Skip to main content Accessibility help
×
Home
Hostname: page-component-6c8bd87754-x25dq Total loading time: 1.021 Render date: 2022-01-21T09:21:51.798Z Has data issue: true Feature Flags: { "shouldUseShareProductTool": true, "shouldUseHypothesis": true, "isUnsiloEnabled": true, "metricsAbstractViews": false, "figures": true, "newCiteModal": false, "newCitedByModal": true, "newEcommerce": true, "newUsageEvents": true }

Bibliography

Published online by Cambridge University Press:  30 April 2020

Sarah Hibberd
Affiliation:
University of Bristol
Miranda Stanyon
Affiliation:
King's College London
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Secondary Sources

Anon., Règles de la bonne et solide prédication (Paris: Osmont & Hansy, 1701)Google Scholar
Abbate, Carolyn, In Search of Opera (Princeton: Princeton University Press, 2001)Google Scholar
Abert, Anna Amalie, ‘Bedeutungswandel eines Mozartschen Lieblingsmotiv’, Mozart-Jahrbuch, 15 (1967), 714Google Scholar
Abrams, M. H., The Mirror and the Lamp: Romantic Theory and the Critical Tradition (Oxford: Oxford University Press, 1953)Google Scholar
Addison, Joseph and Steele, Richard, The Spectator, ed. Bond, Donald F., 5 vols. (Oxford: Clarendon, 1965)Google Scholar
Allanbrook, Wye J., ‘Is the Sublime a Musical Topos?’, Eighteenth-Century Music, 7/2 (2010), 263–79CrossRefGoogle Scholar
André, Naomi, Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera (Bloomington: Indiana University Press, 2006)Google Scholar
Anthony, Sister Rose, The Jeremy Collier Stage Controversy, 1698–1726 (1936; repr. New York: Blom, 1966)Google Scholar
Applegate, Celia, Bach in Berlin: Nation and Culture in Mendelssohn’s Revival of the ‘St. Matthew Passion’ (Ithaca: Cornell University Press, 2014)Google Scholar
Ashfield, Andrew and de Bolla, Peter (eds.), The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory (Cambridge: Cambridge University Press, 1996)CrossRefGoogle Scholar
Assman, Jan, ‘Pathosformeln, Figuren und Erinnerungsmotive in Mozarts Zauberflöte’ in Lachmayer, Herbert (ed.), Mozart. Experiment Aufklärung im Wien des ausgehenden 18. Jahrhunderts (Ostfildern: Hatje Cantz, 2006), 781–9Google Scholar
Astbury, Katherine, Narrative Responses to the Trauma of the French Revolution (Oxford: Legenda, 2017)CrossRefGoogle Scholar
Augustine, Œuvres complètes, vol. 10, trans. J.-B. Raulx (Bar-le-Duc: Guérin, 1872)Google Scholar
Austern, Linda Phyllis, ‘“Art to Enchant”: Musical Magic and Its Practitioners in English Renaissance Drama’, Journal of the Royal Musical Association, 115 (1990), 191206CrossRefGoogle Scholar
Austern, Linda Phyllis, ‘“Forreine Conceites and Wandring Devises”: The Exotic, the Erotic, and the Feminine’ in Bellman, Jonathan (ed.), The Exotic in Western Music (Boston: Northeastern University Press, 1998), 2642Google Scholar
Avison, Charles, Essay on Musical Expression with Related Writings by William Hayes and Charles Avison, ed. Dubois, Pierre (Aldershot: Ashgate, 2004)Google Scholar
Avison, Charles, ‘Reply to the Author of Remarks on the Essay on Musical Expression’, appendix to An Essay on Musical Expression, 2nd edn (London: C. Davis, 1753), 153Google Scholar
Avron, Henri and Patterson, Malcolm, Bakounine. Absolu et révolution (Paris: Cerf, 1972)Google Scholar
Bach, Carl Emanuel, Philipp, Herrn Professor Gellerts geistliche Oden und Lieder mit Melodien (Berlin: Georg Ludewig Winter, 1758)Google Scholar
Bach, Carl Emanuel, Philipp, Versuch über die wahre Art das Clavier zu spielen, ed. Plebuch, Tobias, in Carl Philipp Emanuel Bach: The Complete Works, ser. 7, 3 vols. (Los Altos: Packard Humanities Institute, 2011)Google Scholar
Bacon, Gratien, ‘Mystère de l’Eucharistie et ministère de la Parole dans l’œuvre de Bossuet’, Revue des Sciences Religieuses, 42/1 (1968), 3961CrossRefGoogle Scholar
[Bakunin, Mikhail], Michail Bakunins sozial-politischer Briefwechsel mit Alexander Iw. Herzen und Ogarjow, trans. Boris Minzès (Stuttgart: Cotta, 1895)Google Scholar
Bakunin, Mikhail, The ‘Confession’ of Mikhail Bakunin, trans. Robert C. Howes, with an introduction by Lawrence D. Orton (Ithaca: Cornell University Press, 1977)Google Scholar
Balfour, Ian, ‘On the Language of the Sublime and the Sublime Nation in De Quincey: Toward a Reading of The English Mail-Coach’ in Morrison, Robert and Roberts, Daniel Sanjiv (eds.), Thomas De Quincey: New Theoretical and Critical Directions (London: Routledge, 2008), 165–87Google Scholar
Barker, John, Wagner and Venice (Rochester NY: University of Rochester Press, 2008)Google Scholar
[Beaumont, Francis and Fletcher, John] Comedies and Tragedies Written by Francis Beaumont and John Fletcher Gentlemen (London: Moseley & Robinson, 1647)Google Scholar
Beaumont, Francis and Fletcher, John, Fifty Comedies and Tragedies (London: Herringman, Martyn & Marriot, 1679)Google Scholar
Beiser, Frederick, Diotima’s Children: German Aesthetic Rationalism from Leibniz to Lessing (Oxford: Oxford University Press, 2009)CrossRefGoogle Scholar
Beiser, Frederick, ‘The Enlightenment and Idealism’ in Ameriks, Karl (ed.), The Cambridge Companion to German Idealism (Cambridge: Cambridge University Press, 2000), 1837CrossRefGoogle Scholar
Belsey, Catherine, Culture and the Real: Theorizing Cultural Criticism (London: Routledge, 2005)Google Scholar
Benedict, Julius, Carl Maria von Weber (London: Samson Low, Marston & Co., 1894)Google Scholar
Benson, Arthur Christopher and Esher, Viscount (eds.), The Letters of Queen Victoria: A Selection from Her Majesty’s Correspondence between the Years 1837 and 1861, 3 vols. (London: J. Murray, 1908)Google Scholar
Bijsterveld, Karin, ‘Listening to Machines: Industrial Noise, Hearing Loss and the Cultural Meaning of Sound’, Interdisciplinary Science Reviews, 31/4 (2006), 323–37; repr. in Sterne, Jonathan (ed.), The Sound Studies Reader (New York: Routledge, 2012), 152–67CrossRefGoogle Scholar
Black, Joel, ‘Confession, Digression, Gravitation: Thomas De Quincey’s German Connection’ in Snyder, Robert (ed.), Thomas De Quincey: Bicentenary Studies (Norman: University of Oklahoma Press, 1985), 308–38Google Scholar
Blair, Hugh, A Critical Dissertation on the Poems of Ossian, the Son of Fingal (London: T. Beket & P. A. De Hondt, 1763)Google Scholar
Blanning, Timothy, The French Revolutionary Wars 1787–1802 (London: Hodder, 1996)Google Scholar
Blum, Carol, Rousseau and the Republic of Virtue: The Language of Politics in the French Revolution (Ithaca, NY: Cornell University Press, 1986)Google Scholar
Boileau, Nicolas, The Art of Poetry Written in French by the Sieur de Boileau; Made English, trans. William Soames and John Dryden (London: Bentley & Magnes, 1783)Google Scholar
Boileau-Despréaux, Nicolas, Œuvres complètes, ed. Adam, Antoine and Escal, Françoise (Paris: Gallimard, 1966)Google Scholar
Bonavita, Helen Vella, Illegitimacy and the National Family in Early Modern England (Abingdon: Routledge, 2017)CrossRefGoogle Scholar
Bonds, Mark Evan, Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton: Princeton University Press, 2006)Google Scholar
Bonds, Mark Evan, ‘The Symphony as Pindaric Ode’ in Sisman, Elaine (ed.), Haydn and His World (Princeton: Princeton University Press, 1997), 131–53Google Scholar
Bossuet, Jacques-Bénigne, Œuvres complètes, ed. Lachat, F, 31 vols. (Paris: Vivès, 1862–79)Google Scholar
Bourdaloue, Louis, Œuvres complètes, 4 vols. (Tours: Cattier, 1864)Google Scholar
Bowie, Andrew, ‘Music and the Rise of Aesthetics’ in Samson, Jim (ed.), Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press, 2002), 2954Google Scholar
Brian, Isabelle, Prêcher à Paris sous l’Ancien Régime: XVIIe–XVIIIe siècles (Paris: Garnier, 2014)Google Scholar
Brillenburg Wurth, Kiene, Musically Sublime: Indeterminacy, Infinity, Irresolvability (New York: Fordham University Press, 2009)CrossRefGoogle Scholar
Brinkmann, Reinhold, ‘In the Time of the Eroica’, trans. Irene Zedlacher, in Burnham, Scott and Steinberg, Michael P. (eds.), Beethoven and his World (Princeton, NJ: Princeton University Press, 2000), 126Google Scholar
Brody, Jules, Boileau and Longinus (Geneva: Droz, 1958)Google Scholar
Brossette, Pierre, ‘Avertissement touchant la dixième Réflexion sur Longin’ in Brossette, (ed.), Œuvres de M. Boileau Despréaux, 2 vols. (Geneva: Fabri & Barillot, 1716), vol. 2, 169–72Google Scholar
Brown, A. Peter, ‘The Creation and The Seasons: Some Allusions, Quotations, and Models from Handel to Mendelssohn’, Current Musicology, 51 (1993), 2658Google Scholar
Brown, Howard G., ‘The Politics of Public Order, 1795–1802’ in Andress, David (ed.), Oxford Handbook of the French Revolution (Oxford: Oxford University Press, 2015), 538–55Google Scholar
Bücher, Karl, Arbeit und Rhythmus (Leipzig: Hirzel, 1897)Google Scholar
Bull, Michael (ed.), The Routledge Companion to Sound Studies (New York: Routledge, 2019)Google Scholar
Bullard, Paddy, ‘Edmund Burke among the Poets: Milton, Lucretius and the Philosophical Enquiry’ in Vermeir, Koen and Deckard, Michael Funk (eds.), The Science of Sensibility: Reading Burke’s Philosophical Enquiry (Dordrecht: Springer, 2012), 247–63Google Scholar
Burden, Michael, ‘Aspects of Purcell’s Operas’ in Burden, Michael (ed.), Henry Purcell’s Operas: The Complete Texts (Oxford: Oxford University Press, 2000), 127Google Scholar
Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757; 2nd edn, London: R. & J. Dodsley, 1759)Google Scholar
Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, ed. Phillips, Adam, Oxford World’s Classics (Oxford: Oxford University Press, 2008)Google Scholar
Burney, Charles, An Account of the Musical Performances in Westminster Abbey and the Pantheon, May 26th, 27th, 29th; and June the 3d, and 5th, 1784. In Commemoration of Handel (London: Printed for the benefit of the Musical Fund and sold by T. Payne, 1785)Google Scholar
Burney, Charles, General History of Music, from the Earliest Ages to the Present Period (London: Printed for the Author and sold by T. Payne, 1789)Google Scholar
Burrows, Donald and Dunhill, Rosemary (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (Oxford: Oxford University Press, 2002)Google Scholar
Cannadine, David, ‘The Context, Performance and Meaning of Ritual: The British Monarchy and the “Invention of Tradition”’ in Hobsbawm, Eric and Ranger, Terence (eds.), The Invention of Tradition (Cambridge: Cambridge University Press, 1983), 101–64Google Scholar
Carson, Anne, ‘(Essay with Rhapsody): On the Sublime in Longinus and Antonioni’ in Decreation: Poetry, Essays, Opera (New York: Alfred A. Knopf, 2005), 43–51Google Scholar
Castillon, Antoine, Sermons pour les dimanches et fêtes de l’avent (Paris: Muguet, 1672)Google Scholar
Chamberlain, Houston Stewart, Richard Wagner (Munich: Verlagsanstalt für Kunst und Wissenschaft, 1896)Google Scholar
Champion, Matthew S., ‘The History of Temporalities: An Introduction’, Past and Present, 243/1 (2019), 247–54Google Scholar
Chapin, Keith, ‘Classicist Terms of Sublimity: Christian Friedrich Michaelis, Fugue, and Fantasy’, Ad Parnassum: A Journal of Eighteenth and Nineteenth-Century Instrumental Music, 4/8 (2006), 115–39Google Scholar
Chapin, Keith, ‘Scheibe’s Mistake: Sublime Simplicity and the Criteria of Classicism’, Eighteenth-Century Music, 5/2 (2008), 165–77CrossRefGoogle Scholar
Charlton, David, ‘Cherubini: A Critical Anthology, 1788–1801’, RMA Research Chronicle, 26 (1993), 95127CrossRefGoogle Scholar
Chédozeau, Bernard, Chœur clos, chœur ouvert: de l’église médiévale à l’église tridentine (France, XVIIe–XVIIIe siècle) (Paris: Cerf, 1998)Google Scholar
Cherubini, Luigi, Médée: opéra en III actes [full score] (Paris: Imbault, n.d. [1797])Google Scholar
Chisholm, Hugh (ed.), Encyclopedia Britannica, 11th edn (Cambridge: Cambridge University Press, 1911)Google Scholar
Chorley, Henry, Thirty Years’ Musical Recollections, 2 vols. (London: Hurst & Blackett, 1862)Google Scholar
Chua, Daniel K. L., Absolute Music and the Construction of Meaning (Cambridge: Cambridge University Press, 1999)CrossRefGoogle Scholar
Clery, E. J., The Feminisation Debate in Eighteenth-Century England: Literature, Commerce and Luxury (London: Palgrave Macmillan, 2004)CrossRefGoogle Scholar
Collier, Jeremy, A Short View of the Immorality and Profaneness of the English Stage (London: Keble, 1698)Google Scholar
Coltharp, Duane, ‘“Pleasing Rape”: The Politics of Libertinism in The Conquest of Granada’, Restoration: Studies in Literary Culture, 1660–1700, 21/1 (1997), 1531Google Scholar
Conley, Thomas, Rhetoric in the European Tradition (Chicago: University of Chicago Press, 1990)Google Scholar
Corbin, Alain, Village Bells: Sound and Meaning in the 19th-Century French Countryside [in French 1994], trans. Martin Thom (New York: Columbia University Press, 1998)Google Scholar
Costelloe, Timothy M. (ed.), The Sublime: From Antiquity to the Present (Cambridge: Cambridge University Press, 2012)CrossRefGoogle Scholar
Cotterill, Anne, ‘Dryden’s Fables and the Judgment of Art’ in Zwicker, Steven N. (ed.), The Cambridge Companion to John Dryden (Cambridge: Cambridge University Press, 2004), 259–79Google Scholar
Cronk, Nicholas, The Classical Sublime: French Neoclassicism and the Language of Literature (Charlottesville, VA: Rookwood Press, 2003)Google Scholar
Dahlhaus, Carl, Die Idee der absoluten Musik (Kassel: Deutscher Taschenbuch-Verlag, 1978)Google Scholar
Dahlhaus, Carl, The Idea of Absolute Music, trans. Roger Lustig (Chicago: Chicago University Press, 1989)Google Scholar
D[aniel], G[eorge], ‘Remarks’ in Thomas, Dibdin, Don Giovanni – or A Spectre on Horseback, A Comic, Heroic, Operatic, Tragic, Pantomimic, Burletta-Spectacular-Extravaganza (London: Davidson, 1817), 34Google Scholar
Daughtry, J. Martin, Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq (New York: Oxford University Press, 2015)CrossRefGoogle Scholar
Davidson, Denise Z., France after Revolution: Urban Life, Gender, and the New Social Order (Cambridge, MA: Harvard University Press, 2007)Google Scholar
Davies, James Q., ‘“Veluti in Speculum”: The Twilight of the Castrato’, Cambridge Opera Journal, 17/3 (2005), 271301CrossRefGoogle Scholar
Davis, Jim and Victor, Emeljanov, Reflecting the Audience: London Theatregoing, 1840–1880 (Iowa City: University of Iowa Press, 2001)Google Scholar
De Luca, V. A., Thomas De Quincey: The Prose of Vision (Toronto: University of Toronto Press, 1980)CrossRefGoogle Scholar
De Quincey, Thomas, The Works of Thomas De Quincey, ed. Lindop, Grevel et al., 21 vols. (London: Pickering & Chatto, 2000–3)Google Scholar
De Sales, Francis, Œuvres complètes, 9 vols., vol. 4: Traité de l’amour de Dieu (Bar-le-Duc: Contant-Laguerre, 1865)Google Scholar
Declercq, Gilles, ‘Boileau-Huet: la querelle du Fiat lux’ in Guellouz, S (ed.), Pierre-Daniel Huet (1630–1721): actes du colloque de Caen (12–13 novembre 1993) (Tübingen: Narr, 1994), 237–62Google Scholar
Delehanty, Ann T., Literary Knowing in Neoclassical France: From Poetics to Aesthetics (Lewisburg, PA: Bucknell University Press, 2013)Google Scholar
Dennis, John, An Essay upon Publick Spirit (London: Bernard Lintott, 1711)Google Scholar
Dennis, John, Miscellanies in Verse and Prose (London: James Knapton, 1693)Google Scholar
[Dennis, John] The Critical Works of John Dennis, ed. Hooker, Edward Niles, 2 vols. (Baltimore: Johns Hopkins Press, 1943)Google Scholar
Dennis, John, The Grounds of Criticism in Poetry (London: Strahan, 1704)Google Scholar
[Dennis, John] The Select Works of Mr. John Dennis, 2 vols. (London: John Darby, 1718)Google Scholar
Dideriksen, Gabriella, ‘Repertory and Rivalry: Opera at the Second Covent Garden Theatre, 1830 to 1856’, (PhD dissertation, King’s College London, University of London, 1997)Google Scholar
Dideriksen, Gabriella and Ringel, Matthew, ‘Frederick Gye and “the Dreadful Business of Opera Management”’, 19th-Century Music, 19/1 (1995), 330CrossRefGoogle Scholar
Diderot, Denis, Paradoxe sur le comédien, ouvrage posthume (Paris: Sautelet, 1830)Google Scholar
Dies, Albert Christoph, Biographische Nachrichten über Joseph Haydn (Vienna: Camesinaische Buchhandlung, 1810)Google Scholar
Dixon, Thomas, Weeping Britannia: Portrait of a Nation in Tears (Oxford: Oxford University Press, 2015)Google Scholar
Dolan, Emily and Tresch, John, ‘A Sublime Invasion: Meyerbeer, Balzac, and the Opera Machine’, Opera Quarterly, 27 (2011), 431CrossRefGoogle Scholar
Doran, Robert, The Theory of the Sublime from Longinus to Kant (Cambridge: Cambridge University Press, 2015)CrossRefGoogle Scholar
Dorfmüller, Kurt, Gertsch, Norbert and Ronge, Julia (eds.), Ludwig van Beethoven: Thematisches-Bibliographisches Werkverzeichnis (Munich: Henle, 2014)Google Scholar
Downes, Stephen, ‘Beautiful and Sublime’ in Downes, Stephen (ed.), Aesthetics of Music: Musicological Perspectives (New York: Routledge, 2014), 84110CrossRefGoogle Scholar
Du Jarry, Laurent Juillard, De la parole de Dieu, du style de l’Écriture Sainte et de l’éloquence évangélique (Paris: Thierry, 1689)Google Scholar
Dubois de Bretteville, Étienne, L’Éloquence de la chaire, et du barreau (Paris: Thierry, 1689)Google Scholar
Dubos, Jean-Baptiste, Réflexions critiques sur la poésie et la peinture (1719), 6th edn (Paris: Pissot 1755)Google Scholar
Eatock, Colin Timothy, Mendelssohn and Victorian England (Farnham: Ashgate, 2009)Google Scholar
Eccles, John, Rinaldo and Armida, ed. Plank, Steven (Middleton, WI: A-R Editions, 2011)CrossRefGoogle Scholar
Edgcumbe, Richard, 2nd Earl of Mount-Edgcumbe, Musical Reminiscences of an Old Amateur, 2nd edn (London: W. Clarke, 1827)Google Scholar
Eggington, Tim, The Advancement of Music in Enlightenment England: Benjamin Cooke and the Academy of Ancient Music (Woodbridge: Boydell, 2014)Google Scholar
Elkins, James, ‘Against the Sublime’ in Hoffmann, Roald and Whyte, Iain Boyd (eds.), Beyond the Finite: The Sublime in Art and Science (Oxford: Oxford University Press, 2011), 7590Google Scholar
Emeljanov, Victor, ‘The Events of June 1848: The “Monte Cristo” Riots and the Politics of Protest’, New Theatre Quarterly, 19/1 (2003), 2332CrossRefGoogle Scholar
Erlmann, Veit, Reason and Resonance: A History of Modern Aurality (New York: Zone Books, 2010)Google Scholar
Ernst, Wolfgang, Sonic Time Machine (Amsterdam: Amsterdam University Press, 2016)CrossRefGoogle Scholar
Euripides, , Hecuba; The Trojan Women; Andromache, trans. James Morwood (Oxford: Oxford University Press, 2001)Google Scholar
Ewans, Michael, Opera from the Greek: Studies in the Poetics of Appropriation (Farnham: Ashgate, 2007)Google Scholar
Favier, Thierry, Le Motet à grand chœur (Paris: Fayard, 2009)Google Scholar
Feilla, Cecilia, The Sentimental Theater of the French Revolution (London: Routledge, 2013)Google Scholar
Feldman, Martha, Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy (Chicago: University of Chicago Press, 2007)CrossRefGoogle Scholar
Feldman, Martha, The Castrato: Reflections on Natures and Kinds (Berkeley: University of California Press, 2015)CrossRefGoogle Scholar
Fend, Michael, ‘Literary Motifs, Musical Form and the Quest for the “Sublime”: Cherubini’s Eliza ou le Voyage aux glaciers du Mont St Bernard’, Cambridge Opera Journal, 5/1 (1993), 1738CrossRefGoogle Scholar
Fenner, Theodore, Opera in London: Views of the Press, 1785–1830 (Carbondale, IL: Southern Illinois University Press, 1994)Google Scholar
Fiske, Roger, English Theatre Music in the Eighteenth Century, 2nd edn (Oxford: Oxford University Press, 1986)Google Scholar
Fleury, Claude, Les Mœurs des Chrétiens (Brussels: Broncart, 1744 [1683])Google Scholar
Foucault, Michel, Histoire de la folie à l’âge classique (Paris: Gallimard, 1972)Google Scholar
Foucault, Michel, Histoire de la sexualité, 4 vols., vol. 1: La Volonté de savoir (Paris: Gallimard, 1976)Google Scholar
France, Peter, Rhetoric and Truth in France: Descartes to Diderot (Oxford: Clarendon, 1972)Google Scholar
Freeman, Barbara Claire, The Feminine Sublime: Gender and Excess in Women’s Fiction (Berkeley, CA: University of California Press, 1995)Google Scholar
Fumaroli, Marc, L’Âge de l’éloquence: rhétorique et ‘res literaria’ de la Renaissance au seuil de l’époque classique (Geneva: Droz, 1980)Google Scholar
Furet, François and Ozouf, Monica (eds.), A Critical Dictionary of the French Revolution, trans. Arthur Goldhammer (Cambridge, MA: Harvard University Press, 1989)Google Scholar
Gammage, Robert George, History of the Chartist Movement, 1837–1854 (London: Newcastle-on-Tyne, 1894)Google Scholar
Garda, Michela, Musica sublime: metamorfosi di un’idea nel Settecento musicale (Milan: Ricordi, 1995)Google Scholar
Gattiker, Ernst and Gattiker, Luise, Die Vögel im Volksglauben: Eine volkskundliche Sammlung aus verschiedenen europäischen Ländern von der Antike bis heute (Wiesbaden: AULA-Verlag, 1989)Google Scholar
Gellert, Christian Fürchtegott, Geistliche Oden und Lieder (Leipzig: Weidmann, 1757)Google Scholar
Gilby, Emma, Sublime Worlds: Early Modern French Literature (London: Legenda, 2006)Google Scholar
Gilby, Emma, ‘The Seventeenth-Century Sublime: Boileau and Poussin’ in Llewellyn, Nigel and Riding, Christine (eds.), The Art of the Sublime (London: Tate Research Publications, 2013) tate.org.uk/art/research-publications/the-sublimeGoogle Scholar
[Goethe, Johann Wolfgang von], Goethes Werke, ed. on behalf of Grand Duchess von Sachsen, Sophie, p. 4, vol. 23 (Weimar: Böhlau, 1905)Google Scholar
Goldmark, Josephine, Fatigue and Efficacy: A Study in Industry (New York: Survey Associates, 1913)Google Scholar
Goodlad, Lauren, Victorian Literature and Victorian State: Character and Governance in a Liberal Society (Baltimore: Johns Hopkins University Press, 2004)Google Scholar
Goodman, Steve, Sonic Warfare: Sound Affect and the Ecology of Fear (Cambridge, MA: MIT Press, 2009)CrossRefGoogle Scholar
Gotwals, Vernon, Joseph Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1968)Google Scholar
Goulden, John, Michael Costa: England’s First Conductor (Farnham: Ashgate, 2015)Google Scholar
Gounod, Charles, Le Don Juan de Mozart (Paris: P. Ollendorff, 1890)Google Scholar
Greer, Russell, ‘Charles Rollin (1661–1741)’ in Moran, Michael G. (ed.), Eighteenth-Century British and American Rhetorics and Rhetoricians: Critical Studies and Sources (Westport, CT: Greenwood Press, 1994), 186–90Google Scholar
Grey, Thomas, Wagner’s Musical Prose: Texts and Contexts (Cambridge: Cambridge University Press, 1995)CrossRefGoogle Scholar
Griesinger, Georg August, Biographische Notizen über Joseph Haydn (Leipzig: Breitkopf & Härtel, 1810)Google Scholar
Grillparzer, Franz, Sämtliche Werke, vol. 3, ed. Frank, Peter and Pörnbacher, Karl (Munich: Hanser, 1960–5)Google Scholar
Grimaud, Gilbert, La Liturgie sacrée (Lyons: Jullieron, 1666)Google Scholar
Groves, Stephen, ‘The Picturesque Oratorio: Haydn’s Art in Nature’s Clothing’, Music and Letters, 93 (2013), 479512CrossRefGoogle Scholar
Gruneisen, Charles, The Opera and the Press (London: Robert Hardwicke, 1869)CrossRefGoogle Scholar
Guarracino, Serena, ‘“I Would Like to Disappear into Those Vowels”: Gender-Troubling Opera’, The Newsletter for the LGBTQ Study Group of the American Musicological Society, 16/2 (2006), 310Google Scholar
Hache, Sophie and Favier, Thierry (eds.), À La Croisée des arts: sublime et musique religieuse en Europe (XVIIe–XVIIIe siècles) (Paris: Garnier, 2015)Google Scholar
Hache, Sophie, La Langue du ciel: le sublime en France au XVIIe siècle (Paris: Champion, 2000)Google Scholar
Hagstrum, J. H., ‘Johnson’s Conception of the Beautiful, the Pathetic, and the Sublime’, PMLA, 64/1 (1949), 134–57CrossRefGoogle Scholar
Hall-Witt, Jennifer, Fashionable Acts: Opera and Elite Culture in London, 1780–1880 (Durham, NH: University of New Hampshire Press, 2007)Google Scholar
Halpern, Richard, Shakespeare’s Perfume: Sodomy and Sublimity in the Sonnets, Wilde, Freud, and Lacan (Philadelphia: University of Pennsylvania Press, 2002)CrossRefGoogle Scholar
Hameline, Jean-Yves, ‘L’intérêt pour le chant des fidèles dans le catholicisme français d’Ancien Régime et le premier mouvement liturgique en France’, La Maison-Dieu, 241 (2005), 2976.Google Scholar
Hamilton, John T., Soliciting Darkness: Pindar, Obscurity and the Classical Tradition (Cambridge, MA: Harvard University Press, 2003)Google Scholar
Hamlett, Lydia, ‘Sublime Rhetoric: Two Versions of St Paul Preaching at Athens by James Thornhill’ in Llewellyn, Nigel and Riding, Christine (eds.), The Art of the Sublime (London: Tate Research Publications, 2013) tate.org.uk/art/research-publications/the-sublimeGoogle Scholar
Hamlett, Lydia, ‘The Longinian Sublime, Effect and Affect in “Baroque” British Visual Culture’ in van Eck, Caroline, Bussels, Stijn, Delbeke, Maarten and Pieters, Jürgen (eds.), Translations of the Sublime: The Early Modern Reception and Dissemination of Longinus’ Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre (Leiden: Brill, 2012), 187220Google Scholar
Hammond, Paul, Figuring Sex between Men from Shakespeare to Rochester (Oxford: Clarendon Press, 2002)CrossRefGoogle Scholar
Hammond, Paul, Love between Men in English Literature (New York: St. Martin’s Press, 1996)CrossRefGoogle Scholar
Hardie, Philip, Lucretian Receptions: History, the Sublime, Knowledge (Cambridge: Cambridge University Press, 2009)Google Scholar
Harlay, François de, La Manière de bien entendre la messe de paroisse (Paris: Muguet, 1685)Google Scholar
Harris, Ellen T., ‘Silence as Sound: Handel’s Sublime Pauses’, The Journal of Musicology, 22/4 (2005), 521–58CrossRefGoogle Scholar
Hartog, François, Regimes of Historicity: Presentism and Experiences of Time, trans. Saskia Brown (New York: Columbia University Press, 2015)Google Scholar
Harvey, Stephen (trans.), ‘The Passion of Byblis’ in Ovid’s Metamorphoses. Translated by the Most Eminent Hands (London: Jacob Tonson, 1717)Google Scholar
Haydn, Joseph, Gesammelte Briefe und Aufzeichnungen, ed. Bartha, Dénes (Kassel: Bärenreiter, 1965)Google Scholar
Haydn, Joseph, Werke, ser. 28, vol. 3: Die Schöpfung: Oratorium 1798, ed. Oppermann, Annette (Munich: Henle, 2008)Google Scholar
[Hayes, William], ‘Barnabus Gunn’, The Art of Composing Music by a Method Entirely New (London: J. Lion, 1751)Google Scholar
Head, Matthew, Sovereign Feminine: Music and Gender in Eighteenth-Century Germany (Berkeley, CA: California University Press, 2013)CrossRefGoogle Scholar
Hegel, Georg Friedrich, Wilhelm, Philosophy of Nature, sect. 300 (Zusatz), trans. A. V. Miller (Oxford: Oxford University Press, 1970)Google Scholar
Heine, Heinrich, Selected Prose, ed. and trans. Ritchie Robertson (London: Penguin, 1993)Google Scholar
Helmholtz, Hermann von, Science and Culture: Popular and Philosophical Essays, ed. Cahan, David (Chicago: University of Chicago Press, 1995)Google Scholar
Hertz, Neil, The End of the Line: Essays on Psychoanalysis and the Sublime (New York: Columbia University Press, 1985)Google Scholar
Hibberd, Sarah, ‘Cherubini and the Revolutionary Sublime’, Cambridge Opera Journal, 24/3 (2012), 293318CrossRefGoogle Scholar
Hibberd, Sarah, French Grand Opera and the Historical Imagination (Cambridge: Cambridge University Press, 2009)Google Scholar
Hibberd, Sarah (ed.), Melodramatic Voices: Understanding Music Drama (Farnham: Ashgate, 2011)Google Scholar
Hoffman, François-Benoît, Médée, tragédie en trois actes, en vers (Paris: Huet, 1797)Google Scholar
Hoffmann, E. T. A., Sämtliche Werke in sechs Bänden, vol. 2.1, ed. Steinecke, Hartmut et al. (Frankfurt: Deutsche Klassiker Verlag, 1993)Google Scholar
[Hoffmann, E. T. A.], E. T. A. Hoffmann’s Musical Writings, ed. Charlton, David, trans. Martyn Clarke (Cambridge: Cambridge University Press, 1989)Google Scholar
Hoffmann, Roald and Whyte, Iain Boyd (eds.), Beyond the Finite: The Sublime in Art and Science (Oxford: Oxford University Press, 2011)Google Scholar
Hollander, John, The Untuning of the Sky: Ideas of Music in English Poetry, 1500–1700, rev. edn (New York: Norton, 1970)Google Scholar
Holman, Peter, ‘Samuel Wesley as an Antiquarian Composer’ in Temperley, Nicholas and Banfield, Stephen (eds.), Music and the Wesleys (Urbana: University of Illinois Press, 2010), 183–99Google Scholar
Homans, Margaret, Royal Representations: Queen Victoria and British Culture, 1837–1876 (Chicago: University of Chicago Press, 1998)CrossRefGoogle Scholar
Horace, , Epistles Book 1, ed. Mayer, Roland (Cambridge: Cambridge University Press, 1994)Google Scholar
Hume, Robert D., ‘Jeremy Collier and the Future of the London Theatre in 1698’, Studies in Philology, 96/4 (1999), 480511Google Scholar
Hunt, Lynn, The Family Romance of the French Revolution (London: Routledge, 1992)Google Scholar
Hunt, Lynn, ‘The Rhetoric of Revolution in France’, History Workshop, 15 (Spring 1983), 7894CrossRefGoogle Scholar
Irving, Howard, Ancients and Moderns: William Crotch and the Development of Classical Music (Aldershot: Ashgate, 1999)Google Scholar
Janes, Dominic, Picturing the Closet: Male Secrecy and Homosexual Visibility in Britain (Oxford: Oxford University Press, 2015)Google Scholar
Janowitz, Anne, ‘The Sublime’ in Faflak, Joel and Wright, Julia (eds.), A Handbook of Romanticism Studies (Chichester: Wiley-Blackwell, 2012), 5568CrossRefGoogle Scholar
Jarman-Ivens, Freya, Queer Voices: Vocality, the Uncanny, and Popular Music (Basingstoke: Palgrave MacMillan, 2011)CrossRefGoogle Scholar
Johnson, Claudia L., ‘“Giant HANDEL” and the Musical Sublime’, Eighteenth-Century Studies, 19/4 (1986), 515–33CrossRefGoogle Scholar
Jones, J. Jennifer, ‘Sounds Romantic: The Castrato and English Poetics around 1800’ in D’Arcy Wood, Gillen (ed.), Opera and Romanticism, Romantic Circles Praxis Series (May 2005), www.rc.umd.edu/praxis/opera/jones/jones.htmlGoogle Scholar
Jones, J. Jennifer (ed.), The Sublime and Education: A Romantic Circles Praxis Volume (2010), romantic-circles.org/Google Scholar
Jones, Kevin, ‘Sublimation, Art and Psychoanalysis’ in Wood, Chris (ed.), Navigating Art Therapy: A Therapist’s Companion (London: Routledge, 2011)Google Scholar
Kant, Immanuel, Critique of Judgement [in German 1790], trans. James Creed Meredith (Oxford: Clarendon Press, 1952)Google Scholar
Kant, Immanuel, Critique of Judgment [in German 1790], trans. J. H. Bernard (New York: Haffner, 1951)Google Scholar
Kant, Immanuel, Critique of Pure Reason [in German 1781], trans. Marcus Weigelt (London: Penguin, 2007)CrossRefGoogle Scholar
Kant, Immanuel, Kritik der Urtheilskraft [1790] in vol. 5 of Kant’s Gesammelte Schriften, ed. Königlich Preußischen Akademie der Wissenschaften (Berlin: Reimer, 1974)Google Scholar
Kelly, Michael, Reminiscences, 2nd edn, 2 vols. (London: Henry Colburn, 1826)Google Scholar
Kinderman, William, Wagner’s Parsifal (New York: Oxford University Press, 2013)CrossRefGoogle Scholar
Kirwan, James, Sublimity: The Non-Rational and the Irrational in the History of Aesthetics (New York: Routledge, 2005)Google Scholar
Kittler, Friedrich, ‘World-Breath: On Wagner’s Media Technology’ in The Truth of the Technological World: Essays on the Genealogy of Presence, trans. Erik Butler and with an afterword by Hans Ulrich Gumbrecht (Palo Alto: Stanford University Press, 2013), 122–37Google Scholar
Koch, Heinrich Christoph, Musikalisches Lexikon (Frankfurt: August Hermann der Jünger, 1802; facs. edn, Hildesheim: Georg Olms, 1964)Google Scholar
Korstvedt, Benjamin M., ‘The Adagio and the Sublime’ in Bruckner: Symphony No. 8 (Cambridge: Cambridge University Press, 2000), 5467CrossRefGoogle Scholar
Koselleck, Reinhard, Futures Past: On the Semantics of Historical Time, trans. Keith Tribe (1985; repr. New York: Columbia University Press, 2004)Google Scholar
Krajewski, Markus, Paper Machines: About Cards and Catalogues, 1548–1929, trans. Peter Krapp (Cambridge, MA: MIT Press, 2011)CrossRefGoogle Scholar
Kramer, Lawrence, Classical Music and Postmodern Knowledge (Berkeley: University of California Press, 1995)Google Scholar
Kramer, Lawrence, ‘Recalling the Sublime: The Logic of Creation in Haydn’s Creation’, Eighteenth-Century Music, 6 (2009), 4157CrossRefGoogle Scholar
Kreuzer, Gundula, Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera (Berkeley: California University Press, 2018)CrossRefGoogle Scholar
La Harpe, Jean-François, Du Fanatisme dans la langue révolutionnaire, ou de la persécution suscitée par les barbares du dix-huitième siècle, contre la religion chrétienne et ses ministres (Paris: Migneret, 1797)Google Scholar
La Volpilière, Nicolas de, Sermons sur les veritez chrétiennes et morales, 6 vols. (Paris: Michallet, 1689)Google Scholar
Lamb, Jonathan, ‘Longinus, the Dialectic, and Politics of Mastery’, English Literary History, 60/3 (1993), 545–67Google Scholar
Landon, H. C. Robbins, Haydn: Chronicle and Works, vol. 4: Haydn: The Years of ‘The Creation’, 1796–1800 (Bloomington: Indiana University Press, 1977)Google Scholar
Landon, H. C. Robbins, Haydn: Chronicle and Works, vol. 5: Haydn: The Late Years, 1801–1809 (Bloomington: Indiana University Press, 1977)Google Scholar
Landon, H.C. Robbins (ed.), The Creation and The Seasons: The Complete Authentic Sources for the Word-Books (Cardiff: University College Cardiff Press, 1985)Google Scholar
Laqueur, Thomas, Making Sex: Body and Gender from the Greeks to Freud (Cambridge, MA: Harvard University Press, 1998)Google Scholar
Latour, Bruno, Reassembling the Social: An Introduction to Actor-Network-Theory (Oxford: Oxford University Press, 2005)Google Scholar
Le Huray, Peter and Day, James (eds.), Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries (Cambridge: Cambridge University Press, 1981)Google Scholar
Le Jeune, Jean, Sermons choisis, 2 vols. (Paris: Brajeux, 1830)Google Scholar
Lee, Michael, ‘“You Sparks Who Have to Paris Rid … ”: Dennis and Eccles’ Rinaldo and Armida (1698), and the Politics of Adaptation’, summary of conference paper delivered at the Channel Connections Conference, University of Sheffield, 11–12 September 2014, https://francbrit.wordpress.com/2014/09/29/you-sparks-who-have-to-paris-rid-dennis-eccles-rinaldo-and-armida-1698-and-the-politics-of-adaptation/Google Scholar
Lefebvre, Léon, ‘Mme Scio’ in Le Théâtre de Lille au XVIIIe siècle: auteurs, acteurs (Lille: Lefebvre-Ducrocq, 1894), 7480Google Scholar
Letters from the Academy of Ancient Musick at London to Sigr. Antonio Lotti of Venice: with his Answers and Testimonies (London: Geo. James, 1732)Google Scholar
Lewald, Fanny, A Year of Revolutions: Fanny Lewald’s Recollections of 1848, ed. and trans. Hanna Ballin Lewis (New York: Berghahn, 1997)Google Scholar
Lichtenthal, Peter, Dizionario e bibliografia della musica (Milan: A Fontana, 1826)Google Scholar
Lindop, Grevel, ‘De Quincey’s “Immortal Druggist” and Wordsworth’s “Power of Music”’, Notes and Queries, 41/3 (1994), 341–2CrossRefGoogle Scholar
Lipking, Lawrence, The Ordering of the Arts in Eighteenth-Century England (Princeton: Princeton University Press, 1970)Google Scholar
Liszt, Franz, F. Chopin (Paris: M. Escudier, 1852)Google Scholar
Lochhead, Judy, ‘The Sublime, the Ineffable and Other Dangerous Aesthetic Concepts’, Women and Music, 12 (2008), 6374CrossRefGoogle Scholar
Lockwood, Lewis, Beethoven: Studies in the Creative Process (Cambridge, MA: Harvard University Press, 1992)CrossRefGoogle Scholar
Longinus, , On the Sublime, ed. and trans. James Arieti and John Crossett (New York: Mellen, 1985)Google Scholar
Longinus, , ‘On the Sublime’, trans. W. Hamilton Fyfe, rev. Donald Russell, in Aristotle: Poetics; Longinus: On the Sublime; Demetrius: On Style, 2nd edn (Cambridge, MA: Harvard University Press, 1995), 143308Google Scholar
Loriot, Julien, Sermons sur les mystères de notre Seigneur à l’usage des missions, & de ceux qui travaillent dans les Paroisses, 2 vols. (Paris: Mariette, 1702)Google Scholar
Loriot, Julien, Sermons sur les plus importantes matières de la morale chrétienne, 7 vols. (Paris: Robustel, 1697)Google Scholar
Lowerre, Kathryn, ‘Dramatick Opera and Theatrical Reform: Dennis’s Rinaldo and Armida and Motteux’s The Island Princess’, Theatre Notebook, 59 (2005), 2340Google Scholar
Lühning, Helga, ‘Die Cavatina in der italienischen Oper um 1800’ in Lippmann, Friedrich (ed.), ‘Colloquium “Die stilistische Entwicklung der italienischen Musik zwischen 1770 und 1830 und ihre Beziehungen zum Norden” (Rom 1978)’, Analecta Musicologica, 21 (1982), 333–69Google Scholar
Lumley, Benjamin, Reminiscences of the Opera (London: Hurst & Blackett, 1864)Google Scholar
Lütteken, Laurenz, ‘Carl Philipp Emmanuel Bach und das Erhabene in der Musik’, Lenz-Jahrbuch, 5 (1995), 203–18Google Scholar
Lütteken, Laurenz, Das Monologische als Denkform in der Musik zwischen 1760 und 1785 (Tübingen: Niemeyer, 1998)CrossRefGoogle Scholar
Lutz, Deborah, Relics of Death in Victorian Literature and Culture (New York: Cambridge University Press, 2015)CrossRefGoogle Scholar
Lyotard, Jean-François, Lessons on the Analytic of the Sublime, trans. Elizabeth Rottenberg (Palo Alto: Stanford University Press, 1994)Google Scholar
Lyotard, Jean-François, The Postmodern Condition: A Report on Knowledge [in French 1979], trans. Geoff Bennington and Brian Massumi (Minneapolis: Minnesota University Press, 1984)Google Scholar
McCallam, David, ‘Exploring Volcanoes in the Late French Enlightenment: The Savant and the Sublime’, British Journal for Eighteenth-Century Studies, 29/1 (2006), 4759CrossRefGoogle Scholar
McCallam, David, ‘The Volcano: From Enlightenment to Revolution’ in ‘Revolutionary Culture: Continuity and Change’, ed. Mark Darlow, special issue, Nottingham French Studies, 45/1 (2006), 5168CrossRefGoogle Scholar
McClellan, Michael E., ‘Restraining the Revolution: Musical Aesthetics and Cultural Control in France, 1795–1799’, Music Research Forum, 10 (1995), 1441Google Scholar
MacDonald, Hugh, Berlioz’s Orchestration Treatise: A Translation and Commentary (Cambridge: Cambridge University Press, 2002)Google Scholar
MacIntyre, Bruce C., Haydn: The Creation (New York: Schirmer Books, 1998)Google Scholar
Mackensen, Karsten, Simplizität: Genese und Wandel einer musikästhetischen Kategorie des 18. Jahrhunderts (Kassel: Bärenreiter, 2000)Google Scholar
Mainwaring, John, Memoirs of the Life of the Late George Frederick Handel (London: R. & J. Dodsley, 1760)Google Scholar
Mallgrave, Harry Francis, Gottfried Semper: Architect of the Nineteenth Century (New Haven: Yale University Press, 1996)Google Scholar
Mathew, Nicholas, ‘Beethoven’s Political Music, the Handelian Sublime, and the Aesthetics of Prostration’, 19th-Century Music, 33/2 (2009), 110–50CrossRefGoogle Scholar
Mathew, Nicholas, ‘Heroic Haydn, the Occasional Work and “Modern” Political Music’, Eighteenth-Century Music, 4/1 (2007), 725CrossRefGoogle Scholar
Maurer, Michael, Aufklärung und Anglophilie in Deutschland (Göttingen: Vandenhoeck & Ruprecht, 1987)Google Scholar
Maxwell, Catherine, The Female Sublime from Milton to Swinburne: Bearing Blindness (Manchester: Manchester University Press, 2001)Google Scholar
Mayer, Arno, The Persistence of the Old Regime: Europe to the Great War (New York: Pantheon Books, 1981)Google Scholar
Mendelssohn, Moses, Ästhetische Schriften, ed. Pollok, Anne (Hamburg: Meiner, 2006)Google Scholar
Mendelssohn, Moses, ‘On the Sublime and Naïve in the Fine Sciences’ [in German 1758] in Philosophical Writings, trans. and ed. Daniel O. Dahlstrom (Cambridge: Cambridge University Press, 1997)CrossRefGoogle Scholar
Mercier-Faivre, Anne-Marie and Thomas, Chantal (eds.), L’Invention de la catastrophe au XVIIIe siècle: du châtiment divin au désastre naturel (Geneva: Droz, 2008)Google Scholar
Michaelis, Christian Friedrich, Ueber den Geist der Tonkunst und andere Schriften, ed. Schmidt, Lothar (Chemnitz: Schröder, 1997)Google Scholar
Miller, Mary Ashburn, A Natural History of Revolution: Violence and Nature in the French Revolutionary Imagination, 1789–1794 (Ithaca: Cornell University Press, 2011)CrossRefGoogle Scholar
Milton, John, Paradise Lost, ed. Ricks, Christopher (London: Penguin, 1968)Google Scholar
Mitchell, Louis D., ‘Command Performances During the Reign of George I’, Eighteenth-Century Studies, 7/3 (1974), 343–9CrossRefGoogle Scholar
Monk, Samuel Holt, The Sublime: A Study of Critical Theories in XVIII-Century England (New York: Modern Languages Association, 1935; repr. Ann Arbor: University of Michigan Press, 1960)Google Scholar
Mosel, Ignaz von, Geschichte der Kaiserl. Königl. Hofbibliothek zu Wien (Vienna: Fr. Beck’sche Universitäts-Buchhandlung, 1835)Google Scholar
[Nasolini, Sebastiano], Gran concerto di Madama Grassini, ristretto dell’opera La Cleopatra, musica del Signor Maestro Nasolini (Venice: Casali, 1817)Google Scholar
Neubauer, John, The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics (New Haven: Yale University Press, 1986)Google Scholar
Newman, Ernest, The Life of Richard Wagner, 4 vols. (London: Cassell, 1937)Google Scholar
Nietzsche, Friedrich, Die Geburt der Tragödie aus dem Geiste der Musik (Leipzig: Fritzsch, 1872)Google Scholar
Niezsche, Friedrich, Nietzche contra Wagner (Leipzig: Naumann, 1889)Google Scholar
Nietzsche, Friedrich, ‘The Case of Wagner’ [in German 1888] in Basic Writings of Nietzsche, trans. Walter Kaufmann (New York: Modern Library, 2000), 601–54Google Scholar
Nora, Pierre, Les Lieux de mémoire (1984–92), trans. Mary Trouille as Rethinking France, 4 vols. (Chicago: University of Chicago Press, 2001)Google Scholar
Norton, Richard, Mother Clap’s Molly House: The Gay Subculture in England 1700–1830 (London: Gay Men’s Press, 1992)Google Scholar
Ograjenšek, Suzana, ‘The Rise and Fall of Andromache on the Operatic Stage, 1660s–1820s’ in Brown, Peter August and Ograjenšek, Suzana (eds.), Ancient Drama in Music for the Modern Stage (Oxford: Oxford University Press, 2010), 112–38Google Scholar
O’Quinn, Daniel, ‘Ravishment Twice Weekly: De Quincey’s Opera Pleasures’, Romanticism on the Net, 34–5 (2004), www.erudit.org/revue/ron/2004/v/n34-35/009436ar.htmlCrossRefGoogle Scholar
Osthoff, Wolfgang, ‘Mozarts Cavatinen und ihre Tradition’ in Stauder, Wilhelm, Aarburg, Ursula and Cahn, Peter (eds.), Helmuth Osthoff zu seinem siebzigsten Geburtstag (Tutzing: Schneider 1969), 139–77Google Scholar
Ovid, , Metamorphoses, trans. A. D. Melville, Oxford World’s Classics (Oxford University Press, 1986)Google Scholar
Paglia, Camille, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (New Haven, CT: Yale University Press, 1990)Google Scholar
Parker, Noel, Portrayals of Revolution: Images, Debates and Patterns of Thought on the French Revolution (New York: Harvester Wheatsheaf, 1990)Google Scholar
Paul, [Harry Gilbert], John Dennis (New York: Columbia University Press, 1911)Google Scholar
Perella, Nicholas, Midday in Italian Literature: Variations on an Archetypal Theme (Princeton: Princeton University Press, 1978)Google Scholar
Pesic, Peter, ‘Haydn’s Wanderer’, Haydn-Studien, 8/3 (2003), 275–88Google Scholar
Petersen, Nils Holger, ‘Sacred Space and Sublime Sacramental Piety: The Devotion of the Forty Hours and W. A. Mozart’s Two Sacramental Litanies (Salzburg 1772 and 1776)’ in ‘Espaces sacrés I’, ed. Colceriu, Diana Mite, Heterotopos, 5 (2012), 171211Google Scholar
Petersen, Nils Holger, ‘The Sublime and the Childish in Mozart’s Magic Flute (1791)’, unpublished paper delivered at ‘Sonorous Sublimes’ conference (Cambridge, 23–5 June 2015)Google Scholar
Plank, Steven, ‘“And Now About the Cauldron Sing”: Music and the Supernatural on the Restoration Stage’, Early Music, 18 (1990), 393407CrossRefGoogle Scholar
Poetzsch, Markus, ‘Visionary Dreariness’: Readings in Romanticism’s Quotidian Sublime (New York: Routledge, 2006)Google Scholar
Poizat, Michel, The Angel’s Cry: Beyond the Pleasure Principle in Opera (Ithaca: Cornell University Press, 1992)Google Scholar
Ponty, Franz de, Verzeichniß der in der Kaiserl. Königl. Haupt- und Residenzstadt Wien, sammt dazu gehörigen Vorstädten, und Gründen; befindlichen numerirten Haüsern … (Vienna: Johann Joseph Jahn, 1779)Google Scholar
Pope, Alexander, An Essay on Criticism (London: W. Lewis, 1711)Google Scholar
Pope, Alexander, The Iliad of Homer (London: B. Lintott, 1715–20)Google Scholar
Port, Ulrich, ‘“Katharsis des Leidens”. Aby Warburgs “Pathosformeln” und ihre konzeptionellen Hintergründe in Rhetorik, Poetik und Tragödientheorie’ in ‘Wege deutsch-jüdischen Denkens im 20. Jahrhundert’, supplement, Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte, 73/1 (1999), 542CrossRefGoogle Scholar
Porter, James, The Sublime in Antiquity (Cambridge: Cambridge University Press, 2016)CrossRefGoogle Scholar
Potter, John, Observations on the Present State of Music and Musicians (London: C. Henderson, 1762)Google Scholar
Priestley, Joseph, A Course of Lectures on Oratory and Criticism (London: J. Johnson, 1777)Google Scholar
Priestman, Martin, The Poetry of Erasmus Darwin: Enlightened Spaces, Romantic Times (Farnham: Ashgate, 2013)Google Scholar
Raab, Armin, Joseph Haydn Werke, ser. 28, vol. 4 (Munich: Henle, 2007)Google Scholar
Range, Matthias, Music and Ceremonial at British Coronations: From James I to Elizabeth II (Cambridge: Cambridge University Press, 2012)CrossRefGoogle Scholar
Rehding, Alexander, Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany (Oxford: Oxford University Press, 2009)CrossRefGoogle Scholar
Reynolds, Christopher Alan, Motives for Allusion: Context and Content in Nineteenth-Century Music (Cambridge, MA: Harvard University Press: 2003)Google Scholar
Richards, Annette, ‘An Enduring Monument: C. P. E. Bach and the Musical Sublime’ in Richards, Annette (ed.), C. P. E. Bach Studies (Cambridge: Cambridge University Press, 2006), 149–72Google Scholar
Richter, Jean Paul, Sämtliche Werke, ed. Miller, Norbert, 10 vols. (Munich: Carl Hanser Verlag, 1959–63)Google Scholar
Richter, Jean-Paul, Vorschule der Aesthetik, 2nd edn (Leipzig, 1813), ed. Henckmann, Wolfhart after Miller, Norbert (Hamburg: Felix Meiner Verlag, 1990)Google Scholar
Ringer, Alexander L., ‘Cherubini’s Médée and the Spirit of French Revolutionary Opera’ in Reese, Gustave and Snow, Robert J. (eds.), Essays in Honor of Dragan Plamenac on his 70th Birthday (Pittsburgh: University of Pittsburgh Press, 1969), 281–99Google Scholar
Ritter, Johann Wilhelm, Fragmente aus dem Nachlasse eines jungen Physikers, 2 vols. (Heidelberg: Mohr & Zimmer, 1810)Google Scholar
Roach, Joseph, Cities of the Dead: Circum-Atlantic Performance (New York: Columbia University Press, 1996)Google Scholar
[Robespierre, Maximilien], Robespierre: Virtue and Terror, annot. Jean Ducange, trans. John Howe, introduction by Slavoj Žižek (London: Verso, 2007)Google Scholar
Roda, Cecilio de, ‘Un quaderno di autografi di Beethoven del 1825’, Rivista musicale italiano, 12 (1905), 63108, 592622, 732–67Google Scholar
Rollin, Charles, Traité des études: de la manière d’enseigner et d’étudier les belles-lettres (1726–28) (Paris: La Veuve Estienne, 1740)Google Scholar
Rosenthal, Harold, Opera at Covent Garden: A Short History (London: Gollancz, 1967)Google Scholar
Rousseau, Jean-Jacques, The Collected Writings of Rousseau, vol. 7: Essay on the Origin of Languages, in which Melody and Musical Imitation Are Treated [pub. posth. in French 1781], trans. and ed. John T. Scott (Hanover, NH: University Press of New England, 1998)Google Scholar
Rudolph, Julia, ‘Rape and Resistance: Women and Consent in Seventeenth-Century English Legal and Political Thought’, Journal of British Studies, 39/2 (2000), 157–84CrossRefGoogle Scholar
Ruiter, Jacob de, Der Charakterbegriff in der Musik: Studien zur deutschen Ästhetik der Instrumentalmusik 1740–1850 (Stuttgart: Franz Steiner Verlag, 1989)Google Scholar
Rumph, Stephen, Beethoven after Napoleon: Political Romanticism in the Late Works (Berkeley: University of California Press, 2004)CrossRefGoogle Scholar
Rushdie, Salman, The Satanic Verses (New York: Viking, 1989)Google Scholar
Russo, Paolo, ‘Visions of Medea: Musico-Dramatic Transformations of a Myth’, Cambridge Opera Journal, 6/2 (1994), 113–24CrossRefGoogle Scholar
Rychnovsky, Ernst, ‘Ludwig Spohr und Friedrich Rochlitz: Ihre Beziehung nach ungedruckten Briefen’, Sammelbände der Internationalen Musik-Gesellschaft, 5 (1903–4), 253313Google Scholar
Rzepka, Charles, ‘“A Deafening Menace in Tempestuous Uproars”: De Quincey’s 1856 Confessions, the Indian Mutiny, and the Response of Collins and Dickens’ in Morrison, Robert and Roberts, Daniel Sanjiv (eds.), Thomas De Quincey: New Theoretical and Critical Directions (London: Routledge, 2008), 211–35Google Scholar
Rzepka, Charles, Sacramental Commodities: Gift, Text, and the Sublime in De Quincey (Amherst: University of Massachusetts Press, 1995)Google Scholar
Saint Girons, Baldine, Fiat Lux: une philosophie du sublime (Paris: Quai Voltaire, 1993)Google Scholar
Saint Girons, Baldine, Le Sublime de l’antiquité à nos jours (Paris: Desjonquères, 2005)Google Scholar
Sanders, Mike, ‘The Platform and the Stage: The Primary Aesthetics of Chartism’ in Yeandle, Peter, Newey, Katherine and Richards, Jeffery (eds.), Politics, Performance and Popular Culture (Manchester: Manchester University Press, 2016), 4458Google Scholar
Savage, Roger, ‘“Even the Music between the Acts … ”: John Dennis, Johann Adolph Scheibe and the Rethinking of Incidental Music, 1698/1738’ in Thomson, John (ed.), Books and Bibliography: Essays in Commemoration of Don McKenzie (Wellington: Victoria University Press, 2002), 141–59Google Scholar
Scheibe, Johann Adolph, Critischer Musikus (Leipzig: Bernhard Christoph Breitkopf, 1745)Google Scholar
Schelling, Friedrich Wilhelm Joseph von, Philosophy of Art, trans. Douglas W. Stott (Minneapolis: University of Minnesota Press, 1989)Google Scholar
Schiller, Friedrich, ‘On the Sublime’ [in German 1793] in Essays, ed. and trans. Walter Hinderer and Daniel O. Dahlstrom (New York: Continuum, 1993), 2244Google Scholar
Schiller, Friedrich, ‘On the Sublime’ in Dole, Nathan Haskell (ed.), Aesthetical and Philosophical Essays, 2 vols. (Boston: Nicholls, 1902), vol. 1Google Scholar
Schiller, Friedrich, Sämtliche Werke, 7th edn, ed. Fricke, Gerhard and Göpfert, Herbert, 5 vols., vol. 5: Erzählungen. Theoretische Schriften (Munich: Hanser, 1984)Google Scholar
Schiller, Friedrich, ‘Über das Pathetische’ (1793) in Dann, Otto et al. (eds.), Werke und Briefe in zwölf Bänden, vol. 8, ed. Rolf-Peter Janz (Frankfurt: Deutscher Klassiker Verlag, 1992), 423–51Google Scholar
Schlegel, Friedrich, Kritische Schriften und Fragmente I–VI (Paderborn: Schöningh, 1988)Google Scholar
Schoch, Richard W., Queen Victoria and the Theatre of Her Age (New York: Palgrave Macmillan, 2004)CrossRefGoogle Scholar
Schopenhauer, Arthur, The World as Will and Idea, trans. E. F. J. Payne, 2 vols. (New York: Dover, 1969)Google Scholar
Schulte-Sasse, Jochen, ‘Herder’s Concept of the Sublime’ in Mueller-Vollmer, Kurt (ed.), Herder Today: Contributions from the International Herder Conference (Berlin: de Gruyter, 1990), 268–91Google Scholar
Schwab, Heinrich W., ‘Carl Philipp Emanuel Bach und das geistliche “Lied im Volkston”’ in Marx, Hans Joachim (ed.), Carl Philipp Emanuel Bach und die europäische Musikkultur des mittleren 18. Jahrhunderts: Bericht über das internationale Symposium der Joachim Jungius-Gesellschaft der Wissenschaften Hamburg, f September – 2. Oktober 1988 (Göttingen: Vandenhoeck & Ruprecht, 1990)Google Scholar
Schwab, Heinrich W., Sangbarkeit, Popularität und Kunstlied: Studien zu Lied und Liedästhetik der mittleren Goethezeit, 1770–1814 (Regensburg: Bosse, 1965)Google Scholar
Sedgwick, Eve Kosofsky, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985)CrossRefGoogle Scholar
Sedgwick, Eve Kosofsky, Tendencies (Durham, DC: Duke University Press, 1993)CrossRefGoogle Scholar
Seeger, Horst, ‘Zur musikhistorischen Bedeutung der Haydn-Biographie von Albert Christoph Dies (1810)’, Beiträge zur Musikwissenschaft, 1/3 (1959), 2431Google Scholar
Seidl, Arthur, Vom Musikalisch-Erhabenen (1887), 2nd edn (Leipzig: C. F. Kahnt, 1907)Google Scholar
Semi, Maria, Music as a Science of Mankind in Eighteenth-Century Britain, trans. Timothy Keates (Farnham: Ashgate, 2012)Google Scholar
Shapiro, Alexander H., ‘“Drama of an Infinitely Superior Nature”: Handel’s Early English Oratorios and the Religious Sublime’, Music & Letters, 74/2 (1993), 215–45CrossRefGoogle Scholar
Shaw, Philip, ‘Cannon-Fever: Beethoven, Waterloo and the Noise of War’, Romanticism, 24 (2018), 255–65CrossRefGoogle Scholar
Shaw, Philip, The Sublime (London: Routledge, 2006)Google Scholar
Siegert, Bernhard, ‘Mineral Sound or Missing Fundamental: Cultural History as Signal Analysis’, Osiris, 28 (2013), 105–18CrossRefGoogle Scholar
Simiz, Stefano, ‘La prédication catholique en ville, du Concile de Trente au milieu du XVIIe siècle’ in Arnold, M (ed.), Annoncer l’Évangile (XVe–XVIIe siècles): permanences et mutations de la prédication (Paris: Cerf, 2006), 193206Google Scholar
Sisman, Elaine, ‘Beethoven’s Cavatina, Haydn’s Seasons, and Thick Inscription’ (forthcoming)Google Scholar
Sisman, Elaine, ‘Haydn’s Solar Poetics: The Tageszeiten Symphonies and Enlightenment Knowledge’, Journal of the American Musicological Society, 66 (2013), 5102Google Scholar
Sisman, Elaine, Mozart: The ‘Jupiter’ Symphony, No. 41 in C Major, K. 551 (Cambridge: Cambridge University Press, 1993)CrossRefGoogle Scholar
Sisman, Elaine, ‘The Voice of God in Haydn’s Creation’ in Vikárius, László and Lampert, Vera (eds.), Essays in Honor of Lásló Somfai on his 70th Birthday: Studies in the Sources and the Interpretation of Music (Lanham, MD: Scarecrow Press, 2005), 159–73Google Scholar
Smith, Ruth, Handel’s Oratorios and Eighteenth-Century Thought (Cambridge: Cambridge University Press, 1995)CrossRefGoogle Scholar
Smyth, Patricia, ‘Performers and Spectators: Viewing Delaroche’ in Hibberd, Sarah and Wrigley, Richard (eds.), Art, Theatre, and Opera in Paris, 1750–1850: Exchanges and Tensions (Farnham: Ashgate, 2014), 159–84Google Scholar
Solomon, Maynard, Late Beethoven: Music, Thought, Imagination (Berkeley: University of California Press, 2003)Google Scholar
Spencer, Stewart, Wagner Remembered (London: Faber, 2000)Google Scholar
Spencer, T. J. B., ‘Longinus in English Criticism: Influences before Milton’, The Review of English Studies, 8/30 (1957), 134–43Google Scholar
Spitzer, Michael, ‘Haydn’s Creation as Late Style: Parataxis, Pastoral, and the Retreat from Humanism’, Journal of Musicological Research, 28 (2009), 223–48CrossRefGoogle Scholar
[Spohr, Louis], Louis Spohr’s Autobiography, trans. unknown, 2 vols. (London: Longman, Green, Longman, Roberts & Green, 1865)Google Scholar
Stanyon, Miranda, ‘Musical Sublimes in English and German Literature of the Long Eighteenth Century’ (PhD dissertation, Queen Mary University of London, 2014)Google Scholar
Stanyon, Miranda, Resounding the Sublime: Music in English and German Literature, 1670–1850 (Philadelphia: University of Pennsylvania Press, forthcoming)Google Scholar
Stanyon, Miranda, ‘Second Nature and the Sonic Sublime’ in ‘Spaces of Enlightenment’, special issue, Eighteenth-Century Life (forthcoming)Google Scholar
Stanyon, Miranda, ‘Serpentine Sighs: De Quincey’s Suspiria de Profundis and the Serpentine Line’, Studies in Romanticism 53/1 (2014), 3158CrossRefGoogle Scholar
Stanyon, Miranda, ‘Sublime Rauschen: Enlightening Sound from Locke to Klopstock’, Modern Philology, 114/4 (May 2017), 845–71CrossRefGoogle Scholar
Stendhal, , Vie de Rossini, suivie des Notes d’un dilettante, ed. Prunières, Henry, in Œuvres complètes, vol. 23.2 (Geneva: Slatkine Reprints, 1986)Google Scholar
Stier, Melanie, Pauline Viardot-Garcia in Grossbritannien und Irland: Formen kulturellen Handelns (Hildesheim: Olms Verlag, 2012)Google Scholar
Stockhausen, Karlheinz, ‘… wie die Zeit vergeht’, Die Reihe, 3 (1956), 1342; English trans. Cornelius Cardew, ‘… How Time Passes’, Die Reihe [English edition], 3 (1959), 10–40Google Scholar
Stokes, Christopher R., ‘Radical Sympathy and Retributive Violence: The Sublime of Terror in “The Destiny of Nations”’, European Romantic Review, 20/1 (2009), 5775CrossRefGoogle Scholar
Sulzer, J. G., Allgemeine Theorie der schönen Künste, 4 vols. (Leipzig: Wiedmann, 1794)Google Scholar
[Talma, François-Joseph], Mémoires de Lekain: précédés de réflexions sur cet acteur et sur l’art théâtral (Paris: Pontieu, 1825)Google Scholar
Tantner, Anton, ‘Addressing the Houses: The Introduction of House Numbering in Europe’, Histoire et Mesure, 24 (2009), 730CrossRefGoogle Scholar
Texier, Claude, Sermons pour tous les dimanches de l’année, 2 vols. (Paris: Michallet, 1681)Google Scholar
Thirouin, Laurent, L’Aveuglement salutaire: le réquisitoire contre le théâtre dans la France classique (Paris: Champion, 2007)Google Scholar
Thomas, Downing A., Aesthetics of Opera in the Ancien Régime, 1647–1785 (Cambridge: Cambridge University Press, 2002)Google Scholar
Thomas, Downing, ‘Opera, Dispossession, and the Sublime: The Case of “Armide”’, Theatre Journal, 49/2 (1997), 169–88CrossRefGoogle Scholar
Thomassin, Louis, Traité de l’office divin pour les ecclésiastiques et les laïques (Paris: Muguet, 1686)Google Scholar
Thormählen, Wiebke, ‘Playing with Art: Musical Arrangements as Educational Tools in van Swieten’s Vienna’, Journal of Musicology, 27 (2010), 342–76CrossRefGoogle Scholar
Till, Dietmar, Das doppelte Erhabene: eine Argumentationsfigur von der Antike bis zum Beginn des 19. Jahrhunderts (Tübingen: Niemeyer, 2006)CrossRefGoogle Scholar
Tresch, John, ‘The Prophet and the Pendulum: Sensational Science and Audiovisual Phantasmagoria around 1848’, Grey Room, 43 (2011), 1241CrossRefGoogle Scholar
Trippett, David, Wagner’s Melodies: Aesthetics and Materialism in German Musical Identity (Cambridge: Cambridge University Press, 2013)CrossRefGoogle Scholar
Trower, Shelley, Senses of Vibration: A History of the Pleasure and Pain of Sound (New York: Continuum, 2012)Google Scholar
Trumbach, Randolph, Sex and the Gender Revolution, vol. 1: Heterosexuality and the Third Gender in Enlightenment London (Chicago: Chicago University Press, 1998)Google Scholar
[Twining, Thomas], A Selection of Thomas Twining’s Letters, 1735–1804: The Record of a Tranquil Life, ed. Walker, Ralph (Lewiston: Edward Mellen Press, 1991)Google Scholar
Unowksy, Daniel, ‘Reasserting Empire: Habsburg Imperial Celebrations after the Revolutions of 1848–49’ in Bucur, Maria and Wingfield, Nancy M. (eds.), Staging the Past: The Politics of Commemoration in Habsburg Central Europe, 1848 to the Present (West Lafayette: Purdue University Press, 2001), 1345Google Scholar
Van Eck, Caroline, Bussels, Stijn, Delbeke, Maarten and Pieters, Jürgen (eds.), Translations of the Sublime: The Early Modern Reception and Dissemination of Longinus Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre (Leiden: Brill, 2012)Google Scholar
Verhoeven, Cornelis, The Philosophy of Wonder, trans. Mary Foran (New York: Macmillan, 1972)Google Scholar
Viehöver, Vera, ‘Gellerts Spur in Leopold Mozarts Versuch einer gründlichen Violinschule’ in Schönborn, Sibylle and Viehöver, Vera (eds.), Gellert und die empfindsame Aufklärung: Vermittlungs-, Austausch- und Rezeptionsprozesse in Wissenschaft, Kunst und Kultur (Berlin: Schmidt, 2009), 135–52Google Scholar
Viëtor, Karl, ‘Die Idee des Erhabenen in der deutschen Literatur’ in Geist und Form: Aufsätze zur deutschen Literaturgeschichte (Bern: Francke, 1952)Google Scholar
Villethierry, Jean Girard de, Des Églises et des temples des chrétiens (Paris: Pralard, 1706)Google Scholar
Volcler, Juliette, Extremely Loud: Sound as a Weapon (New York: New Press, 2013)Google Scholar
Waeber, Jacqueline, En Musique dans le texte: le mélodrame, de Rousseau à Schoenberg (Paris: Van Dieren, 2005)Google Scholar
Wagner, Günther, ‘J. A. Scheibe – J. S. Bach: Versuch einer Bewertung’, Bach-Jahrbuch (1982), 3349Google Scholar
[Wagner, Richard], The Diary of Richard Wagner 1865–1882: The Brown Book, trans. George Bird (London: Victor Gollancz, 1980)Google Scholar
Wagner, Richard, My Life [in German 1865], trans. Andrew Gray, ed. Whittall, Mary (New York: Da Capo Press, 1992)Google Scholar
Wagner, Richard, Parsifal, ed. Voss, Egon and Geck, Martin (Mainz: Eulenburg, 2006)Google Scholar
Wagner, Richard, Richard Wagner’s Beethoven (1870) [bilingual text], trans. and with introduction by Roger Allen (Rochester, NY: Boydell Press, 2014)Google Scholar
Wagner, Richard, Sämtliche Schriften und Dichtungen, Volks-Ausgabe (Leipzig: Breitkopf & Härtel/C. F. W. Siegel (R. Linnemann), 1911 (vols. 1–12), 1914 (vols. 13–16))Google Scholar
[Wagner, Richard], Wagner Werk-Verzeichnis, ed. Deathridge, John, Martin, Geck and Egon, Voss (Mainz: Schott, 1985)Google Scholar
Waldersee, Friedrich von, Der Kampf in Dresden im Mai 1849 (Berlin: Mittler & Son, 1849)Google Scholar
Wallaschek, Richard, Primitive Music (London: Longmans, Green & Co., 1893)Google Scholar
Warnick, Barbara, ‘A Minor Skirmish: Balthazar Gibert Versus Charles Rollin on Rhetorical Education’ in Horner, Winifred Bryan and Leff, Michael (eds.), Rhetoric and Pedagogy: Its History, Philosophy and Practice: Essays in Honor of James J. Murphy (New York: Routledge, 1995), 173–81Google Scholar
Warrack, John, Carl Maria von Weber (Cambridge: Cambridge University Press, 1976)Google Scholar
Warton, Thomas, The History of English Poetry, 4 vols. (London: J. Dodsley, 1774)Google Scholar
Weber, Max Maria von, Carl Maria von Weber: Ein Lebensbild, 3 vols. (Leipzig: Ernst Keil, 1864)Google Scholar
[Weber, Carl Maria von], Weber-Gesamtausgabe, ser. 2, vol. 1: Der erste Ton; Hymne, ed. Ziegler, Frank and Kepper, Johannes (Mainz: Schott, 2013)Google Scholar
Weber, Carl Maria von, Writings on Music, trans. Martin Cooper, ed. Warrack, John (Cambridge: Cambridge University Press, 1981)Google Scholar
Weber, William, The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual and Ideology (Oxford: Clarendon Press, 1992)Google Scholar
Webster, James, ‘Between Enlightenment and Romanticism in Music History: “First Viennese Modernism” and the Delayed Nineteenth Century’, 19th-Century Music, 25/2–3 (2001–2), 108–26CrossRefGoogle Scholar
Webster, James, Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style (Cambridge: Cambridge University Press, 1991)CrossRefGoogle Scholar
Webster, James, ‘The Creation, Haydn’s Late Vocal Music, and the Musical Sublime’ in Sisman, Elaine (ed.), Haydn and His World (Princeton: Princeton University Press, 1997), 57102Google Scholar
Webster, James, ‘The Sublime and the Pastoral in The Creation and The Seasons’ in Clark, Caryl (ed.), The Cambridge Companion to Haydn (Cambridge: Cambridge University Press, 2005), 150–63Google Scholar
Weigel, Sigrid, ‘Pathosformel und Oper: die Bedeutung des Musiktheaters für Aby Warburgs Konzept der Pathosformel’, KulturPoetik, 6/2 (2006), 234–53Google Scholar
Weiskel, Thomas, The Romantic Sublime: Studies in the Structure and Psychology of Transcendence (Baltimore: Johns Hopkins University Press, 1976)Google Scholar
Weliver, Phyllis, ‘Tom-Toms, Dream-Fugues and Poppy Juice: East Meets West in Nineteenth-Century Fiction’ in Clayton, Martin and Zon, Bennett (eds.), Music and Orientalism in the British Empire, 1780–1940s: Portrayal of the East (Aldershot: Ashgate, 2007), 258–64Google Scholar
Wieser, Walter G., ‘Die Hofbibliothek in der Epoche der beiden van Swieten (1739–1803)’ in Stummvoll, Josef (ed.), Geschichte der Österreichische Nationalbibliothek, vol. 1: Die Hofbibliothek (1368–1922) (Vienna: Georg Prachner, 1968), 219323Google Scholar
Will, Richard, The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge: Cambridge University Press, 2002)CrossRefGoogle Scholar
Williams, Gavin (ed.), Hearing the Crimean War: Wartime Sound and the Unmaking of Sense (New York: Oxford University Press, 2019)CrossRefGoogle Scholar
Wilson, Kathleen, ‘Nelson’s Women: Female Masculinity and Body Politics in the French and Napoleonic Wars’, European History Quarterly, 37/4 (2007), 562–81CrossRefGoogle Scholar
Winkler, Amanda Eubanks, O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage (Bloomington: Indiana University Press, 2006)CrossRefGoogle Scholar
Winn, James Anderson, ‘When Beauty Fires the Blood’: Love and the Arts in the Age of Dryden (Ann Arbor: University of Michigan Press, 1992)Google Scholar
Wood, Gillen D’Arcy, ‘The Castrato’s Tale: Artaxerxes and the Feminization of Virtuosity’, The Wordsworth Circle, 39/3 (2008), 74–9CrossRefGoogle Scholar
Wood, Gillen D’Arcy, Romanticism and Music Culture in Britain, 1770–1840: Virtue and Virtuosity (Cambridge: Cambridge University Press, 2010)Google Scholar
Wordsworth, William, Poems, in Two Volumes, and Other Poems, ed. Curtis, Jared (Ithaca: Cornell University Press, 1983)Google Scholar
Wright, D.G., Revolution and Terror in France 1789–95 (London: Longman, 1990)Google Scholar
Wurth, Kiene Brillenburg, Musically Sublime: Indeterminacy, Infinity, Irresolvability (Ashland: Fordham University Press, 2009)CrossRefGoogle Scholar
Wygant, Amy, Medea, Magic, and Modernity in France: Stages and Histories, 1553–1797 (Farnham: Ashgate, 2007)Google Scholar
Zelle, Carsten, Literaturhistorische Beiträge zur Ästhetik des Schrecklichen im achtzehnten Jahrhundert (Hamburg: Meiner, 1987)Google Scholar
Zigarovich, Jolene, Writing Death and Absence in the Victorian Novel: Engraved Narratives (New York: Palgrave Macmillan, 2012)CrossRefGoogle Scholar
Zwicker, Steven N. and Bywaters, David (eds.), John Dryden: Selected Poems (London: Penguin, 2001)Google Scholar