Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this 2002 study, John Butt sums up debates on the nature of the early music movement and historically informed performance, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism.  Meer

The widely held belief that Beethoven was a rough pianist, impatient with his instruments, is not altogether accurate: it is influenced by anecdotes dating from when deafness had begun to impair his playing.  Meer

Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear.  Meer

More than any other part of Bach's output, his keyboard works conveyed the essence of his inimitable art to generations of admirers. The varied responses to this repertory - in scholarly and popular writing, public lectures, musical composition and transcription, performances and editions - ensured its place in the canon and broadened its creator's appeal.  Meer

A great deal of evidence survives about how Brahms and his contemporaries performed his music. But much of this evidence - found in letters, autograph scores, treatises, publications, recordings, and more - has been hard to access, both for musicians and for scholars.  Meer

Presenting a fresh approach to French organ music, David Ponsford analyses the repertory from the reign of Louis XIV by genre. The colourful French organ was so consistent in design that the very titles of pieces that were constituent parts of organ masses, Magnificats and suites prescribed the registrations: plein jeu, fugue, duo, récit, trio, fond d'orgue and grand jeu.  Meer

Twelve of today's most distinguished scholar-performers offer essays in this volume on new and intriguing aspects of baroque keyboard music. Topics include fresh evidence on music of the seventeenth century (Frescobaldi, Froberger and Purcell), the place of the keyboard in concerted music and on comparative teaching methods (Couperin, Marpurg and Roeser), studies of the repertoire of J.  Meer

Focusing on the reception of Palestrina, this bold interdisciplinary study explains how and why the works of a sixteenth-century composer came to be viewed as a paradigm for modern church music.  Meer

The organist seated at the king of instruments with thousands of pipes rising all around him, his hands busy at the manuals and his feet patrolling the pedalboard, is a symbol of musical self-sufficiency yielding musical possibilities beyond that of any other mode of solo performance.  Meer

Focusing on the reception of Palestrina, this bold interdisciplinary study explains how and why the works of a sixteenth-century composer came to be viewed as a paradigm for modern church music.  Meer

For over 200 years, Antonio Stradivari has been universally regarded as the greatest violin maker who ever lived, yet it is not widely known that he made virtually every kind of bowed- and plucked-string instrument popular in the Baroque period, including lutes, viols, mandolins, guitars, and harps.  Meer

This 2004 book traces the changing interpretation of troubadour and trouvere music, a repertoire of songs which have successfully maintained public interest for eight centuries, from the medieval chansonniers to contemporary rap renditions.  Meer

Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this 2002 study, John Butt sums up debates on the nature of the early music movement and historically informed performance, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism.  Meer

This 2004 book traces the changing interpretation of troubadour and trouvere music, a repertoire of songs which have successfully maintained public interest for eight centuries, from the medieval chansonniers to contemporary rap renditions.  Meer

Bettina Varwig places the music of the celebrated Dresden composer Heinrich Schütz in a richly detailed tapestry of cultural, political, religious and intellectual contexts.  Meer

Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear.  Meer

Nadia Boulanger - composer, critic, impresario and the most famous composition teacher of the twentieth century - was also a performer of international repute.  Meer

The organist seated at the king of instruments with thousands of pipes rising all around him, his hands busy at the manuals and his feet patrolling the pedalboard, is a symbol of musical self-sufficiency yielding musical possibilities beyond that of any other mode of solo performance.  Meer

Presenting a fresh approach to French organ music, David Ponsford analyses the repertory from the reign of Louis XIV by genre. The colourful French organ was so consistent in design that the very titles of pieces that were constituent parts of organ masses, Magnificats and suites prescribed the registrations: plein jeu, fugue, duo, récit, trio, fond d'orgue and grand jeu.  Meer

What did the term 'author' denote for Lutheran musicians in the generations between Heinrich Schütz and Johann Sebastian Bach? As part of the Musical Performance and Reception series, this book examines attitudes to authorship as revealed in the production, performance and reception of music in seventeenth-century German lands.  Meer