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This three-colume set catalogues the Edward C. Atwater, M.D., Collection of American Popular Medicine, housed at the University of Rochester Medical School library. The books described in the catalogue were written by physicians and other professionals to provide information for the non-medical audience on human anatomy, hygiene, temperance and diet, health maintenance, and illness, especially in the absence of professional medical help. The books promoteda healthy lifestyle for readers, offfering guidance on everything from physical fitness to the special health needs of women.
The third and final volume of the annotated catalog of the Edward C. Atwater, M.D. Collection of American Popular Medicine includes books, manuscripts, pamphlets, periodicals, and printed ephemera acquired since the publication of Volume 1 (Authors A-L) in 2001 and Volume 2 (Authors M-Z) in 2004. Volume 3 (Authors A-Z) contains entries for more than 2,000 items. Together, these three volumes provide an unparalleled perspective on the vast and diverse body of literature published between the colonial period and World War I that, among other things, instructed Americans on the domestic treatment of illness or injury, advised women on reproductive control, and enlightened school children on the structure and functioning of their own bodies.
The Atwater Collection is the product of nearly four decades of collecting by Edward C. Atwater, M.D., Professor Emeritus of Medicine and the history of medicine at the University of Rochester School of Medicine and Dentistry.

Christopher Hoolihan is History of Medicine Librarian at the University of Rochester Medical School's Edward G. Miner Library.

Leading authorities explore, in direct and accessible language, chamber-music masterpieces by twenty-one prominent composers since 1900.

2 volume set: Modern composers as diverse as Béla Bartók, Maurice Ravel, Benjamin Britten, and John Cage have confided some of their most personal and intense thoughts to the medium of the string quartet. The resulting repertoire has won the allegiance of string players and of listeners in the concert hall and at home. Yet, until now, no book has addressed the language of these remarkable works, their interactions with the masterpieces of Beethoven and others, and their new approaches to musical expression. Intimate Voices, organized in rough chronological order, offers the observations and intuitions of twenty leading authorities on quartets by twenty-one composers from eleven countries. Its two volumes -- available separately or together -- comprise an indispensable guide to amateur and professional chamber musicians, scholars, students, and anyone seeking a deeper acquaintance with the great achievements of twentieth-century music.

Edited by Evan Jones, Associate Professor of Music Theory, Florida State University College of Music

Contents and authors:
Volume 1: Debussy and Ravel (MarianneWheeldon); Sibelius (Joseph Kraus); Bartók (Joseph N. Straus); Hindemith (David Neumeyer); Schoenberg (Matthew R. Shaftel); Berg (Dave Headlam); Webern (David Clampitt); Villa-Lobos (Eero Tarasti); Prokofiev (Neil Minturn)

Volume 2: Shostakovich [Patrick McCreless]; Britten [Christopher Mark]; Ligeti [Jane Piper Clendinning]; Berio [Richard Hermann]; Xenakis [Evan Jones]; Scelsi [Eric Drott]; Cage [David W. Bernstein]; Babbitt [Andrew Mead]; Carter [Jonathan W. Bernard]; Mel Powell [Jeffrey Perry]; Shulamit Ran [Robert W. Peck]

Published by Boydell & Brewer Inc.

In Schubert in the European Imagination, Volume 1: The Romantic and Victorian Eras, Scott Messing examines the historical reception of Franz Schubert as conveyed through the gendered imagery and language of nineteenth- and early twentieth-century European culture.
The concept of Schubert as a feminine type vaulted into prominence in 1838 when Robert Schumann described the composer's Mädchencharakter ["girlish" character], by contrast to the purportedly more masculine, more heroic Beethoven. What attracted Schumann to Schubert's music and marked it as feminine is evident in some of Schumann's own works that echo those of Schubert's in intriguing ways.
Volume 2, Schubert in the European Imagination: Fin-de-Siècle Vienna examines the composer's historical and cultural reception by Viennese modernists. By 1900, issues of gender had crossed with those of nationalism, especially in the city that came to consider Schubert as its favorite musical son. As Messing here explains and explores in rich detail, composers, writers, and visual artists manipulated the conventions of the composer and gender in ways that critiqued the very culture that had created this image.

Scott Messing is Charles A. Dana Professor of Music at Alma College, and author of Neoclassicism in Music (University of Rochester Press, 1996).

New essays by noted authorities explore music and related arts in early modern Italy, the concept of musical voice, the role of singing in musical life, and the many ways of experiencing music.

This two-volume set explores the relationship between words and music -- and the roles they play in culture and society -- from the Renaissance through the nineteenth century. The first volume, Word, Image, and Song: Essays onEarly Modern Italy, presents a broad range of approaches to the study of music and related arts during that era. Chapters are devoted to such topics as musical source studies, issues of performance, poetry, and linguistics, influences on music from the Classical tradition, and the interconnectedness of music and visual art. Volume 2, Word, Image, and Song: Essays on Musical Voices, takes the notion of musical voice as a starting point and applies it in varying ways to diverse repertoires and music-historical circumstances, ranging from the operas and cantatas of Handel to the autograph albums of nineteenth-century collector Charlotte de Rothschild. Essays in this volume present a range of interpretive strategies with respect to the "voices" that one might hear and understand as emerging from a musical work, from the historical contexts of music, and from the reception of music and musical ideaswithin societies.

Rebecca Cypess is assistant professor of music at the Mason Gross School of the Arts at Rutgers, the State University of New Jersey. Beth L. Glixon is instructor in musicology at the University of Kentucky School of Music. Nathan Link is NEH Associate Professor of Music at Centre College.