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This book examines the relation of words and music in England and France during the three centuries following the Norman Conquest.

This book is a companion volume to Music and Patronage in Sixteenth-Century Mantua I.

This book is a study and critical edition of Mendelssohn's composition exercise book from his early period of study with Carl Friedrich Zelter (1819-1821). The workbook illustrates in considerable detail the young musician's struggle to master the rules of part writing and principles of counterpoint.

Viewed traditionally, the history of sixteenth-century Mantuan music is almost a catalogue of some of the most distinguished composers of the age, from Tromboncino and Cara, via Jacquet of Mantua, to Wert, Palestrina, Marenzio, Pallavicino, Gastoldi, Rossi and Monteverdi.

In the years following the Act of Uniformity in 1549, musicians seemed to thrive on the challenge of the New Prayer Book, and the successive reigns of Elizabeth I, James I and Charles I bought a rich and varied repertory of vernacular church music.

This book is a history of the early musical life of the Parisian cathedral of Notre Dame. All aspects ofthe musical establishment of Notre Dame are covered, from Merovingian times to the period of the wars of religion in France.

This book examines the impact of the daily life, political climate and artistic institutions of Vienna on its musicians and musical tastes between 1815 and 1830. Emphasis is given to Beethoven, Schubert, Paganini and Johann Strauss where their careers reflect typically Viennese musical life and when Viennese conventions may explain important turns in their lives.

The author examines different families of varying importance in the late Renaissance period, shedding light on the relationship between these patrons and their musicians, on the astonishing advances in musical literacy and refinement, and the importance of the Grand Tour and its contribution to the spread of European musical innovations to England.

This book is an analytical and critical study of Berlioz's unique musical style. It does not undertake to analyse all his works, but rather to separate characteristic elements and observe them in action. Berlioz's writings and those of his critics are called upon to help focus the discussion.

Roger North's The Musicall Grammarian 1728 is a 1990 treatise on musical eloquence in all its branches. Of its five parts, I and II, on the orthoepy, orthography and syntax of music, constitute a grammar; III and IV, on the arts of invention and communication, form a rhetoric; and V, on etymology, consists of a history.

This volume provides an anthology of parish church music of all kinds from the fifteenth century to the twentieth, newly edited from primary sources for study or for performance. The extensive bibliography includes a numbered chronological list of printed collections of parish church music, comprehensive up to 1800, with summaries of their contents.

This is a completely revised 2003 edition of volumes I and II of The Organ Music of J. S. Bach (1980), a bestselling title, which has subsequently become a classic text. This edition takes account of Bach scholarship of the 25 years prior to publication. Peter Williams's piece-by-piece commentary puts the musical sources of the organ works in context, describing the form and content of each work and relating them to other music, German and non-German. He summarises the questions about the history, authenticity, chronology, function and performance of each piece, and points out important details of style and musical quality. The study follows the order of the Bach catalogue (BWV), beginning with the sonatas, then the 'free works', followed by chorales and ending with the doubtful works, including the 'newly discovered chorales' of 1985.

John Stevens' book examines the complex interplay between lyrical and musical compositions in the courts of Henry VII and VIII. He examines late medieval ideas about music and poetry and the impact of the Reformation on them, and uses the social information about music and musicians to interpret the evidence of the early Tudor songbooks.

Nicholas Temperley has found in this neglected field a wealth of fascinating music, as well as a host of intellectual problems to intrigue the scholar.