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  3. Cambridge Readings in the Literature of Music

Cambridge Readings in the Literature of Music is a series of source materials (original documents in English translation) for students of the history of music. Many of the quotations in the volumes will be substantial, and introductory material will place the passages in context. the period covered will be from antiquity to the present day, with particular emphasis on the nineteenth and twentieth centuries.

  • General Editors: John Stevens, Peter le Huray

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4 results in Cambridge Readings in the Literature of Music

Music in Early Christian Literature
  • Edited by James W. McKinnon
  • Published online:
    05 June 2012
    Print publication:
    09 April 1987
  • This book provides a collection of some 400 passages on music from early Christian literature - New Testament to c. 450 AD - newly translated from the original Greek, Latin, and Syriac. As there are no musical sources of the period, music historians must rely upon remarks about music in literary sources to gain some knowledge of early Christian liturgical music. This volume makes a large and representative collection of the material conveniently available. The passages are arranged chronologically and regionally in eleven chapters with brief commentary. An introduction sets out the major subjects and themes of the original source material.

Music in European Thought 1851–1912
  • Edited by Bojan Bujic
  • Published online:
    05 February 2012
    Print publication:
    28 April 1988
  • This volume, in the series Cambridge Readings in the Literature of Music, is an anthology of original German, French and English writings from the period 1851–1912. Throughout the second half of the nineteenth century music continued to be a subject to which philosophers, psychologists, scientists and critics repeatedly addressed themselves. Some of the philosophical approaches followed the tradition of the German speculative philosophy of the late eighteenth and early nineteenth centuries. Elsewhere the new 'scientific' climate of the nineteenth century left its mark on the work of scientists and psychologists interested in the impact of acoustical stimuli on the human mind or in the role of music and song in the prehistory of mankind.

Greek Musical Writings
  • Volume 2, Harmonic and Acoustic Theory
  • Edited by Andrew Barker
  • Published online:
    06 January 2010
    Print publication:
    18 January 1990
  • This second volume of Greek Musical Writings contains important texts on harmonic and acoustic theory, illustrating the progress of these sciences from their beginnings in the sixth century BC over the subsequent thousand years. Writers represented include Philolaus, Plato, Aristotle, Theophrastus, Aristoxenus, Ptolemy, Aristides, Archytas, and Quintilianus. All the Greek texts are newly translated by the editor. Some replace inadequate existing translations; other significant portions of the book include much that is essential for an understanding of medieval and Renaissance musicology. Dr Barker provides detailed and authoritative commentary and annotations to all the texts. Each section is prefaced by an introductory essay and some of the more complex issues are discussed further in appendices.

Music Analysis in the Nineteenth Century
  • Volume 2, Hermeneutic Approaches
  • Edited by Ian Bent
  • Published online:
    10 December 2009
    Print publication:
    25 August 1994
  • In this second volume of nineteenth-century music analyses, Ian Bent provides a further selection of newly translated writings of nineteenth-century music critics and theorists, including composers such as Wagner, Schumann and Berlioz, and critics such as A. B. Marx and E. T. A. Hoffmann. Where Volume I, on Fugue, Form and Style, presented nineteen analyses of a technical nature, all the writing here involves a metaphorical style of verbalised description, some pure examples, and others hybrid forms mixed with technical analysis. The music analysed is amongst the best-known in the repertoire: Wagner writes on Beethoven's Ninth Symphony, E. T. A. Hoffmann on the Fifth, Schumann writes on Berlioz, and Berlioz on Meyerbeer. Professor Bent presents each analysis with its own detailed introduction and each is amplified by supporting information in footnotes.