Books in the Cambridge Studies in Performance Practice series

These nine essays consider for the first time the day-to-day performing practice of English composers of choral music of the period 1440-1650.

This is the first book-length study in any language dedicated specifically to lute, guitar, and vihuela performance. Brings to light various new ideas about performance and technique for a wide range of instruments, including the fifteenth-, sixteenth- and seventeenth-century Italian lute, archlute, theorbo, French Baroque lute, vihuela. Will be of interest to players, teachers and scholars.

These essays examine the way in which German music was performed, staged, programmed, and received in the 1920s, offering insight into Weimar culture itself and shedding light on our contemporary musical world.

The ten essays in this volume explore different aspects of the performance of instrumental works by Beethoven.

This book includes essays by distinguished musicologists and performers, each exploring a different aspect of Mozart's music in performance.

From at least the eighth century and for about a thousand years the repertory of music known as Georgian chant, or plainsong, formed the largest body of written music. But plainsong did not follow rigid conventions. It is just this variation, this living quality of plainsong, that these essays address.