Derived from the classic Oxford Dictionary of Music, this is the most authoritative dictionary of music available in paperback. Up-to-date and clearly written, it is a rich mine of information for lovers of music of all periods and styles.

This is the first comprehensive reference work on Australian music. With more than 2,000 entries, the Companion ranges across a wide spectrum, from ancient Aboriginal traditions and European-derived orchestral, operatic and concert music, to Australian folk, jazz, country, popular, rock, electronic, and experimental music.

Irma Collins's Dictionary of Music Education is more than just a lexicon. It is a journey through time and the story of the evolution of music education, including entries on notable individuals, crucial terms, important events, and key organizations--a broad survey of the field. Collins includes information about a variety of English-speaking countries such as the United States, the United Kingdom, Canada, and Australia, emphasizing the impact music education researchers and organizations have had on one another across the globe.

The Historical Dictionary of Baroque Music covers the history of this period through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on the most important traditions, famous pieces, persons, places, technical terms, and institutions of Baroque music.

Sacred music is a universal phenomenon of humanity. Where there is faith, there is music to express it. Every major religious tradition and most minor ones have music and have it in abundance and variety. There is music to accompany ritual and music purely for devotion, music for large congregations and music for trained soloists, music that sets holy words and music without words at all. In some traditions--Islamic and many Native American, to name just two--the relation between music and religious ritual is so intimate that it is inaccurate to speak of the music accompanying the ritual. Rather, to perform the ritual is to sing, and to sing the ritual is to perform it.

With an A-Z of over 300 entries, Music in Shakespeare is the most comprehensive study of all the musical terms found in Shakespeare's complete works. It includes a definition of each musical term in its historical and theoretical context, and explores the diverse extent of musical imagery across the full range of Shakespeare's dramatic and poetic work, as well as analysing the usage of instruments and sound effects on the Shakespearean stage.