Skip to main content Accessibility help
×
Hostname: page-component-7479d7b7d-m9pkr Total loading time: 0 Render date: 2024-07-10T20:31:13.712Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  27 June 2019

Derek B. Scott
Affiliation:
University of Leeds
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2019
Creative Commons
Creative Common License - CCCreative Common License - BYCreative Common License - NCCreative Common License - ND
This content is Open Access and distributed under the terms of the Creative Commons Attribution licence CC-BY-NC-ND 4.0 https://creativecommons.org/cclicenses/

References

Abbott, John, The Story of Francis, Day and Hunter (London: Francis, Day and Hunter, 1952)Google Scholar
Adorno, Theodor W., ‘Arabesken zur Operette’ [1932], Gesammelte Schriften, 19, Musikalische Schriften VI (Frankfurt am Main: Suhrkamp, 1984), 516–19. Orig. pub. in Die Rampe, 9. Blätter des Deutschen Schauspielhauses (Hamburg, 1931/32), 35Google Scholar
Adorno, Theodor W., Essays on Music, ed. Leppert, Richard, trans. Gillespie, Susan H. (Berkeley: University of California Press, 2002). For operetta, see 427–30. ‘On the Social Situation of Music’ [1932] is 391436Google Scholar
Adorno, Theodor W., ‘Schlageranalysen’ [1929], Gesammelte Schriften, 18, Musikalische Schriften V., (Frankfurt am Main: Suhrkamp, 1984), 778–87. Orig. pub. in Anbruch, 11:3, 108–14Google Scholar
Adorno, Theodor W., ‘Zur gesellschaftlichen Lage der Musik’ [1932], Gesammelte Schriften, 18, Musikalische Schriften V. (Frankfurt: Suhrkamp, 1984), 729–77. Orig. pub. in Zeitschrift für Sozialforschung, 1:1–2, 103–24, and 1:3, 356–78Google Scholar
Agate, James, Immoment Toys – A Survey of Light Entertainment on the London Stage, 1920–1943 (London: Jonathan Cape, 1945)Google Scholar
Altman, Rick, The American Film Musical (Bloomington: Indiana University Press, 1987)Google Scholar
Ames, Roy, A Critical History of the British Cinema (London: Secker and Warburg, 1978)Google Scholar
Anderson, Amanda, The Way We Argue Now: A Study in the Cultures of Theory (New Jersey: Princeton University Press, 2006)Google Scholar
Appelbaum, Stanley, The New York Stage: Famous Productions in Photographs (New York: Dover Publications, 1976). (148 photos, 1883–1939, from the Theatre and Music Collection of the Museum of the City of New York.)Google Scholar
Appiah, Kwame Anthony, ‘Cosmopolitan Patriots’, Critical Inquiry, 23:3 (Spring, 1997): 617–39Google Scholar
Apter, Ronnie and Herman, Mark, Translating for Singing: The Theory, Art and Craft of Translating Lyrics (London: Bloomsbury Academic, 2016)Google Scholar
Arnbom, Marie-Theres and Clarke, Kevin (eds.), Die Welt der Operette. Glamour, Stars und Showbusiness (Vienna: Brandstätter, 2011)Google Scholar
Asche, Oscar, Oscar Asche (London: Hurst and Blackett, 1929)Google Scholar
Bailey, Peter, ‘“Naughty but Nice”: Musical Comedy and the Rhetoric of the Girl, 1892–1914’ in Booth, and Kaplan, (eds.), The Edwardian Theatre, 1996, 3660Google Scholar
Bailey, Peter, ‘Theatre of Entertainment/Spaces of Modernity: Rethinking the British Popular Stage, 1890–1914’, Nineteenth Century Theatre, 26:1 (1998), 524Google Scholar
Baker, David J., ‘The Merry Mogul: Franz Lehár Modernized Operetta with The Merry Widow’, Opera News, 65:6 (Dec. 2000), 4851Google Scholar
Balázs, Béla, Theory of Film, trans. Edith Bone (London: Dobson, 1952). Orig. pub. as Filmkultúra (Budapest: Szikra kiadás, 1948)Google Scholar
Baranello, Micaela, ‘Die lustige Witwe and the Birth of Silver Age Operetta’, Cambridge Opera Journal, 26:3 (2014), 175202Google Scholar
Barrington, Rutland, Rutland Barrington: A Record of 34 Years’ Experience on the English Stage (London: Grant Richards, 1908)Google Scholar
Barrington, Rutland, More Rutland Barrington – By Himself (London: Grant Richards, 1911)Google Scholar
Bauer, Anton, 150 Jahre Theater an der Wien (Zürich: Amalthea-Verlag, 1952)Google Scholar
Baumeister, Martin Kriegstheater: Großstadt, Front und Massenkultur 1914–1918 (Essen: Klartext, 2005)Google Scholar
Baumol, William and Bowen, William, Performing Arts, the Economic Dilemma: A Study of Problems Common to Theater, Opera, Music, and Dance (New York: The Twentieth Century Fund, 1966)Google Scholar
Beach, Frank A., Preparation and Presentation of the Operetta (Boston: Oliver Ditson, 1930)Google Scholar
Beck, Ulrich, ‘The Cosmopolitan Perspective: Sociology of the Second Age of Modernity’, British Journal of Sociology, 51:1 (2000), 79105Google Scholar
Beck, Ulrich and Grande, Edgar, ‘Cosmopolitanism: Europe’s Way out of Crisis’, European Journal of Social Theory, 10:1 (2007), 6785CrossRefGoogle Scholar
Beck, Ulrich and Sznaider, Natan, ‘Unpacking Cosmopolitanism for the Social Sciences: A Research Agenda’, The British Journal of Sociology, 57:1 (2006), 123Google Scholar
Becker, Howard, Art Worlds (Berkeley: University of California Press, 1982)Google Scholar
Becker, Tobias, ‘Before the Megamusical: The Theatre Industry in London and Berlin, 1880–1930’ in Eisenberg, Christian and Gestrich, Andreas (eds.), Cultural Industries in Britain and Germany: Sport, Music and Entertainment from the Eighteenth to the Twentieth Century (Augsburg: Wißner-Verlag, 2012), 4963Google Scholar
Becker, Tobias, Inszenierte Moderne: Populäres Theater in Berlin und London, 1880–1930 (Munich: Oldenburg Wissenschaftsverlag, 2014)Google Scholar
Becker, Tobias, ‘Sexualität und Geschlechterrollen in der Berliner Operette’ in Brandl-Risi, Risi, and Simon, , Kunst der Oberfläche, 143–49Google Scholar
Becker, Tobias, Littmann, Anna, and Niedbalski, Johanna (eds.), Die Tausend Freuden der Metropole: Vergnügungskultur um 1900 (Bielsfeld: transcript Verlag, 2011)Google Scholar
Belina, Anastasia and Scott, Derek B. (eds.), The Cambridge Companion to Operetta (Cambridge: Cambridge University Press, 2019)Google Scholar
Berry, W. H., Forty Years in the Limelight (London: Hutchinson, 1939)Google Scholar
Bettauer, Hugo, ‘Die erotische Revolution’, Er und Sie, 1 (1924), 12. Excerpted in Kaes, Jay and Dimendberg, , The Weimar Republic Sourcebook, 698700Google Scholar
Bhabha, Homi, ‘Unsatisfied: Notes on Vernacular Cosmopolitanism’ in Pfeiffer, Peter C. and Garcia-Moreno, Laura (eds.), Text and Nation (Columbia: Camden House, 1996), 191207Google Scholar
Blackbourn, David, ‘“As Dependent on Each Other as Man and Wife”: Cultural Contacts and Transfers’ in Geppert, and Gerwarth, (eds.), Wilhelmine Germany and Edwardian Britain, 1537Google Scholar
Bloom, Ursula, Curtain Call for the Guv’nor (London: Hutchinson, 1954)Google Scholar
Bock, Hans-Michael and Bergfelder, Tim (eds.), The Concise Cinegraph: Encyclopedia of German Cinema (New York: Berghahn Books, 2009)CrossRefGoogle Scholar
Boosey, William, Fifty Years of Music (London: Ernest Benn, 1931)CrossRefGoogle Scholar
Booth, Michael R.The Metropolis on Stage’ in Dyos, H. J. and Woolf, Michael (eds.), The Victorian City: Images and Realities, vol.1 (London: Routledge and Kegan Paul, 1976)Google Scholar
Booth, Michael R. and Kaplan, Joel H. (eds.), The Edwardian Theatre: Essays on Performance and the Stage (Cambridge: Cambridge University Press, 1996)Google Scholar
Bordman, Gerald, ‘The Metropolis on StageAmerican Operetta: From H.M.S. Pinafore to Sweeney Todd (New York: Oxford University Press, 1981)Google Scholar
Botstein, Leon, ‘The National, the Cosmopolitan, and the Jewish’, The Musical Quarterly, 97:2 (2014), 133–39Google Scholar
Bourdieu, Pierre, La Distinction. Critique sociale du jugement (Paris: Editions de Minuit, 1979), trans. Richard Nice as Distinction: A Social Critique of the Judgement of Taste (London: Routledge, 1989)Google Scholar
Bourriaud, Nicolas, The Radicant, trans. James Gussen and Lili Porten (New York: Lukas and Sternberg, 2009. Orig. pub. as Radicant: pour une esthétique de la globalisation (Paris: Denoël, 2009)Google Scholar
Bowers, Dwight Blocker, American Musical Theater: Shows, Songs, and Stars (Washington, DC: Smithsonian Press, 1989)Google Scholar
Brandl-Risi, Bettina, Risi, Clemens, and Simon, Rainer, Kunst der Oberfläche: Operette zwischen Bravour und Banalität (Leipzig: Henschel Verlag, 2015)Google Scholar
Brandon, Ruth, Dollar Princesses: American Invasion of the European Aristocracy, 1870–1914 (London: Weidenfeld and Nicolson, 1980)Google Scholar
Brewer, John D, Review of Steve Fuller, The New Sociological Imagination (London: Sage, 2006) in European Journal of Social Theory, 10:1 (2007), 173–76Google Scholar
Briggs, Asa, A Social History of England (London: Weidenfeld and Nicholson, 1983)Google Scholar
Bruhn, Jorgen, Gjelsvik, Anne and Hanssen, Eirik Frisvold (eds.), Adaptation Studies (London: Bloomsbury Academic, 2013)Google Scholar
Budds, , Michael, J. (ed.), Jazz and the Germans: Essays on the Influence of ‘Hot’ American Idioms on 20th-century German Music (Hillsdale, NY: Pendragon Press, 2002)Google Scholar
Bullock, Nicholas, ‘A Short History of Everyday Berlin, 1871–1899’ in Goodman, and Chant, (eds.), European Cities and Technology, 225–56Google Scholar
Burrows, Edwin G. and Wallace, Mike, Gotham: A History of New York City to 1898 (New York: Oxford University Press, 1999)Google Scholar
Castle, Charles, with Napier-Tauber, Diana. This Was Richard Tauber (London: W. H. Allen, 1971)Google Scholar
Chach, Maryann, Fletcher, Reagan, Swart, Mark Evan, and Wang, Syvia, The Shuberts Present: 100 Years of American Theatre History (New York: Harry N. Abrams, 2001)Google Scholar
Charle, Christophe, Théâtres en capitales: Naissance de la société du spectacle à Paris, Berlin, Londres et Vienne (Paris: Editions Albin Michel, 2008)Google Scholar
Clarke, Kevin (ed.), Glitter and Be Gay: Die authentische Operette und ihre schwulen Verehrer (Hamburg: Männerschwarm Verlag, 2007)Google Scholar
Clarke, Kevin (ed.), ‘Im Himmel spielt auch schon die Jazzband: Emmerich Kálmán und die transatlantische Operette 1928–1932 (Neumünster: Bockel Verlag, 2007)Google Scholar
Clarke, Kevin, and Peter, Helmut, Im Weißen Rössl – Auf den Spuren eines Welterfolg (St Wolfgang: Rössl Hotel Verlag, 2007). The White Horse Inn: On the Trail of a World Success, trans. Interlingua, Austria (St Wolfgang: Rössl Hotel Verlag, 2009)Google Scholar
Clément, Catherine, L’Opéra ou la Défaite des femmes (Paris: Éditions Grasset, 1979), trans. Betsy Wings as Opera: The Undoing of Women (Minneapolis: University of Minnesota Press, 1988)Google Scholar
Clutsam, George H., Schubert (London: Murdoch, 1922)Google Scholar
Cohen, Brigid, ‘Limits of National History: Yoko Ono, Stefan Wolpe, and Dilemmas of Cosmopolitanism’, The Musical Quarterly, 97:2 (2014), 181237Google Scholar
Cohen, Mitchell, ‘Rooted Cosmopolitanism’, Dissent (Fall, 1992), 478–83Google Scholar
Coleman, Bud and Sebesta, Judith, Women in American Musical Theatre: Essays on Composers, Lyricists, Librettists, Arrangers, Choreographers, Designers, Directors, Producers and Performance Artists (Jefferson, NC: McFarland, 2008)Google Scholar
Collins, José, The Maid of the Mountains: Her Story (London: Hutchinson, 1932)Google Scholar
Courtneidge, Cicely, Cicely (London: Hutchinson, 1953)Google Scholar
Courtneidge, Robert, I Was an Actor Once (London: Hutchinson, 1930)Google Scholar
Csáky, Moritz, Ideologie der Operette und Wiener Moderne: ein Kulturhistorischer Essay zur österreichischen Identität (Vienna: Böhlau, 1996)Google Scholar
Czech, Stan, Schön ist die Welt: Franz Lehárs Leben und Werk (Berlin: Argon Verlag, 1957)Google Scholar
Dahlhaus, Carl, ‘Zur musikalischen Dramaturgie der Lustigen Witwe’, Österreichische Musikzeitschrift, 12:40 (1985), 657–64Google Scholar
Dare, Phyllis. From School to Stage (London: Collier, 1907), written with the assistance of Bernard ParsonsGoogle Scholar
Davis, Tracy C., ‘Edwardian Management and the Structure of Industrialism’ in Booth, and Kaplan, (eds.), The Edwardian Theatre (1996), 111–29Google Scholar
Davis, Tracy C., The Economics of the British Stage 1800–1914 (Cambridge University Press, 2000)Google Scholar
de Souza, Jonathan, ‘Film Musicals as Cinema of Attractions’ in Sala, , From Stage to Screen, 7191Google Scholar
Dean, Basil, ‘Recollections and Reflections’, Tabs, 20:3 (Dec. 1962), 523Google Scholar
Debord, Guy, Society of the Spectacle (Detroit: Black & Red, 1983). Orig. pub. as La Société du spectacle (Paris: Editions Buchet-Chastel, 1967)Google Scholar
Decsey, Ernst, Franz Lehár (Berlin: Drei Masken Vertlag, 1930) (Authorized biography)Google Scholar
Dekoven, Marrianne, ‘Modernism and Gender’ in Levenson, Michael (ed.), The Cambridge Companion to Modernism (Cambridge: Cambridge University Press, 1999), 174–93Google Scholar
Denscher, Barbara and Peschina, Helmut, Kein Land des Lächelns. Fritz Löhner-Beda 1883–1942 (Salzburg: Residenz Verlag, 2002)Google Scholar
Dompke, Christoph, ‘Zauberwort “Camp”’ in Clarke, (ed.), Glitter and be Gay, 7484Google Scholar
Donaldson, Frances, Freddy Lonsdale (London: Heinemann, 1957)Google Scholar
Duff-Gordon, Lucy, Discretions and Indiscretions (London: Jarrolds, 1932)Google Scholar
Drinkrow, John, The Vintage Operetta Book (Reading: Osprey, 1972)Google Scholar
Dyer, Richard, ‘Entertainment and Utopia’ in Only Entertainment (London: Routledge, 2nd edn 2002), 1935. Orig. pub. in Movie, 24 (Spring 1977), 2–13Google Scholar
Eidlinger, Karl and Lipp, Franz, Lehár-Museum (Bad Ischl: Stadtgemeinde, 1951)Google Scholar
Engle, Sherry D., New Women Dramatists in America, 1890–1920 (New York: Palgrave Macmillan, 2007)Google Scholar
Erskine, Toni, ‘Embedded Cosmopolitanism and the Case of War: Restraint, Discrimination and Overlapping Communities’, Global Society, 14:4 (2000), 569–90Google Scholar
Estill, Jo, Compulsory Figures of Voice: A User’s Guide to Voice Quality (Santa Rosa, CA: Estill Voice Training Systems, 1997)Google Scholar
Everett, William A., ‘From Central Europe to Broadway: Adaptations of Continental Operettas for the American Stage, 1915–1917’ in Katalinić, Vjera, Tuksar, Stanislav, and White, Harry (eds.), Musical Theatre as High culture? The Cultural Discourse on Opera and Operetta in the 19th Century. Muzikološki zbornici, 15 (Zagreb: Hrvatsko Muzikološko Društvo, 2011), 143–50Google Scholar
Everist, Mark, ‘Cosmopolitanism and Music for the Theatre: Europe and Beyond, 1800–1870’ in Belina, Anastasia, Kilpiö, Kaarina, and Scott, Derek B. (eds.), Music History and Cosmopolitanism (Routledge, 2019)Google Scholar
Fetthauer, Sophie, ‘Musikverlage im Dritten Reich und im Exil: Der Wiener Bühnen- und Musikalienverlag Josef Weinberger’ in Schaller, Wolfgang (ed.), Operette unterm Hakenkreuz: Zwischen hoffähiger Kunst und ‘Entartung’ (Berlin: Metropol Verlag, 2007), 104–14Google Scholar
Fine, Robert and Boon, Vivienne, ‘Cosmopolitanism: Between Past and Future’, European Journal of Social Theory, 10:1 (2007), 516Google Scholar
Forbes-Winslow, D., Daly’s: The Biography of a Theatre. First three chapters by R. L. Hadfield and H. Hunt Lewis, and epilogue by W. Maqueen-Pope (London: W.H. Allen, 1944)Google Scholar
Forrest, Denys, Tea for the British: The Social and Economic History of a Famous Trade (London: Chatto and Windus, 1973)Google Scholar
Franceschina, John, Harry B. Smith: Dean of American Librettists, A Biography (New York: Routledge, 2007)Google Scholar
Freud, Sigmund, Drei Abhandlungen zur Sexualtheorie (Leipzig and Vienna: Franz Deuticke, 1905)Google Scholar
Frey, Stefan, Franz Lehár oder das schlechte Gewissen der leichten Musik (Tübingen: Niemeyer, 1995)CrossRefGoogle Scholar
Frey, Stefan, ‘Going Global: The International Spread of Viennese Silver-Age Operetta’ in Belina, and Scott, , The Cambridge Companion to Operetta (2019)Google Scholar
Frey, Stefan, ‘How a Sweet Viennese Girl Became a Fair International Lady: Transfer, Performance, Modernity – Acts in the Making of a Cosmopolitan Culture’ in Platt, Becker, and Linton, (eds.), Popular Musical Theatre in London and Berlin, 102–17Google Scholar
Frey, Stefan, Leo Fall: Spötischer Rebell der Operette. With the collaboration of Christine Stemprok and Wolfgang Dosch (Vienna: Steinbauer, 2010)Google Scholar
Frey, Stefan, ‘Unter Tränen lachen’: Emmerich Kálmán: Eine Operettenbibliographie (Berlin: Henschel, 2003). Laughter under Tears: Emmerich Kálmán – An Operetta Biography, trans. Alexander Butziger (Los Angeles: Operetta Foundation, 2014)Google Scholar
Frey, Stefan, ‘Was sagt ihr zu diesem Erfolg’: Franz Lehár und die Unterhaltungsmusik des 20. Jahrhunderts (Frankfurt am Main: Insel, 1999)Google Scholar
Friedell, Egon, ‘Kunst und Kino’ in Wozu das Theater? Essays, Satiren Humoresken (Munich: Deutsche Taschenbuch Verlag, 1969), 8795Google Scholar
Frith, Simon, ‘The Industrialization of Music’ in Music for Pleasure: Essays in the Sociology of Pop (Cambridge: Polity Press, 1988), 1123Google Scholar
Jane, Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music (New York: Oxford University Press, 2011)Google Scholar
Furia, Philip, The Poets of Tin Pan Alley: A History of America’s Great Lyricists (New York: Oxford University Press, 1990)Google Scholar
Gale, Maggie B., West End Women: Women and the London Stage, 1918–1962 (London: Routledge, 1996)Google Scholar
Gänzl, Kurt, ‘Exportartikel Operette: Die Wiener und Berliner Operette auf englischsprachigen Bühnen’ in Arnbom, and Clarke, , Die Welt der Operette, 6473Google Scholar
Gardner, Viv, ‘The Sandow Girl and Her Sisters: Edwardian Musical Comedy, Cultural Transfer and the Staging of the Healthy Female Body’ in Platt, Becker, and Linton, (eds.), Popular Musical Theatre in London and Berlin, 203–23Google Scholar
Garncarz, Joseph and Elsaesser, Thomas, ‘Weimar Cinema’ in Elsaesser, , The BFI Companion to German Cinema, 247–48Google Scholar
Geissmar, Berta, The Baton and the Jackboot: Recollections of Musical Life (London: Hamish Hamilton, 1944)Google Scholar
Geppert, Dominik, and Gerwarth, Robert (eds.), Wilhelmine Germany and Edwardian Britain: Essays on Cultural Affinity (Oxford: Oxford University Press, 2008)Google Scholar
Gier, AlbertPoetik und Dramaturgie der komischen Operette (Bamberg: University of Bamberg Press, 2014), 89Google Scholar
Gill, Anton, A Dance Between the Flames: Berlin Between the Wars (London: John Murray, 1993)Google Scholar
Gold, Edward Michael, By Franz Lehár, the Complete Cosmopolitan: A Reflection (London: Glocken, 1995)Google Scholar
Gold, Edward Michael, ‘On the Significance of Franz Lehár’s Operettas: A Musical-Analytical Study’. PhD diss. New York University, 1993. Ann Arbor: UMI, 1993Google Scholar
Goodman, David, ‘Two Capitals: London and Paris’ in Goodman, and Chant, , European Cities and Technology, 73120Google Scholar
Goodman, David and Chant, Colin, European Cities and Techniology: Industrial to Post-industrial City (London: Routledge, 1999)Google Scholar
Gooley, Dana, ‘Colloquy: Cosmopolitanism in the Age of Nationalism, 1848–1914’, Journal of the American Musicological Society, 66:2 (2013), 523–49Google Scholar
Gramsci, Antonio Selections from the Prison Notebooks, Hoare, Quintin and Nowell-Smith, Geoffrey (eds.) (London: Lawrence and Wishart, 1971)Google Scholar
Graves, George, Gaieties and Gravities: The Autobiography of a Comedian (London: Hutchinson, 1931)Google Scholar
Grossmith, George, Jr, G.G. (London: Hutchinson, 1933)Google Scholar
Grun, Bernard, Gold and Silver: The Life and Times of Franz Lehár (London: W. H. Allen, 1970)Google Scholar
Grun, Bernard, Kulturgeschichte der Operette (Munich: Langen Müller Verlag, 1961)Google Scholar
Grun, Bernard, Prince of Vienna: The Life, the Times and the Melodies of Oscar Straus (London, 1955)Google Scholar
Gunning, Tom, ‘The Cinema of Attraction: Early Film, Its Spectator and the Avant-Garde’, Wide Angle, 8:3/4 (1986), 6370Google Scholar
Hadamowsky, Franz and Otte, Heinz, Die Wiener Operette: Ihre Theater- und Wirkungsgeschichte (Vienna: Bellaria, 1947)Google Scholar
Haken, Boris von, Der Reichsdramaturg: Rainer Schlösser und die Musiktheater-Politik in der NS-Zeit (Hamburg: Bockel, 2007)Google Scholar
Hall, Stuart (ed.), Representations. Cultural Representations and Signifying Practices (London: Sage, 1997)Google Scholar
Harrington, Austin, German Cosmopolitan Social Thought and the Idea of the West: Voices from Weimar (Cambridge: Cambridge University Press, 2016)Google Scholar
Harris, Charles Kassell, How to Write a Popular Song (Chicago: published by the author, 1906)Google Scholar
Harris, Jose, Private Lives, Public Spirit: A Social History of Britain, 1870–1914 (Oxford: Oxford University Press, 1993)Google Scholar
Heldt, Guido, Music and Levels of Narration in Film: Steps Across the Border (Bristol: Intellect, 2013)Google Scholar
Hennenberg, Fritz, Ralph Benatzky: Operette auf dem Weg zum Musical: Lebensbericht und Werkverzeichnis (Vienna: Steinbauer, 2009)Google Scholar
Henderson, Amy and Bowers, Dwight Blocker, Red, Hot & Blue: A Smithsonian Salute to the American Musical (Washington: Smithsonian Institution Press, 1996)Google Scholar
Hewlett, Kirstie, ‘Heinrich Schenker and the Radio’. PhD diss. University of Southampton, UK, 2014Google Scholar
Hibbert, Henry G., Fifty Years of a Londoner’s Life (London: Grant Richards, 1916)Google Scholar
Hicks, Seymour, Twenty-Four Years of an Actor’s Life (London: Alston Rivers, 1910)Google Scholar
Hilberg, Raul, Die Vernichtung der europäischen Juden (Frankfurt am Main: Fischer Verlag, 1990)Google Scholar
Hinton, Stephen, ‘Großbritannien aus Exilland: Der Fall Weill’ in Weber, , Musik in der Emigration, 213–27Google Scholar
Hinton, Stephen, Weill’s Musical Theater: Stages of Reform (Berkeley: University of California Press, 2012)Google Scholar
Hollingshead, John, ‘Good Old Gaiety’: An Historiette and Remembrance (London: Gaiety Theatre Company, 1903)Google Scholar
Holm, Gustav, Im ¾ Takt durch die Welt: Ein Lebensbild des Komponisten Robert Stolz (Vienna: Ibis-Verlag, 1948)Google Scholar
Hughes, Gervase, Composers of Operetta (Macmillan,1962)Google Scholar
Hunter, Louis C. and Bryant, Lynwood, A History of Industrial Power in the United States, 1730–1930, Vol. 3: The Transmission of Power (Cambridge, MA: Massachusetts Institute of Technology Press, 1991)Google Scholar
Hutcheon, Linda, A Theory of Adaptation (New York: Routledge, 2006)Google Scholar
Hyman, Alan, The Gaiety Years (London: Cassell, 1975)Google Scholar
Imre, Zoltán, ‘Operetta Beyond Borders: The Different Versions of Die Csárdásfürstin in Europe and the United States (1915–1921)’, Studies in Musical Theatre, 7:2 (2013), 175205Google Scholar
Irving, Ernest, Cue for Music (London: Dennis Dobson, 1959)Google Scholar
Jackman, Jarrell and Borden, Carla (eds.), The Muses Flee Hitler (Washington DC: Smithsonian Institution Press, 1983)Google Scholar
Jarchow, Ute, Analysen zur Berliner Operette: die Operetten Walter Kollos (1878–1940) im Kontext der Entwickling der Berliner Operette (Munich: AVM, 2013)Google Scholar
Jupp, James, The Gaiety Stage Door: 30 Years of Reminiscences of the Theatre (London: Jonathan Cape, 1923)Google Scholar
Kaes, Anton, Jay, Martin, and Dimendberg, Edward (eds.), The Weimar Republic Sourcebook (Berkeley: University of California Press, 1994)Google Scholar
Kamber, Peter, ‘Zum Zusammenbruch des Theater-Konzerns der Rotter und zum weiteren Schiksal Fritz Rotters: Neue Forschungsergebnisse’, Jahrbuch des historischen Vereins für das Fürstentum Liechtenstein, 106 (2007), 75100Google Scholar
Kant, Immanuel, Political Writings, ed. H. R. Reiss, , trans. H. B. Nisbet (Cambridge: Cambridge University Press, 1991)Google Scholar
Kaplan, Joel and Stowell, Sheila, Theatre and Fashion: Oscar Wilde to the Suffragettes (Cambridge: Cambridge University Press, 1994)Google Scholar
Karl, Viola, Eduard Künneke (1885–1953): Komponistenportrait und Werkverzeichnis (Berlin: Ries & Erler, 1995)Google Scholar
Katalinić, Viera, Tuksar, Stanislav and White, Harry (eds.), Musical Theatre as High Culture? The Cultural Discourse on Opera and Operetta in the 19th Century (Zagreb: Croatian Musicological Society, 2011)Google Scholar
Kater, Michael H., The Twisted Muse: Musicians and Their Music in the Third Reich (New York: Oxford University Press, 1997)Google Scholar
Keller, Otto, Die Operette in ihrer Geschichtlichen Entwicklung: Musik, Libretto, Darstellung (Leipzig: Stein Verlag, 1926)Google Scholar
Kennaway, George, ‘Opera Orchestral Contracts Considered as a Research Resource’ in Belina-Johnson, Anastasia and Scott, Derek B. (eds.), The Business of Opera (Farnham: Ashgate, 2015), 119–32Google Scholar
Kennedy, Dennis, The Spectator and the Spectacle: Audiences in Modernity and Postmodernity (Cambridge: Cambridge University Press, 2009)Google Scholar
Kerr, Alfred, Mit Schleuder und Harfe. Theaterkritiken aus drei Jahrzehnten, Fetting, Hugo, (ed.) (Berlin: Henschelverlag für Kunst und Gesellschaft, 1981)Google Scholar
Klotz, Volker, Operette: Porträt und Handbuch einer unerhörten Kunst (Kassel: Bärenreiter, rev. edn 2004; orig. pub. München: Piper, 1991)Google Scholar
Koegel, John, Music in German Immigrant Theater: New York City, 1840–1940 (Rochester, NY: University of Rochester Press, 2009)Google Scholar
Kracauer, Siegfried, From Caligari to Hitler: A Psychological History of the German Film (Princeton, NJ: Princeton University Press, 1947)Google Scholar
Kracauer, Siegfried, ‘Mädchen im Beruf’, Der Querschnitt, 12/4 (Apr. 1932), 238–43. Excerpted in Kaes, Jay and Dimendberg, , The Weimar Republic Sourcebook, 216–18Google Scholar
Krasner, Orly Leah, ‘Wien, Women and Song: The Merry Widow in New York’, The Sonneck Society for American Music bulletin, 22:1 (Spring 1996), 811Google Scholar
Lamb, Andrew, ‘Lehar’s “Count of Luxembourg”’, The Musical Times, 124:1679 (Jan. 1983), 2325Google Scholar
Lamb, Andrew, Light Music from Austria: Writings and Reminiscences of Max Schönherr (New York: Peter Lang, 1992)Google Scholar
Lamb, Andrew, 150 Years of Popular Musical Theatre (New Haven, CT: Yale University Press, 2000)Google Scholar
Lang, Zoë Alexis, The Legacy of Johann Strauss: Political Influence and Twentieth-Century Identity (Cambridge: University of Cambridge Press, 2014)Google Scholar
Lange, Horst H, Jazz in Deutschland: die deutsche Jazz-Chronik 1900–1960 (Berlin: Colloquium, 1966)Google Scholar
Lange, Kerstin, ‘The Argentine Tango: A Transatlantic Dance on the European Stage’ in Platt, Becker, and Linton, , Popular Musical Theatre in London and Berlin, 153–69Google Scholar
Lehár, Franz, Bekenntnis (Zürich, 1947)Google Scholar
Leong, Jeremy, ‘Musical Irony and Identity Politics: Austro-German Jewish Refugees in Republican China’ in Turner, Katherine L. (ed.), This Is the Sound of Irony: Music, Politics and Popular Culture (Farnham: Ashgate, 2015), 5972Google Scholar
Lerner, Alan Jay, The Musical Theatre: A Celebration (New York: Da Capo, 1986)Google Scholar
Levi, Erik, ‘Musik und Musiker im englischen Exil’ in Weber, , Musik in der Emigration, 192212Google Scholar
Levine, Lawrence, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1988)Google Scholar
Lincke, Norbert, Franz Lehár (Reinbek bei Hamburg: Rowohlt, 2001)Google Scholar
Linhardt, Marion, ‘Inbesitznahmen zwischen Intimität und Oberfläche: Die Diva und die Girl-Truppe’ in Brandl-Risi, Risi, and Simon, , Kunst der Oberfläche, 125–29Google Scholar
Linhardt, Marion (ed.), Stimmen zur Unterhaltung: Operette und Revue in der publizistischen Debatte (1906–1933) (Vienna: Lehner, 2009)Google Scholar
Linhardt, Marion, ‘Warum es der Operette so schlecht geht’: Ideologische Debatten um das musikalische Unterhaltungstheater (1880–1916) (Vienna: Böhlau, 2001)Google Scholar
Linton, David and Platt, Len, ‘Dover Street to Dixie and the Politics of Cultural Transfer and Exchange’ in Platt, Becker, and Linton, , Popular Musical Theatre in London and Berlin, 170–86Google Scholar
Low, Rachael, The History of the British Film 1929–1939: Film Making in 1930s Britain (London: George Allen and Unwin, 1985)Google Scholar
Lowerson, John, Amateur Operatics: A Social and Cultural History (Manchester: Manchester University Press, 2005)Google Scholar
MacQueen-Pope, W[alter] J[ames], Carriages at Eleven: The Story of the Edwardian Theatre (London: Hutchinson, 1947)Google Scholar
MacQueen-Pope, W[alter] J[ames], Fortune’s Favourite: The Life and Times of Franz Lehár (London: Hutchinson, 1953)Google Scholar
MacQueen-Pope, W[alter] J[ames], Gaiety: Theatre of Enchantment (London: W. H. Allen, 1949)Google Scholar
Mahomed, Dean, ‘The History of the “Ethnic” Restaurant in Britain’, www.menumagazine.co.uk/book/restauranthistory.htmlGoogle Scholar
Mander, Raymond and Mitchenson, Joe, Lost Theatres of London (London: New English Library, rev. edn 1976; orig. pub. Hart-Davis, 1961)Google Scholar
Mander, Raymond and Mitchenson, Joe, Musical Comedy: A Story in Pictures (London: Peter Davis, 1969)Google Scholar
Mander, Raymond and Mitchenson, Joe, Theatres of London (Westport, CT: Greenwood Press, 1979; orig. pub. London: Rupert Hart-Davis, 1961)Google Scholar
Mann, Thomas, Der Zauberberg [1924] (Frankfurt am Main: Fischer Verlag, 2002)Google Scholar
Marvin, Carolyn, When Old Technologies Were New (New York: Oxford University Press, 1988)Google Scholar
Marx, Karl and Engels, Friedrich, The Manifesto of the Communist Party [1848] (Moscow: Foreign Languages, 1952) 4647Google Scholar
Mayer, Anton, Franz Lehár – Die lustige Witwe: Der Ernst der leichten Muse (Vienna: Steinbauer, 2005)Google Scholar
McKibbin, Ross, Classes and Cultures: England 1918–1951 (Oxford: Oxford University Press, 1998)Google Scholar
McMillin, Scott, The Musical as Drama (Princeton: Princeton University Press, 2006)Google Scholar
Meesmann, Karin, Paul Abraham: Ein Gershwin des Ostens (Berlin: Hentrich & Hentrich, 2016)Google Scholar
Mendes, Valerie D. and de la Haye, Amy, Lucile Ltd: London, Paris, New York and Chicago: 1890s–1930s (London: V&A Publishing, 2009)Google Scholar
Miller, Derek, Copyright and the Value of Performance, 1770–1911 (Cambridge: Cambridge University Press, 2018)Google Scholar
Minor, Ryan, ‘Beyond Heroism: Music, Ethics, and Everyday Cosmopolitanism’ in Gooley, , ‘Colloquy’, 529–34Google Scholar
Mortimer, Harold R., The Silver Operetta and the Golden Musical: The Influence of the Viennese Operetta of the Silver Age (1905–1935) on the Broadway Musical of the Golden Age (1943–1964)’. DMA diss. University of Washington, 1999. Ann Arbor: UMI Microform 9936448, 1999.Google Scholar
Musil, Robert, Die Verwirrungen des Zöglings Törless (Berlin: Suhrkamp Verlag, 2013; orig. pub. Wiener Verlag, 1906)Google Scholar
Nava, Mica and O’Shea, Alan (eds.), Modern Times: Reflections on a Century of English Modernity (London: Routledge, 1996)Google Scholar
Niccolai, Michela and Rowden, Clair (eds.), Musical Theatre in Europe 1830–1945 (Turnhout: Brepols, 2017)Google Scholar
Niva, Mica, ‘Modernity’s Disavowal: Women, the City and the Department Store’ in Nava, Mica and O’Shea, Alan (eds.), Modern Times: Reflections on a Century of English Modernity (London: Routledge, 1996) 3876Google Scholar
Norton, Richard, ‘“So this is Broadway”: Die Abenteuerliche Reise des Rössl durch die englischsprachige Welt’ in Tadday, , ‘Im weißen Rössl: Zwischen Kunst und Kommerz’, 151–69Google Scholar
Nussbaum, Martha C, ‘Patriotism and Cosmopolitanism’, Boston Review, 19:5 (Nov. 1994), 316. Reprinted in Nussbaum, Martha C and Cohen, J (eds.), For Love of Country: Debating the Limits of Patriotism (Boston: Beacon Press, 1996), 2–20Google Scholar
Ortiz, Fernando, Cuban Counterpoint: Tobacco and Sugar [1947], trans. Harriet de Onís (Durham: Duke University Press, 1995)Google Scholar
Otte, Marlin, Jewish Identities in German Popular Entertainment, 1890–1933 (Cambridge: Cambridge University Press, 2006)Google Scholar
Pacher, Maurus, Der Kronprinz der Operette: Paul Abraham (Berlin: Wiener Bohème Verl., 1982)Google Scholar
Parsons, Denys, ‘Cable Radio – Victorian Style’, New Scientist, 23 (30 Dec. 1982), 794–96Google Scholar
Pearsall, Ronald, Edwardian Popular Music (London: David and Charles, 1975)Google Scholar
Peck, Ellen Marie, ‘“Ah, Sweet Mystery”: Rediscovering Three Female Lyricists of the Early Twentieth-Century American Musical Theater’, Contemporary Theatre Review, 19/1 (2009), 4860Google Scholar
Pehla, Karen, ‘Harvey, Lilian’ in Elsaesser, , The BFI Companion to German Cinema, 131Google Scholar
Peteani, Maria von, Franz Lehár: Sein Musik, sein Leben (Vienna: Gloken Verlag, 1950). (Authorized biography.)Google Scholar
Petersen, Ulrike, ‘Operetta after the Habsburg Empire’. PhD diss. University of California, Berkeley, 2013Google Scholar
Platt, Len, Musical Comedy on the West End Stage, 1890–1939 (Palgrave Macmillan, 2004)Google Scholar
Platt, Len and Becker, Tobias, ‘Berlin/London: London/Berlin – Cultural Transfer, Musical Theatre and the “Cosmopolitan,” 1890–1914’, Nineteenth Century Theatre and Film, 40:1 (2013), 114Google Scholar
Platt, Len and Becker, Tobias, ‘Popular Musical Theatre, Cultural Transfer, Modernities – London/Berlin, 1890–1930’, Theatre Journal, 65:1 (2013), 118Google Scholar
Platt, Len, Becker, Tobias and Linton, David (eds.), Popular Musical Theatre in London and Berlin 1890 to 1939 (Cambridge: Cambridge University Press, 2014)Google Scholar
Preston, Katherine K., ‘Opera Is Elite / Opera Is Nationalist: Cosmopolitan Views of Opera Reception in the United States, 1870–90’ in Gooley, , ‘Colloquy’, 535–39Google Scholar
Quissek, Heike, Das deutschsprachige Operettenlibretto: Figuren, Stoffe, Dramaturge (Stuttgart: Metzler, 2012)Google Scholar
Rabenalt, Arthur Maria, Der Operetten-Bildband: Bühne, Film, Fernsehen (Hildesheim, 1980)Google Scholar
Rappaport, Erica D., Shopping for Pleasure: Women in the Making of London’s West End (Princeton, NJ: Princeton University Press, 2000)Google Scholar
Ray, Rebecca and Kelly, Nataly, Reaching New Markets Through Transcreation (Lowell, MA: Common Sense Advisory, 2010)Google Scholar
Reblitz, Arthur A., The Golden Age of Automatic Musical Instruments (Woodsville, New Hampshire: Mechanical Music Press, 2001)Google Scholar
Richie, Alexandra, Faust’s Metropolis: A History of Berlin (London: Harper Collins, 1998)Google Scholar
Ristaino, Marcia Reynders, Port of Last Resort: The Diaspora Communities of Shanghai (Stanford, CA: Stanford University Press, 2001)Google Scholar
Roberts, Gerrylynn K. and Steadman, Philip, American Cities and Technology: Wilderness to Wired City (London: Routledge, 1999)Google Scholar
Robinson, J. Bradford, ‘Jazz Reception in the Weimar Republic’ in Gilliam, Bryan (ed.), Music and Performance During the Weimar Republic (Cambridge: Cambridge University Press, 1994) 107134Google Scholar
Roehl, Harvey, Player Piano Treasury (New York: Vestal Press, 1973)Google Scholar
Rother, Rainer, ‘Genreblüte ohnegleichen: Die deutsche Tonfilmoperette’ in Brandl-Risi, Risi, and Simon, , Kunst der Oberfläche, 177–83Google Scholar
Rothman, Korey R, ‘“Will You Remember”: Female Lyricists of Operetta and Musical Comedy’ in Coleman, and Sebesta, , Women in American Musical Theatre, 933Google Scholar
Sala, Massimiliano (ed.), From Stage to Screen: Musical Films in Europe and United States (1927–1961), Speculum musicae 19 (Turnhout, Belgium: Brepols, 2012)Google Scholar
Sanderson, Michael, From Irving to Olivier: A Social History of the Acting Profession in England, 1880–1983 (London: Athlone, 1984)Google Scholar
Scannell, Paddy, Radio, Television and Modern Life (Oxford: Blackwell, 1996)Google Scholar
Schaller, Wolfgang (ed.), Operette unterm Hakenkreuz: Zwischen hoffähiger Kunst und ‘Entartung’. Beiträge einer Tagung der Staatsoperette Dresden (Berlin: Metropol Verlag, 2007)Google Scholar
Schmidl, Stefan, ‘Die Utopie der Synthese: Nation und Moderne in der Operette Osterreich-Ungarns’ in Arnbom, and Clarke, , Die Welt der Operette, 5463Google Scholar
Schneidereit, Otto, Eduard Künneke: Der Komponist aus Dingsda (Berlin: Henschelverlag, 1978)Google Scholar
Schneidereit, Otto, Franz Lehár: Eine Biographie in Zitaten (Berlin: Lied der Zeit, 1984)Google Scholar
Schwarberg, Günther, Dein ist mein ganzes Herz (Göttingen: Steidl, 2002)Google Scholar
Schweitzer, Marlis, When Broadway Was the Runway: Theater, Fashion, and American Culture (Philadelphia: University of Pennsylvania Press, 2009)Google Scholar
Scott, Derek B., ‘Cosmopolitan Musicology’ in Kelly, Elaine, Mantere, Markus and Scott, Derek B. (eds.), Confronting the National in the Musical Past (Abingdon: Routledge, 2018), 1730Google Scholar
Scott, Derek B., From the Erotic to the Demonic: On Critical Musicology (New York: Oxford University Press, 2003)Google Scholar
Scott, Derek B., ‘German Operetta in the West End and on Broadway’ in Becker, Linton, and Platt, , Popular Musical Theatre in Germany and Britain, 6280Google Scholar
Scott, Derek B., ‘In Search of Genetically Modified Music’, Nineteenth-Century Music Review, 3:1 (2006), 323CrossRefGoogle Scholar
Scott, Derek B., ‘Musical Theatres’ in Greenwald, Helen (ed.), The Oxford Handbook to Opera (New York: Oxford University Press, 2014), 5372Google Scholar
Scott, Derek B., Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris, and Vienna (New York: Oxford University Press, 2008)Google Scholar
Scott, Derek B., The Singing Bourgeois: Songs of the Victorian Drawing Room and Parlour, 2nd edn (Aldershot: Ashgate, 2001; orig. pub. Milton Keynes: Open University Press, 1989)Google Scholar
Seeley, Paul D., ‘Franz Lehár: Aspects of His Life with a Critical Survey of His Operettas and the Work of His Jewish Librettists’. PhD diss. University of Liverpool, 2004Google Scholar
Sennett, Richard, ‘Cosmopolitanism and the Social Experience of Cities’ in Vertovec, Steven and Cohen, Robin (eds.), Conceiving Cosmopolitanism: Theory, Context, and Practice (New York: Oxford Universty Press, 2002) 4247Google Scholar
Sheller, Mimi and Urry, John, ‘The New Mobilities Paradigm’, Environment and Planning A, 38 (2006), 207–26Google Scholar
Short, Ernest, Sixty Years of Theatre (Eyre and Spottiswoode, 1951)Google Scholar
Silvester, Victor, Modern Ballroom Dancing (London: Barrie and Jenkins, rev. edn 1974; orig. pub. 1927)Google Scholar
Simmel, Georg, ‘The Metropolis and Mental Life’ in Wolff, Kurt H., trans. and ed., The Sociology of Georg Simmel (New York: The Free Press [Macmillan], 1950) 409–24. Orig. pub. as ‘Die Grossstädte und das Geistesleben’ in Die Grossstädte: Vorträge und Aufsätze, 9 (1902–3), 185–206Google Scholar
Simonson, Mar, Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century (New York: Oxford University Press, 2013)Google Scholar
Singleton, Brian, Oscar Asche, Orientalism and British Musical Comedy (Westport, CT: Praeger, 2004)Google Scholar
Slattery-Christy, David, Anything but Merry! The Life and Times of Lily Elsie (Bloomington, IN: Author House, 2008)Google Scholar
Smith, Harry B., First Nights and First Editions (Boston: Little, Brown, 1931)Google Scholar
Stahrenberg, Carolin and Grosch, Nils, ‘The Transculturality of Stage, Song and Other Media: Intermediality in Popular Musical Theatre’ in Platt, Becker, and Linton, , Popular Musical Theatre in London and Berlin, 187200Google Scholar
Stempel, Larry, Showtime: A History of the Broadway Musical Theater (New York: Norton, 2010)Google Scholar
Stengel, Theo and Gerigk, Herbert (eds.), Lexikon der Juden in der Musik (Berlin: Bernhard Hahnefeld Verlag, 1940)Google Scholar
Stokes, Martin, ‘On Musical Cosmopolitanism’, The Macalester International Roundtable 2007, paper 3 http://digitalcommons.macalester.edu/intlrdtable/3Google Scholar
Suskin, Steven, The Sound of Broadway Music (New York: Oxford University Press, 2009)Google Scholar
Szerszynski, Bronislaw and Urry, John, ‘Cultures of Cosmopolitanism’, The Sociological Review 50:4 (2002), 461–81Google Scholar
Tadday, Ulrich (ed.), ‘Im weißen Rössl: Zwischen Kunst und Kommerz’, Musik-Konzepte, 133/134 (Munich: edition text + kritik, 2006)Google Scholar
Tagore, Rabindranath, Nationalism (London: Macmillan, 1917)Google Scholar
Tang, Yating, ‘Musical Life in the Jewish Refugee Community in Shanghai: Popular and Art Music’, Journal of Music in China, 4 (2002), 167–86Google Scholar
Taylor, Millie and Symonds, Dominic, Studying Musical Theatre: Theory and Practice (New York: Palgrave Macmillan, 2014)Google Scholar
Terriss, Ellaline, Just a Little Bit of String (London: Hutchinson, 1955)Google Scholar
Tibbetts, John C., The American Theatrical Film: Stages in Development (Bowling Green, OH: Bowling Green State University Popular Press, 1985)Google Scholar
Tirro, Frank, ‘Jazz Leaves Home: The Dissemination of “Hot” music to Central Europe’ in Budds, (ed.), Jazz and the Germans, 6162Google Scholar
Towse, Ruth, ‘Economics of Music Publishing: Copyright and the Market’, Journal of Cultural Economics, 41:4 (2016), 403–20Google Scholar
Traubner, Richard, ‘Operette: The German and Austrian Musical Film’. PhD diss. New York University, 1996. Ann Arbor: UMI Microform 9706293, 1996Google Scholar
Traubner, Richard, Operetta: A Theatrical History (New York: Routledge, rev. edn 2003; orig. pub. New York: Doubleday, 1983)Google Scholar
Turino, Thomas, Music as Social Life: The Politics of Participation (Chicago: University of Chicago Press, 2008)Google Scholar
Urban, Erich,Die Wiedergeburt der Operette’, Die Musik, 3:3 (1903), 176–86 (Part 1), and 3: 4 (1903), 269–81 (Part 2)Google Scholar
Vincent, Delphine, ‘“Lippen schweigen, ’s flüstern Geigen: Hab mich lieb!” Seduction, Power Relations and Lubitsch’s Touch in The Merry Widow’ in Sala, , From Stage to Screen, 271–87Google Scholar
Walker, Raymond, and Skelly, David, Backdrop to a Legend: D’Oyly Carte Scenic Design over 100 Years (Silsoe, Bedfordshire: published by the authors, 2018)Google Scholar
Waller, Klaus, Paul Abraham: Der Tragische König der Operette (Norderstedt: BoD, 2014)Google Scholar
Weber, Horst (ed.), Musik in der Emigration 1933–1945 (Stuttgart: J. B. Metzler, 1994)Google Scholar
Weber, William, ‘Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life’ in Fulcher, Jane (ed.), The Oxford Handbook of the New Cultural History of Music, 209–26Google Scholar
Weber, William, The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (Cambridge: Cambridge University Press, 2009)Google Scholar
Wedel, Michael, ‘Charell, Erik’ in Elsaesser, , The BFI Companion to German Cinema, 50.Google Scholar
Wedel, Michael, ‘Hoffman, Carl’ in Elsaesser, , The BFI Companion to German Cinema, 137Google Scholar
Wegele, Peter, Max Steiner: Composing, Casablanca, and the Golden Age of Film Music (Lanham, MD: Rowman and Littlefield, 2014)Google Scholar
Weill, Kurt, ‘Zeitoper’, Melos, 7 (Mar. 1928), 106–8Google Scholar
Whitehouse, Edmund, London Lights: A History of West End Musicals (This England Books, 2005)Google Scholar
Willett, John, Brecht in Context: Comparative Approaches (London: Methuen, rev. edn 1998; first pub. 1984)Google Scholar
Williams, Gordon, British Theatre in the Great War: A Revaluation (London: Continuum, 2003)Google Scholar
Winslow, D. Forbes, Daly’s (London: W. H. Allen, 1944)Google Scholar
Wodehouse, P. G. and Bolton, Guy, Bring on the Girls (London: Herbert Jenkins, 1954)Google Scholar
Wood, Linda, British Films, 1927–1939 (London: British Film Institute, 1986)Google Scholar
Yates, W. E., Theatre in Vienna: A Critical History, 1776–1995 (Cambridge: Cambridge University Press, 1996)Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Derek B. Scott, University of Leeds
  • Book: German Operetta on Broadway and in the West End, 1900–1940
  • Online publication: 27 June 2019
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Derek B. Scott, University of Leeds
  • Book: German Operetta on Broadway and in the West End, 1900–1940
  • Online publication: 27 June 2019
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Derek B. Scott, University of Leeds
  • Book: German Operetta on Broadway and in the West End, 1900–1940
  • Online publication: 27 June 2019
Available formats
×