《指尖下的音乐》巨细靡遗地讲述钢琴演奏的每个细节。小至指法的运用、练习技巧的方法，大至整场音乐会的排练。另外举例分析霍洛维茨、鲁宾斯坦等名家的演奏曲目，阐释曲目设计的艺术。除了演奏技巧，书中更流露出作者面对音乐的谦卑与努力，及其顶尖艺术家的风范。

Popular operas in late imperial China were a major part of daily entertainment, and were also important for transmitting knowledge of Chinese culture and values. In the twentieth century, however, Chinese operas went through significant changes. During the first four decades of the 1900s, led by Xin Wutai (New Stage) of Shanghai and Yisushe of Xi’an, theaters all over China experimented with both stage and scripts to present bold new plays centering on social reform. Operas became closely intertwined with social and political issues. This trend toward “politicization” was to become the most dominant theme of Chinese opera from the 1930s to the 1970s, when ideology-laden political plays reflected a radical revolutionary agenda.
Drawing upon a rich array of primary sources, this book focuses on the reformed operas staged in Shanghai and Xi’an. By presenting extensive information on both traditional/imperial China and revolutionary/Communist China, it reveals the implications of these “modern” operatic experiences and the changing features of Chinese operas throughout the past five centuries. Although the different genres of opera were watched by audiences from all walks of life, the foundations for opera’s omnipresence completely changed over time.

Although competitions in classical music have a long history, the number of contests has risen dramatically since the Second World War, all of them aiming to launch young artists' careers. This is not the symptom of marketization that it might appear to be. Despite the establishment of an international governing body, competitions are plagued by rumors of corruption, and even the most mathematically sophisticated voting system cannot quell accusations that the best talent is overlooked. Why do musicians take part? Why do audiences care so much about who wins? Performing Civility is the first book to address these questions. In this groundbreaking study, Lisa McCormick draws from firsthand observations of contests in Europe and the US, in-depth interviews with competitors, jurors and directors, as well as blog data from competition observers to argue that competitions have endured because they are not only about music, they are also about civility.
Review
"Offering a peek into the fascinating world of international classical music competitions, Lisa McCormick's Performing Civility highlights the sociological tension between combat and civility. A rich, masterful study of performing, judging, and listening. Bravo!"
Eviatar Zerubavel, Rutgers University
"Music competitions, as Lisa McCormick shows us in this very clever book, place music and civility in contradiction. This contradiction gets played out as judges, musicians and audiences are converted into publics engaged in debate over what should count as talent, beauty, and perfection. Performing Civility will be of interest to cultural sociologists, political scientists, musicians, and anyone who aspires to be a member of civil society, musically conceived."
Tia DeNora, Exeter University
Book Description
Lisa McCormick considers the history of classical music competitions and their role in society by examining their highlights and ongoing controversies. She explains why, despite a widespread belief that performances cannot be ranked, aspiring musicians still enter them, professionals still judge them and audiences still invest emotionally in the results.

The life of Peter Ilyich Tchaikovsky (1840–1893) exhibits as close a link as you will find anywhere between an artist's inner world and the outward products of that artist's creative activity.
As a man, Tchaikovsky was defined by and indivisible from his music, which became an outlet for all the shifting moods of his turbulent soul. As Professor Robert Greenberg says, "If Tchaikovsky felt it, it found a way into his music."
As an artist—and it is worth recalling that he was the first full-time, formally trained, professional composer in Russian history—Tchaikovsky walked a fine and difficult line between his Romantic penchant for expression and the demands of Classical structure.
This delicate balancing act—between heart and head, emotion and reason, release and control, Russian expressive content and German technique—is a key to his music that you find amply illustrated by Professor Greenberg's musical selections and commentary.

《勋伯格:风格与创意》是一本关于现代音乐的重要文献。阿诺德·勋伯格以其非凡的智慧和其具有预见性的洞察力，使这本《勋伯格:风格与创意》成为吸引人们对复杂的二十世纪音乐历史产生浓厚兴趣的必不可少的原始资料。通过《勋伯格:风格与创意》你可以进入二十世纪最重要的作曲家的头脑，去理解、探究勋伯格本人和他的音乐，以及勋伯格对其他作曲家的研究、对艺术和整个世界的思考。

这本书中收录了近300封肖斯塔科维奇亲笔信，几乎包括了肖斯塔科维奇的大部分生平和创作经历。
《肖斯塔科维奇书信集》的原编者格里克曼教授是肖斯塔科维奇生前的密友，他们的友谊持续了长达40多年。
在书信集中，格里克曼把300多封肖斯塔科维奇的信收入其中。比较特别的是，收信人和本书作者在每封信尾附加了详细的注释。

《西方音乐家的上海梦:工部局乐队传奇》主要内容简介：近代以前，城市的发展一直比较缓慢。随着18世纪欧洲产业革命的兴起，城市化进程加快。1800年全世界城市人口占总人口的比例为3％。1900年上升为13.6％。2007年5月23日，世界城市化率首次超过50％，也就是说，世界城市人口从此超过了农村人口。