The Songs of David Gallagher is a collection of the lyrics to songs written by David Gallagher for accompaniment by guitar, piano, musical groups and full orchestra.

Secular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else. This collection of essays addresses many of these practices, with a focus on polyphonic settings of vernacular texts, examining their historical and stylistic contexts, their transmission in written and printed sources, questions of performance, and composers approaches to text setting. Essays have been selected to reflect the wide range of topics that have occupied scholars in recent decades, and taken together, they point to the more general significance of secular music within a broad complex of cultural practices and institutions.

The Routledge Handbook of Women’s Work in Music presents a unique collection of core research by academics and music practitioners from around the world, engaging with an extraordinarily wide range of topics on women’s contributions to Western and Eastern art music, popular music, world music, music education, ethnomusicology as well as in the music industries. The handbook falls into six parts. Part I serves as an introduction to the rich variety of subject matter the reader can expect to encounter in the handbook as a whole. Part II focuses on what might be termed the more traditional strand of feminist musicology – research which highlights the work of historical and/or neglected composers. Part III explores topics concerned with feminist aesthetics and music creation and Part IV focuses on questions addressing the performance and reception of music and musicians. The narrative of the handbook shifts in Part V to focus on opportunities and leadership in the music professions from a Western perspective. The final section of the handbook (Part VI) provides new frames of context for women’s positions as workers, educators, patrons, activists and promoters of music. This is a key reference work for advanced undergraduates, postgraduates and researchers in music and gender.

Rethinks and retells the history of music in sixteenth-century Ferrara, putting women, of the court and convent, at the narrative centre.

A new kind of songbook emerged in the later fifteenth century: personalized, portable, and lavishly decorated. Five closely related chansonniers, copied in the Loire Valley region of central France c. 1465-c. 1475, are the earliest surviving examples of this new genre. The Loire Valley Chansonniers preserve the music of such renowned composers as Guillaume Du Fay, Johannes Ockeghem, and Antoine Busnoys. But their importance as musical sources has overshadowed the significance of these manuscripts as artifacts in their own right. This book places the physical objects at center, investigating the means by which they were produced and the broader culture in which they circulated. Jane Alden performs a codicological autopsy upon the manuscripts and reveals the hitherto unrecognized role of scribes in shaping the transmission and reception of the chanson repertory. Alden also challenges the long-held belief that the Loire Valley Chansonniers were intended for royal or noble patrons. Instead, she argues that a rising class of bureaucrats--notaries, secretaries, and other court officials--commissioned these exquisite objects. Active as writers and participants in poetry competitions, these individuals may even have written some of the chansons' texts. The unique integration of image, text, and music found in chansonniers extends their appeal to a broad readership. But for the nineteenth-century scholars who rediscovered these manuscripts, the larger literary and visual resonances were not of primary interest. Alden documents the tangle of motivations--national identity, populist politics, and the rise of the musical masterwork--that informed the earliest writings on these books. Only now is their multifaceted structure the inspiration for a new generation of readers.

This thoroughly revised second edition of Allan Moore's ground-breaking book features new sections on melody, Britpop, authenticity, intertextuality, and an extended discussion of texture. Rock's 'primary text' - its sounds - is the focus of attention here. Allan Moore argues for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock and subsequent styles. He also explores the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.

This title was first published in 2001: Revised to respond to developments within the discipline and with new material added to reflect the author's and others' further work in this field, this book's focus remains British rock. Its aims are: to establish analytic criteria for rock as a whole; to provide a historicized discussion of British rock; and to enable a critical re-evaluation of progressive rock itself. This book has been written in the conviction that, with "rock" criticism and commentary in general, insufficient attention is paid to what the author calls the "primary text" - that constituted by the sounds themselves, as opposed to commentaries on them. In the first chapter, Allan Moore argues for the development of a musicology particular to rock, which may share aspects of established musicology, but which acknowledges that rock differs in its purposes, publics and aims. The primary elements of such a musicology are then laid out in Chapter 2. Next, there are critiques of rock myths of authenticity and unmediated expression. These are centred on the ideological appropriation of the ethos and techniques of the "blues", and extend to discussions of a range of more recent rock styles. The crucial role played by authenticity in the reception of rock is considered at more length in Chapter 5.

Taking up questions and issues in early chant studies, this volume of essays addresses some of the topics raised in James McKinnon's The Advent Project: The Later Seventh-Century Creation of the Roman Mass, the last book before his untimely death in February 1999. A distinguished group of chant scholars examine the formation of the liturgy, issues of theory and notation, and Carolingian and post-Carolingian chant. Special studies include the origins of musical notations, nuances of early chant performance (with accompanying CD), musical style and liturgical structure in the early Divine Office, and new sources for Old-Roman chant. Western Plainchant in the First Millenium offers new information and new insights about a period of crucial importance in the growth of the liturgy and music of the Western Church.

Ruth I. DeFord offers new insights on Renaissance theories of rhythm and their application to the analysis and performance of music.

The origins of selected instances of metamorphosis in Germanic literature are traced from their roots in Ovid’s Metamorphoses, grouped roughly on an ‘ascending evolutionary scale’ (invertebrates, birds, animals, and mermaids). Whilst a broad range of mythological, legendary, fairytale and folktale traditions have played an appreciable part, Ovid’s Metamorphoses is still an important comparative analysis and reference point for nineteenth- and twentieth-century German-language narratives of transformations. Metamorphosis is most often used as an index of crisis: an existential crisis of the subject or a crisis in a society’s moral, social or cultural values. Specifically selected texts for analysis include Jeremias Gotthelf’s Die schwarze Spinne (1842) with the terrifying metamorphoses of Christine into a black spider, the metamorphosis of Gregor Samsa in Kafka’s Die Verwandlung (1915), ambiguous metamorphoses in E. T. A. Hoffmann’s Der goldne Topf (1814), Hermann Hesse’s Piktors Verwandlungen (1925), Der Steppenwolf (1927) and Christoph Ransmayr’s Die letzte Welt (1988). Other mythical metamorphoses are examined in texts by Bachmann, Fouqué, Fontane, Goethe, Nietzsche, Nelly Sachs, Thomas Mann and Wagner, and these and many others confirm that metamorphosis is used historically, scientifically, for religious purposes; to highlight identity, sexuality, a dream state, or for metaphoric, metonymic or allegorical reasons.