The Oxford History of Western Music, College Edition, Second Edition, immerses students in the engaging story of the Western musical tradition. By emphasizing the connections among works, both within each cultural era and across time and place, the text goes beyond a basic retelling of themusic's history to build students' ability to listen critically to each period's key works. A full suite of instructor resources, free open-access student companion website, three-volume score anthology, and streaming audio recordings support the text, making The Oxford History of Western Music,College Edition, a complete program for building students' understanding and appreciation of the classical canon.

The Oxford History of Western Music, College Edition, Second Edition, immerses students in the engaging story of the Western musical tradition. By emphasizing the connections among works, both within each cultural era and across time and place, the text goes beyond a basic retelling of themusic's history to build students' ability to listen critically to each period's key works. A full suite of instructor resources, free open-access student companion website, three-volume score anthology, and streaming audio recordings support the text, making The Oxford History of Western Music,College Edition, a complete program for building students' understanding and appreciation of the classical canon.

The Oxford History of Western Music is a magisterial survey of the traditions of Western music by one of the most prominent and provocative musicologists of our time. This text illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective, this text sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history. Written by an authoritative, opinionated, and controversial figure in musicology, The Oxford History of Western Music provides a critical aesthetic position with respect to individual works, a context in which each composition may be evaluated and remembered. Taruskin combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. It also describes how the c

The Oxford History of Western Music, College Edition, Second Edition, immerses students in the engaging story of the Western musical tradition. By emphasizing the connections among works, both within each cultural era and across time and place, the text goes beyond a basic retelling of themusic's history to build students' ability to listen critically to each period's key works. A full suite of instructor resources, free open-access student companion website, three-volume score anthology, and streaming audio recordings support the text, making The Oxford History of Western Music,College Edition, a complete program for building students' understanding and appreciation of the classical canon.

Ideas and Styles in the Western Musical Tradition, Third Edition, explores the conceptual frameworks that have shaped musical development from antiquity to the present. In a lively narrative that prompts readers to think both critically and creatively, Douglass Seaton uses historical documents from thinkers, artists, and musicians to add rich detail to the compelling story of Western music. This brief and accessible narrative of music history features numerous works of art, literature, and music that immerse the reader in the historical and intellectual contexts of musical styles. In addition, the thoroughly updated and revised third edition: * Includes the most current historiography * Clarifies the interconnections and divisions between musical periods, moving away from -periodization- terms * Offers an updated and comprehensive timeline * Expands the final chapter with additional recent works and more reflection on postmodernism * Features a unique anthology-free design that allows instructors the flexibility to choose their own musical examples (a correlation guide to the major score anthologies is included in the Companion Website) The third edition is also enhanced by a new Companion Website (www.oup.com/us/seaton) with study aids, teaching tips, chapter synopses, review and quiz materials, and listening recommendations. Also included are questions for study and reflection, guidance for research and writing in music history, and hints for pronouncing church Latin, as well as a correlation guide to the major score anthologies.

Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.