The first substantial study of Victoria's Requiem, among the most prominent Renaissance musical works, encompassing its genesis, style, and impact.

With over 1,700 entries, this book is the most comprehensive listing to date of writings about Tomas Luis de Victoria and his music as well as recordings and modern editions of his works. Among the features of this guide are a chronology of Victoria's life and publications, a publication history of the 181 authenticated works, and a listing of the 22 prints and 279 manuscripts from the late 16th century to the middle of the 19th century that contain Victoria's works whether they be lost, spurious, or dubious. Comprehensive title and name/subject indexes facilitate the retrieval of the information given in the annotations accompanying each of the sources surveyed

Representing nearly thirty years of research by one of the leading scholars in the field, this series of in-depth studies examines selected aspects of the music of the great Spanish composer in the late Renaissance, Tom Luis de Victoria. Presenting new insights into both the musical style and language and the compositional procedure of this contemporary of Palestrina, Lasso and Byrd, Eugene Cramer illuminates the extent to which Victoria's compositions are musically related. The book reveals that the falsobordone or fabord layed a much larger role in Victoria's music than has previously been thought. Cramer also demonstrates that Victoria's parody or imitation technique, especially in respect to his Masses of 1592, extended the parameters that are generally thought to be characteristic of works of this type. Of special interest is the discussion of thirty-eight works, including thirty-four psalm settings that are attributed to Victoria in extant manuscript sources. Extensively illustrated with over 130 musical examples, these studies will not only interest the serious student of sacred music, but also the performer, both the singer and the conductor alike.

The name of P. Samuel Rubio is known to students of Renaissance polyphony for his scholarly articles in learned periodicals, his editorship of different collections of sacred polyphony, and through his edition of the motets of Victory -- Tomás Luis de Victoria, Motetes, Vols. 1-4 (union Musical Española, Madrid -- 1964). Text books -- in English -- on the subject of sixteenth-century counterpoint are numerous and excellent; but none discusses the classical polyphonic style with quite the understanding affection that Father Rubio brings to this task. His treatment of notation, time-signatures, the modes, chromatic alteration, is supported by opposite quotation from sixteenth-century authorities and his discussion of form and texture are based on a knowledge derived from wide experience in performance as well as close analytical study.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Heather Demetrios's Little Universes is a book about the powerful bond between sisters, the kinds of love that never die, and the journey we all must make through the baffling cruelty and unexpected beauty of human life in an incomprehensible universe. One wave: that’s all it takes for the rest of Mae and Hannah Winters’ lives to change. When a tsunami strikes the island where their parents are vacationing, it soon becomes clear that their mom and dad are never coming home. Forced to move to Boston from sunny California for the rest of their senior year, each girl struggles with secrets their parents’ death has brought to light, and with their uncertainty about the future. Instead of bringing them closer, it feels like the wave has torn the sisters apart. Hannah is a secret poet who wants to be seen, but only knows how to hide. The pain pills she stole from her dead father hurl her onto the shores of an addiction she can’t shake and a dealer who turns her heart upside down. When it’s clear Hannah’s drowning, Mae, a budding astronaut suddenly launched into an existential crisis—and unexpected love—must choose between herself and the only family she has left.