The idea of a global history of music may be traced back to the Enlightenment, and today, the question of a conceptual framework for a history of music that pays due attention to global relationships in music is often raised. But how might a historical interpretation of those relationships proceed? How should it position, or justify, itself? What would 'Western music' look like in an account of music history that aspires to be truly global? The studies presented in this volume aim to promote post-European historical thinking. They are based on the idea that a global history of music cannot be one single, hegemonic history. They rather explore the paradigms and terminologies that might describe a history of many different voices. The chapters address historical practices and interpretations of music in different parts of the world, from Japan to Argentina and from Mexico to India. Many of these narratives are about relations between these cultures and the Western tradition; several also consider socio-political and historical circumstances that have affected music in the various regions. The book addresses aspects that Western musical historiography has tended to neglect even when looking at its own culture: performance, dance, nostalgia, topicality, enlightenment, the relationships between traditional, classical, and pop musics, and the regards croises between European, Asian, or Latin American interpretations of each other's musical traditions. These studies have been derived from the Balzan Musicology Project Towards a Global History of Music (2013-2016), which was funded by the International Balzan Foundation through the award of the Balzan Prize in Musicology to the editor, and designed by music historians and ethnomusicologists together. A global history of music may never be written in its entirety, but will rather be realised through interaction, practice, and discussion, in all parts of the world.

Dramma per musica-the most usual term for Italian serious opera from the seventeenth to the early nineteenth century-was a modern, enlightened form of theater that presented a unified, artistically designed, dramatic enactment of human stories, expressed by the voice and underscored by the orchestra. This book by one of the world's most eminent musicologists illustrates the diversity of this baroque art form and explains how it has given us opera as we know it. Reinhard Strohm introduces the concept and history of dramma per musica and then examines the contemporary reception and environment of this operatic tradition, analyzing its social and repertorial patterns and comparing it to theories on the roles of French spoken drama and Italian libretto reform. In describing the principles observed by poets, composers, and performers, Strohm discusses such central concepts of theory and practice as verisimilitude, decorum, gesture, and rhetoric. He also decodes various works, including Handel's Ariodante, operas by Hasse, and stage works featuring the Earl of Essex. Throughout the book, Strohm surveys the traditions of the spoken theater and pays special attention to the subject matter of the librettos, as well as to drama theory, stage action, patronage, political history, and ideology. His account covers opera houses in Rome, Naples, Venice, Hamburg, Dresden, Vienna, Madrid, London, and Warsaw, as he follows one character of the dramatic tradition across the European stages for more than two centuries. Authoritative and enlightening, this book reveals how dramma per musica forms a vital part of our theatrical and musical heritage.

In this valuable collection of essays, published to coincide with the tercentenary of Handel's birth, Reinhard Strohm examines the relationship between Handel's great operas and the earlier European Baroque tradition, focusing on the Italian school, to which they are so crucially indebted. Handel's immediate heritage included the figures of Scarlatti, Gasparini and Vivaldi; this book establishes that context, concentrating on contemporary operatic practice, and proceeds to analyse three of Handel's best-known works. It shows how they elaborate and develop the style and method of the Italian operatic theatre, embracing previous traditions and synthesizing them with a new and exciting accentuation.

The idea of a global history of music may be traced back to the Enlightenment, and today, the question of a conceptual framework for a history of music that pays due attention to global relationships in music is often raised. But how might a historical interpretation of those relationships proceed? How should it position, or justify, itself? What would 'Western music' look like in an account of music history that aspires to be truly global? The studies presented in this volume aim to promote post-European historical thinking. They are based on the idea that a global history of music cannot be one single, hegemonic history. They rather explore the paradigms and terminologies that might describe a history of many different voices. The chapters address historical practices and interpretations of music in different parts of the world, from Japan to Argentina and from Mexico to India. Many of these narratives are about relations between these cultures and the Western tradition; several also consider socio-political and historical circumstances that have affected music in the various regions. The book addresses aspects that Western musical historiography has tended to neglect even when looking at its own culture: performance, dance, nostalgia, topicality, enlightenment, the relationships between traditional, classical, and pop musics, and the regards croises between European, Asian, or Latin American interpretations of each other's musical traditions. These studies have been derived from the Balzan Musicology Project Towards a Global History of Music (2013-2016), which was funded by the International Balzan Foundation through the award of the Balzan Prize in Musicology to the editor, and designed by music historians and ethnomusicologists together. A global history of music may never be written in its entirety, but will rather be realised through interaction, practice, and discussion, in all parts of the world.

This is a detailed and comprehensive survey of music in the late middle ages and early Renaissance. By limiting its scope to the 120 years which witnessed perhaps the most dramatic expansion of our musical heritage, the book responds, in the 1990s, to the tremendous increase in specialised research and public awareness of that period. Three of the four main Parts (I, II, IV) describe the development of polyphony and its cultural contexts in many European countries, from the successors of Machaut (d. 1377) to the achievements of Josquin des Prez and his contemporaries working in Renaissance Italy around 1500. Part III, by contrast, illustrates the musical life of the institutions, and musical practices outside the realm of composed polyphony that were traditional and common all over Europe. The book proposes fresh views in each chapter, discussing dozens of musical examples adducing well-known and hitherto unknown documents, and referring to and evaluating the most recent scholarship in the field.

This entirely new volume of NOHM reflects scholarship and performative experiences of late-medieval music in the second half of the 20th century. . It addresses important subject areas that were omitted or undervalued in the previous series: Muslim and Jewish Music, (c.1000-c.1500), liturgical office chant (c.1300-c.1500), dance music (c.1300-c.1530), instrumental music (c.1300-c.1520), Polyphonic music in Central Europe (c. 1300-c.1520), music theory of the 14th and 15th centuries, humanism and the 'rebirth' of the arts. The book offers solid foundational knowledge in these fields as well as new interpretations and many new documents.

The musical achievements of the so-called `Franco-Flemish School' have attracted many writers, yet Bruges itself has still to be put back on the map of European music history. This book describes how the people of Bruges shaped their acoustic environment and gave musical expression to their spiritual needs. It is based on a scrutiny of musical sources, stylistic trends in music, composers' achievements, and the function of musical genres; all these are seen against a reconstruction, from archival sources, of the socio-economic context of the art of music - an art which, in all its various manifestations, `high' and `low', sacred and secular, courtly and civic, polyphonic and monophonic, mirrors later medieval urban culture as a whole.