Gillespie discusses 350 composers and their works for harpsichord and piano, including Bach, Handel, Mozart, Beethoven, and Debussy. Includes 116 musical examples, illustrations, and a glossary of musical terms.

Intended for the Music Literature course for music majors.

W. Dean Sutcliffe investigates one of the greatest yet least understood repertories of Western keyboard music: the 555 keyboard sonatas of Domenico Scarlatti. Scarlatti occupies a position of solitary splendour in musical history. The sources of his style are often obscure and his immediate influence is difficult to discern. Further, the lack of hard documentary evidence has hindered musicological activity. Dr Sutcliffe offers not just a thorough reconsideration of the historical factors that have contributed to Scarlatti's position, but also sustained engagement with the music, offering both individual readings and broader commentary of an unprecedented kind. A principal task of this book is to remove the composer from his critical ghetto (however honourable) and redefine his image. In so doing it will reflect on the historiographical difficulties involved in understanding eighteenth-century musical style.

The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).

Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.

In The Pianist’s Craft 2, pianist and scholar Richard P. Anderson gathers together a new collection of essays by renowned performing artists and teachers and discusses the preparation, pedagogy, and performance of selected works by an entirely different set of composers whose works are standard in the piano literature. In this volume, readers will find an invaluable collection of contributions on C.P.E. Bach, Antonio Soler, Felix Mendelssohn, Gabriel Fauré, Erno Dohnányi, Francis Poulenc, Heitor Villa-Lobos, Dmitri Kabalevsky, Alberto Ginastera, Aaron Copland, Samuel Barber, Olivier Messiaen, and John Cage. The contributors—all nationally and internationally recognized as performing artists, teachers, recording artists, and clinicians—write thoughtfully about the composers whose work they have studied and played for years. Each author addresses issues unique to an individual composer, examining questions of phrasing, tempo, articulation, dynamics, rhythm, color, gesture, lyricism, instrumentation, and genre. Valuable insight is provided into teaching, performing, and preparing these great works—information otherwise available only in conferences, master classes, and private lessons. This collection, with more than 250 musical illustrations, is intended for teachers and students of the intermediate and advanced levels of piano, instructors and performers at the university level, and those who love piano and piano music.

This historical survey focuses on music for piano solo but also includes important compositions for piano duet and two pianos. Scholarly yet readable, it covers the entire repertoire from the Renaissance to the late 20th century and incorporates a bibliography of 1 100 sources for further study.

Keyboard Music Before 1700 begins with an overview of the development of keyboard music in Europe. Then, individual chapters by noted authorities in the field cover the key composers and repertory before 1700 in England, France, Germany and the Netherlands, Italy, and Spain and Portugal. The book concludes with a chapter on performance practice, which addresses current issues in the interpretation and revival of this music.