This book is about Baroque composer and theorist Jean-Philippe Rameau (1683-1764), covering his life and creative activity. The dictionary and work-list provide the reader with cross-referenced material. The dictionary highlights discoveries and developments and corrects errors and misunderstandings. It includes entries on institutions, places, individuals, genres, instruments, technical terms, iconography, editions, specific works and publications, and aspects of performance and Rameau's theoretical writings as in his life and music. Many entries illuminate aspects of Rameau's notation and performance practice that can prove puzzling to the non-specialist. The biographical chapter provides factual information and draws attention to significant patterns in Rameau's life and work.

In recent years, interest in Rameau’s operas has grown enormously. These works are no longer regarded as peripheral by performers and audiences but are increasingly staged in the world’s major opera houses and festivals, while the production of first-rate recordings on CD and DVD continues to flourish. Such welcome developments have gone hand in hand with an upsurge in research on Rameau and his period. The present volume, devoted solely to the composer’s operas, reflects this scholarly activity. It brings together a substantial group of essays by an international team of scholars on a wide range of aspects of Rameau’s operas. The individual essays are informed by a variety of disciplines or sub-disciplines including literature, archival studies, musical analysis, gender studies, ballet and choreography, dramaturgy and staging. The contents are addressed to a wide readership, including not only scholars but also practical musicians, stage directors, dancers and choreographers.

The purpose of this book is to provide a concise introduction to the mathematical theory of music, opening each chapter to the most recent research. Despite the complexity of some sections, the book can be read by a large audience. Many examples illustrate the concepts introduced. The book is divided into 9 chapters.In the first chapter, we tackle the question of the classification of chords and scales. Chapter 2 is a mathematical presentation of David Lewin's Generalized Interval Systems. Chapter 3 offers a new theory of diatonicity in equal-tempered universes. Chapter 4 presents the Neo-Riemannian theories based on the work of David Lewin, Richard Cohn and Henry Klumpenhouwer. Chapter 5 is devoted to the application of word combinatorics to music. Chapter 6 studies the rhythmic canons and the tessellation of the line. Chapter 7 is devoted to serial knots. Chapter 8 presents combinatorial designs and their applications to music. The last chapter, chapter 9, is dedicated to the study of tuning systems.

Covers every aspect of the harpsichord and its music, including composers, genres, national styles, tuning, and the art of harpsichord building.

There are many resources for practicing scales and arpeggios on the violin, but extremely few for practicing chords. Understanding chords on the violin can be a very useful skill for violinists for a variety of reasons, the most obvious of which is that chords appear a significant number of times in the violin repertoire. In addition, understanding chords: helps you to think harmonically, helps you to better analyze music, improves your ability to sight read and to play arpeggios and double stops, helps the fingers of your left hand to work better together as a team, and facilitates composition and improvisation.

Brings new insights to the music of well-known European composers by telling a fascinating, little-known story about French music publishing, specifically through the lens of Jacques Durand's Édition Classique. French composers, performers and musicologists acted as editors of eighteenth- and nineteenth-century European 'classics', primarily for piano. Among these editors were Fauré, Saint-Saëns, Debussy, Ravel and Dukas; the objects of their enquiries included core works by Rameau, Bach, Mozart, Beethoven, Mendelssohn, Schumann and Chopin. Presenting six composer-editor case studies, the volume shows that the French 'accent', both musical and cultural, upon this predominantly Austro-German music was highly varied. Editorial responses range from scholarly approaches to those directed by performance or compositional agendas, and from pan-European to strongly patriotic stances. Intriguing intersections are revealed between old and new, and between French and cross-European canons. Beyond editing, the book explores the Édition's role in pedagogy and performance, including by pianists Robert Casadesus and Yvonne Loriod, and in the reassertion of contemporary French composition, especially regarding innovation around neoclassicism. It will interest a wide readership, including musicologists, performers and concert-goers, cultural historians and other humanities scholars.

There are many resources for practicing scales and arpeggios on the viola, but extremely few for practicing chords. Understanding chords on the viola can be a very useful skill for violists for a variety of reasons; the most obvious of which is that chords appear a significant number of times in the viola repertoire. In addition, understanding chords: helps you to think harmonically, helps you to better analyze music, improves your ability to sight read and to play arpeggios and double stops, helps the fingers of your left hand to work better together as a team, and facilitates composition and improvisation.