A History of the Concerto may be read from cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text.

This is a comprehensive bibliography of all printed books, articles and standard texts on England, Ireland, Scotland, the Commonwealth and the colonies up to 1970. This handbook will serve as a useful guide to scholars, teachers at all levels, advanced students, and the general reader interested in examining the period in some depth.

This comprehensive and versatile reference source will be a most important tool for anyone wishing to seek out information on virtually any aspect of British affairs, life and culture. The resources of a detailed bibliography, directory and journals listing are combined in this single volume, forming a unique guide to a multitude of diverse topics - British politics, government, society, literature, thought, arts, economics, history and geography. Academic subjects as taught in British colleges and universities are covered, with extensive reading lists of books and journals and sources of information for each discipline, making this an invaluable manual.

A Library Journal Starred Review (March 2024) praises the book as a "remarkable resource that will please both musical professionals and amateurs, along with teachers and their students, and conductors and singers.” Throughout the ages, people have wanted to sing in a communal context. This desire apparently stems from a deeply rooted human instinct. Consequently, choral performance historically has often been related to human rituals and ceremonies, especially rites of a religious nature. Historical Dictionary of Choral Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1,300 cross-referenced entries on composers, conductors, choral ensembles, choral genres, and choral repertoire. This book is an excellent resource for students, researchers, and anyone wanting to know more about choral music.

Greenhill presents three studies from the perspective of a folklorist and within the framework of feminist analysis. Loosely linked by the theme of power and discussion of carnivalesque elements of traditional and popular culture, these studies examine immigrants' narratives about adjusting to life in Canada; Morris dancing as practised by Forest City Morris of London, Ontario; and actions and responses of promoters and residents to the development of the Shakespeare festival in Stratford, Ontario. Greenhill notes that because the English are perceived as lacking carnivalesque traditions, their position vis-à-vis other ethnic groups has been defined solely in terms of power, and demonstrates that concepts of power and entitlement are inextricably bound up in English self-definition. She concludes by examining the implications for social scientific practice of an insider studying her own culture and the political ramifications of such studies for a pluralistic, multicultural society such as Canada. Greenhill's methods, concepts, and conclusions have much to offer practitioners in the fields of folklore, Canadian studies, ethnic studies, anthropology, and women's studies.