Essays in Performance Practice (Studies in Music, 58)

Arts & Photography

Neumann, Frederick

Music

Univ of Rochester Pr

A Collection of Russian Folk Songs (CLASSICS OF RUSSIAN MUSICAL FOLKLORE IN FACSIMILE)

Lvov, Nikolai

Prach, Ivan

Opera for a New Republic: The Zeitopern of Krenek, Weill, and Hindemith (Studies in Musicology, 96)

Cook, Susan C

Hector Berlioz and the Development of French Music Criticism (Studies in Musicology, 97)

Murphy, Kerry

A collection of essays containing some of the most up-to-date Handel research from both sides of the Atlantic.

Handel Tercentenary Collection (Studies in Musicology, 99)

Sadie. Stanley

The "Woman Question" - the controversy over women's proper "nature and mission" - was an issue that permeated both Victorian mores and the literature of that period. Ideals of Victorian womanhood were dependent upon certain assumptions about the "gentlemanly ethic" - the superiority of men in the public sphere as women were forced to settle for limited self-realization, sacrificing public aspirations in favor of private fulfillment in a marriage of equals.   Previous studies of Anthony Trollope's writings suggest that Trollope was comfortable with the conventions of the gender roles of his times, that he cherished a belief about the centrality of gentlemen and the landed estate to the stability of the social structure in England. Author Deborah Denenholz Morse challenges this view with a careful consideration of Trollope's second fiction-sequence, his Palliser novels, focusing especially on Can You Forgive Her?, Phineas Finn, Phineas Redux, The Prime Minister, and The Duke's Children.

Women in Trollope's Palliser Novels (Nineteenth-Century Studies)

Literature & Fiction

Morse, Deborah Denenholz

Literary

<p>Text: English, Russian (translation)</p>

Glinka's Life in Music: A Chronicle (Russian Music Studies, 20) (English and Russian Edition)

Orlova, Alexandra

Perception and Expression in the Novels of Charlotte Bronte (Nineteenth-Century Studies)

Williams, Judith

This pioneering study examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel. Contemporary treatises, Handel's manuscripts, original performance material, and other early sources provide clarification and guidance for the modern performer.   Part one is an overview of figured bass in Handel source materials: autograph manuscripts, performing scores, original keyboard parts, 18th century scribal copies, and early editions. Part two treats in depth continuo realization problems that are often overlooked and can be troublesome in modern performances. The author defines the most common bass patterns, or formula-progressions, in Handel's music, together with the precise harmony the composer intended.  The author attempts to show that continuo figuring can serve different functions depending on context. Much of the figuring that comes down to us in secondary sources may derive from the composer, or it may reflect valid contemporary practice. Modern editions, in the main, are too selective in this regard: they only include bass figuring from primary sources, leaving the modern performer frequently without sufficient guidance in the continuo part to improvise a stylistic accompaniment.  Appendices include brief examples of continuo realization by Handel.

Continuo Realization in Handel's Vocal Music (Studies in Music, 104)

Rogers, Patrick J.

Wordsworth and Philosophy: Empiricism and Transcendentalism in the Poetry (Nineteenth-Century Studies)

Thomas, Keith G.

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