Acknowledgments

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Acknowledgments ix
4. Introduction 1
5. Chapter One. Robert Granjon and Music during the Golden Age of Typography 11
6. Chapter Two. Publishing Music Theory in Early Cinquecento Venice and Bologna: Friends and Foes 36
7. Chapter Three. Preaching to the Choir: Arts of Persuasion in the Convents of Italy 62
8. Chapter Four. Music Distribution in London during Handel’s Lifetime: Manuscript Copies versus Prints 95
9. Chapter Five. Beethoven’s Miniatures 118
10. Chapter Six “The Beautiful and the Ugly” Travel Literature, Racial Theory, and a Schumann Song 129
11. Chapter Seven. Verdi’s “Music of the Future” 158
12. Chapter Eight. The Suspended Voice of Amália Rodrigues 180
13. Chapter Nine. More than Mostly Mozart: Teddy Wilson’s “China Boy” 200
14. Chapter Ten. Wanted Dead and Alive: Historical Performance Practice and Electro-Acoustic Music from IRCAM to Abbey Road 213
15. Chapter Eleven. Lowinsky’s Secrets 232
16. Chapter Twelve. The Unknown Hildegard: Editing, Performance, and Reception (An Ordo Virtutum in Five Acts) 258
17. Contributors 307
18. Index 311