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Cover

The Oxford History of Western Music

College Edition

Richard Taruskin and Christopher H. Gibbs

Publication Date - January 2012

ISBN: 9780195097627

1248 pages
Hardcover
8 x 10 inches

In Stock

Retail Price to Students: $95.95

The Story of Western Classical Music. . . . Told by Today's Outstanding Music Historians

Description

Based on the award-winning six-volume work by Richard Taruskin, The Oxford History of Western Music, College Edition, presents the most up-to-date and comprehensive history of Western music available.

DISTINCTIVE FEATURES
BL Offers a unique focus on the people behind music history
BL Places musical works within their larger cultural, social, and political contexts, providing a compelling narrative of music history
BL Covers music of all eras along with a special emphasis on the most studied works of the past 200 years
BL Improves critical thinking by offering differing perspectives on how the Western musical canon developed
BL Builds listening and analysis skills through comprehensive discussion of key works
BL Includes helpful learning and study tools (timelines, maps, musical examples and diagrams, chapter summaries, key terms, study questions, and a glossary)

Offering a complete package for building students' understanding and appreciation of the classical canon, this groundbreaking text is also supplemented by a variety of high-quality resources:

--- Instructor's Resource CD containing a computerized test bank, an Instructor's Manual, study questions, PowerPoint-based lecture slides, and links to Oxford Music Online

--- A free companion website (www.oup.com/us/taruskin) with chapter outlines, key terms and definitions, and suggested links; through an access code card included with the purchase of a new text, students will also gain free 18-month access to Oxford Music Online, including Grove's Dictionary of Music

--- Three score anthologies* featuring scores of key works discussed in the text and introductory essays prepared by a team of expert authors; a full three-volume CD set* corresponding to the three score anthologies contains musical examples from the anthologies in high-quality MP3 format:

Oxford Anthology of Western Music
Volume One: The Earliest Notations to the Early Eighteenth Century
Edited by David J. Rothenberg and Robert R. Holzer
> V1 Print Anthology: 9780199768257
> V1 Recorded Anthology (2 CDs): 9780199768288

Oxford Anthology of Western Music
Volume Two: The Mid-Eighteenth Century to the Late Nineteenth Century
Edited by Klára Móricz and David E. Schneider
> V2 Print Anthology: 9780199768264
> V2 Recorded Anthology (3 CDs): 9780199768295

Oxford Anthology of Western Music
Volume Three: The Twentieth Century
Edited by Klára Móricz and David E. Schneider
> V3 Print Anthology: 9780199768271
> V3 Recorded Anthology (2 CDs): 9780199768301

--- A concise edition of recordings* is also available on 3 CDs: 9780199768318

* Sold separately

About the Author(s)

Richard Taruskin is Class of 1955 Professor of Music at the University of California, Berkeley. He is coeditor (with Piero Weiss) of Music in the Western World: A History in Documents (Second Edition, 2007), as well as the author of Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra (1996) and Text and Act: Essays on Music and Performance (OUP, 1995).

Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College, Co-Artistic Director of the Bard Music Festival, and Associate Editor of The Musical Quarterly. He edited The Cambridge Companion to Schubert (1997), coedited Franz Liszt and His World (2006), and is the author of The Life of Schubert (2000). Gibbs is a recipient of the ASCAP Deems Taylor Award and was a fellow of the American Council of Learned Societies. Since 2000, Gibbs has served as program annotator and consulting musicologist for The Philadelphia Orchestra, where he frequently gives lectures. Gibbs also gives lectures at other orchestras, Carnegie Hall, "Great Performers" at Lincoln Center, and the Metropolitan Museum of Art.

Reviews

University of Toronto, in the Journal of Music History Pedagogy, Volume 3, No. 2

"Offers a thrilling sense of wonder and excitement that I find lacking in other texts."--Robert Eisenstein, University of Massachusetts, Mount Holyoke College

"Fascinating and essential observations that no other survey text includes. . . . Superior to all other texts out there."--Julie Hubbert, University of South Carolina

Table of Contents

    Each chapter begins with a timeline and ends with a summary, study questions, and a list of key terms.
    Chapter 1: The First Literate Repertory in Western Music: Gregorian Chant
    Theories of Music
    Historical Imagination
    Christian Beginnings, As Far As We Know Them
    The Legend of St. Gregory
    The Development of the Liturgy: The Offices
    The Mass
    Writing It Down: Neumes
    Guido of Arezzo
    Modal Theory
    Psalmody in Practice: The Office and the Mass
    The Mass
    Frankish Additions to the Chant Repertory
    Hymns, Tropes, and Liturgical Drama
    Marian Antiphons
    How to Do Polyphony
    Symphonia and Its Modifications
    Organum and Discant
    Literate Music and the Persistence of Oral Traditions
    Chapter 2: Secular and Cathedral Music in the High Middle Ages
    Troubadours
    Performance and Oral Culture
    Music for Elites: Trobar Clus
    Trouvères
    Adam de La Halle and the Formes Fixes
    Geographical Diffusion
    A Note on Instruments
    Polyphony in Aquitanian Monastic Centers
    The Cathedral-University Complex
    Piecing the Evidence Together
    Measured Music
    Organum with Another Voice
    Conductus at Notre Dame
    The Motet: Music for an Intellectual and Political Elite
    "Franconian" Notation
    A New Trobar Clus?
    The "Petronian" Motet
    Chapter 3: The Ars Nova: Musical Developments in the Fourteenth Century
    Music from Mathematics
    Music about Music
    Establishing the Prototype: The Roman de Fauvel
    Isorhythm
    Machaut: Poet and Musician
    Musica Ficta
    Machaut and the Art of Courtly Song
    The Top-Down Style
    Machaut's La Messe de Nostre Dame
    Canons
    Subtilitas
    "A Pleasant Place": Trecento Vernacular Music
    The "Wild Bird" Madrigals
    Landini and Ballata Culture
    The Motet As Political Show
    Du Fay's Nuper rosarum flores
    Periodization
    Chapter 4: Island and Mainland: Toward a Pan-European Style
    Fragmentary Remains
    Kings and the Fortunes of War
    Dunstable and the Contenance Angloise
    Du Fay and Fauxbourdon
    Du Fay and Binchois
    The Internationalism of the Upper Crust
    The Cyclic Mass
    "Caput" and the Beginnings of Four-Part Harmony
    Patterns of Emulation
    The Man at Arms
    "Pervading Imitation"
    High, Middle, and Low
    The English Keep Things High
    The Milanese Go Lower Still
    Love Songs
    Instrumental Music Is Printed
    Chapter 5: A Perfected Art: Church Polyphony in the Late Fifteenth and Sixteenth Centuries
    A Poet Born, Not Made
    Josquin's Career
    A Model Masterpiece
    Imitations
    Facts and Myths
    All Is Known
    The "Post-Josquin" Generation
    Adrian Willaert
    The New Instrumental Music
    Palestrina and the Ecumenical Tradition
    Continuing the Tradition
    Palestrina's Missa Papae Marcelli and the Bishops
    Freedom and Constraint
    "Stairway to Parnassus"
    Alternatives to Perfection
    The Recusant William Byrd
    The First English Cosmopolite
    The Music of Defiance
    The Peak (and Limit) of Stylistic Refinement
    Chapter 6: After Perfection: Pressures for Change
    The Protestant Reformation
    The Lutheran Chorale
    The Catholic Response: The Counter-Reformation
    Polychoral and "Concerted" Music
    The Art of Orchestration Is Born
    Music Printers and Their Audiences
    Vernacular Song in Italy
    The "Parisian" Chanson and the Music of Description
    Lasso: The Cosmopolite Supreme
    The Literary Revolution and the Return of the Madrigal
    Paradox and Contradiction: Late Italian Madrigalists
    Music for the Eyes
    Back over the Mountains: The English Madrigal
    Chapter 7: Humanism and the Birth of Opera
    The Pressure of Humanism
    The Representational Style
    Intermedii
    The Monodic Revolution
    Madrigals and Arias Revisited
    Favola in Musica
    Operatic Conventions: Heard and Unheard Music
    Monteverdi: From Court to Commerce
    L'Orfeo: The Quintessential Princely Spectacle
    Monteverdi in Venice
    Opera and Its Politics
    The Carnival Show: L'incoronazione Di Poppea
    Chapter 8: Music Travels: Trends in Italy, Germany, France, and England
    Master Organists: Frescobaldi, Sweelinck, and Others
    Lutheran Adaptations: The Chorale Partita and Chorale Concerto
    Ruin: Germany, the Thirty Years War, and Heinrich Schütz
    The "Luxuriant Style"
    Back to Germany at War
    Giacomo Carissimi: Oratorio and Cantata
    Barbara Strozzi: Performer and Composer
    The French Taste: Sense and Sensuousness
    Tragédie Lyrique: The Politics of Patronage
    Drama as Court Ritual
    Lully's Atys, the King's Opera
    Jean-Philippe Rameau
    Jacobean England: Masques and Consort Music
    Henry Purcell's Dido and Aeneas and the Question of "English Opera"
    Chapter 9: The Height of Italian Dominance: Opera Seria and the Italian Concerto Style
    Opera Seria and Its Makers
    Opera and Its Many Reforms: Neoclassicism
    Metastasio
    Metastasio's Musicians
    Operatic Culture and Politics
    Arcangelo Corelli and New Tonal Practices
    Antonio Vivaldi's Five Hundred
    Music Imitating Nature: Vivaldi's The Four Seasons
    Chapter 10: Class of 1685 (I): The Instrumental Music of Bach and Handel
    Careers and Lifestyles: Handel First
    Bach's Career
    The Chorale Prelude
    The Fugue
    The Well-Tempered Keyboard
    Bach's Imported Roots: Froberger and Others
    Bach's Suites
    "Agréments" and "Doubles": The Art of Ornamentation
    Stylistic Hybrids: The "Brandenburg" Concertos
    The Fifth Brandenburg Concerto
    Handel's Instrumental Music
    Chapter 11: Class of 1685 (II): The Vocal Music of Handel and Bach
    Lofty Entertainments
    Handel's Messiah
    "Borrowing"
    Bach's Cantatas
    Death Set to Music
    What Music Is For
    Bach's "Testaments"
    Cursed Questions
    Domenico Scarlatti, at Last
    Chapter 12: Mid-Eighteenth-Century Stylistic Changes: From Bach's Sons to the Comic Style
    The Younger Bachs
    Empfindsamkeit: C. P. E. Bach
    Transcending Words--And Putting Them Back
    The London Bach: Johann Christian
    Sociability in Music
    Intermission Plays
    The "War Of The Buffoons"--Giovanni Battista Pergolesi
    Novels Sung on Stage-Niccolò Piccinni
    Noble Simplicity--Christoph Willibald Gluck
    What Was the Enlightenment?
    Chapter 13: Concert Life Lifts Off: Haydn
    Modern Concert Life Is Born
    The Mannheim Orchestra: "An Army of Generals"
    Haydn: The Perfect Career
    Haydn's Years with the Esterházy Family
    Expectations and Deviations: Creating Musical Meaning
    String Quartets and Concertos
    The Symphony Composer
    Sonata Form
    The "London" Symphony No. 104
    The Culminating Work: The Creation
    Chapter 14: The Composer's Voice: Mozart
    The Early Operas
    The "Da Ponte" Operas
    Mozart's Two Last Operas
    Art for Art's Sake?--Mozart's Symphonies
    The "Symphonic" Concerto Is Born
    Mozart in the Marketplace: The Piano Concertos
    The Piano Concerto in G Major, K. 453
    Public and Private Genres
    Chapter 15: The Emergence of Romanticism
    The Beautiful and the Sublime
    The Coming of Museum Culture
    Beethoven versus "Beethoven"
    The Sacralization of Music
    The Music Century
    Nationalism: I, We, and They
    German Musical Values as Universal Values
    Chapter 16: Beethoven
    Life and Works, Periods and Styles
    Early Beethoven
    Disaster
    The Eroica
    Fidelio
    The Fifth Symphony and Fate
    "More Expression of Feeling Than Tone Painting": The Pastoral Symphony
    Concert Life in Beethoven's Vienna
    Struggle and Victory
    Rising Fame and Decreasing Productivity
    Late Beethoven
    The Ninth Symphony
    Inwardness: The Late String Quartets
    Chapter 17: Opera in the Age of Rossini, Bellini, Donizetti, and Weber
    The Popularity of Rossini
    Rossinian Conventions: The Overture
    Imbroglio: The Comic Finale
    Heart Throbs: The Serious Aria
    Vincenzo Bellini and Bel Canto
    Gaetano Donizetti
    German Romantic Opera: Carl Maria von Weber's Der Freischütz
    Chapter 18: Private Art: Schubert and Inwardness
    The Lied Grows Up
    Herder, Language, and the Nation
    Folk Song, Folklore, and Folk Tales
    Lyric and Ballad
    Schubert and Goethe
    Salon Culture and Schubertiades
    Schubert: A Life in Art
    Disaster
    What Contemporaries Knew of Schubert's Music
    Crossing the Edge
    Schubert's "Unfinished" Symphony
    After Beethoven
    Schubert's Last Two Songs
    Chapter 19: Romantic Spectacles: From Virtuosos to Grand Opera
    The Devil's Violinist: Niccolò Paganini
    "The Paganini of the Piano": Franz Liszt
    Transforming Music Through Arrangements
    The Lisztian Concert
    Spectacle on the Parisian Stage
    Auber's Mute
    Opera and Revolution
    Bourgeois Kings
    Vagaries of Reception
    Chapter 20: Literary Musicians
    Berlioz's Literary Trinity
    Berlioz's Fantastic First Symphony
    Following the Idée Fixe
    Discriminating Romanticisms
    The Prodigious Mendelssohn
    Mendelssohn's Paulus and Civic Nationalism
    Nationalism Takes a Racial Turn
    Schumann and Literature
    Music of Letters
    Schumann's Fantasie, Op. 17
    Schumann's "Year of Song"
    Schumann's Last Years
    Genius Restrained: Fanny Mendelssohn and Clara Wieck Schumann
    Chapter 21: Music Imported and Exported
    Chopin's Career: From Warsaw to Paris
    The Pinnacle of Salon Music
    The Chopinesque Miniature
    Nationalism as a Medium
    America Joins In
    Art and Democracy
    Russia: The Newcomer
    National Markings and Folk Tunes
    Mikhail Glinka
    Acquiring Brains and Beauty
    How the Acorn Took Root
    Chapter 22: Musical Politics at Midcentury: Historicism and the New German School
    Historicism and the Hegelian Dialectic
    The New German School
    "The Music of the Future"
    Absolute Music
    Liszt's Symphonic Poems
    But What Does It Really Mean?
    The Concerto Transformed
    Genre Trouble: Berlioz Again
    Chapter 23: Class of 1813: Wagner and Verdi
    Art and Revolution: Wagner's Early Career
    The Artwork of the Future, Modeled on the Imagined Past
    From Theory into Practice: The Ring of the Nibelung
    Wagnerian Leitmotifs
    Words, Orchestra, and Theater
    The Ultimate Experience: Tristan und Isolde
    How Far Can You Stretch a Dominant?
    Life and Art: Beyond Good and Evil
    The Last Opera: Parsifal
    Verdi: Upholding the Italian Tradition
    Early Verdi: The Galley Years
    "Viva Verdi!": Risorgimento Politics
    The Popular Style: "Va, Pensiero"
    Tragicomedy in the Shakespearean Manner
    Il Trovatore and La Traviata
    Rigoletto: Opera as Modern Drama
    A Job Becomes a Calling
    Masterly Amusement: Falstaff
    Chapter 24: Slavic Harmony and Disharmony
    A Czech Abroad
    Má Vlast
    The Fate of a Tune: From Folk Song to Anthem
    Competing Reputations at Home and Abroad
    Slavic Disharmony
    Kuchka Music
    Musorgsky's Realism
    Art and Autocracy
    The Coronation Scene in Boris Godunov
    Revising Boris Godunov
    Pyotr Ilyich Tchaikovsky
    Russian Symphonies
    Autobiography in Music?
    Chapter 25: The Musical Museum and the Return of the Symphony
    New Halls and New Orchestras
    The Triumph of Museum Culture
    New Paths: Johannes Brahms
    Symphonic Attempts
    Brahm's Chamber Music and "Developing Variation"
    Choral Fame
    Inventing Tradition
    Victory Through Critique
    Reconciliation and Backlash
    The Symphony as Sacrament
    Antonín Dvorák
    Dvorák in the New World
    An American Response
    War Brings Symphonies to France
    Chapter 26: Dramatic Alternatives: Exoticism, Operetta, and Verismo
    Stereotyping the Other: "Orientalism"
    Bizet's Carmen
    Russian Orientalism
    Gounod's Opéra Lyrique
    Jacques Offenbach and Opera about Opera
    Johann Strauss II--The Waltz King and Viennese Operetta
    England's Gilbert and Sullivan
    Italian Verismo
    Innovation and Popularity--"Canon" versus "Repertory"
    Giacomo Puccini's Ascent
    Chapter 27: Early Austro-German Modernism: Mahler, Strauss, and Schoenberg
    The Modern Condition
    Maximalism
    Gustav Mahler: Conductor and Composer
    Mahler's Lieder
    From Symphonic Poem to First Symphony
    Maximalizing the Symphony
    "Down with Programs!"
    The Late Works
    Richard Strauss
    Maximalizing Opera
    Schoenberg
    A New Synthesis
    Expression Becomes and "ism"
    "Emancipation of Dissonance"
    Atonality: "The Air of Another Planet"
    Erwartung
    At the Opposite Extreme: Atonal Miniatures
    Chapter 28: Modernism in France
    Wagnerian Hommages and Exorcisms
    Getting Rid of the Glue: Erik Satie
    Claude Debussy's Early Years
    Voiles: Sales and/or Veils
    Impressionism and Symbolism
    Debussy's Pelléas et Mélisande
    "Essentially French": Fauré and Mélodie
    Maurice Ravel
    New Possibilities for Women
    Ballet: A Missing Genre
    Ballet Finds Its Theorist
    Stravinsky's The Firebird and Petrushka
    The Rite of Spring
    Scandalized Reactions
    Chapter 29: National Monuments
    Jean Sibelius
    England
    Spain
    Folk and Modernist Synthesis: Béla Bartók
    Folk Ways
    Karol Szymanowski and George Enescu
    The Oldest Modernist: Leos Janácek
    Speech Tunelets
    Alexander Scriabin: From Expression to Revelation
    Mysterium and the Ultimate Aggregate Harmonies
    Charles Ives
    Terms of Reception
    "Manner" and "Substance": The Concord Sonata
    Nostalgia
    Societal Commitments
    Chapter 30: Neoclassicism and Twelve-Tone Music
    Neoclassicism
    Igor Stravinsky's Neoclassical Path
    The Music of Stravinsky's Octet
    Some Ideas about the Octet
    The Ivory Tower
    In Search of Utopia: Schoenberg and Twelve-Tone Technique
    Giving Music New Rules
    Back Again to Bach
    Alban Berg's Twelve-Tone Romanticism
    Epitome: Anton Webern
    Chapter 31: Interwar Currents: The Roaring Twenties
    European "Jazz": Parisians in America
    In Search of the "Real" America: Americans in Paris
    Tin Pan Alley and Musicals
    Gershwin's "Experiment in Modern Music"
    Surrealism: Satie's Parade
    New Fashions: Les Six
    From Subject to Style: Surrealist "Classicism"
    American Surrealism
    Music in the Weimar Republic
    Alban Berg's Wozzeck
    Music for Political Action
    From Vienna to Hollywood: The Death of Opera?
    Chapter 32: Music and Totalitarianism in the Soviet Union and Western Europe
    The Rise of the Soviet Union
    Music in the Soviet Union
    The Doctrine of Socialist Realism
    Dmitry Shostakovich
    Contested Readings: The Fifth Symphony
    Back in the USSR: Sergey Prokofiev
    Italian Fascism
    Toscanini and Music-Making in the New Italy
    Music in Nazi Germany
    Varieties of Emigration
    Youth Culture
    Shades of Gray: Hartmann, Webern, and Strauss
    Chapter 33: Music and Politics in America and Allied Europe
    Edgard Varèse
    Microtones: Splitting the Semitone
    New Sounds, New Instruments, New Tunings
    Ferment on the American Left
    Copland and Politics
    American Patriotic Works
    The Great American Symphony
    Accessible Alternatives
    Opera in Mid-Century
    Benjamin Britten
    A Modern Anti-Hero: Britten's Peter Grimes
    "The Composer's Duty"
    Olivier Messiaen: "The Charm of Impossibilities"
    Messiaen's Quartet for the End of Time
    Faith, Nature, Color, and Rhythm
    Chapter 34: Starting from Scratch: Music in the Aftermath of World War II
    Zero Hour: The Impact on the Arts
    Total Serialism: Messiaen's Mode de valeurs et d'intensités
    Darmstadt
    Indeterminacy: John Cage and the "New York School"
    Music for Prepared Piano
    Silence
    "Permission": Cage's Influence
    Preserving the Sacrosanct: Morton Feldman
    Conversions
    Academicism, American Style
    Electronics: An Old Dream Comes True
    Musique Concrète, Versus Elektronische Musik
    The New Technology Spreads
    Electronics and Live Music
    Music in History: Elliott Carter
    Carter's Later Career
    "Who Cares if You Listen?"
    Chapter 35: Changes in the Sixties and Seventies
    The Music of Youth: Rock 'n' Roll
    The British Invasion: The Beatles
    A New Challenge
    Rock 'n' Roll Becomes Rock
    The Rise of Minimalism
    La Monte Young
    Riley's In C
    "Classical" Minimalism: Steve Reich
    Phase Music
    Reich's Music for 18 Musicians
    Philip Glass
    Einstein on the Beach
    Game Changer
    The Holy Minimalists
    Chapter 36: "Many Streams": Millennium's End
    Competing Visions
    The Cold War Ends
    The Postmodern Condition
    Collage and Pastiche
    Aesthetics of Pastiche
    Across Time and Space: George Crumb
    Conversions in Reverse
    The End of Soviet Music
    Senior Statesmen
    The Digital Revolution
    Performance Art
    The Alleged Death of Classical Music
    John Adams and Nixon in China
    A New Spirituality
    Notes
    For Further Reading
    Glossary
    Index

Teaching Resources

  • Instructor's Resource CD-R containing a computerized test bank, an Instructor's Manual, study questions, PowerPoint-based lecture slides, and links to Oxford Music Online
  • A free companion website (www.oup.com/us/taruskin) with chapter outlines, key terms and definitions, and suggested links; through an access code card included with the purchase of a new text, students will also gain free 18-month access to Oxford Music Online, including Grove's Dictionary of Music
  • Three score anthologies featuring scores of key works discussed in the text and introductory essays prepared by a team of expert authors; a full three-volume CD set corresponding to the three score anthologies contains musical examples from the anthologies in high-quality MP3 format: Oxford Anthology of Western Music Volume One: The Earliest Notations to the Early Eighteenth Century Edited by David J. Rothenberg and Robert R. Holzer Print Anthology: 9780199768257 V1 Recorded Anthology (2 CDs): 9780199768288 Oxford Anthology of Western Music Volume Two: The Mid-Eighteenth Century to the Late Nineteenth Century Edited by Klára Móricz and David E. Schneider V2 Print Anthology: 9780199768264 V2 Recorded Anthology (3 CDs): 9780199768295 Oxford Anthology of Western Music Volume Three: The Twentieth Century Edited by Klára Móricz and David E. Schneider V3 Print Anthology: 9780199768271 V3 Recorded Anthology (2 CDs): 9780199768301
  • A concise edition of recordings is also available on 3 CDs: 9780199768318 Sold separately

Packages

For Courses Covering the Complete History of Western Classical Music:

 

The Complete Package ~ contains the text plus all anthologies and full recording sets; ideal for those who want maximum coverage and flexibility.

·         Text + Anthology Vol. 1 + Vol. 1 CD set + Anthology Vol. 2 + Vol. 2 CD set + Anthology Vol. 3 + Vol. 3 CD set (9780199939442, $354.50)

 

The Complete Economy Package ~ contains the text plus complete anthology set and concise CD set; a more economical alternative for those who cover all periods in Western Music but do not require the full recording set.

·         Text + Anthology Vol. 1 + Anthology Vol. 2 + Anthology Vol. 3 + Concise CD set (9780199936717, $242.95)

 

The Basic Listening Package ~ contains the text plus concise CD set, for those who wish to expose their students to a representative selection of key works in the text without analyzing scores; ideal for non-majors courses.

·         Text + Concise CD set (9780199939787, $140.00)

 

For Courses Focusing on Specific Time Periods: 

 

The Complete Period Packages ~ consist of the full text packaged with one of three individual score anthologies and corresponding recordings; designed for those covering only select periods in depth.

·         Text + Anthology Vol. 1, Earliest Notation to Early 18th Century + Vol. 1 CD set(9780199936793, $162.95)

·         Text + Anthology Vol. 2, Late 18th and 19th Centuries + Vol. 2 CD set (9780199936809, $162.95)

·         Text + Anthology Vol. 3, The 20th Century + Vol. 3 CD set (9780199936816, $162.95)

 

The Basic Period Packages ~ consist of the full text and one of three score anthologies; for those who do not require recordings.

·         Text + Anthology Vol. 1, Earliest Notation to Early 18th Century (9780199936823, $105.95)

·         Text + Anthology Vol. 2, Late 18th and 19th Centuries (9780199936830, $105.95)

·         Text + Anthology Vol. 3, The 20th Century (9780199936847, $105.95)

 

The Listen & Analyze Sets ~ three distinct packages consisting of each anthology with its corresponding CD-set; for those who need the full set of scores and recordings for select periods without the full Taruskin/Gibbs text.

·         Anthology Vol. 1, Earliest Notation to Early 18th Century + Vol. 1 CD Set (9780199315109, $91.95)

·         Anthology Vol. 2, Late 18th and 19th Centuries + Vol. 2 CD Set (9780199315123, $94.50)

·         Anthology Vol. 3, The 20th Century + Vol. 3 CD Set (9780199315130, $91.95)

 

 

Need additional options or assistance deciding what package is right for you? 

Contact your Oxford representative today for a brief consultation.