《古典音乐:海顿、莫扎特与贝多芬的时代(原版引进)》系英美音乐学界的权威性最新音乐断代史书，代表了西方学术界音乐史研究的最高水平。覆盖了西方音乐史的六个重要断代。翻译出版后，相信将对中国进一步深入理解西方音乐文化并加强中国本土的音乐文化建设具有重要意义。上海音乐学院相关专业的教授学者组成译审委员会，负责具体翻译工作的安排、组织和质量把关。

A greatly expanded edition of a masterpiece by a world-class pianist and writer on music.This outstanding book treating the three most beloved composers of the Vienna School is basic to any study of Classicalera music. Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in clear and persuasive language.For this expanded edition, now available in paperback for the first time, Rosen has provided a new, 64-page chapter on the later years of Beethoven and the musical conventions he inherited from Haydn and Mozart. The author has also written an extensive new preface in which he responds to other writers who have commented on his ideas.

With her usual combination of erudition, innovation, and spirited prose, Susan McClary reexamines the concept of musical convention in this fast-moving and refreshingly accessible book. Exploring the ways that shared musical practices transmit social knowledge, "Conventional Wisdom" offers an account of our own cultural moment in terms of two dominant traditions: tonality and blues. McClary looks at musical history from new and unexpected angles and moves easily across a broad range of repertoires - the blues, eighteenth-century tonal music, late Beethoven, and rap. As one of the most influential trailblazers in contemporary musical understanding, McClary once again moves beyond the borders of the 'purely musical' into the larger world of history and society, and beyond the idea of a socially stratified core canon toward a musical pluralism. Those who know McClary only as a feminist writer will discover her many other sides, but not at the expense of gender issues, which are smoothly integrated into the general argument. In considering the need for a different way of telling the story of Western music, "Conventional Wisdom" bravely tackles big issues concerning classical, popular, and postmodern repertoires and their relations to the broader musical worlds that create and enjoy them.

This provocative volume of essays is now available in paperback. The contributors to this volume - musicologists, sociologists, cultural theorists - all challenge the view that music occupies an autonomous aesthetic sphere. Recently, socially and politically grounded enterprises such as feminism, semiotics and deconstruction have effected a major transformation in the ways in which the arts and humanities are studied, leading in turn to a systematic investigation of the implicit assumptions underlying the critical methods of the last two hundred years. Influenced by these approaches, the writers here question a prevailing ideology that insists there is a division between music and society and examine the ways in which the two do in fact interact and mediate one another within and across socio-cultural boundaries.

Ludwig van Beethoven (1770-1827) was a genius so universal that his popularity, extraordinary even during his lifetime, has never ceased to grow. It now encircles the globe: Beethoven's most famous works are as beloved in Beijing as they are in Boston. Edmund Morris, the author of three bestselling presidential biographies and a lifelong devotee of Beethoven, brings the great composer to life as a man of astonishing complexity and overpowering intelligence. A gigantic, compulsively creative personality unable to tolerate constraints, he was not so much a social rebel as an astute manipulator of the most powerful and privileged aristocrats in Germany and Austria, at a time when their world was threatened by the rise of Napoleon Bonaparte. But Beethoven's achievement rests in his immortal music. Struggling against progressive, incurable deafness (which he desperately tried to keep secret), he nonetheless produced towering masterpieces, such as his iconic Fifth and Ninth symphonies. With sensitivity and insight, Edmund Morris illuminates Beethoven's life, including his interactions with the women he privately lusted for but held at bay, and his work, whose grandeur and beauty were conceived "on the other side of silence."

A critical study of the structure, style, and significance of the sixteen string quartets.
Beethoven's quartets show a technical mastery, depth of thought, and intensity of musical inspiration unsurpassed by any other composer. This brilliant survey, by one of America's leading musical scholars, has already achieved classic status.

《沉思音乐:挑战音乐学》是一个音乐家对音乐的现代观念和意识形态的分析，涉及音乐学及音乐研究的其他领域，分析基于自己对二战以来英美这些学科的理解。书中具体围绕：音乐学与实证主义：战后的年代、民族音乐学与“文化音乐学”等内容展开。

阿多諾這本眾所渴待，但他生前未能成書的《貝多芬：阿多諾的音樂哲學》，1993年才在德國出版，距作者1969年世紀將近四分之一世紀。本書彙集的這批重要、發人深省的劄記，以及許多也以片斷形式存世的散篇，阿多諾形容是他「貝多芬經驗的日記」。
阿多諾自幼彈奏貝多芬作品，熟讀貝多芬總譜，1937年興起大規模研究貝多芬之念，有志據此研究寫成「音樂哲學」，此後三十年做成四十多本劄記，念茲在茲，亟欲成書，但一方面戰亂流亡，不暇整理，二方面他求全心切，總覺茲書體大，不宜率爾，因此直到辭世，猶未著手寫書。
阿多諾專家Rolf Tiedemann盡蒐阿多諾所遺劄記，依照劄記的內在邏輯與關係脈絡，加以組織，賦予結構，配合阿多諾生平所寫關於貝多芬的散篇文章、電台廣播，以及阿多諾諸本成書著作中討論貝多芬的章節段落，加上不厭詳盡的注解，統合成一本理路連貫，從哲學、社會學、美學、音樂學、文學等角度觀照貝多芬的既精且博之作。
阿多諾自己想寫的貝多芬書永不可得，但編者追摹他的原意，重建現場般建構阿多諾的「貝多芬書」圖像，這本《貝多芬：阿多諾的音樂哲學》堪稱可能未中，但應不遠，不但為阿多諾著作集增一瑰寶，在多芬研究裡也是一本扛鼎之作。

In a series of powerful strokes, the music of Beethoven's last years redefined his legacy and enlarged the realm of experience accessible to the creative imagination. Maynard Solomon's "Late Beethoven" investigates the phenomenon of the final phase, focusing especially on the striking metamorphosis in Beethoven's system of beliefs that began early in his fifth decade and eventually amounted to a sweeping realignment of his views of nature, antiquity, divinity, and human purpose. Using the composer's letters, diaries, and conversation books, Solomon traces Beethoven's attraction to a constellation of heterogeneous ideas, drawn from Romanticism, Freemasonry, comparative religion, Eastern initiatory ritual, Mediterranean mythology, aesthetics, and classical and contemporary thought. Through these often arcane sources, Beethoven gained access to a vast reservoir of imagery and ideas with the potential to expand music's expressive and communicative reach. This 'multitude of productive images,' writes Solomon, 'provided kindling for the blaze of his imagination.' "Late Beethoven" is a rich tapestry of original perspectives on Beethoven's music. Solomon sees the Seventh Symphony as a deployment of the rhythms of antiquity in an effort to revalidate the premises of the Classical world; the Ninth as an essay on the prospects and limits of affirmative, monumental endings; and the 'Diabelli' Variations as a doorway to the universe of metaphoric significances that attach to beginnings. In the Violin Sonata in G, op. 96, Solomon finds a restoration of the full range of pastoral experience that the ancient poets had known. In the Grosse Fuge he locates issues of fragmentation and reassembly, and he suggests that pivotal passages of the last sonatas evoke sacred states of being. These stimulating perspectives illuminate the inner world within which Beethoven dwelled during his last fifteen years and the ways in which his thought and music may be interrelated. Written in accessible and eloquent prose, and with numerous music examples, "Late Beethoven" is a serious contribution to understanding this miraculous quantum leap in Beethoven's creative evolution.