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Historical Dictionary of Romantic Music
978-0-8108-7230-1 • Hardback
October 2013 • $150.00 • (£95.00)
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978-0-8108-7484-8 • eBook
October 2013 • $149.99 • (£95.00)

eBooks have to be checked out individually and cannot be combined with print books.
Pages: 792
Size: 6 1/4 x 9 1/2
By John Michael Cooper
Assisted by Randy Kinnett
Series: Historical Dictionaries of Literature and the Arts
Music | History & Criticism
Scarecrow Press
This Historical Dictionary of Romantic Music provides detailed and authoritative articles for the most important composers, concepts, genres, music educators, performers, theorists, writings, and works of cultivated music in Europe and the Americas during the period 1789-1914. The roster of biographical entries includes not only canonical composers such as Beethoven, Berlioz, Brahms, Chopin, Fauré, Grieg, Liszt, Mahler, Mendelssohn, Mussorgsky, Rossini, Schubert, Robert Schumann, Sibelius, Strauss, Tchaikovsky, Verdi, Wagner, and Wolf, but also less-well-known distinguished contemporaries of those composers (among them George Whitefield Chadwick, Cécile Chaminade, Ernesto Elorduy, Chiquinha Gonzaga, Fanny Hensel, C. H. Parry, and Clara Schumann, to name but a few). Significant literary and cultural topics such as Goethe’s Faust and Wagner’s theoretical writings of the 1850s, as well as entries on other cultural luminaries who significantly influenced music’s Romanticisms – among them J. S. Bach, Goethe, Haydn, Handel, Heine, Mozart, Schiller, and Shakespeare – are also included. Entries on important institutions (conservatory, orphéon, Männerchor), concepts (biographical fallacy, copyright, exoticism, feminism, nationalism, performance practice), and political caesurae and movements (First and Second French Empire, First, Second, and Third French Republic, Franco-Prussian War, Revolutions of 1848, Risorgimento) round out the dictionary section.

Like other volumes in this series, this book's more than 500 entries are preceded by an introductory essay that explains the essential concepts necessary for understanding and exploring further the vast and complex musical landscape of Romanticism, plus a detailed Chronology. Concluding the volume is an extensive bibliography that lists the most important source-critical series of editions of Romantic music, important general writings on the period and its music, and composer-by-composer bibliographies.
John Michael Cooper is Professor of Music and holder of the Margarett Root Brown Chair in Fine Arts at Southwestern University (Georgetown, Texas). He has published articles on topics ranging from seventeenth-century performance practice to early twentieth-century aesthetics, as well as numerous editions with A-R Editions, Carus-Verlag, and Bärenreiter Urtext. His previous three books – all centering on the Mendelssohns – have been published by Routledge, Oxford University Press, and the University of Rochester Press.

Randy Kinnett has a doctorate in musicology and also focuses considerably on the Romantic period, with a particular interest in reception history.
This volume offers hundreds of entries for Romantic period composers, performers, styles, and other subjects and terms. Many appear in other reference works, most notably New Grove Dictionary of Music and Musicians, but many are unique to this one. The major difference is that the authors here present entries in context with regard to specific styles, customs, and thinking of the Romantic period—the so called long nineteenth century. For example, entries such as String quartets are discussed in terms of their nineteenth-century form, and eighteenth-century composer Wolfgang Amadeus Mozart’s entry delves into how he and his music were viewed throughout the 100 years after his death. Recommended for most public and academic libraries.