This first full biography of Edward J. Dent (1876-1957) covers not only his pioneering music scholarship and cultural activities but also his personal crusades on behalf of music and opera, gays, refugees, and the culturally destitute. Drawn from a wide variety of unpublished sources, from behind Dent?s carefully constructed public 0persona of a cosmopolitan gentleman scholar the picture emerges of a more complex and fascinating human being. His seminal works remain fresh and vital and his writing hugely entertaining, while his ideas on the importance of the arts in everyday life are as relevant as ever.

In editing this collection, Hugh Taylor has brought together Dent's learned but always readable criticism.

Dent's lectures here show that romantic opera had its origins not in Germany but in the music-dramas of revolutionary France.

This book contains the complete text of Il Mostro Turchino, or The Blue Monster, by Italian playwright Carlo Gozzi (1720-1806).

DigiCat Publishing presents to you this special edition of "The Servant of Two Masters (Il Servitore di Due Padroni)" by Carlo Goldoni. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

During his long career, Edward Dent wrote on a variety of musical subjects, ranging from substantial articles in the most learned journals to less weighty pieces in Radio Times. This volume aims to reflect that variety. Some of the articles are now of primarily historical interest, others offer insights of a fundamental kind; all are informed by Dent's witty and distinctive prose style. In editing this collection, Hugh Taylor has drawn on writings from 1903 to 1951 and included two pieces originally written in Italian and published here in English for the first time. As well as providing footnotes, which amplify certain of Dent's statements and draw attention to subsequent research, Mr Taylor has listed sources for Dent's many textual references and quotations. Brought together in this way Dent's learned but always readable criticism will appeal to the reader with a general interest in music as well as to the music student and specialist.

This collection of essays is the first book-length study of music history and cosmopolitanism, and is informed by arguments that culture and identity do not have to be viewed as primarily located in the context of nationalist narratives. Rather than trying to distinguish between a true cosmopolitanism and a false cosmopolitanism, the book presents studies that deepen understanding of the heritage of this concept – the various ways in which the term has been used to describe a wide range of activity and social outlooks. It ranges over a two hundred-year period, and more than a dozen countries, revealing how musicians and audiences have responded to a common humanity by embracing culture beyond regional or national boundaries. Among the various topics investigated are: musical cosmopolitanism among composers in Latin America, the Ottoman Empire, and Austro-Hungarian Empire; cosmopolitan popular music historiography; cosmopolitan musical entrepreneurs; and musical cosmopolitanism in the metropolises of New York and Shanghai.

A ground-breaking account of the scientists and architects who pioneered acoustics in twentieth-century Britain. On a winter’s night in 1951, shortly after Evensong, the interior of St Paul’s Cathedral echoed with gunfire. This was no act of violence but a scientific demonstration of new techniques in acoustic measurement. It aimed to address a surprising question: could a building be a musical instrument? Pistols in St Paul’s tells the fascinating story of the scientists, architects and musicians who set out to answer this question. Beginning at the turn of the century, their innovative experiments, which took place at sites ranging from Herbert Baker’s Assembly Chamber in Delhi to Abbey Road Studios and a disused munitions factory near Perivale, would come to define the field of ‘architectural acoustics’. They culminated in 1951 with the opening of the Royal Festival Hall – the first building to be designed for musical tone. Deeply researched and richly illustrated, Pistols in St Paul’s brings to light a scientific quest spanning half a century, one that demonstrates the power of international cooperation in the darkest of times.