M510: Introduction to Performance Practice
Or "How did they do it back then, and why does it matter?"
Spring Semester 2004
T/Th 1-2:15 in M340
Section: 8615
Prof. Don Fader
Office: Simon Center 325J
Hours: T, Th 2:15-3:15
Phone: 855-7166
E-mail: dfader@indiana.edu
Prerequisite: M541/542 or equivalent, or permission of instructor
This course is designed for musicians who are not "early music specialists," but who are curious about the connection between style and performance. The course offers students the opportunity to delve into details of historical performance practice and also to consider how these issues apply to their own musical lives and to contemporary musical culture in a non-judgmental atmosphere of critical thought and open discussion. We will emphasize music of the period 1600-1800, with some coverage of the Renaissance, Romantic and Modern eras. We begin by considering general issues relating to the contemporary performance of music of the past: the role of the performer, the score and its editor, concepts of "authenticity," and the roots of the historical performance movement. The body of the course then focuses on various influences of performance on style: technique, performance context, tuning and pitch, sound, concepts of phrasing, ornamentation, notation, aesthetics, and instrument construction, among other topics. Readings will be both from contemporary writings and period sources.
"Historically-Informed Performance Practice" (HIP) in the Modern Musical World
Jan 13: Intro
Jan. 15: What is the role of the performer?
Reading:
Paul Griffiths, "Since1940" in Brown and Sadie, Performance practice, pp. 483-491 [ML457 .P47]
Richard Taruskin, “The Modern Sound of Early Music,” pp. 164-72, and “The Limits of Authenticity,” pp. 67-82 in Text and Act [ML457 .T19]
WK 2
Jan. 20: The Editor and the Performer
Reading:
George Barth, "Mozart Performance in the19th Century," Early Music 19/4 (Nov., 1991): 538-552
Philip Brett, "Text, Context, and the Early Music Editor," in Authenticity and Early Music, 83-114. [ML457.A95]
Jan. 22: Recent changes in performance practice
Reading:
Robert Philip, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance,1900-1950, pp. 1-3, 87-88, 97-105, 143-148,158, 229-240. [ML457.P5]
Listening:
Josef Joachim (1903) VAA0974 [Frontlog 5542591, tracks2-4]
Bach, Sonata in G minor for Unaccompanied violin, Adagio
Joachim, Romance in C
Brahms, Hungarian Dance no. 1 in G
Puccini, Turandot, “Non piangere, Liu,” “Nessun dorma” [Giovanni Martinelli/ Barbiroli, London Phil., Covent Garden, 1937] ACZ5812, tracks 1 and 9.
WK 3
Jan 27: Historiography of HIP: The History of Historical Performance
Reading
Howard Mayer Brown, "Pedantry or Liberation? A Sketch of the Historical Performance Movement" in Authenticity and Early Music, pp. 27-56 [ML457 .A95]
“The Application of primary sources,” in Colin Lawson, The Historical Performance of Music: An Introduction, pp. 17-41. [ML457.L39]
Assignment
Choose a practical manual or treatise on performance practice [if long, choose a chapter or two; it can be the same source about which you write your paper] from the course bibliography. Be prepared to discuss your source in regard the problems noted in Lawson, “The Application of primary sources.” In preparation, compose a paragraph or two situating your source in its broad context. Look at its contents: what issues does it address? Find out about the historical background of the treatise: When and for whom was it written? Was its author conservative or progressive for his/her time? Is this the only practical source of information for these issues, or are there others? Most of this information you can glean from Groves Dictionary, but you may need to do some further reading.
Renaissance Issues
Jan 29: Sacred Music
Reading:
HM Brown, "Introduction" in Performance practice: Music before 1600, pp. 147-161 [ML457.P47 v. 1]
Christopher Reynolds, "Sacred Polyphony," in Performance practice: Music before 1600, pp. 185-198
Hermann Finck, from Practica Musica, in Readings in the History of Music in Performance, pp.61-65
Listening:
Dufay, Missa Se la face ay pale, gloria
EMA ACM4744, track 2 [Chiaroscuro Ensemble, Nigel Rogers; a capella version]
vaa0141, disc 2, track 20 [Early Music Consort of London/Munrow; with instruments]
Score: NAWM, vol. 1, p.111 [M1 .N825 2001 v.1]
WK 4
Feb. 3: Musica Ficta, Tempo and Proportions
Reading:
Rob Wegman, "Musica ficta" in Tess Knighton and David Fallows, Companion to Medieval and Renaissance Music (1992), pp. 265-74. [ML172 .C65 1992]
Sarah Mead, “Renaissance Theory,” in A Practical Guide to Historical Performance: The Renaissance (New York, NY: Early Music America, 1989), pp. 169-87 [ML457 .P7]
Music
Dufay, Missa Se la face ay pale, gloria
Josquin?/La Rue?, Absalon fili mi
Listening: CD D424 D7.1-4, track 2 [Hilliard Ensemble w/ P. H.]
Scores:
http://wso.williams.edu/cpdl/sheet/jos-abs2.pdf
http://wso.williams.edu/cpdl/sheet/jos-absa.pdf
M2092 .J67 A3
Assignment: For class discussion, compare the two editions of Absalon fili mi on-line at the Choral Public Domain Library. Which score is the most useful and informative? Why? Look particularly at the way in which the two editions deal with the original notation, pitch level and the ficta.
Feb. 5: Secular Music
Reading:
"Instruments," "Secular Polyphony in the 15th century" in Performance Practice: Music before 1600, pp. 167-180 and 201-15
Listening:
Dufay, Resvellies vous vaa0141, CD 2, track 14 [Early Music Consort of London/Munrow]
Score: NAWM, vol. 1, p.105; M1 .N825 2001 v.1
Dufay, Ne je ne dors ACM6188, track 8 [Gothic Voices/Page]
Review by Brown in Early Music 15 (1987): 277-79
WK 5
Feb. 10: Ornamentation and improvisation
Reading:
Bernard Thomas, "Division in Renaissance Music," Companion to Medieval and Renaissance Music, 345-53 [ML172 .C65 1992]
Andrew Lawrence-King, "'Perfect Instruments," Companion to Medieval and Renaissance Music, 354-364
Music:
Rore, Anchor che co'l partire with diminutions by R. Rognoni (1592)
Listening: EMA ACM5866, track 8
Score: M285.5 .D56
Caccini, Amarilli mia bella, intabulated for harp
The original (voice and continuo)
Recording: ACP3415, track 10
Score: M2 .R285 v. 9
The intabulated version: ACM6879, track 13 [Lawrence-King]
Baroque Issues
Feb. 12: Sound, National Style and Instruments
Reading:
"Baroque Sound" and "Dynamics" in Mary Cyr, Performing Baroque Music, 24-26 and 49-56
Donington, “The Interplay of Styles” and “Music as Expression,” in The Interpretation of Early Music, rev. ed. New York: Norton, 1992, pp. 98-119 [ML457.D68 1989]
J. J. Quantz, from the Versuch, pp. 593-598, in Strunk, Readings [1950 edition ONLY! ML160 .S89]
Class: instrument demo
WK 6
Feb. 17: Keyboards: Pitch, Tuning, temperament
MEET IN AUER HALL for instrument demonstration
Reading:
Peter Williams, "Keyboards" in Brown and Sadie, Performance Practice, pp. 20-23, 29-34 [ML457 .P47]
"Pitch, Tuning and Temperament" in Mary Cyr, Performing Baroque Music, 59-69
Listening:
Frescobaldi, Toccata Cromaticha per le Levatione [CD .F884 K2.1-2, CD 1, track 21] (Rinaldo Alessandrini on the organ of S. Maurizio al Monastero Maggiore, Milan, built by Gian Giacomo Antegnati, 1554)
Feb. 19: The Affect's the Thing: Tempo, Notation, and Expression
Class: Discussion of Styles and Expression from the Feb. 12 readings, in addition to the following:
Reading:
Mary Cyr, Performing Baroque Music, 29-45
"Shaping the Tempo," in Robert Donington, Baroque Music: Style and Performance, pp. 11-23, 26-28 [ML457.D68 B3]
PAPER PROPOSAL DUE
WK 7
Feb. 24: Tempo and Expression (cont'd)
Reading:
Quantz, from the Versuch and L. Mozart from the Versuch in MacClintock, Readings in the History of Music in Performance, pp. 320-27
“Tempo, Tactus and Musical Terms” in MacClintock, Readings in the History of Music in Performance, pp. 150-156
Listening (movements or sections referred to in the text of Cyr):
Handel, "Sirti, scogli, tempeste" from Flavio III/3
Recording: EMA ABB9868, CD 2, track 8
Score: Cyr, pp. 206-08
Buxtehude trio sonata op. 2 no. 5
Score: Cyr, p. 165
Recording: Frontlog AFW1626 v.2, tracks 16-20
Bach BWV 8
Score: Cyr pp. 149-59
Recording: ABD5785 [CD.B118 D1-1 v. 2]
Feb 26: Articulation and Rhythm
Reading
"Articulation" in Mary Cyr, Performing Baroque Music, 87-107, 109-10, 116-121
"Shaping the Rhythm" in Robert Donington, Baroque Music: Style and Performance, pp. 42-65 [ML457.D68 B3]
Listening:
Lully, overture to Le Bourgeois gentilhomme
Recording: EMA ACP4203, CD1, track 1 [La Petite bande, dir Leonhardt]
Score: Cyr, p. 209
François Couperin, “La Piémontoise” from Les Nations (sonade only)
Listening: ACF5634, CD2, track 11
Score: copy in E-Reserves, M3 .C862 Ser. IV v.3
Assignment Due: You will be assigned an aria from Messiah, for which you should determine an (the?) appropriate tempo. Provide a one- to two-paragraph essay stating the reasons for choosing for your tempo, taking into consideration the time signature, notation, text, genre, dramatic situation, and other appropriate factors. Be prepared to discuss your tempo choice in class.
Score: M2003.H2 M53 E3
Recording: ACC6088
Assigned Arias:
Pt I
No. 11: "The people who walked" (p.39)
No. 18: "He shall feed his flock" (p. 64)
Pt II
No. 34: “Thou art gone up on high (p. 118)
No. 41: “Thou shalt break them” (p. 138)
Pt III
No. 43: "I know my redeemer liveth" (p. 149)
March 2: Phrasing: Regularity and Discontinuity
Reading:
Donington, "Shaping the Line" in Robert Donington, Baroque Music: Style and Performance, pp. 29-41 [ML457.D68 B3]
"Strong and Weak...Establishing a Theory for Strong and Weak Measures," in Anthony Newman, Bach and the Baroque, pp. 51-74. [MT92.B3 N48 1994]
Quantz, from the Versuch in MacClintock, Readings in the History of Music in Performance, pp. 316-17 [ML457 .R4]
Listening:
Bach, Italian Concerto, 1st and 2nd movements
Recording: AHM2404
Score: M24 .B118 C66 H3
François Couperin, Les Nations (Paris, 1726), minuet from "La Francoise"
Recording: ACF5634, CD 1, track 9
Score: M3 .C862 Ser.IV v.3, p. 62
Haydn, string quartet, op. 33/2, scherzo
Recording: ADX9527 [CD .H416 C4S.33/1-1], track 6
Score: frontlog score 5370946
March 4: Continuo
Reading:
"The Basso Continuo" in Mary Cyr, Performing Baroque Music, 71-84
Tagliavini, "The Art of 'Not Leaving the Instrument Empty.'" Early Music 11 (July, 1983): 299-308
Viadana, from Cento concerti ecclesiastici (1602), preface, and Agostino Agazzari, "Of Playing upon a Bass" (1607) in Struck, Readings, pp. 617-628. [ML160.S89 1998]
Quantz, from the Versuch in MacClintock, Readings in the History of Music in Performance, pp. 317-320 [ML457 .R4]
Listening:
Purcell, 3 parts upon a ground AKS8539,track 1 [CD ZF.G59]
Assignment [due March 23]: Compare continuo realizations of the first movement of the Handel trio sonata op. 2/2 on page 15 in the edition of the Handel complete works [Hallische Handel Ausgabe (HHA): M3 .H21 Ser.IV, v.10/1] and in M312.4 H135 no. 8 [different numbering, same sonata]. Write your own realization of bars 1-18 after historical principles, and compose a short (1-2 paragraph) essay comparing your realization with the modern editions. Consider the tessitura of the solo part, the tempo (you might indicate what tempo you think is appropriate), the rhythm, the continuo instrument(s) in question (which you should indicate), the style of the music and the other factors discussed in the reading.
Listening:
Handel, op. 2 sonatas ACZ2664 , track 5 [London Baroque]
WK 8
March 9: Continuo continued; Review for exam
March 11: MIDTERM EXAM
March 15-19: SPRING BREAK
WK 9
March 23: Italian Ornamentation to ca. 1660; French ornamentation
Reading
"Ornamentation" in Cyr, Performing Baroque Music, 123-128; 132-138
Caccini, from Le Nuove Musiche (1602) in Strunk, Readings, p. 607-617 [ML160 .S89 1998]
Michael Praetorius, from Syntagma musicum, in Maclintock, Readings, pp.163-170 [ML457 .R4]
Listening/scores
Caccini, "Deh, dove son fuggiti" and "Vedro'l mio sol"
Recording: ACP3415, track 6 ["Vedro" only]
Scores:
Cyr, Performing Baroque Music
NAWM, vol.1, pp.267 [M1 .N825 2001 v.1]
Monteverdi, "Possente spirto" from Orfeo
Recording: BFJ7270, CD 2, track 5 [CD .M7812 A.6-15]
Score: Cyr, Performing Baroque Music
Jacquet de la Guerre Suite in A minor (1687)
Score: M24 .J23 P5 1996
Recording: CAB2080, tracks 17-20
March 25: Italian and German Ornamentation post 1660
Reading
"Ornamentation" in Cyr, Performing Baroque Music, 128-131; 138-140
Winton Dean, "Vocal Embellishment in a Handel Aria," in Studies in Eighteenth-Century Music: a Tribute to Karl Geiringer on his Seventieth Birthday, ed. H. C. Robbins Landon and R.E. Chapman, pp. 151-59 [ML55.G312 S93]
C.P.E. Bach, from the Versuch, in Strunk, Readings, pp. 851-856 [ML160 .S89 1998]
Optional, but revelatory reading: David Fuller, "The Performer as Composer" in Brown and Sadie, Performance Practice, 117-146 [ML457 .P47]
Score to accompany Dean, "Vocal Embellishment"
Handel, Ornamented arias in Winton Dean, Three Ornamented Arias [M1505.H13 O8]
Listening:
Corelli, solo sonata op. 5 no. 5
Score: Cyr, Performing Baroque Music
Recording: VAA0333 [Frontlog 5135876; Trio Sonnerie]
Bach, English suite no. 3, sarabande
Score: Cyr, p. 140
Recording: AGY6157, track 16 [CD.B118 K1.806- 811-5]
Telemann, Methodical sonata no. 2 in A
Score: Cyr, p. 131
Recording: Frontlog 5645670, CD 1, tracks 5-8
ASSIGNMENT: Write ornamentation for Corelli op. 5/1, movement 1, bars 1-10
1) In the style of Corelli
2) In the French style
3) In the style of Handel/Telemann
Please include the bass in each exercise. Due April 6
WK 10
March 30: Recitative
Reading:
Cyr, Performing Baroque Music, 111-115
Dean, "The Performance of Recitative in Late Baroque Opera." ML 58/4 (1977): 389-402
Listening
Recits TBA from Giulio Cesare
Recording: EMA CD ACW9183
Score: M1500.H13 G5 1998
Lully, Atys
Score: Cyr, p. 115
Recording: EMA CD ABH0763, CD III, track 8.3
Apr. 1: Singing: Solo
Reading:
Ellen T. Harris, "Voice" in Howard Mayer Brown and Stanley Sadie, Performance practice, pp. 97-115 [ML457 .P47]
Tosi, from Observations on Florid Song, and Quantz, from the Versuch, in MacClintock, Readings in the History of Music in Performance, pp. 352-59 [ML457.R4]
WK 11
Apr. 6: Singing: Choral; Conducting
Reading:
Anne Harrington Heider, "France and England," in A Performer's Guide to Seventeenth-Century Music, pp. 43-53
Gary Towne, "Italy and the Germanic Lands" in A Performer's Guide to Seventeenth-Century Music, 54-66 [ML457.P49]
Groves Dictionary, "Conducting: History to 1800" [link to Music Library "Music Related Databases" page; click on the link to Groves Dictionary, and search under "conducting"]
Apr. 8: Chamber Music, Forces and Instrumentation
Reading:
Neal Zaslaw, "When is an orchestra not an orchestra?" Early Music 16 (Nov.,1988): 483-495
Joshua Rifkin, “Bach’s Chorus: A Preliminary Report,” Musical Times 123 (1982): 747-54 [+]
Robert L. Marshall, “Bach’s Chorus: A Preliminary Reply to Joshua Rifkin,” Musical Times123 (1982): 12-22 [+]
Compare the two recordings with the score:
B Minor Mass (Kyrie I, Christe, Crucifixus, Et resurrexit, Osanna)
Choral version [Gardiner] CD .B118D5.232-24
1-on-a-part version: BAF8741 [LP-S .B118 D5.232-14]
Score: M2010.B118 M4 S. 232 P4
Week 12:
Issues in Later18th-Century Music
Apr. 13: The 18th Century as a Single Period of Performance Practice
Clive Brown, "Accentuation in theory" and "Accentuation in Practice," chaps 1 and 2 of Classical and Romantic Performing Practice, pp. 7-59 [ML457.B8]
Daniel Gottlieb Turk, from School of Clavier Playing (1789), in Strunk, Source Readings, pp. 876-891 [ML160 .S89 1998]
PAPER DUE
Apr 15: NO CLASS
WK 13
Apr. 20: NO CLASS
Apr. 22: Articulation, Phrasing and Expression
Clive Brown, "Articulation and Phrasing" and "Articulation and Expression," chaps. 4 and 5 of Classical and Romantic Performing Practice, pp.138-199
Leopold Mozart, from the Essay on the Fundamental Principles of Violin Playing (1756), in Strunk, Source Readings, pp. 857-865. [ML160 .S89 1998]
WK 14
Apr. 27: Ornamentation
Clive Brown, "Embellishment, Ornamentation, and Improvisation," chap. 13 of Classical and Romantic Performing Practice, pp. 455-517
Robert D. Levin, "Performance practice in the music of Mozart." In the Cambridge Companion to Mozart. [ML410.M9 C255]
Apr. 29: Vibrato and Portamento
Clive Brown, "Vibrato" and "Portamento," chaps. 14 and 15 of Classical and Romantic Performing Practice, pp. 517-587
Optional Reading:
"Implications for the nineteenth century," in Robert Philip, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950, pp. 207-228. [ML457.P5]
Final Exam: Tue., May 4, 12:30-2:30
Text --available at TIS and University Bookstore
Cyr, Mary. Performing baroque music. Portland, Or.: Amadeus Press, 1992.
Reading and Listening Assignments
Each topic for the course has assigned reading and listening assignments. I expect that you do these assignments regularly, since I will call on individuals to begin the discussions. Your participation grade will depend on how well you have thought about and prepared your assignments. Regular attendance is assumed in any graduate course. You are responsible for all material in classes you may have missed for whatever reason.
Readings
Reading assignments will come from various sources. For the Baroque section of the course, our text will be Mary Cyr’s Performing baroque music which is useful as a broad survey: you should know the material in it as background to our discussions and lectures. There is one copy on reserve for this course. There are also other readings from journal articles and. The books can be found under the call number listed here in the glassed-off reserve section of the music library. The articles have been digitized and can accessed on the E-Reserve system, at the URL http://ereserves.indiana.edu/coursepage.asp?cid=1989, and follow the instructions. You will be asked for the course password; it is: performance.
Listening
Listening assignments are available on “Variations” at any IBM in the Music Library. There are links to each assigned listening on the course webpage [http://www.music.indiana.edu/som/courses/m510.s04/m510.htm], which is accessible through a link on the music library reserves page under M510.
Short Paper
As part of the class requirements, you will compose a ca. 1,500 word (6 double-spaced page) report on a primary performance practice source of your choice. You can find a bibliography of sources in our library at the URL http://www.music.indiana.edu/som/courses/m510.s04/performance_practice_bib.html. Your report should include a description of the source's organization, a summary of its contents, and an essay discussing its significance for the development of technique of the instrument(s) concerned, and for our understanding of the performance practice of the period in general. As such, you should compare your treatise to other relevant sources, both from the period itself and from adjacent periods, where appropriate. You will therefore probably need to do some research on general performance practice issues in order to place your treatise in context. Use the reserve books as a preliminary source of bibliographic help and information. The following are also helpful:
Jackson, Roland John, Performance practice, medieval to contemporary: a bibliographic guide. New York : Garland, 1988. ML128.P235 J3. [Now out of date, but a useful starting point for research]
Cambridge University Press has issued a number of instrument-specific guides that can be useful, e.g.:
Stowell, Robin. The early violin and viola: a practical guide. Cambridge: Cambridge University Press, 2001. ML855.S86 E3
Carroll, Paul. Baroque woodwind instruments: a guide to their history, repertoire, and basic technique. Aldershot, Hants, England: Ashgate, 1999. ML931 .C377
Your paper should be an argument for your point of view. You should support your points by citing your treatise or performance practice manual, as well as other primary and secondary sources, and may include musical examples, tables or figures (which aren’t included in the page count). Given the relatively short length, your paper should be written as concisely as possible. Your ideas must be stated in your own words. If you use the words or ideas of others without citing your source (by footnote, please), this is plagiarism and will result in a failing grade in the course. The only exception to this rule is material taken orally from the lectures in this course, and then you must express the ideas in your own words.
Your paper is due Thursday, Apr. 8 in class.
Topic Proposal
You should turn in a one paragraph topic statement listing the source you will be writing about, your reasons for choosing the source (its significance to you and to the history of performance practice), along with a bibliography of 5 sources that apply directly to the source you have chosen.
Your topic proposal is due Thursday, Feb 19 in class.
Expectations and Grading
Class discussions are an important part of the learning experience. I expect you to be present, prepared and to participate actively. 10% of your final grade will be based on participation.
The examination portion of grading will include a midterm and a final. The midterm and final exams will include these elements, but the balance of the exams will consist of essay questions. These questions will require you to reason about large issues and to argue for your opinion by giving a specific number of illustrations describing how particular historical events, documents or details of the works we’ve discussed in class relate to these issues. Vague answers do not receive credit. Be as specific as you can so that I know what you are talking about; don’t assume that I know.
Participation 10%
Midterm exam 30%
Final exam 40%
Paper 20%
Absences may negatively affect your grade.
List of Reserve Books
Brown, Clive. Classical and Romantic performing practice 1750-1900. Oxford: Oxford University Press, 1999. ML457 .B8
Brown, Howard Mayer, and Stanley Sadie. Performance practice. 2 vols. New York :W.W. Norton, 1990. ML457 .P47.
Carter, Stewart, ed. A performer's guide to seventeenth-century music. New York: Schirmer Books, 1997. ML457 .P49
Cyr, Mary. Performing baroque music. Portland, Or.: Amadeus Press, 1992. ML457.C9
Dean, Winton. Handel’s Operas: 1704-1726. Rev. ed. Oxford: Clarendon Press, 1995. ML410.H2 D283 1994
Donington, Robert. Baroque Music: Style and Performance. London: Faber & Faber, 1982. ML457.D68 B3
__________. The interpretation of early music. New rev. ed. New York: Norton, c1989. ML457 .D68 1989
Duffin, Ross W., ed. A performer's guide to medieval music. Bloomington: Indiana University Press, 2000. ML457 .P475
Kenyon Nicholas. Authenticity and Early Music: A Symposium. Oxford: Oxford University Press, 1988. ML457 .A95
Knighton, Tess, and David Fallows, Companion to Medieval and Renaissance Music. New York: Schirmer Books, 1992. ML172 .C65 1992
Lawson, Colin. The Historical Performance of Music: An Introduction. Cambridge: Cambridge University Press, 1999. ML457 .L39
Le Huray, Peter. Authenticity in performance: eighteenth-century case studies. Cambridge: Cambridge University Press, 1990. ML457 .L42
MacClintock, Carol, ed. and trans. Readings in the history of music in performance. Bloomington: Indiana University Press, 1979. ML457 .R4
Newman, Anthony. Bach and the Baroque : European Source Materials from the Baroque and Early Classical Periods with Special Emphasis on the Music of J. S. Bach. 2nd ed. New York: Pendragon Press,1994. MT92.B3 N48 1994
Philip, Robert. Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950. ML457.P5
Robbins Landon, H. C., and R. E. Chapman, eds. Studies in Eighteenth-Century Music: a Tribute to Karl Geiringer on his Seventieth Birthday. ML55.G24 S8 1979
Strunk, W. Oliver. Source readings in music history from classical antiquity through the romantic era. New York, Norton,1950. ML160 .S89 Rev. ed. New York: Norton, 1998. ML160 .S89 1998
Taruskin, Richard. Text and Act: Essays on Music and Performance. ML457 .T19