Wendy Heller is Professor of Music and Director of the Program in Italian Studies at Princeton University. She is the author of Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice and articles published in the Journal of the American Musicological Society, Early Music, and Music & Letters. Heller’s writings have received awards from the American Musicological Society and the Society for the Study of Early Modern Women, and she has received grants from the National Endowment for the Humanities and the American Council of Learned Societies. Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 1903–1908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.

• Chapter 1: Baroque Music in Early Modern Europe Part I: Musical Expression and InnovationChapter 2: Ancients and ModernsChapter 3: Theatrical Baroque Chapter 4: The Art and Craft of Instrumental Music in the Early Seventeenth CenturyChapter 5: Music in Civic and Religious RitualPart II: Musical InstitutionsChapter 6: Public Opera in Venice and BeyondChapter 7: Pleasure and Power at the Court of Louis XIVChapter 8: Music in Seventeenth-Century EnglandChapter 9: Music EducationChapter 10: Academies, Salons, and Music SocietiesPart III: Musical Synthesis in the Capitals of EuropeChapter 11: Rome in the Age of the Arcadian AcademyChapter 12: Parisians and Their Music in the Eighteenth CenturyChapter 13: Music in City, Court, and Church in the Holy Roman EmpireChapter 14: The London of Handel and HogarthChapter 15: Postlude and Prelude: Bach and the Baroque

Wendy Heller is Professor of Music and Director of the Program in Italian Studies at Princeton University. She is the author of Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice and articles published in the Journal of the American Musicological Society, Early Music, and Music & Letters. Heller’s writings have received awards from the American Musicological Society and the Society for the Study of Early Modern Women, and she has received grants from the National Endowment for the Humanities and the American Council of Learned Societies. Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 1903–1908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.

• Chapter 1: Baroque Music in Early Modern Europe Part I: Musical Expression and InnovationChapter 2: Ancients and ModernsChapter 3: Theatrical Baroque Chapter 4: The Art and Craft of Instrumental Music in the Early Seventeenth CenturyChapter 5: Music in Civic and Religious RitualPart II: Musical InstitutionsChapter 6: Public Opera in Venice and BeyondChapter 7: Pleasure and Power at the Court of Louis XIVChapter 8: Music in Seventeenth-Century EnglandChapter 9: Music EducationChapter 10: Academies, Salons, and Music SocietiesPart III: Musical Synthesis in the Capitals of EuropeChapter 11: Rome in the Age of the Arcadian AcademyChapter 12: Parisians and Their Music in the Eighteenth CenturyChapter 13: Music in City, Court, and Church in the Holy Roman EmpireChapter 14: The London of Handel and HogarthChapter 15: Postlude and Prelude: Bach and the Baroque

Wendy Heller is Professor of Music and Director of the Program in Italian Studies at Princeton University. She is the author of Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice and articles published in the Journal of the American Musicological Society, Early Music, and Music & Letters. Heller’s writings have received awards from the American Musicological Society and the Society for the Study of Early Modern Women, and she has received grants from the National Endowment for the Humanities and the American Council of Learned Societies. Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 1903–1908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.

• Chapter 1: Baroque Music in Early Modern Europe Part I: Musical Expression and InnovationChapter 2: Ancients and ModernsChapter 3: Theatrical Baroque Chapter 4: The Art and Craft of Instrumental Music in the Early Seventeenth CenturyChapter 5: Music in Civic and Religious RitualPart II: Musical InstitutionsChapter 6: Public Opera in Venice and BeyondChapter 7: Pleasure and Power at the Court of Louis XIVChapter 8: Music in Seventeenth-Century EnglandChapter 9: Music EducationChapter 10: Academies, Salons, and Music SocietiesPart III: Musical Synthesis in the Capitals of EuropeChapter 11: Rome in the Age of the Arcadian AcademyChapter 12: Parisians and Their Music in the Eighteenth CenturyChapter 13: Music in City, Court, and Church in the Holy Roman EmpireChapter 14: The London of Handel and HogarthChapter 15: Postlude and Prelude: Bach and the Baroque