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  3. The Cambridge History of Eighteenth-Century Music
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    • Publisher:
      Cambridge University Press
      Publication date:
      28 March 2011
      10 September 2009
      ISBN:
      9781139056038
      9780521663199
      9781107643970
      DOI:
      https://doi.org/10.1017/CHOL9780521663199
      Dimensions:
      (228 x 152 mm)
      Weight & Pages:
      1.41kg, 816 Pages
      Dimensions:
      (228 x 152 mm)
      Weight & Pages:
      1.29kg, 818 Pages
      • Subjects:
      Music, History, Eighteenth-Century Music, Music: General Interest
      Series:
      The Cambridge History of Music
      Collection:
      Cambridge Histories - Music
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    Subjects:
    Music, History, Eighteenth-Century Music, Music: General Interest
    Series:
    The Cambridge History of Music
    Collection:
    Cambridge Histories - Music
    Information

    Book description

    The eighteenth century arguably boasts a more remarkable group of significant musical figures, and a more engaging combination of genres, styles and aesthetic orientations, than any century before or since, yet huge swathes of its musical activity remain under-appreciated. The Cambridge History of Eighteenth-Century Music provides a comprehensive survey, examining little-known repertories, works and musical trends alongside more familiar ones. Rather than relying on temporal, periodic and composer-related phenomena to structure the volume, it is organised by genre; chapters are grouped according to the traditional distinctions of music for the church, music for the theatre and music for the concert room that conditioned so much thinking, activity and output in the eighteenth century. A valuable summation of current research in this area, the volume also encourages readers to think of eighteenth-century music less in terms of overtly teleological developments than of interacting and mutually stimulating musical cultures and practices.

    Reviews

    'This must have been a very difficult book to edit, and Simon Keefe (together with David Wyn Jones, who planned the volume) deserves unqualified congratulations for having engaged the work of so many gifted contributors and for having lurked in the detail (as it were) to such good effect … one cannot doubt the immense significance of this volume in its authoritative engagement with a repertory that speaks at every turn to the central importance of music as a vital expression of eighteenth-century thought.'

    Source: Music and Letters

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