A perfect resource for students and music enthusiasts alike, this expansive three-volume set provides readers with multidisciplinary perspectives on the music of countries and ethnic groups from around the globe. Students will find Music around the World: A Global Encyclopedia accessible and useful in their research, not only for music history and music appreciation classes but also for geography, social studies, language studies, and anthropology. Additionally, general readers will find the books appealing and an invaluable general reference on world music.

Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Three overall themes emerge from its chapters: accounts of British reactions to Continental modernism and the forms they took; links between music and the visual arts; and analysis and interpretation of compositions in the light of recent theoretical work on form, tonality and pitch organization.

The idea of a global history of music may be traced back to the Enlightenment, and today, the question of a conceptual framework for a history of music that pays due attention to global relationships in music is often raised. But how might a historical interpretation of those relationships proceed? How should it position, or justify, itself? What would 'Western music' look like in an account of music history that aspires to be truly global?

The studies presented in this volume aim to promote post-European historical thinking. They are based on the idea that a global history of music cannot be one single, hegemonic history.