Pt. 1. The heritage of antiquity -- pt. 2. The Middle Ages -- pt. 3. The Renaissance -- pt. 4. The Baroque -- pt. 5. The pre-classical period -- pt. 6. The classical period -- pt. 7. The later nineteenth century : romanticism and other preoccupations -- pt. 8. The twentieth century -- pt. 9. The recent, past, and the present.

Based on the award-winning six-volume work by Richard Taruskin, The Oxford History of Western Music, College Edition, presents the most up-to-date and comprehensive history of Western music available.

A comprehensive history of occidental music focuses on the function of music as an expression of the spirit and artistic life of each age.

Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances that have made global culture widely accessible—has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks—exoticism, orientalism, globalization, transculturation, and hybridization—that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate. Part III looks at the musical language, sonority, and subject matters of “intercultural” compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial marketing, or modes of nationalistic—even propagandistic—expression. The volume’s extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture.

DIVStudy of how systems of power and domination have shaped representations of otherness in music./div

The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. In Music in the Nineteenth Century , Richard Taruskin offers a panoramic tour of this magnificent century in the history music. Major themes addressed in this book include the romantic transformation of opera, Franz Schubert and the German lied, the rise of virtuosos such as Paganini and Liszt, the twin giants of nineteenth-century opera, Richard Wagner and Giuseppe Verdi, the lyric dramas of Bizet and Puccini, and the revival of the symphony by Brahms. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.

The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. Music in the Early Twentieth Century , the fourth volume in Richard Taruskin's history, looks at the first half of the twentieth century, from the beginnings of Modernism in the last decade of the nineteenth century right up to the end of World War II. Taruskin discusses modernism in Germany and France as reflected in the work of Mahler, Strauss, Satie, and Debussy, the modern ballets of Stravinsky, the use of twelve-tone technique in the years following World War I, the music of Charles Ives, the influence of peasant songs on Bela Bartok, Stravinsky's neo-classical phase and the real beginnings of 20th-century music, the vision of America as seen in the works of such composers as W.C. Handy, George Gershwin, and Virgil Thomson, and the impact of totalitarianism on the works of a range of musicians from Toscanini to Shostakovich

An eminent scholar explores the evolution of music, from the ecstatic singing of early civilizations to the development of more structured styles in Egypt, East Asia, Rome, and other regions.

From the critically acclaimed author of Temperament, a narrative account of the most defining moments in musical history—classical and jazz—all of which forever altered Western culture "A fascinating journey that begins with the origins of musical notation and travels through the centuries reaching all the way to our time.”—Semyon Bychkov, chief conductor and music director of the Czech Philharmonic The invention of music notation by a skittish Italian monk in the eleventh century. The introduction of multilayered hymns in the Middle Ages. The birth of opera in a Venice rebelling against the church’s pious restraints. Baroque, Romantic, and atonal music; bebop and cool jazz; Bach and Liszt; Miles Davis and John Coltrane. In telling the exciting story of Western music’s evolution, Stuart Isacoff explains how music became entangled in politics, culture, and economics, giving rise to new eruptions at every turn, from the early church’s attempts to bind its followers by teaching them to sing in unison to the global spread of American jazz through the Black platoons of the First World War. The author investigates questions like: When does noise become music? How do musical tones reflect the natural laws of the universe? Why did discord become the primary sound of modernity? Musical Revolutions is a book replete with the stories of our most renowned musical artists, including notable achievements of people of color and women, whose paths to success were the most difficult.

Music in the Western: Notes from the Frontier presents essays from both film studies scholars and musicologists on core issues in western film scores: their history, their generic conventions, their operation as part of a narrative system, their functioning within individual filmic texts and their ideological import, especially in terms of the western’s construction of gender, sexuality, race and ethnicity. The Hollywood western is marked as uniquely American by its geographic setting, prototypical male protagonist and core American values. Music in the Western examines these conventions and the scores that have shaped them. But the western also had a resounding international impact, from Europe to Asia, and this volume distinguishes itself by its careful consideration of music in non-Hollywood westerns, such as Ravenous and The Good, the Bad, and the Ugly and in the “easterns” which influenced them, such as Yojimbo. Other films discussed include Wagon Master, High Noon, Calamity Jane, The Big Country, The Unforgiven, Dead Man, Wild Bill, There Will Be Blood and No Country for Old Men. Contributors Ross Care Corey K. Creekmur Yuna de Lannoy K. J. Donnelly Caryl Flinn Claudia Gorbman Kathryn Kalinak Charles Leinberger Matthew McDonald Peter Stanfield Mariana Whitmer Ben Winters The Routledge Music and Screen Media Series offers edited collections of original essays on music in particular genres of cinema, television, video games and new media. These edited essay collections are written for an interdisciplinary audience of students and scholars of music and film and media studies.