A fairytale in the tradition of Hans Christian Andersen â€“ heart-warming and enchanting.
R. J. Stove’s A Student’s Guide to Music History is a concise account, written for the intelligent lay reader, of classical music’s development from the early Middle Ages onwards. Beginning with a discussion of Hildegard von Bingen, a twelfth-century German nun and composer, and the origins of plainchant, Stove’s narrative recounts the rise (and ever-increasing complexity) of harmony during the medieval world, the differences between secular and sacred music, the glories of the contrapuntal style, and the origins of opera. Stove then relates the achievements of the high baroque period, the very different idioms that prevailed during the late eighteenth century, and the emergence of Romanticism, with its emphasis upon the artist-hero. With the late nineteenth century came a growing emphasis on musical patriotism, writes Stove, especially in Spain, Hungary, Russia, Bohemia, Norway, Denmark, Finland, and the United States. A final section discusses the trends that have characterized music since 1945. Stove’s guide also singles out eminent composers for special coverage, including Palestrina, Monteverdi, Handel, Bach, Haydn, Mozart, Beethoven, Schubert, Wagner, Verdi, Brahms, Debussy, Richard Strauss, Sibelius, and Messiaen. As a brief orientation to the history and countours of classical music, A Student’s Guide to Music History is an unparalleled resource.
A comprehensive and detailed documentation of all the published and unpublished music related to Shakespeare's life and work, this five-volume set constitutes an invaluable reference tool. Encompassing music from many countries, ranging from the sixteenth century to the present, the catalog demonstrates the extent of Shakespeare's influence on culture throughout the world. The music listed includes operas, ballets, overtures, tone poems, songs, and various types of incidental music (for stage, radio, film, and television productions). Entries for each composition provide information on voice and instrument requirements, publication history, and data on first performance. The first three volumes deal with music and musical stage-direction for the plays (arranged alphabetically) and with settings of the sonnets and narrative poems. The fourth volume contains indexes of Shakespeare's titles and lines, the titles of compositions, and composers, arrangers, editors, librettists. The final volume provides an entirely new research aid: a selected, annotated bibliography of writings, in various languages, on the subject of Shakespeare and music.