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This 1998 book was the first study of music in the United States to be written by a team of scholars. It surveys music of Native Americans, musical life until 1900, film and stage music, jazz, rock, and regional musics. The volume includes twentieth-century art music, and the experimental and tonal traditions.

Presents a single-volume history of sixteenth-century music that focuses on the different ways people encountered music in their everyday lives.

Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. The chapters range from overviews of major themes to provocative reassessments of humanism, the work concept, improvisation, and other central topics.

In the twenty-first century, world music increasingly connects the diverse and multicultural experiences of musicians and listeners, students and scholars, using media across the world. This History explores the very origins of world music itself, presenting the politics and ideologies of music in the world's major historical moments.

This comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. It is divided into two parts (1800-1850 and 1850-1900), each of which approaches the major repertory of the period through investigations into the intellectual and socio-political history of the time.

The Cambridge History of Twentieth-Century Music, first published in 2004, is an appraisal of the development of music in the twentieth century from the vantage-point of the twenty-first. This wide-ranging book traces the progressive fragmentation of the European 'art' tradition, and its relocation as one tradition among many at the century's end.

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. This History provides a comprehensive survey of eighteenth-century music, examining little-known repertories, works and musical trends alongside more familiar ones.

Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. The chapters range from overviews of major themes to provocative reassessments of humanism, the work concept, improvisation, and other central topics.

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. This History provides a comprehensive survey of eighteenth-century music, examining little-known repertories, works and musical trends alongside more familiar ones.

Written by a distinguished team of experts, The Cambridge History of Seventeenth-Century Music seeks to provide the most up-to-date knowledge on seventeenth-century music, combining traditional study of musical works and their composers with an exploration of the ways in which music related to contemporary arts, sciences and beliefs.

A reference work for all those approaching music history through the lens of music criticism, from undergraduates to established scholars and professionals. As well as giving authoritative accounts of traditional regions such as Britain, France and Germany, the book substantially expands the timeframe, genre and geographical reach of the field.

Leading musicians, historians and scholars examine the history of music from the earliest times to the present through performers and performance. Focusing on the musicians responsible for bringing music to life, rather than the composers, this volume provides a fresh, integrated and innovative perspective on performance history and practice.

In the twenty-first century, world music increasingly connects the diverse and multicultural experiences of musicians and listeners, students and scholars, using media across the world. This History explores the very origins of world music itself, presenting the politics and ideologies of music in the world's major historical moments.

Written by a distinguished team of experts, The Cambridge History of Seventeenth-Century Music seeks to provide the most up-to-date knowledge on seventeenth-century music, combining traditional study of musical works and their composers with an exploration of the ways in which music related to contemporary arts, sciences and beliefs.

This 1998 book was the first study of music in the United States to be written by a team of scholars. It surveys music of Native Americans, musical life until 1900, film and stage music, jazz, rock, and regional musics. The volume includes twentieth-century art music, and the experimental and tonal traditions.

This comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. It is divided into two parts (1800-1850 and 1850-1900), each of which approaches the major repertory of the period through investigations into the intellectual and socio-political history of the time.

The Cambridge History of Twentieth-Century Music, first published in 2004, is an appraisal of the development of music in the twentieth century from the vantage-point of the twenty-first. This wide-ranging book traces the progressive fragmentation of the European 'art' tradition, and its relocation as one tradition among many at the century's end.

The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day.

This volume in the Cambridge History of Music series aims to recover how people in the sixteenth century experienced music as part of their daily lives, and in doing so goes beyond traditional histories of genres, composers or individual countries to shed new light on the varied contexts of Renaissance music.

The only authoritative exploration of music in Western Europe during the medieval period for over a quarter-century, this volume is essential for students of the early history of music. Leading names investigate key figures and genres within their social, cultural and geographical contexts and trace the interactions between them.