Excerpt from Guide to the Study of Musical History and Criticism The topics and references contained in the following pages are intended as an aid to those who wish to study musical history and criticism in a systematic and scholar-like manner. The time has gone by when the authority of a single book or a Single author could meet the demands of an intelligent curiosity. In history, litera ture, - every department of research in which the reliance is wholly or partially upon books, it is now taken for granted that the only rational method is the examination of many authorities with the aid of abstracts, topics, references, and similar guides. The scheme of this present manual is to indicate what material exists in English for the study of musical history, and how that material may be used to the greatest advantage. The topics are synopses of lectures given at Oberlin College; but they are also of general utility, for they summarize the most important phases of the subject, and show the student along what lines his inquiry must proceed. The method is to treat the topics as questions, and find the answers in the references. The author has in general, avoided references to books that are difficult to procure. Only those articles in periodicals are cited which deal with subjects that are not so well or concisely covered in any of the books available, or which have a special interest given them by their authorship. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from The Study of the History of Music: With an Annotated Guide to Music Literature This book is based upon the plan and method that are followed in the courses of lectures on the history and criticism of music given in the Oberlin Conservatory of Music. The only rational aim of such instruction is to aid the student to examine, think, and conclude for himself. The material for study is found in musical compositions and the critical and historical work of recognized authorities. The time has gone by when the representations of a single book or a single author can meet the demands of an intelligent curiosity. In every department of inquiry in which books are employed it is now taken for granted that afa'fny authorities must be examined, and that the teacher's work consists largely in providing abstracts, topics, references, and similar guides. Such assistance the present author endeavors to furnish to those who are interested in the history of musical art. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).