Bücher der Reihe Cambridge Musical Texts and Monographs

This important 1990 book provides a comprehensive survey of English organ building during the most innovative fifty years in its history. Richly illustrated with photographs and specially drawn diagrams, this book is indispensable for all those, professionals or amateurs, who have an interest in the organ.

In this dictionary of early music, Graham Strahle has compiled definitions of musical terms in English as used and understood during the Renaissance and Baroque periods. He includes terms relating to instruments, performance, theory and composition and draws entirely from original printed and manuscript sources in Britain in the period 1500-1740.

Christopher Page's 1991 book provides an edition of the Latin text taken from the only surviving original copy, together with an English translation. Both texts are copiously annotated and introduced by an authoritative and illuminating editorial commentary.

This is the first comprehensive historical and technological study of the pianoforte. It begins with the earliest manuscript sources and then focuses on the 'invention' of the piano in Florence in 1700. The text is illustrated with many photographs, measurements, line drawings and tables.

Agricola published Introduction to the Art of Singing in Germany, in 1757 which consisted of a treatise by the Italian singing teacher, Tosi, to which Agricola added his own commentary. This edition, translated with introduction by the singer Julianne Baird, makes Agricola's work available in English.

This is a richly illustrated history of the clavichord, the forerunner of the modern piano.

An English translation of this manual, written in 1791. The book serves as a record of instrumental practice as well as a guide to the performance of German classical music. It covers all aspects of flute playing, including intonation, articulation, flute playing and the construction of the flute.

This volume examines in detail the numerous violin treatises of the late- 18th and early-19th centuries. It provides an historical and technical guide to violin pedagogical method, technique and performance practice during this period.

Christopher Page's 1991 book provides an edition of the Latin text taken from the only surviving original copy, together with an English translation. Both texts are copiously annotated and introduced by an authoritative and illuminating editorial commentary.

Hiller's Treatise on Vocal Performance and Ornamentation was published in Germany in 1780 and is an important manual on vocal technique and performance in the eighteenth century. Hiller was a masterful educator and was active not only as a teacher but as a critic, composer, conductor and music director. Thus, his observations served not only to raise the standards of singing in Germany, based on the Italian model, but to present complicated material, particularly ornamentation, in a manner that his peers, the middle class, could emulate. This present edition, translated with an introduction and extensive commentary by musicologist Suzanne J. Beicken, makes Hiller's treatise available for the first time in English. With its emphasis on practical aspects of ornamentation, declamation and style it will be valuable to instrumentalists as well as singers and is a significant contribution to the understanding of performance practice in the eighteenth-century.

This book reproduces the entire manuscript of the ballet and provides a comprehensive study of the work itself and of the circumstances in which it was created and performed.

Dr Woodfield brings iconographic evidence and an interesting approach to this study of the viol which will be of interest to musicologists, iconographers, organologists and viol players.

This study is a comprehensive assessment of J.S. Bach's use of articulation marks (i.e. slurs and dots) in the large body of primary sources. Dr Butt analyses their role within the compositional processes, how they relate to the norms of articulation of the period, and how they might assist us in understanding Bach's style.

This is a book both by and about Berlioz, providing not only a translation but also an extensive commentary on his text, dealing with the instruments of Berlioz's time and comparing his instruction with his practice.

Musica getutscht (Basel, 1511) is the earliest printed treatise on musical instruments in the West. This early German 'do-it-yourself' manual not only tells us about music-making in that era, it also illumines other aspects of society in the years just before the Reformation.

David Rowland traces the history of piano pedalling from its beginnings in the eighteenth century to its first maturity in the middle of the nineteenth century and beyond. He examines this through the technique and music of composer-pianists such as Beethoven, Liszt, and Chopin and follows the transition from harpsichord and clavichord to piano.

In considering the role of practical music in education, this book attempts to define the art of performance in Germany during the Baroque period.

The first book to address the full range of performance issues for the violoncello from the Baroque to the early Romantic period. Richly illustrated with over 300 music examples, plates and figures, this book provides playing instructions which can easily be applied by modern players to their own performance of period music.

This book describes instrumental music and its context in German society of the late middle ages.

The name of Ruckers is as important to early keyboard instruments as Stradivarius is to strings. This book describes in close detail the art and technique of the Ruckers family, who produced harpsichords and virginals throughout a period of over 100 years.

The Treatise on Harpsichord Tuning (1643/50) was the first French document to discuss keyboard performance practice in any detail. Vincent Panetta's edition of Denis's treatise includes a generously annotated English translation of the original, along with an extensive introduction that places Denis and his treatise in a historical context.