# History of Western Music: Norton or Oxford?



## Anticlock (Sep 5, 2013)

Hi,
I'd like to buy one of these books:

Oxford History of Western Music
http://www.amazon.com/The-Oxford-Hi...8-1&keywords=oxford+history+of+western+music#

or

Norton History of Western Music
http://www.amazon.com/History-Weste...=8-1&keywords=norton+history+of+western+music

Can anybody (who's preferrably read both) recommend one or the other and point out differences/advantages/disadvantages of either one?

Thanks,
Sven


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## PetrB (Feb 28, 2012)

Here is one little tip which may help you decide. The nationality of the author / publisher will affect, it is to be hoped only slightly, the near inevitable bias of that nation, and that nation's cultural home-boy heros.

Neither should do this in such an extreme way as to tip the book into the dumpster of wildly partial research and what results, while the British will tell you about a few more, and more in depth, British musicians, composers, and musical developments which took place within their sovereignty 

One advantage of an American text is that country's cultural history is so brief, there is less to shout about, both in numbers composers and the pride which makes even the most neutral author / publisher just naturally push those home boys on you a bit more.

A French text will be heavier on the French composers, extol more about the French 'school' of writing, a German text will.... etc.

Pick your bias, or go against it for a slightly different opinion / emphasis. Because any such text will have at least a few.

Ideally, of course, get both and read both 


P.s. A great and broader global overview, with enough but still less specifics, can be had in the two volume Penguin edition history of music - Volume one starts with the speculations on how and why music sprang up, and covers music of many other cultures other than the music from the western tradition, volume two starts with early western music, medieval, and runs through to the present (that is if you find a later revised edition) Two relatively slim paperbacks which I think also belong in your library.


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## Blancrocher (Jul 6, 2013)

I haven't read either book, though I've been dipping into Taruskin's multi-volume Oxford history, from which the text you link to is presumably abridged. In the long version, at least, Taruskin expresses a lot of strong and unpopular opinions, but that just makes it more interesting for me to read. Interesting observations abound. It's amazing that a single individual could (and would!) take on such a massive project: he's obviously formidably learned in addition to being self-confident. When the price comes down a bit I'll find some shelf space for the monster. 

I've found Taruskin worth reading in general, though again there's always a polemical edge.


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## Guest (Sep 5, 2013)

I agree with _Whiterock_ (post #3 above) : I'm familiar with Taruskin's writings elsewhere, and I'm sure his "history" will be as interesting as it is polemic. If money is tight Anticlock, just go with the flow and check out your uni library's *New Grove*.


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## Eschbeg (Jul 25, 2012)

In my opinion, the Norton book reads more like a reference source while the Oxford book reads more like a story.


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## Huilunsoittaja (Apr 6, 2010)

I'm currently using the Norton in my music history class, along with the Anthologies (score books) and CD sets. I like it, although I don't read the textbook as much as I read the Anthologies.

In a book of about 1000 pages (the Norton) only about 15 pages are dedicated to Russian music. However, at least we get to listen to them in class. This semester I have a Russian professor who specializes in 20th Soviet opera, so she may throw in a little extra Russian stuff, especially since it's a class on 19th-20th century music.


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## Eschbeg (Jul 25, 2012)

PetrB said:


> The nationality of the author / publisher will affect, it is to be hoped only slightly, the near inevitable bias of that nation, and that nation's cultural home-boy heros.


Two out of the three authors of the Norton book, as well as the two authors of the Oxford book, are American. The only non-American among the bunch is Claude Palisca, who was born in Italy but got his musical education in America.

While the Oxford book was published under the auspices of a company that originated in England (some five hundred years ago), its "gestation" occurred under the supervision of the American division of Oxford University Press.


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## Kleinzeit (May 15, 2013)

Here's the blog of two grad students who read the entire Oxford:

http://taruskinchallenge.wordpress.com

I have the Oxford. Taruskin, yes, is polemical. Questioning, engaging with contemporary thinking, unfinished. That's what I like. Questions are better than answers; Taruskin opens doors.


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## Guest (Sep 6, 2013)

Kleinzeit said:


> I have the Oxford. Taruskin, yes, is polemical. Questioning, engaging with contemporary thinking, unfinished. *That's what I like. Questions are better than answers; Taruskin opens doors*.


I really couldn't agree more. I have found *Taruskin* to be infuriating, but he is (or was) *a performing musician* and that for me is an important distinction.


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## Ondine (Aug 24, 2012)

A little guide I can recommend:

Percy A. Scholes, "The Listener's History of Music" Oxford University Press.


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## Anticlock (Sep 5, 2013)

Thanks everybody! I think I'll go for the Taruskin then.


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