Routledge Music Handbooks are comprehensive, must-have surveys of a core sub-discipline that address landmarks in the field, but also map out the emerging critical terrain and are aimed at the library market. Handbooks introduce fundamental topics and ideas, delineate the diversity and complexity of the subject, and stimulate dialogue among scholars and students approaching the topic from divergent backgrounds. Handbooks should define the current state of theory and research in the field and create a foundation for future scholarship and study.
You may also wish to visit our Routledge Handbooks Online platform to view Routledge's full companion and handbook offerings: https://www.routledgehandbooks.com/
Edited By Ruth Wright, Geir Johansen, Panagiotis A. Kanellopoulos, Patrick Schmidt
March 30, 2021
The Routledge Handbook to Sociology of Music Education is a comprehensive, authoritative and state-of-the-art review of current research in the field. The opening introduction orients the reader to the field, highlights recent developments, and draws together concepts and research methods to be ...
By Jonathan Impett
December 18, 2020
Of the post-war, post-serialist generation of European composers, it was Luigi Nono who succeeded not only in identifying and addressing aesthetic and technical questions of his time, but in showing a way ahead to a new condition of music in the twenty-first century. His music has found a ...
Edited By Esti Sheinberg, William P. Dougherty
March 31, 2020
The Routledge Handbook of Music Signification captures the richness and complexity of the field, presenting 30 essays by recognized international experts that reflect current interdisciplinary and cross-disciplinary approaches to the subject. Examinations of music signification have been an ...
Edited By David Fanning, Erik Levi
December 09, 2019
Following their entry into Austria and the Sudetenland in the late 1930s, the Germans attempted to impose a policy of cultural imperialism on the countries they went on to occupy during World War II. Almost all music institutions in the occupied lands came under direct German control or were ...