By combining history with sociology, Rothstein presents a new way of looking at state-supported schools. He describes the pauper schools of the early 1800s and shows how they became the foundation for the common schools that followed. Compulsory education sought to alleviate urban crime while assimilating the immigrants who flocked to our shores in each generation. In the late 19th century, the militaristic schools became more bureaucratic and set in their ways in spite of the new thinking in education represented by John Dewey. Rothstein shows how Dewey was taught in college but that Thorndike was followed in the public schools. The high school was an attempt to meet the changing needs of the Industrial Revolution. After recapitulating the foundational history of American public schools, Rothstein examines the psychological effects of martinet teaching methods on students' self-perception and performance. A stunning new (old) perspective on American education.

A landmark collection of over 200 complete musical compositions and movements, ranging from the Middle Ages to the present, ANTHOLOGY FOR MUSICAL ANALYSIS, International Edition offers first- and second-year music theory students a wealth of illustrations of chords, voice-leading techniques, and forms, plus some material for figured-bass realization and score reading. Because this book takes no theoretical position, it is adaptable to any theoretical approach and to any type of curriculum, including those that combine theory study with music literature and the history of musical style.

Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers-Rossini, Bellini, Mercadante, Donizetti, and Verdi-and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns-that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists.