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A vibrant study of music and protest that focuses on the Solidarity movement in 1980s Poland, Musical Solidarities explores how and why sound mattered to the opposition to state socialism. Unfurling the rich soundscapes of political action at demonstrations, church services, meetings, and in detention, it offers a nuanced portrait of this pivotal decade of European and global history.

Cultivated by Hand aligns the overlooked history of amateur musicians in the early years of the United States with little-understood practices of music book making. It reveals the pervasiveness of these practices, particularly among women, and their importance for the construction of gender, class, race, and nation.

The Sense of Sound is a radical recontextualization of French song, 1260-1330. Situating musical sound against sonorities of the city, madness, charivari, and prayer, it argues that the effect of verbal confusion popular in music abounds with audible associations, and that there was meaning in what is often heard as nonsensical.

Defining Deutschtum engages the political-cultural milieu of Liberal Vienna through the discourse of three generations of music critics. Author David Brodbeck argues that Vienna's music critics were important agents in the public sphere whose writings gave voice to distinct, sometimes competing ideological positions.

Materialities is a cultural history of song on the page. Concentrating on print in the early modern period, it approaches its topic via the French chanson, arguably the most broadly disseminated genre of polyphony in the sixteenth century.

Songs, Scribes, and Society explores the cultural and musical importance of five 15th-century Chansonniers - personalized, portable, and lavishly decorated songbooks - from the Loire Valley of France. Author Jane Alden treats the Chansonniers as physical artifacts to reveal their cultural context and its relationship to their commission, creation, and use.

Harmony and Discord: Music and the Transformation of Russian Cultural Life explores the complex development of Russian musical life during the nineteenth and early twentieth centuries. Author Lynn M. Sargeant demonstrates that the successful development of a Russian musical infrastructure salved persistent anxieties about Russia's place vis-a-vis its European cultural competitors.

Over the last decade, the theatre and opera of the French Revolution have been the subject of intense scholarly reassessment, both in terms of the relationship between theatrical works and politics or ideology in this period and on the question of longer-scale structures of continuity or rupture in aesthetics. Staging the French Revolution: Cultural Politics and the Paris Opera, 1789-1794 moves these discussions boldly forward, focusing on the ParisOpéra (Académie Royale de Musique) in the cultural and political context of the early French Revolution. Both institutional history and cultural study, this is the first ever full-scale study of the Revolution and lyric theatre. The book concentrates on three aspects of how a royally-protected theatre negotiates thetransition to national theatre: the external dimension, such as questions of ownership and governance and the institution''s relationship with State institutions and popular assemblies; the internal management, finances, selection and preparation of works; and the cultural and aesthetic study of the works themselves and of their reception. In Staging the French Revolution, author Mark Darlow offers an unprecedented view of the material context of opera production, combining in-depth archival research with a study of the works themselves. He argues that a mixture of popular and State interventions created a repressive system in which cultural institutions retained agency, compelling individuals to follow and contribute to a shifting culture. Theatre thereby emerged as a locus for competing discourses on patriotism,society, the role of the arts in the Republic, and the articulation of the Revolution''s relation with the ''Old Regime'', and is thus an essential key to the understanding of public opinion and publicity at this crucial historical moment. Combining recent approaches to institutions, sociability, and authors'' rightswith cultural studies of opera, Staging the French Revolution takes a historically grounded and methodologically innovative cross-disciplinary approach to opera and persuasively re-evaluates the long-standing, but rather sterile, concept of propaganda.

The first cultural history of the Philippines during the twentieth century, Musical Renderings of the Philippine Nation focuses on the relationships between music, performance, and ideologies of nation. Spanning the hundred years from the Filipino-American War to the 1998 Centennial celebration of the independence of the nation from Spain, the book has added emphasis on the period after World War II. Through both archival research and ethnographic fieldwork,author Christi-Anne Castro reveals how individuals and groups negotiate with and contest the power of the Philippine state to define the nation as a modern and hybrid entity within a global community.

This book explores the intersection of music and Hellenism in nineteenth-century Germany.It shows how productions such as that of the Prussian court of Sophocles' Antigone with music by Felix Mendelssohn reflect an effort by the rulers who commissioned them to appropriate the legacy of Greece for the creation of a German cultural and national identity.

Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria explores the nature of sound as a powerful yet ambivalent force in the religious struggles that permeated Germany during the Counter-Reformation.

Singing the Resurrection brings music to the foreground of Reformation studies, as author Erin Lambert explores song as a primary mode for the expression of belief among ordinary Europeans in the sixteenth century, for the embodiment of individual piety, and the creation of new communities of belief.