User:Antandrus/sources

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Contents

[edit] Templates

[edit] Online sources

Or using the template method:

[edit] Print sources

Here are the books I use, more often than not, for the articles I write or edit.

  • The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1561591742
  • Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0393095304
  • Allan W. Atlas, Renaissance Music: Music in Western Europe, 1400–1600. New York, W.W. Norton & Co., 1998. ISBN 0-393-97169-4
  • Howard Mayer Brown, Music in the Renaissance. Prentice Hall History of Music Series. Englewood Cliffs, New Jersey; Prentice-Hall, Inc., 1976. ISBN 0-13-608497-4
  • Richard H. Hoppin, Medieval Music. New York, W.W. Norton & Co., 1978. ISBN 0393090906
  • Alfred Einstein, The Italian Madrigal. Three volumes. Princeton, New Jersey, Princeton University Press, 1949. ISBN 0-691-09112-9
  • Manfred Bukofzer, Music in the Baroque Era. New York, W.W. Norton & Co., 1947. ISBN 0393097455
  • The New Harvard Dictionary of Music, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986. ISBN 0674615255
  • Eric Guilder and June G. Port. The Dictionary of Composers and their Music. New York, Ballantine Books, 1978. ISBN 0345280415
  • The Concise Edition of Baker's Biographical Dictionary of Musicians, 8th ed. Revised by Nicolas Slonimsky. New York, Schirmer Books, 1993. ISBN 002872416X
  • Donald Jay Grout, A Short History of Opera. New York, Columbia University Press, 1965. ISBN 0231024223
  • Donald Jay Grout, A History of Western Music. New York, W.W. Norton & Co., 1980. ISBN 0393951367
  • Percy A. Scholes, The Oxford Companion to Music. London, Oxford University Press, 1970. No ISBN.
  • Harold Gleason and Warren Becker, Music in the Middle Ages and Renaissance (Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986. ISBN 089917034X
Caution: I increasingly find this to be unreliable. While it is incredibly useful as a series of outlines of important trends, people, and specifics of style, it seems that one time in four I find a disastrous error of name or date.
  • Theorist, treatise, tr. whoever and Oliver Strunk, in Source Readings in Music History. New York, W.W. Norton & Co., 1950.
  • Harvard Anthology of Music. Two volumes. Cambridge, Massachusetts, Harvard University Press, 1949. ISBN 0674393007
  • John Rahn, Basic Atonal Theory. New York, Longman, 1980. ISBN 0582281172
  • Johann Joseph Fux, The Study of Counterpoint (Gradus ad Parnassum). Tr. Alfred Mann. New York, W.W. Norton & Co., 1965. ISBN 0393002772
  • Nicolas Slonimsky, The Lexicon of Musical Invective. Seattle, University of Washington Press, 1965. ISBN 0295785799
  • Denis Arnold, Monteverdi. London, J.M. Dent & Sons Ltd, 1975. ISBN 0460031554
  • Denis Arnold, Giovanni Gabrieli and the Music of the Venetian High Renaissance. London, Oxford University Press, 1979. ISBN 0-19-315232-0
  • Knud Jeppesen, Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century. New York, Dover Publications, 1992 (Original 1931). ISBN 048627036X
  • Historical Anthology of Music by Women. James R. Briscoe, ed. Indiana University Press, Bloomington, Indiana, 1986. ISBN 0253212960
  • Eleanor Selfridge-Field, Venetian Instrumental Music, from Gabrieli to Vivaldi. New York, Dover Publications, 1994. ISBN 0486281515
  • John Gillespie, Five Centuries of Keyboard Music. New York, Dover Publications, 1965/1972. ISBN 048622855
  • Joseph Kerman, The Beethoven Quartets. New York, W.W. Norton & Co., 1966. ISBN 0393009092
  • W. Thomas Marrocco and Harold Gleason, eds. Music in America. New York, W.W. Norton & Co., 1964.
  • Author, "Composer", in The Symphony, ed. Robert Simpson. Penguin Books Ltd., Middlesex, England, 1967. ISBN 0140207732
  • Jeanice Brooks, Courtly Song in Late Sixteenth-Century France. Chicago, The University of Chicago Press, 2000. ISBN 0226075877
  • Susan McClary, Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley, University of California Press. 2004. ISBN 0520234936
Wasn't expecting to like it, but this is a wonderful, fascinating, well-written book, and though she often over-interprets the composer's intentions she has some very subtle psychological and sociological insights.
  • Walter H. Kemp, Burgundian Court Song in the Time of Binchois: The Anonymous Chansons of El Escorial, MS V.III.24. Oxford, Clarendon Press. 1990.
Completely a book for a specialist. The reader is expected to be conversant with Latin and medieval French. The writer considerately translates the handful of quotations in Occitan.
  • Glenn Watkins, Gesualdo: The Man and His Music. Oxford, Clarendon Press. 1991. ISBN 0-19-816196-2
Preface by Igor Stravinsky, and it's hilarious, a comic masterpiece. The book is itself delightful, containing all the lurid details one might want about this great composer and murderer. Only Heseltine's book has more gratuitous details (and the copies in most music libraries are well-thumbed for the first quarter of each book, the biographical portions, as might be expected).
  • Patrick Macey, Bonfire Songs: Savonarola's Musical Legacy. Oxford, Clarendon Press. 1998. ISBN 0-19-816669-9
  • David Crook, Orlando di Lasso's Imitation Magnificats for Counter-Reformation Munich. Princeton, Princeton University Press. 1994. ISBN 0-692-03614-4
  • Blanche Gangwere, Music History During the Renaissance Period, 1520–1550. Westport, Connecticut, Praeger Publishers. 2004.
  • Author, "Article", in Proceedings of the International Josquin Symposium. Utrecht, Vereniging voor Nederlandse Muziekgeschiedenis. 1986. ISBN 90-6375-148-6
  • Author, "Article", in Robert Sherr, ed., The Josquin Companion. Oxford University Press, 1999. ISBN 0-19-816335-5
  • Fabrice Fitch, Johannes Ockeghem: Masses and Models. Paris, Honoré Champion Éditeur, 1997. ISBN 0-2-85203-735-1
  • Jeffrey Dean: "Okeghem's valediction? the meaning of 'Intemerata Dei mater'", in Johannes Ockeghem: Actes du XLe Colloque international d'études humanistes. Éditions Klincksieck, 1998. ISBN 2-252-03214-6
  • Honey Meconi, Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court. Oxford, Oxford University Press. 2003. ISBN 0-19-816554-4
  • F. Alberto Gallo, tr. Karen Eales, Music of the Middle Ages (II). Cambridge: Cambridge University Press. 1977 (original Italian edition) and 1985 (English). ISBN 0-521-28483-X
  • Sydney Robinson Charles, A Handbook of Music and Music Literature in Sets and Series. Schirmer Books, New York, 1972. No ISBN.
  • Andrew Kirkman, The Three-Voice Mass in the Later Fifteenth and Early Sixteenth Centuries: Style, Distribution and Case Studies. New York and London, Garland Publishing, Inc., 1995. ISBN 0-8153-1871-5
  • Author, "Article", in Honey Meconi, ed., Early Musical Borrowing. New York and London, Routledge. 2004. ISBN 0-8153-3521-0
  • Julie E. Cumming, The Motet in the Age of Dufay. Cambridge University Press, 1999. ISBN 0-521-47377-2

[edit] Periodicals here and there

  • Anne Walters Robertson, "The Savior, the Woman, and the Head of the Dragon in the Caput Masses and Motet". Journal of the American Musicological Society, Vol. 59 No. 3., pp. 537-630. Fall 2006. ISSN 0003-0139

And using the template:

[edit] Unofficial sources

You can't get a doctorate without attending hundreds of lectures, recitals, readings, book reviews, dreadfully dull and scintillatingly exciting presentations on all manner of arcana, exotica, microscopic trivia, protozoic expectorata and excrementa, much of which you remember with a terrifying immediacy, and some of which you will never, ever, recall again, itself proof perhaps of the existence of a merciful Divine. Generally you can put together a coherent article, sans dates and maybe a few names, without once opening a book, if you are writing in a field somewhere close to the one you studied: but a basic consideration of the laws of Mankind, Common Sense and Wikipedia compels such sore-headed and wilfully lazy academics to attempt to list their sources. So I'll try. A lot of stuff I just remember. And usually at the very least I look it up in Grove as I write.

[edit] Another comment on sources

I rarely use the internet for sources on music history, except for things too recent to be in my books: I find it is too unreliable. While there are a few good sites, you have to do a fair amount of cross-checking, and it is dangerous to rely on a single website. Misinformation can spread virally. Of the books I list, the New Grove is the most reliable single source I have. That little paperback Dictionary of Composers and their Music is an impressive compilation for quick lookup of facts, who did what and where and when, and I recommend it to anyone.

A prominent exception to this internet skepticism I have is the excellent online version of the 2001 edition of the New Grove Dictionary (under online sources above). Many, but not all of the articles have been rewritten from the 1980 edition. I will indicate in "References and further reading" for any articles I write which of the Groves I used. Sometimes I use both --often they are written by different people, with different insights.

Another recent (and quickly developing) exception to not using the Internet is the marvelous Google book search. Unfortunately, a lot of scholarly matter is unavailable, but once in a while something is, or enough of a book has been scanned and made available to the search engine to be of value. This can save a trip to the library.