin mass looks like"but what did it sound like? This is a much more complex and difficult question than it may seem. Kenneth Kreitner has assembled twenty articles, published between 1946 and 2009, by scholars exploring the performance of music from the fifteenth and sixteenth centuries. The collection includes works by David Fallows, Howard Mayer Brown, Christopher Page, Margaret Bent, and others covering the voices-and-instruments debate of the 1980s, the performance of sixteenth-century sacred and secular music, the role of instrumental ensembles, and problems of pitch standards and musica ficta. Together the papers form not just a comprehensive introduction to the issues of renaissance performance practice, but a compendium of clear thinking and elegant writing about a perpetually intriguing period of music history.