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Royal Musical Association Monographs: Royal Musical Association Monographs


About the Series

This series was originally supported by funds made available to the Royal Musical Association from the estate of Thurston Dart. Its purpose is to provide a medium for specialized investigations of a topic, concept or repertory - studies of a kind that would not normally be feasible for commercial publishers and that would be too long for most periodicals.

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Gregorio Ballabene’s Forty-eight-part Mass for Twelve Choirs (1772)

Gregorio Ballabene’s Forty-eight-part Mass for Twelve Choirs (1772)

1st Edition

Forthcoming

By Florian Bassani
December 13, 2021

Neither Spem in alium, the widely acclaimed ‘songe of fortie partes’ by Thomas Tallis, nor Alessandro Striggio’s forty-part Mass is the largest-scale counterpoint work in Western music. The secret winner is Gregorio Ballabene, a relatively unknown Roman maestro di cappella, a contemporary of ...

Music Theory in Late Medieval Avignon Magister Johannes Pipardi

Music Theory in Late Medieval Avignon: Magister Johannes Pipardi

1st Edition

By Karen M. Cook
June 15, 2021

The manuscript Seville, Biblioteca Colombina y Capitular 5-2-25, a composite of dozens of theoretical treatises, is one of the primary witnesses to late medieval music theory. Its numerous copies of significant texts have been the focus of substantial scholarly attention to date, but the shorter, ...

Disinformation in Mass Media Gluck, Piccinni and the Journal de Paris

Disinformation in Mass Media: Gluck, Piccinni and the Journal de Paris

1st Edition

By Beverly Jerold
October 28, 2020

The founding in 1777 of the Journal de Paris, France’s first daily and distinctly commercial paper, represents an early use of disinformation as a tool for political gain, profit, and societal division. To attract a large readership and bar competition for C.W. Gluck’s works at the Paris Opéra, it ...

Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London

Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London

1st Edition

By Cheryll Duncan
October 14, 2019

Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London explores Giardini’s influence on British musical life through his multifaceted career as performer, teacher, composer, concert promoter and opera impresario. The crux of the study is a detailed account of Giardini’s ...

The Pre-history of ‘The Midsummer Marriage’ Narratives and Speculations

The Pre-history of ‘The Midsummer Marriage’: Narratives and Speculations

1st Edition

By Roger Savage
September 11, 2019

The Pre-history of ‘The Midsummer Marriage’ examines the early collaborative phase (1943 to 1946) in the making of Michael Tippett’s first mature opera and charts the developments that grew out of that phase. Drawing on a fascinating group of Tippett’s sketchbooks and a lengthy sequence of his ...

Orientalism, Masquerade and Mozart's Turkish Music

Orientalism, Masquerade and Mozart's Turkish Music

1st Edition

By Matthew Head
August 15, 2019

Matthew Head explores the cultural meanings of Mozart's Turkish music in the composer's 18th-century context, in subsequent discourses of Mozart's significance for 'Western' culture, and in today's (not entirely) post-colonial world. Unpacking the ideological content of Mozart's numerous ...

Regina Mingotti: Diva and Impresario at the King's Theatre, London

Regina Mingotti: Diva and Impresario at the King's Theatre, London

1st Edition

By Michael Burden
June 10, 2019

Regina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera ...

The Cyclic Mass Anglo-Continental Exchange in the Fifteenth Century

The Cyclic Mass: Anglo-Continental Exchange in the Fifteenth Century

1st Edition

By James Cook
April 12, 2019

England in the fifteenth century was the cradle of much that would have a profound impact on European music for the next several hundred years. Perhaps the greatest such development was the cyclic cantus firmus Mass, and scholarly attention has therefore often been drawn to identifying potentially ...

Upper-Voice Structures and Compositional Process in the Ars Nova Motet

Upper-Voice Structures and Compositional Process in the Ars Nova Motet

1st Edition

By Anna Zayaruznaya
May 04, 2018

In the motets of Philippe de Vitry, Guillaume de Machaut, and their contemporaries, tenors have often been characterized as the primary shaping forces, prior in conception as well as in construction to the upper voices. Tenors are shaped by the interaction of talea and color, medieval terms now ...

The Regulation and Reform of Music Criticism in Nineteenth-Century England

The Regulation and Reform of Music Criticism in Nineteenth-Century England

1st Edition

By Paul Watt
January 08, 2018

Music criticism in England underwent profound change from the 1880s to the 1920s. It gave rise to ‘New criticism’ that aimed to be rational, impartial and intellectually authoritative. It was a break from the criticism of old: the work of the opinionated journalist who wrote descriptive concert ...

The Politics of Plainchant in fin-de-siècle France

The Politics of Plainchant in fin-de-siècle France

1st Edition

By Katharine Ellis
April 28, 2013

This book tells three inter-related stories that radically alter our perspective on plainchant reform at the turn of the twentieth century and highlight the value of liturgical music history to our understanding of French government anticlericalism. It offers at once a new history of the rise of ...

Singing Dante: The Literary Origins of Cinquecento Monody

Singing Dante: The Literary Origins of Cinquecento Monody

1st Edition

By Elena Abramov-van Rijk
November 04, 2014

This book takes its departure from an experiment presented by Vincenzo Galilei before his colleagues in the Florentine Camerata in about 1580. This event, namely the first demonstration of the stile recitativo, is known from a single later source, a letter written in 1634 by Pietro dei Bardi, son ...

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