Harvard University Department of Music

La Statira was first performed in Rome in January 1690. The opera, with libretto by Cardinal Ottoboni, recounts the story of Alexander the Great’s defeat of Darius, King of Persia, and his love for Statira, daughter of Darius. In his Introduction, William Holmes sketches the opera’s history and discusses performance questions.

In this fifth volume of the series, Colin Slim provides a definitive edition of Massimo Puppieno, an opera from the middle years of Scarlatti’s career. In his Introduction he discusses the opera and performance practices of the day.

A tale of love and honor in the opera seria tradition, Tigrane was first performed at Naples in 1715. This edition of it will please performance groups and music historians alike.

La Caduta (1697) is a pivotal work, bridging Scarlatti’s middle and late stylistic periods. It is the first of several collaborations with librettist Silvio Stampiglia, whose characteristic intermingling of serious and comic elements is particularly effective here. In her Introduction, Williams discusses the opera itself and performance practices.

Gli Equivoci nel Sembiante (1679), Scarlatti’s first opera, is a comedy of mistaken identities and amorous intrigue in the pastoral mode. It was one of the most popular works of the composer’s career. In preparing the score, D’Accone compared the 6 extant manuscripts. His Introduction sketches the opera’s history and discusses performance practice.

Schoenberg’s quartets and trio, composed over a nearly forty-year period, occupy a central position among twentieth-century chamber music. This volume, based on papers presented at a conference in honor of David Lewin, collects a wide range of approaches to Schoenberg’s pieces.

This book encourages a debate over musical modernity; a debate considering the question whether an examination of the history of European art music may enrich our picture of modernity and whether our understanding of music’s development may be transformed by insights into the nature of modernity provided by other historical disciplines.

This collection of essays presents a broad spectrum of current research that will interest students of medieval music, history, or culture. Topics include a comparison of early chant transmission in Rome and Jerusalem, the relationship between the earliest chant notation and prosodic accents, and conceptualizing rhythm in medieval music and poetry.

Bach and Mozart stand as towering representatives of European music of the eighteenth century, composers whose works reflect intellectual, religious, and aesthetic trends of the period. This collection of essays by leading authorities offers new perspectives on the two composers, as well as some of their important contemporaries, Haydn in particular.

This anthology of 55 keyboard works provides an instructive picture of the music of the young J. S. Bach within the context of a spectrum of works by his elder contemporaries. Intended for both player and scholar, this edition offers the texts of the two manuscripts in an easy to read layout that emphasizes the clarity of the counterpoint.

This broad spectrum of papers and extensive scholarly debate focuses on a quintessential repertoire of musical works from the classical era. The autograph sketches, drafts, and scores of various kinds are shown to be central sources for our understanding of the genesis and history, as well as for the analysis and performance, of the compositions.

One of the few extant sources for this instrument, Anthony Holborne’s Cittharn Schoole of 1597, is reproduced in this edition along with other cittern pieces by the same composer which are known today. Each of the pieces in the volume appears in the original tablature and in modern staff notation.

This is the first modern edition of Holborne’s complete lute and bandora works, each presented in both the original tablature notation and a transcription into modern notation. The editor’s Introduction presents all that is known of Holborne’s life, and his notes give valuable information about the printed and manuscript sources of each piece.

City, Chant, and the Topography of Early Music explores how space, urban life, landscape, and time transformed plainchant and other musical forms. Thirteen essays address a wide range of topics and regions—from Beneventan chant in Italy and Dalmatia, to music theory in medieval France, to later transformations of chant in Iceland and Spain.

Out of Bounds examines Kay Kaufman Shelemay’s impact as a pioneer of musical diaspora studies on a generation of scholars. The wide-ranging essays treat such diverse topics as cantorial life in America, gender and fertility among Ethiopians in Israel, transnational performance itineraries of griots and Korean drummers, and video games.

Ranging in topic from Gregorian chant to Russian lament, Chinese opera to American spirituals, these essays focus on some of the central issues in current musicological and ethnomusicological research today: the change and continuity in musical traditions, tune identity and metamorphosis, and the nature and function of musical notation.

Music in Time probes the temporality of music from many perspectives, in response to Christopher F. Hasty’s groundbreaking Meter as Rhythm. The essays bridge the conventional divides between theory, history, ethnomusicology, aesthetics, performance practice, cognitive psychology, and dance studies.