Named a Library Journal Best Reference of 2023 - "Bravo! An invaluable source for scholars and concertgoers.” - Library Journal In the history of the Western musical tradition, the Baroque period traditionally dates from the turn of the 17th century to 1750. The beginning of the period is marked by Italian experiments in composition that attempted to create a new kind of secular musical art based upon principles of Greek drama, quickly leading to the invention of opera. The ending is marked by the death of Johann Sebastian Bach in 1750 and the completion of George Frideric Handel’s last English oratorio, Jephtha, the following year. The Historical Dictionary of Baroque Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on composers, instruments, cities, and technical terms. This book is an excellent resource for students, researchers, and anyone wanting to know more about baroque music.

This bibliography of bibliographies lists and describes sources, from basic references to highly specialized materials. Valuable as a classroom text and as a research tool for scholars, librarians, performers, and teachers.

Sacred music is a universal phenomenon of humanity. Where there is faith, there is music to express it. Every major religious tradition and most minor ones have music and have it in abundance and variety. There is music to accompany ritual and music purely for devotion, music for large congregations and music for trained soloists, music that sets holy words and music without words at all. In some traditions—Islamic and many Native American, to name just two--the relation between music and religious ritual is so intimate that it is inaccurate to speak of the music accompanying the ritual. Rather, to perform the ritual is to sing, and to sing the ritual is to perform it. This second edition of Historical Dictionary of Sacred Music contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 800 cross-referenced entries on major types of music, composers, key religious figures, specialized positions, genres of composition, technical terms, instruments, fundamental documents and sources, significant places, and important musical compositions. This book is an excellent access point for students, researchers, and anyone wanting to know more about sacred music.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Looks at the history of recording technology and its effect on music, including artistic performance, listening habits, and audience participation.

Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.

This comprehensive, exhaustively researched volume is the first to identify discographies in all fields of classical music published from 1976 to the present. Geographic coverage is worldwide--publications are included from the United States, Europe, South America, the Soviet Union, and Japan. In addition to covering discographies published as books, this indispensable reference contains entries for discographies published as supplements to books or as magazine articles, for record labels citing significant numbers of classical recordings, and for discographies appearing in dissertations, theses, or program notes. In gathering his material, Gray has relied almost exclusively on personal examination of the discographies, ensuring a high level of accuracy. The bibliography is divided into two parts. The body of the volume contains entries listed alphabetically by name and subject. Each entry includes a numerical code which identifies elements, such as release dates and take numbers, likely to be important to discography users. Headings for names and subjects are based on Library of Congress standards and cross references link variant subjects or name forms. The index encompasses the names of compilers, editors, and authors, series titles, and distinctive discography titles. Care has been taken throughout to make the bibliography both comprehensive and easy to use. An essential acquisition for every public and research library with a music collection, this volume will become a standard reference for scholars and students of classical music.