The Cambridge History of Nineteenth-Century Music (The Cambridge History of Music)

The most informed reference book on nineteenth-century music currently available, this comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. Essays investigate the intellectual and socio-political history of the time, and examine topics such as nations and nationalism, the emergent concept of an avant garde, and musical styles and languages at the turn of the century. It contains a detailed chronology, and extensive glossaries. The musical work and nineteenth-century history / Jim Samson Music and the rise of aesthetics / Andrew Bowie The profession of music / John Rink The opera industry / Roger Parker The construction of Beethoven / K.M. Knittel Music and the poetic / Julian Rushton The invention of tradition / John Irving Choral music / John Butt The consumption of music / Derek Carew The great composer / Jim Samson Progress, modernity and the concept of an avant-garde / John Williamson Music as ideal: the aesthetics of autonomy / Max Paddison The structures of musical life / Katharine Ellis Opera and music drama / Thomas Grey Beethoven reception: the symphonic tradition / James Hepokoski Words and music in Germany and France / Susan Youens Chamber music and piano / Jonathan Dunsby Choral culture and the regeneration of the organ / John Butt Music and social class / Derek B. Scott Nations and nationalism / Jim Samson Styles and languages around the turn of the century / Anthony Pople Chronology / Sarah Hibberd Institutions / Sarah Hibberd Personalia / Sarah Hibberd. This comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. It avoids mere repertory surveys, focusing instead on issues which illuminate the subject in novel and interesting ways. The book is divided into two parts (1800–1850 and 1850–1900), each of which approaches the major repertory of the period by way of essays investigating the intellectual and socio-political history of the time. The music itself is discussed in five central chapters within each part, amplified by essays on topics such as popular culture, nationalism, genius, and the emergent concept of an avant-garde. The book concludes with an examination of musical styles and languages around the turn of the century. The addition of a detailed chronology and extensive glossaries makes this the most informed reference book on nineteenth-century music currently available. This comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. It is divided into two parts (1800–1850 and 1850–1900), each of which approaches the major repertory of the period through investigations into the intellectual and socio-political history of the time. Even the formula 'compositional and contextual', suggestive of a dual perspective - a 'double root' - may not fully embrace the materials and methods of a music history, whose very subject-matter must open to debate.

the Most Informed Reference Book On Nineteenth-century Music Currently Available.