Traditional musicology has tended to see the Spanish 18th century as a period of decline, but this volume shows it to be rich in interest and achievement. Covering stage genres, orchestral and instrumental music, and vocal music (both sacred and secular), it brings together the results of much recent research on such topics as opera, musical instruments, the secular cantata and the villancico, and challenges received ideas about how Italian and Austrian music of the period influenced (or was opposed by) Spanish composers and theorists. Two final chapters outline the presence of Spanish musical sources in the New World.

Following methods known to have been adopted by Bach himself, the exercises provided in chorale harmonization are graded in such a way as to encourage the student to develop both technique and imagination within a closely-defined framework. The instrumental counterpoint section is based on Bach's two-and three-part Inventions. By close analysis the author helps the reader to recognize the procedures Bach adopted in various musical situations. The exercises are taken largely from Bach's keyboard works.

Rouget de Lisle's famous anthem, La marseillaise, admirably reflects the confidence and enthusiasm of the early years of the French Revolution. But the effects on music of the Revolution and the events that followed it in France were more far-reaching than that. Hymns, chansons and even articles of the Constitution set to music in the form of vaudevilles all played their part in disseminating Revolutionary ideas and principles; music education was reorganized to compensate for the loss of courtly institutions and the weakened maitrises of cathedrals and churches. Opera, in particular, was profoundly affected, in both its organization and its subject matter, by the events of 1789 and the succeeding decade. The essays in this book, written by specialists in the period, deal with all these aspects of music in Revolutionary France, highlighting the composers and writers who played a major role in the changes that took place there. They also identify some of the traditions and genres that survived the Revolution, and look at the effects on music of Napoleon's invasion of Italy.

Traditional musicology has tended to see the Spanish eighteenth century as a period of decline, but this 1998 volume shows it to be rich in interest and achievement. Covering stage genres, orchestral and instrumental music and vocal music (both sacred and secular), it brings together the results of research on such topics as opera, musical instruments, the secular cantata and the villancico and challenges received ideas about how Italian and Austrian music of the period influenced (or was opposed by) Spanish composers and theorists. Two final chapters outline the presence of Spanish musical sources in the New World.

The Brandenburg Concertos represent a pinnacle in the history of the Baroque concerto, as well as being among the most universally admired of all Bach's works. This fascinating new guide places the concertos in their historical context, investigates their sources, traces their origins and discusses the changing traditions of performance that have affected the way listeners have understood them since Bach's time. The work's rich instrumentarium is carefully described, and a substantial chapter considers each concerto individually, revealing those aspects of their style and structure that make this group of works a unique and towering landmark in the history of the genre.

The damage done by hatred and prejudice -- based on race, sexual orientation, religion, or gender -- runs very deep. The damage is often invisible, but it simmers beneath the surface anyway. In Race and Prayer, Malcolm Boyd and Chester Talton have collected poems, prayers, and prose that bring the anger and frustration to light, and ultimately, they hope, to a place of reconciliation and healing.

Race and Prayer is divided into five sections: Suffering and Anger; Prejudice and Hatred; Diversity; Reconciliation and Healing; and Growth in Understanding and Sharing. Contributors to this collection range in age from teenagers to the elderly, and include men and women from a wide variety of racial and ethnic backgrounds, all of whom speak honestly of their own experiences, heartbreaks, and hopes. Twelve cartoons from three-time Pulitzer Prize winner Paul Conrad, editorial cartoonist at the Los Angeles Times, add to the power of this collection.

Published in its first edition in 1983, Boyd's treatment of this canonical composer is essential reading for students, scholars, and everyone interested in Baroque music. In this third edition, biographical chapters alternate with commentary on the works, to demonstrate how the circumstances of Bach's life helped to shape the music he wrote at various periods. We follow Bach as he travels from Arnstadt and Muhlhausen to Weimar, Cothen, and finally Leipzig, these journeys alternating with insightful discussions of the great composer's organ and orchestral compositions. As well as presenting a rounded picture of Bach, his music, and his posthumous reputation and influence, Malcolm Boyd considers the sometimes controversial topics of "parody" and arrangement, number symbolism, and the style and meaning of Bach's late works. Recent theories on the constitution of Bach's performing forces at Leipzig are also present. The text and the appendixes (which include a chronology, personalia, bibliography, and a complete catalogue of Bach's works) were thoroughly revised in this edition to take account of more recent research undertaken by Bach scholars, including the gold mine of new information uncovered in the former USSR.

Traditional musicology has tended to see the Spanish eighteenth century as a period of decline, but this volume shows it to be rich in interest and achievement. Covering stage genres, orchestral and instrumental music and vocal music (both sacred and secular), it brings together the results of much recent research on such topics as opera, musical instruments, the secular cantata and the villancico, and challenges received ideas about how Italian and Austrian music of the period influenced (or was opposed by) Spanish composers and theorists. Two final chapters outline the presence of Spanish musical sources in the New World.