When the Committee on Music and Musicology of the American Council of Learned Societies, desirous of advancing the cause of musicology in the United States and of attracting increased support for it, devised a series of brochures that might partially achieve these objectives, it was impressed by the inadequate availability, in English translation, of source materials, especially of the earlier periods.  Many musical treatises (aesthetic, philosophical, technical) remain too long unfamiliar to even the deeply earnest student because of language barriers.  How much more difficult is it, then, for the intelligent and interested layman to learn of the major figures who kept the torch of musical learning and speculation burning brightly.  In this succinct but comprehensive survey, first published in 1957 by the Liberal Arts Press, of classics in music literature not yet available in English, Reese exposes a wide and provocative vista.  His own introduction explains his selections and suggests the challenge these untranslated texts offer to all those who wish to see your discipline prosper.  American musicologist and teacher Gustave Reese (1899-1977) attended New York University (LLB 1921, MusB 1930) and taught there, starting in 1927.  He also served as visiting professor at a number of American universities including Harvard, Duke, UCLA, USC, Michigan, and CUNY, and gave courses in musicology at The Juilliard School.  He was associate editor (1933-44) and then editor (1944-5) of The Musical Quarterly. He was head of the publication department of G. Schirmer (1940-45) and director of publication at Carl Fischer (1945-55), a firm with which he was later connected in an advisory capacity.  The sense of indebtedness felt by musicologists to Reese can be seen in the imposing scope and quality of the Festschrift presented to him on his 65th birthday.  This indebtedness is still felt: his work, especially his Music in the Renaissance, remains indispensable.

Fourscore Classics of Music Literature: A Guide to Selected Original Sources on Theory and Other Writings on Music Not Available in English, with ... (Da Capo Press Music Reprint Series)

Arts & Photography

REESE, Gustave

Music

Da Capo Press

Essays In Musicology In Hnor Of Dragan Plamenac

Snow, Robert J.

A complete analysis of the development of music during the Renaissance including a discussion of the contributions made by each country. For this study, the most fitting method has seemed to be one that might, with Browning in mind, be called the Ring and the Book technique. Part I deals at some length with the central musical language of the 15th and 16th centuries, which was developed in France, Italy, and the Low Countries, while Part II deals primarily with the music of other lands. This distinction has nothing to do with the comparative intrinsic merit of the various bodies of music, but only with the separation of local dialects from the central language. Indeed, such local productions as the 16th-century music of Spain and England provide artistic expressions quite in a class with the best music of France, Italy, and the Low Countries. The method of first taking into account only the central language has the advantage of permitting the main technical developments of the centuries under consideration to be described, as it were, in a straight line. Thereafter, the entire period is traversed again for each country dealt with in Part II. As a result, the same musical forms and processes of composition are treated several times, but each discussion is entered from a different approach and with the admixture of something individual―that is, national. The method offers advantages not only to the one whose task it is to sort out a huge amount of varied material, but also to the one who studies it: the student has the main historical outline presented to him more than once, but each time with important changes in the details by which it is filled in.

Music in the Renaissance

W.W.Norton&Company

Definitive study of the various types of music in different parts of the world in Medieval times, dealing with their background, styles, forms and rhythm

Music in the Middle Ages: With an Introduction on the Music of Ancient Times

W.W. Norton & Co., Inc.

Describes the lives and examines the musical careers of five influential European composers during the period of the Renaissance

The New Grove high Renaissance masters: Josquin, Palestrina, Lassus, Byrd, Victoria (The Composer biography series)

Jeremy Noble, Lewis Lockwood et al.

Biographies & Memoirs

W.W.Norton

Will be shipped from US. Brand new copy.

Music in the Middle Ages

A complete analysis of the development of music during the Renaissance including a discussion of the contributions made by each country. For this study, the most fitting method has seemed to be one that might, with Browning in mind, be called the Ring and the Book technique. Part I deals at some length with the central musical language of the 15th and 16th centuries, which was developed in France, Italy, and the Low Countries, while Part II deals primarily with the music of other lands. This distinction has nothing to do with the comparative intrinsic merit of the various bodies of music, but only with the separation of local dialects from the central language. Indeed, such local productions as the 16th-century music of Spain and England provide artistic expressions quite in a class with the best music of France, Italy, and the Low Countries. The method of first taking into account only the central language has the advantage of permitting the main technical developments of the centuries under consideration to be described, as it were, in a straight line. Thereafter, the entire period is traversed again for each country dealt with in Part II. As a result, the same musical forms and processes of composition are treated several times, but each discussion is entered from a different approach and with the admixture of something individual―that is, national. The method offers advantages not only to the one whose task it is to sort out a huge amount of varied material, but also to the one who studies it: the student has the main historical outline presented to him more than once, but each time with important changes in the details by which it is filled in.

J.M. Dent & Sons

W.W.Norton & Co

Essays in musicology,: In honor of Dragan Plamenac on his 70th birthday

University of Pittsburgh Press

La música en el Renacimiento, 2 (Spanish Edition)

Martín Triana, José María

Alianza Editorial

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