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33 1/3 is a series of short books about popular music, focusing on individual albums by artists ranging from James Brown, the Beach Boys, Lou Reed, and Bjork encompassing styles like heavy metal, bossa nova, country, reggae, jazz, ambient, and rap..
Cambridge Companions to Music provide clear and accessible information on composers, instruments or musical topics, written with the student, the performer and the music lover in mind. Each volume provides a carefully structured series of specially-commissioned essays by leading authorities offering comprehensive coverage and indispensable reference material as well as absorbing reading matter. Also see The Cambridge History of Music series.
The series explores the life, work, and times of composers featured at the Bard Music Festival.
The short, readable books in this series will introduce significant American composers to students and general readers and provide a convenient reference and concise overview for scholars, performers, and other specialists.
These collections of specially commissioned essays present the latest musicological and theoretical research on individual high-profile composers. Written by leading scholars in the field, they consider the reception history, performance practice and life of the composer, and discuss the historical and analytical issues with reference to the major works.
Reference works concerned with significant strands of musical scholarship. The individual volumes are self-contained and will include histories of music examined by century as well as histories of opera, music theory and American music. Each volume is written by a team of experts under a specialist editor and represents the latest musicological research.
The potential for the study of opera and its cultural ramifications today is vast indeed. Cambridge Studies in Opera is pleased to offer a forum for this growing and lively area of contemporary scholarship. The series intends its methodological focus to be inclusive, ranging from musicological studies of composers and works or forms of analysis to the varieties of approaches that critical theories in other humanistic disciplines can now offer to the study of opera.
From the University of Rochester Press, a series of monographs on historical performance, interpretive traditions, analysis and performance, history of theory, speculative theory, twentieth-century music, American music, and the social, anthropological, aesthetic, and critical contexts that have impinged on composing, music-making, and listening in various places and times (including the present).
Explores expressive motivations behind musical structures and the ways in which listeners and performers interpret musical works and practices. Subject areas range from reconstructions of stylistic meaning to close interpretations of individual works and critical studies of aesthetic theories. The series features a wide variety of repertoire (including early, recent, popular, world music, and mixed media), approaches (including historical, theoretical, philosophical, cultural, critical, semiotic, hermeneutic, cognitive), and themes(including subjectivity/agency/voice, gesture/movement, topic, trope, genre/expressive genre, drama/narrativity, gender/sexuality, intertextuality), with the shared focus of musical signification.
Music in American Life is a longstanding series that embodies the twin goals of documenting the place of music in American culture and the cultural life that gives rise to particular musical forms. Encompassing the broadest range of music, from classical through all forms of American vernacular music, the series welcomes a variety of approaches to the topic of music in American life, including monographs, biographies, memoirs, reference books, readers, and edited collections.
An introductory series that inlcudes biographical information, analaysis of works, cultural and historical context, illustrative material, and suggested readings.
This series is dedicated to presenting a variety of musicological studies. Volumes include commentaries on translated treatises, source facsimiles, music editions, critical commentary and expanded documentation for editions, and in-depth analyses of selected historic or music theory subjects. Also included are biographies of early musicians, composition indexes, treatises on musical instruments, and volumes on the history and development of musical genres and forms.
Traverses a wide spectrum of music-theoretic thought through its creative and expansively written monographs. The series includes work that systematically models European and American art-music repertories, including analytical studies with broad and explicit methodological implications. The series also strives to augment music theorys conceptual and repertorial reach through books that bridge imaginatively into such domains as historical musicology, ethnomusicology, cognitive science, mathematics, and aesthetics.
Provides accessible introductions to major musical works. Written by experts in the field for the concert-goer, performer, and student, series titles present essential information on the historical and musical context, the composition, and the performance and reception history of each work, or group of works, as well as a critical discussion of the music.
Routledge Music Bibliographies provide ready reference for students and scholars or for anyone who wants to know where to begin research on classical composers or on specific areas in music. Volumes in the series feature an explanatory preface, topical divisions, sequentially numbered entries with brief annotations, an author index, and a name/subject index.
Studies designed to illuminate specific musical works, repertoires or practices in historical, critical, socio-economic or other contexts; or to illuminate particular cultural and critical contexts in which music operates through the study of specific musical works, repertoires, or practices.
Monographic series on world music in cultural, political, religious, historical, mythical, and technological contexts.
Embraces the world’s popular musics from Acid Jazz to Zydeco, whether high tech or low tech, commercial or non-commercial, contemporary or traditional. Popular musicology is a vital and exciting area of scholarship, and the series presents the best research in the field. Authors are concerned with locating musical practices, values and meanings in cultural context, and draw upon methodologies and theories developed in cultural studies, semiotics, poststructuralism, psychology and sociology. The series focuses on popular musics of the twentieth and twenty-first centuries.
This series from Cambridge University Press explores the conceptual framework that shapes the ways in which we understand music and its history and will elaborate structures of explanation, interpretation, commentary and criticism that make music intelligible and that provide a basis for argument about judgments of value.
This series is centered on the history of musical instruments and the history of performance, including a focus on musical reception in relation to performance and as a reflection of period expectations and practices.
Fallen Leaf Press was founded by Ann Basart in 1984 to publish reference books in music as well as contemporary American chamber music scores. In 1995, the company added a new series of trade books devoted to twentieth-century composers. The book division, including the Fallen Leaf series, is now part of Scarecrow Press.
Concise introductory monographs on a wide range of topics, including the arts and humanities.
The ambition of the Stanford series is to move beyond a narrow disciplinarity based on conventional historical premises and to refocus contemporary cultural studies in the direction of close reading. Its themes include boundary-crossing projects and interrogations of canon and institutions in philosophy, religion, anthropology, literature, media studies, and visual analysis.
The series seeks to foster approaches that combine innovative theoretical perspective, close attention to the detail of the cultural object, and an effort of interpretation geared to the meaning of the object for a present that is not amnesiac.