Book DescriptionHow do we know what notes a composer intended in a given piece?-how those notes should be played and sung?-the nature of musical life in Bach's Leipzig, Schubert's Vienna?-how music related to literature and other arts and social currentsin different times and places?-what attitudes musicians and music lovers had toward the music that they heard and made (including in the bourgeois parlor)? We know all this from primary sources: musical manuscripts and prints, opera libretti, composers'letters, reviews in newspapers and magazines, archival data, contemporary pedagogical writings, essays on aesthetics, and much else. Some of these categories of sources have, for over a century, served as the bedrock of music history and musicology. Others have begun to be examined only in recent years. Furthermore, musicologists-including biographers of famous composers-now explore these various kinds of sources in a variety of ways, some of them richly traditional and others exciting...

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