2005, by Richard Taruskin. "A survey of the traditions of western music by one of the most prominent and provocative musicologists of our time, this book illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age." Volume 2 covers the seventeenth and eighteenth centuries.
2014, by Wendy Heller. "Baroque music in its cultural, social, and intellectual contexts. Wendy Heller's Music in the Baroque traces the production and consumption of music in the seventeenth and early eighteenth century. Going beyond a history of styles, the text explores patronage, education, religious and civic ritual, theater, and visual culture. Heller focuses not only on the nature of music in the Baroque period, but also on the very different ways in which men and women experienced music in their daily lives. Treating music as an expression of political and national identity, she examines it in the context of the era's art and literature, political and religious conflicts, and contentious issues of class and gender. Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense'as sounds notated, performed, and heard'focusing not only on composers and works, but also on broader social and intellectual currents."
2008, by Robert Laudon. "What shall we call the era in Western music history from 1750 to 1900? Listeners and scholars alike treasure the works of its great composers: Mozart, Beethoven, Chopin, Wagner, Tchaikovsky. A powerfully symbolic name, though - analogous to "baroque" for the previous era - still eludes us. The Era after the Baroque proposes a powerful symbol for the new era while at the same time keeping traditional terminology intact. It looks at the age in a primarily positive manner while still acknowledging its darker aspects. In particular, it evokes the existence of a newly recognized system of "fine arts" and therefore has resonances for the visual and literary arts in addition to its primary focus on music."
2013, by John Rice. "John Rice's Music in the Eighteenth Century takes the reader on an engrossing Grand Tour of Europe's musical centers, from Naples, to London, Berlin, Vienna, Prague, and St. Petersburg --with a side trip to the colonial New World.nbsp; Against the backdrop of Europe's largely peaceful division into Catholic and Protestant realms, Rice shows how "learned" and "galant" styles developed and commingled. While considering Mozart, Haydn, and early Beethoven in depth, he broadens his focus to assess the contributions of lesser-known but significant figures like Johann Adam Hiller, Francois-André Philidor, and Anna Bon.Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense--as sounds notated, performed, and heard--focusing not only on composers and works, but also on broader social and intellectual currents."
2009, by Simon Keefe. "The eighteenth century arguably boasts a more remarkable group of significant musical figures, and a more engaging combination of genres, styles and aesthetic orientations, than any century before or since, yet huge swathes of its musical activity remain under-appreciated. The Cambridge History of Eighteenth-Century Music provides a comprehensive survey, examining little-known repertories, works and musical trends alongside more familiar ones. Rather than relying on temporal, periodic and composer-related phenomena to structure the volume, it is organised by genre; chapters are grouped according to the traditional distinctions of music for the church, music for the theatre and music for the concert room that conditioned so much thinking, activity and output in the eighteenth century. A valuable summation of current research in this area, the volume also encourages readers to think of eighteenth-century music less in terms of overtly teleological developments than of interacting and mutually stimulating musical cultures and practices."
1997, expanded edition, by Charles Rosen. "A reissue of a masterpiece by a world-class pianist and top-rank thinkernow expanded and with a compact disc. This outstanding book focusing on the three most-beloved composers of the Vienna School is considered basic to any study of the music from their era. Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in language that is clear, persuasive, and nontechnical. For this reissue of The Classical Style, Rosen provides a comprehensive new introduction that incorporates ideas he has formulated in the past twenty-five years and responds to the reactions of others writers to the book during that time. Readers are also treated to a compact disc, recorded by Rosen in 1996 and produced especially to accompany this new version of the book. The CD offers complete performances of two late sonatas of Beethoven that are discussed extensively in the text: the Opus 106 in Bb major (the Hammerklavier) and the Opus 110 in C minor."