Skip to main content Accessibility help
Hostname: page-component-5959bf8d4d-599mq Total loading time: 0.757 Render date: 2022-12-10T02:34:53.715Z Has data issue: true Feature Flags: { "useRatesEcommerce": false } hasContentIssue true


Published online by Cambridge University Press:  05 August 2011

Herbert Lindenberger
Stanford University, California
Get access


Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Situating Opera
Period, Genre, Reception
, pp. 280 - 297
Publisher: Cambridge University Press
Print publication year: 2010

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.)


Abbate, Carolyn, In Search of Opera (Princeton University Press, 2001).Google Scholar
Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton University Press, 1991).CrossRefGoogle Scholar
Abrams, M. H., The Mirror and the Lamp: Romantic Theory and the Critical Tradition (New York, NY: Norton, 1958).Google Scholar
Adams, John, Hallelujah Junction: Composing an American Life (New York, NY: Farrar, Straus and Giroux, 2008).Google Scholar
Adams, Nicholson B., “A Spanish Romanticist Parodies Himself: Los Hijos del Tío Tronera,”Proceedings of the Modern Language Association, 45 (1930), pp. 573–77.CrossRefGoogle Scholar
Addison, Joseph, and Richard, Steele, The Spectator, Bond, Donald F. (ed.), 5 vols. (Oxford: Clarendon Press, 1965).Google Scholar
Adorno, Theodor W., Beethoven: The Philosophy of Music, Tiedemann, Rolf (ed.), Jephcott, Edmund (trans.) (Stanford University Press, 1998).Google Scholar
Adorno, Theodor W., “Bourgeois Opera,”Levin, David J. (trans.), in Levin, David J. (ed.), Opera Through Other Eyes (Stanford University Press, 1993), pp. 25–43.Google Scholar
Adorno, Theodor W., Gesammelte Schriften, Adorno, Gretel and Tiedemann, Rolf (eds.), 20 vols. (Frankfurt am Main: Suhrkamp, 1970–).Google Scholar
Adorno, Theodor W., Introduction to the Sociology of Music, Ashton, E. B. (trans.) (New York, NY: Continuum, 1988).Google Scholar
Adorno, Theodor W., “Rede über Lyrik und Gesellschaft,” in Noten zur Literatur, 3 vols. (Frankfurt: Suhrkamp, 1958), vol. i, pp. 73–104.Google Scholar
Alberti, Leon Battista, On Painting and on Sculpture: the Latin Texts of “De pictura” and “De statua,”Grayson, Cecil (ed. and trans.) (London: Phaidon Press, 1972).Google Scholar
Albright, Daniel, Untwisting the Serpent: Modernism in Music, Literature, and Other Arts (University of Chicago Press, 2000).Google Scholar
Auerbach, Erich, Mimesis: The Representation of Reality in Western Literature, Trask, Willard R. (trans.) (Princeton University Press, 1953).Google Scholar
Auner, Joseph, A Schoenberg Reader: Documents of a Life (New Haven, CT: Yale University Press, 2003).CrossRefGoogle Scholar
Bakhtin, Mikhail, The Dialogic Imagination: Four Essays, Holquist, Michael (ed.), Emerson, Caryl and Holquist, Michael (trans.) (Austin, TX: University of Texas Press, 1981).Google Scholar
Baldini, Gabriele, The Story of Giuseppie Verdi: “Oberto” to “Un ballo in maschera”, Parker, Roger (trans. and ed.) (Cambridge University Press, 1980), pp. 217–18.CrossRefGoogle Scholar
Barish, Jonas, The Antitheatrical Prejudice (Berkeley, CA: University of California Press, 1981).Google Scholar
Basevi, Abramo, Studio sulle opere di Giuseppe Verdi (1859), Piovano, Ugo (ed.) (Milan: Rugginente, 2001).Google Scholar
Baudelaire, Charles, Oeuvres complètes, Dantec, Y.-G. (ed.) (Paris: Gallimard, 1951).Google Scholar
Bauman, Thomas, W. A. Mozart: “Die Entführung aus dem Serail” (Cambridge University Press, 1987).Google Scholar
Behler, Ernst, “Schellings Ästhetik in der Überlieferung von Henry Crabb Robinson,”Philosophisches Jahrbuch, 83 (1976), pp. 133–83.Google Scholar
Benjamin, Walter, Illuminations, Zohn, Harry (trans.) (New York, NY: Schocken, 1969).Google Scholar
Berger, Karol, Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity (Berkeley, CA: University of California Press, 2007).CrossRefGoogle Scholar
Berlin, Isaiah, “The Naiveté of Verdi,”Hudson Review, 21 (1968), pp. 138–47.CrossRefGoogle Scholar
Besson, Mireille, and Daniele, Schön, “Comparison between Language and Music,” in Peretz, Isabelle and Zatorre, Robert J. (eds.), The Cognitive Neuroscience of Music (Oxford University Press, 2003), pp. 277–93.Google Scholar
Besutti, Paola, “Spaces for Music in Late Renaissance Mantua,” in Whenham, John and Wistreich, Richard (eds.), The Cambridge Companion to Monteverdi (Cambridge University Press, 2007), pp. 76–94.CrossRefGoogle Scholar
Bigand, Emmanuel, and Suzanne, Filipic, and Philippe, Lalitte, “The Time Course of Emotional Responses to Music,”Annals of the New York Academy of Sciences, 1060 (2005), pp. 429–37.CrossRefGoogle Scholar
Blood, Anne J., and Zatorre, Robert J., “Intensely Pleasurable Responses to Music Correlate with Activity in Brain Regions Implicated in Reward and Emotion,” Proceedings of the National Academy of Sciences, 98/20 (2001), pp. 11818–23.CrossRefGoogle Scholar
Bokina, John, Opera and Politics: From Monteverdi to Henze (New Haven, CT: Yale University Press, 1997).Google Scholar
Bourdieu, Pierre, Distinction: A Social Critique of the Judgment of Taste, Richard, Nice (trans.) (Cambridge, MA: Harvard University Press, 1984).Google Scholar
Bourdieu, Pierre, Homo Academicus, Peter, Collier (trans.) (Stanford University Press, 1988).Google Scholar
Bourdieu, Pierre, The Rules of Art: Genesis and Structure of the Literary Field, Susan, Emanuel (trans.) (Stanford University Press, 1996).Google Scholar
Braider, Christopher, Refiguring the Real: Picture and Modernity in Word and Image, 1400–1700 (Princeton University Press, 1992).Google Scholar
Budden, Julian, The Operas of Verdi, 3 vols. (New York, NY: Oxford University Press, 1973–78).
Burney, Charles, A General History of Music: From the Earliest Ages to the Present Period (1789), Mercer, Frank (ed.), 2 vols. (New York, NY: Harcourt, Brace, 1957).Google Scholar
Cairns, David, Berlioz, 2 vols. (Berkeley, CA: University of California Press, 2000).Google Scholar
Carner, Mosco, Alban Berg: The Man and the Work (London: Duckworth, 1975).Google Scholar
Carter, Tim, Monteverdi's Musical Theatre (New Haven, CT: Yale University Press, 2002).Google Scholar
Carter, Tim, “Singing Orfeo: on the Performers of Monteverdi's First Opera,”Ricercare, 11 (1999), pp. 75–118.Google Scholar
Chapados, Catherine, and Levitin, Daniel J., “Cross-Modal Interactions in the Perception of Musical Performances: Physiological Correlates,”Cognition, 108 (2008), pp. 639–51.CrossRefGoogle Scholar
Christov-Bakargiev, Carolyn, William Kentridge (Brussels: Société des Expositions du Palais des Beaux-Arts de Bruxelles, 1998).Google Scholar
Chusid, Martin, “A New Source for El Trovador and Its Implications for the Tonal Organization of Il trovatore,” in Chusid, Martin (ed.), Verdi's Middle Period: 1849–1859: Source Studies, Analysis, and Performance Practice (University of Chicago Press, 1997), pp. 207–25.Google Scholar
Collisani, Amalia, La musica di Jean-Jacques Rousseau (Palermo: L'Epos, 2007).Google Scholar
Conati, Marcello (ed.), Encounters with Verdi, Stokes, Richard (trans.) (Ithaca, NY: Cornell University Press, 1984).Google Scholar
Conati, Marcello, “Higher than the Highest, the Music Better than the Best,”Jonathan, Keates (trans.), in Verdi, Il trovatore, English National Opera Guide, No. 20 (London: John Calder, 1983), pp. 7–14.Google Scholar
Cowper, William, Poetical Works, Milford, H. S. (ed.), 4th edn. (Oxford University Press, 1934).Google Scholar
Crisp, Deborah, and Robert, Hillman, “Verdi in Postwar Italian Cinema,” in Joe, Jeongwon and Theresa, Rose (eds.), Between Opera and Cinema (New York, NY: Routledge, 2002), pp. 156–63.Google Scholar
Crutchfield, Will, “Vocal Ornamentation in Verdi: the Phonographic Evidence,”19th Century Music, 7 (1983), pp. 3–54.CrossRefGoogle Scholar
Csampai, Attila, and Holland, Dietmar (eds.), Tannhäuser: Texte, Materialien, Kommentare (Hamburg: Rowohlt, 1986).Google Scholar
Curtius, Ernst Robert, European Literature and the Latin Middle Ages, Trask, Willard R. (trans.) (New York, NY: Pantheon, 1953).Google Scholar
Dahlhaus, Carl, Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century, Whittall, Mary (trans.) (Berkeley, CA: University of California Press, 1980).Google Scholar
Dahlhaus, Carl, Die Idee der absoluten Musik (Kassel: Bärenreiter, 1978).Google Scholar
Dean, Winton, and John Merrill, Knapp, Handel's Operas: 1704–1726, rev. edn. (Oxford: Clarendon Press, 1995).Google Scholar
Deathridge, John, and Carl, Dahlhaus, The New Grove Wagner (New York, NY: Norton, 1984).Google Scholar
Debussy, Claude, Pelléas et Mélisande (New York, NY: Dover, 1985).Google Scholar
Delacroix, Eugène, Journal, Joubin, André (ed.), 3 vols. (Paris: Plon, 1932).Google Scholar
Grange, Henri-Louis, Gustav Mahler, 4 vols. (Oxford University Press, 1995–).Google Scholar
Della Seta, Fabrizio, “Gli esordi della critica Verdiana – a proposito di Alberto Mazzucato” in Döhring, Sieghart and Osthoff, Wolfgang (eds.), Verdi-Studien: Pierluigi Petrobelli zum 60. Geburtstag (Munich: G. Ricordi, 2000), pp. 59–73.Google Scholar
Van, Gilles, Verdi's Theater: Creating Drama through Music, Roberts, Gilda (trans.) (University of Chicago Press, 1998).Google Scholar
Dent, Edward J., Mozart's Operas: A Critical Study (New York, NY: McBride, Nast, 1913).Google Scholar
Doody, Margaret Anne, The True History of the Novel (New Brunswick, NJ: Rutgers University Press, 1996).Google Scholar
Eldar, Eran, and Ori, Ganor, Roee, Admon, Avraham, Bleich, and Talma, Hendler, “Feeling the Real World: Limbic Response to Music Depends on Related Content,”Cerebral Cortex, 17 (2007), pp. 2828–40.CrossRefGoogle Scholar
Feldman, Martha, Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy (University of Chicago Press, 2007).CrossRefGoogle Scholar
Fenlon, Iain, “Correspondence Relating to the Early Mantuan Performances,” in Whenham, John (ed.), Claudio Monteverdi: Orfeo (Cambridge University Press, 1986), pp. 167–72.Google Scholar
Fenlon, Iain, and Miller, Peter N., The Song of the Soul: Understanding ‘Poppea’ (London: Royal Musical Association, 1992).Google Scholar
Fiérens-Gevaert, H., “Tannhaeuser,” Journal des débats, 107 (May 2, 1895), p. 3.
Floros, Constantin, Alban Berg and Hanna Fuchs: The Story of a Life in Letters, Bernhardt-Kabisch, Ernest (trans.) (Bloomington, IN: Indiana University Press, 2008).Google Scholar
Frank, Manfred, Einführung in die frühromantische Ästhetik (Frankfurt am Main: Suhrkamp, 1989).Google Scholar
Freud, Sigmund, “Trauer und Melancholie,” in Studienausgabe, 11 vols. (Frankfurt am Main: S. Fischer, 1969–75), vol. iii, pp. 197–212.
Freyhan, Michael, The Authentic Magic Flute Libretto: Mozart's Autograph or the First Full-Score Edition? (Lanham, MD: Scarecrow Press, 2009).Google Scholar
Friedlander, Walter, David to Delacroix, Goldwater, Robert (trans.) (New York, NY: Schocken, 1968).Google Scholar
Fritz, Thomas, and Sebastian, Jentschke, Nathalie, Gosselin, Daniela, Sammler, Isabelle, Peretz, Robert, Turner, Friederici, Angela D., and Stefan, Koelsch, “Universal Recognition of Three Basic Emotions in Music,”Current Biology, 19 (2009), pp. 573–76.CrossRefGoogle Scholar
Frye, Northrop, Anatomy of Criticism: Four Essays (Princeton University Press, 1957).Google Scholar
Fulcher, Jane F., “Shifting the Paradigm from Adorno to Bourdieu,” in Johnson, Victoria, Fulcher, Jane F., and Ertman, Thomas (eds.), Opera and Society in Italy and France from Monteverdi to Bourdieu (Cambridge University Press, 2007), pp. 312–29.CrossRefGoogle Scholar
García Gutiérrez, Antonio, El Trovador (drama); Los hijos del tío Tronera (sainete), Picoche, Jean-Louis (ed.) (Madrid: Alhambra, 1979).Google Scholar
Gilman, Sander L., “Strauss and the Pervert,” in Groos, Arthur and Parker, Roger (eds.), Reading Opera (Princeton University Press, 1988), pp. 306–27.Google Scholar
Glixon, Beth L., and Glixon, Jonathan E., Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice (Oxford University Press, 2006).CrossRefGoogle Scholar
Glover, Jane, Cavalli (London: B. T. Batsford, 1978).Google Scholar
Goehr, Lydia, “From Opera to Music Drama: Nominal Loss, Titular Gain,” in Grey, Thomas S. (ed.), Richard Wagner and His World (Princeton University Press, 2009), pp. 65–86.Google Scholar
Goehr, Lydia, The Imaginary Museum of Musical Works: an Essay in the Philosophy of Music, rev. edn. (New York, NY: Oxford University Press, 2007).Google Scholar
Goldstein, Avram, “Thrills in Response to Music and Other Stimuli,”Physiological Psychology, 8 (1980), pp. 126–29.CrossRefGoogle Scholar
Gossett, Philip, Divas and Scholars: Performing Italian Opera (University of Chicago Press, 2006).CrossRefGoogle Scholar
Gossett, Philip, The Tragic Finale of Rossini's Tancredi (Pesaro: Fondazione Rossini, 1977).Google Scholar
Gossett, Philip, “Verdi's Ideas on Interpreting His Operas,” in Seta, Fabrizio Della, Marvin, Roberta Montemorra, and Marica, Marco (eds.), Verdi 2001, 2 vols. (Florence: Olschki, 2003), vol. i, pp. 399–407.Google Scholar
Grant, Mark N., The Rise and Fall of the Broadway Musical (Boston, MA: Northeastern University Press, 2004).Google Scholar
Grasberger, Franz (ed.), Der Strom der Töne trug mich fort: Die Welt um Richard Strauss in Briefen (Tutzing: Hans Schneider, 1967).Google Scholar
Gregor-Dellin, Martin, Richard Wagner: Sein Leben, Sein Werk, Sein Jahrhundert, 2nd edn. (Munich: Piper, 1991).Google Scholar
Grewe, Oliver, and Frederik, Nagel, Reinhard, Kopiez, and Eckart, Altenmüller, “How Does Music Arouse ‘Chills’?: Investigating Strong Emotions, Combining Psychological, Physiological, and Psychoacoustical Methods,”Annals of the New York Academy of Sciences, 1060 (2005), pp. 446–49.CrossRefGoogle Scholar
Grewe, Oliver, and Frederik, Nagel, Reinhard, Kopiez, and Eckart, Altenmüller, “Listening to Music as a Re-Creative Process: Physiological, Psychological, and Psychoacoustical Correlates of Chills and Strong Emotions,”Music Perception, 24/3 (2007), pp. 297–314.CrossRefGoogle Scholar
Grey, Thomas S., “Metaphorical Modes in Nineteenth-Century Music Criticism: Image, Narrative, and Idea,” in Paul Scher, Steven (ed.), Music and Text: Critical Inquiries (Cambridge University Press, 1991).Google Scholar
Grey, Thomas S. (ed.), Richard Wagner and His World (Princeton University Press, 2009).CrossRefGoogle Scholar
Griffiths, Paul, Igor Stravinsky: The Rake's Progress (Cambridge University Press, 1982).Google Scholar
Griffiths, Paul, “Saint François d'Assise,” in Hill, Peter (ed.), The Messiaen Companion (London: Faber, 1995), pp. 488–509.Google Scholar
Hadlock, Heather, “Tancredi and Semiramide,” in Senici, Emanuele (ed.), The Cambridge Companion to Rossini (Cambridge University Press, 2004), pp. 139–58.Google Scholar
Hagstrum, Jean, The Sister Arts: The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray (University of Chicago Press, 1958).Google Scholar
Handel, George Frideric, Rinaldo: opera seria in tre atti, Kimbell, David R. B. (ed.) (Kassel: Bärenreiter, 1993).Google Scholar
Hanning, Barbara Russano, “Monteverdi's Three Genera: a Study in Terminology,” in Baker, Nancy Kovaleff and Hanning, Barbara Russano (eds.), Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca (Stuyvesant, NY: Pendragon Press, 1992), pp. 145–70.Google Scholar
Harris-Warrick, Rebecca, “Lully's On-Stage Societies,” in Johnson, Victoria, Fulcher, Jane F., and Ertman, Thomas (eds.), Opera and Society in Italy and France from Monteverdi to Bourdieu (Cambridge University Press, 2007), pp. 53–71.CrossRefGoogle Scholar
Hazlitt, William, Complete Works, Howe, P. P. (ed.), 21 vols. (London: Dent, 1930–34).
Head, Matthew, Orientalism, Masquerade and Mozart's Turkish Music (London: Royal Musical Association, 2000).Google Scholar
Hegel, G. W. F., Aesthetics: Lectures on Fine Art, Knox, T. M. (trans.), 2 vols. (Oxford: Clarendon Press, 1975).Google Scholar
Heller, Wendy, Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice (Berkeley, CA: University of California Press, 2003).Google Scholar
Hepokoski, James, “Ottocento Opera as Cultural Drama: Generic Mixtures in Il trovatore,” in Chusid, Martin (ed.), Verdi's Middle Period: 1849–1859: Source Studies, Analysis, and Performance Practice (University of Chicago Press, 1997), pp. 147–96.Google Scholar
Herder, Johann Gottfried, Die kritischen Wälder der Ästhetik, in Bollacher, Martin (ed.), Werke, 10 vols. (Frankfurt am Main: Deutscher Klassiker Verlag, 1985–2000), vol. ii (1993), Schriften zur Ästhetik und Literatur, ed. Grimm, Gunter E., pp. 9–442.Google Scholar
Hoberg, Annagret, “Vasily Kandinsky: Abstract, Absolute, Concrete,” in Kandinsky (New York, NY: Guggenheim Museum, 2009), pp. 23–57.Google Scholar
Hoffmann, E. T. A., “Beethoven, C moll-Sinfonie (No. 5),” in Ellinger, Georg (ed.), Werke, 15 vols. (Leipzig: Deutsches Verlagshaus Bong, n.d.), vol. xiii, pp. 40–56.
Hoffmann, E. T. A., “Kreisleriana,” in Ellinger, Georg (ed.), Werke, 15 vols. (Leipzig: Deutsches Verlagshaus Bong, n. d.), vol. i, pp. 33–71.
Horkheimer, Max, and Adorno, Theodor W., Dialektik der Aufklärung: Philosophische Fragmente (Frankfurt am Main: Fischer, 1988).Google Scholar
Hutcheon, Linda, and Michael, Hutcheon, Opera: Desire, Disease, Death (Lincoln, NE: University of Nebraska Press, 1996).Google Scholar
Hutcheon, Linda, and Michael, Hutcheon, “‘Tutto nel mondo è burla’: Rethinking Late Style in Verdi (and Wagner),” in Seta, Fabrizio Della, Marvin, Roberta Montemorra, and Marica, Marco (eds.), Verdi 2001, 2 vols. (Florence: Olschki, 2003), vol. ii, pp. 905–28.Google Scholar
Jack, Ian, Keats and the Mirror of Art (Oxford: Clarendon Press, 1967).Google Scholar
Janssen, Theo, and Ralph, Quinke (dirs.), “The Black Rider” Documentary (Ralph Quinke Filmproduktion, 1990).
Jauss, Hans-Robert, Toward an Aesthetic of Reception, Bahti, Timothy (trans.) (Minneapolis, MN: University of Minnesota Press, 1982).Google Scholar
Jefferson, Alan, Elisabeth Schwarzkopf (London: Victor Gollancz, 1996).Google Scholar
Johnson, Samuel, “Hughes” in Lonsdale, Roger (ed.), Lives of the Most Eminent English Poets, 4 vols. (Oxford: Clarendon Press, 2006), vol. iii, pp. 39–42.Google Scholar
Kant, Immanuel, Critique of Judgment, Pluhar, Werner S. (trans.) (Indianapolis, IN: Hackett, 1987).Google Scholar
Katz, Ruth, The Powers of Music: Aesthetic Theory and the Invention of Opera (New Brunswick, NJ: Transaction Publishers, 1994).Google Scholar
Katz, Ruth, and Ruth, HaCohen, The Arts in Mind: Pioneering Texts of a Coterie of British Men of Letters (New Brunswick, NJ: Transaction Publishers, 2003).Google Scholar
Katz, Ruth, and Ruth, HaCohen, Tuning the Mind: Connecting Aesthetics to Cognitive Science (New Brunswick, NJ: Transaction Publishers, 2003).Google Scholar
Kaufmann, Harald, “Ausverkauf der alten Oper: Notizen zu Strawinsky (1961),” in Csampai, Attila and Holland, Dietmar (eds.), Bertolt Brecht/Kurt Weill, Die Dreigroschenoper; Igor Strawinsky, The Rake's Progress: Texte, Materialien, Kommentare (Hamburg: Rowohlt, 1987), pp. 289–95.Google Scholar
Keen, Suzanne, “A Theory of Narrative Empathy,”Narrative, 14/3 (2006), pp. 207–36.CrossRefGoogle Scholar
Kennedy, Randy, “Artwork to Display, or to Enjoy With Eggs,” New York Times, July 3, 2009.
Kennedy, Randy, “Sound Tunnel: Avant-Garde Park Portrait,” New York Times, July 6, 2009.
Kentridge, William, Black Box (Berlin: Deutsche Guggenheim, 2005).Google Scholar
Kentridge, William, Flute, Law-Viljoen, Bronwyn (ed.) (Johannesburg: David Krut Publishing, 2007).Google Scholar
Kerman, Joseph, Opera as Drama (New York, NY: Knopf, 1956).Google Scholar
Kintzler, Catherine, Poétique de l'opéra français, de Corneille à Rousseau (Paris: Minerve, 1991).Google Scholar
Koelsch, Stefan, “Investigating Emotion with Music: Neuroscientific Approaches,”Annals of the New York Academy of Sciences, 1060 (2005), pp. 412–18.CrossRefGoogle Scholar
Koelsch, Stefan, and Thomas, Fritz, Cramon, D. Yves v., Karsten, Müller, and Angela, D.Friederici, “Investigating Emotion with Music,”Human Brain Mapping, 27 (2006), pp. 239–50.CrossRefGoogle Scholar
Koestenbaum, Wayne, The Queen's Throat: Opera, Homosexuality and the Mystery of Desire (New York, NY: Poseidon Press, 1993).Google Scholar
Kolb, Katherine, “Flying Leaves: Between Berlioz and Wagner,”19th-Century Music, 23 (2009), pp. 25–61.CrossRefGoogle Scholar
Kostelanetz, Richard, Conversations with Cage (New York, NY: Limelight Editions, 1988).Google Scholar
Kreuzer, Gundula, “Zurück zu Verdi: The ‘Verdi Renaissance’ and Musical Culture in the Weimar Republic,”Studi Verdiani, 13 (1998), pp. 117–54.Google Scholar
Kristeller, Paul Oskar, Renaissance Thought and the Arts: Collected Essays, 2nd edn. (Princeton University Press, 1990).Google Scholar
Krumhansl, Carol L., and Diana Lynn, Schenck, “Can Dance Reflect the Structural and Expressive Qualities of Music?: A Perceptual Experiment on Balanchine's Choreography of Mozart's Divertimento No. 15,”Musicae Scientiae, 1/1 (1997), pp. 63–85.CrossRefGoogle Scholar
Kubik, Reinhold, Händels Rinaldo: Geschichte, Werk, Wirkung (Neuhausen-Stuttgart: Hänssler-Verlag, 1982).Google Scholar
Laloy, Louis, “Schola Cantorum – 26 février,”La Revue musicale, 6 (March 15, 1904), p. 170.Google Scholar
Laurence, Dan H. (ed.), Shaw's Music, 3 vols. (New York, NY: Dodd, Mead, 1981).Google Scholar
Lawton, David, “Ornamenting Verdi's Arias: The Continuity of a Tradition,” in Latham, Alison and Parker, Roger (eds.), Verdi in Performance (Oxford University Press, 2001), pp. 49–78.Google Scholar
Lawton, David, “‘Le Trouvère’: Verdi's Revision of Il trovatore for Paris,”Studi Verdiani, 3 (1985), 79–119.Google Scholar
Leavis, F. R., The Great Tradition: A Study of the English Novel (Garden City, NY: Doubleday, 1954).Google Scholar
Leavis, F. R., “The Novel as Dramatic Poem (I): ‘Hard Times’,”Scrutiny, 14 (1946–47), pp. 185–203.Google Scholar
Leavis, F. R., “The Novel as Dramatic Poem (III): ‘The Europeans’,”Scrutiny, 15 (1947–48), pp. 209–21.Google Scholar
Leavis, F. R., and Leavis, Q. D., Dickens: The Novelist (London: Chatto and Windus, 1970).Google Scholar
Leavis, Q. D., Fiction and the Reading Public (London: Chatto and Windus, 1932).Google Scholar
Lee, Rensselaer W., Names on Trees: Ariosto into Art (Princeton, NJ: Princeton University Press, 1977).Google Scholar
Lee, Rensselaer W., Ut Pictura Poesis: the Humanistic Theory of Painting (New York, NY: Norton, 1967).Google Scholar
Lerdahl, Fred, “The Sounds of Poetry Viewed as Music,” in Peretz, Isabelle and Zatorre, Robert J. (eds.), The Cognitive Neuroscience of Music (Oxford University Press, 2003), pp. 413–29.Google Scholar
Lessing, Gotthold Ephraim, Laokoon, in Barner, Wilfried (ed.), Werke und Briefe, 12 vols. (Frankfurt am Main: Deutscher Klassiker Verlag, 1985–2000), vol. v, part 2 (1990), pp. 11–321.Google Scholar
Lesure, François (ed.), Debussy on Music, Smith, Richard Langham (trans.) (New York, NY: Knopf, 1976).Google Scholar
Levin, David, Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky (University of Chicago Press, 2007).CrossRefGoogle Scholar
Levine, Lawrence W., Highbrow Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1988).Google Scholar
Levinson, Jerrold, Music in the Moment (Ithaca, NY: Cornell University Press, 1997).Google Scholar
Lindau, Paul, “The ‘Tannhäuser’ Scandal in March 1861,” Daphne Ellis (trans.), Wagner, 24 (September 2003), pp. 3–22.
Lindenberger, Herbert, “Arnold Schoenberg's Der biblische Weg and Moses und Aron: On the Transactions of Aesthetics and Politics,”Modern Judaism, 9 (Feb. 1989), pp. 55–70.CrossRefGoogle Scholar
Lindenberger, Herbert, “Arts in the Brain; or, What Might Neuroscience Tell Us?” in Aldama, Frederick (ed.), Toward a Cognitive Theory of Narrative Acts (Austin, TX: University of Texas, 2010), pp. 13–35.Google Scholar
Lindenberger, Herbert, “From Opera to Postmodernity: On Genre, Style, Institutions,”Genre, 20 (1987), pp. 259–84.Google Scholar
Lindenberger, Herbert, Georg Trakl (New York, NY: Twayne, 1971).Google Scholar
Lindenberger, Herbert, Historical Drama: The Relation of Literature and Reality (University of Chicago Press, 1975).Google Scholar
Lindenberger, Herbert, The History in Literature: On Value, Genre, Institutions (New York, NY: Columbia University Press, 1990).Google Scholar
Lindenberger, Herbert, On Wordsworth's Prelude (Princeton University Press, 1963).Google Scholar
Lindenberger, Herbert, Opera: The Extravagant Art (Ithaca, NY: Cornell University Press, 1984).Google Scholar
Lindenberger, Herbert, Opera in History: From Monteverdi to Cage (Stanford University Press, 1998).Google Scholar
Liszt, Franz, “Berlioz und seine ‘Harold-Symphonie’,” in Ramann, L. (ed.), Gesammelte Schriften, 6 vols. (Leipzig: Breitkopf und Härtel, 1880–83), vol. iv (1882), pp. 1–102.
Lonardi, Gilberto, Il fiore dell'addio: Leonora, Manrico e altri fantasmi del melodramma nella poesia di Montale (Bologna: Il Mulino, 2003).Google Scholar
Lord, Albert Bates, The Singer of Tales (Cambridge, MA: Harvard University Press, 1960).Google Scholar
Luppert, Pauline, “American Idiot and the Road to Berkeley Rep,”The Berkeley Rep Magazine, (2009–10) no. 1, pp. 13–18.Google Scholar
Mäckelmann, Michael, Arnold Schönberg und das Judentum: der Komponist und sein religiöses, nationales und politisches Selbstverständnis nach 1921 (Hamburg: Karl Dieter Wagner, 1984).Google Scholar
Maeterlinck, Maurice, Théâtre, 3 vols. (Paris: Bibliothèque-Charpentier, 1925–29).
Mahler, Alma, Gustav Mahler: Memories and Letters (New York, NY: Viking Press, 1969).Google Scholar
Malipiero, G. Francesco (ed.), Monteverdi, Claudio, Tutte le opere, 16 vols. (Asolo: n. p, 1926–42).
Mann, Thomas, Doktor Faustus (Frankfurt: Fischer Taschenbuch Verlag, 1971).Google Scholar
Marti, Jean-Christophe, “‘It's a Secret of Love’: An Interview with Olivier Messiaen,”Spencer, Stewart (trans.), liner notes, Saint François d'Assise (Deutsche Grammophon, 1999), pp. 17–29.Google Scholar
Marvin, Roberta Montemorra, “Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture,”Cambridge Opera Journal, 15 (2003), pp. 33–66.CrossRefGoogle Scholar
Massey, Irving, The Neural Imagination: Aesthetic and Neuroscientific Approaches to the Arts (Austin, TX: University of Texas Press, 2009).Google Scholar
McGuinness, Patrick, Maurice Maeterlinck and the Making of Modern Theatre (Oxford University Press, 2000).Google Scholar
Menon, Vinod, and Levitin, Daniel J., “The Rewards of Music Listening: Response and Physiological Connectivity of the Mesolimbic System,”NeuroImage, 28 (2005), pp. 175–84.CrossRefGoogle Scholar
Messiaen, Olivier, Music and Color: Conversations with Claude Samuel, Thomas Glasow, E. (trans.) (Portland, OR: Amadeus Press, 1986).Google Scholar
Messiaen, Olivier, Saint François d'Assise, 8 vols. (Paris: Alphonse Leduc, 1988–1992).Google Scholar
Mill, John Stuart, Essays on Poetry, Parvin Sharpless, F. (ed.) (Columbia, SC: University of South Carolina Press, 1976).Google Scholar
Mitterschiffthaler, Martina T., and Fu, Cynthia H. Y., Dalton, Jeffrey A., Andrew, Christopher M., and Williams, Steven C. R., “A Functional MRI Study of Happy and Sad Affective States Induced by Classical Music,”Human Brain Mapping, 28 (2007), pp. 1150–62.CrossRefGoogle Scholar
Moldenhauer, Hans, and Rosaleen, Moldenhauer, Anton von Webern: A Chronicle of His Life and Work (New York, NY: Knopf, 1979).Google Scholar
Montale, Eugenio, Mottetti: Poems of Love, Gioia, Dana (trans.) (St. Paul, MN: Greywolf Press, 1990).Google Scholar
Montale, Eugenio, L'opera in versi, Bettarini, Rosanna and Contini, Gianfranco (eds.) (Turin: Giulio Einaudi, 1980).Google Scholar
Montale, Eugenio, Selected Poems, Galassi, Jonathan, Wright, Charles, and Young, David (trans.) (Oberlin, OH: Oberlin College Press, 2004).Google Scholar
Moor, Paul, “Horsing Around with a Classic,” International Herald Tribune, April 3, 1996.
Moretti, Franco, “Conjectures on World Literature,”New Left Review, Ser. 2, 1 (January-February 2000), pp. 54–68.Google Scholar
Franco, Moretti (ed.), The Novel, 2 vols. (Princeton University Press, 2006).Google ScholarPubMed
Mossa, Carlo Matteo (ed.), Carteggio Verdi-Cammarano (1843–1852) (Parma: Istituto Nazionale di Studi Verdiani, 2001).
Murray, Elisabeth A., “The Amygdala, Reward and Emotion,“ Trends in Cognitive Science, 11/11 (2007), pp. 479–97.Google Scholar
Nietzsche, Friedrich, The Birth of Tragedy and The Case of Wagner, Kaufmann, Walter (trans.) (New York, NY: Random House, 1967).Google Scholar
O'Dea, Michael, Jean-Jacques Rousseau: Music, Illusion and Desire (New York, NY: St. Martin's Press, 1995).CrossRefGoogle Scholar
Orledge, Robert, Debussy and the Theatre (Cambridge University Press, 1982).Google Scholar
Osthoff, Wolfgang, “‘Pianissimo, benché a piena orchestra’ – Zu drei Stellen aus Trovatore, Traviata und Otello,” in Döhring, Sieghart and Osthoff, Wolfgang (eds.), Verdi-Studien: Pierluigi Petrobelli zum 60. Geburtstag (Munich: G. Ricordi, 2000), pp. 213–37.Google Scholar
Panksepp, Jaak, “The Emotional Sources of ‘Chills’ Induced by Music,”Music Perception, 13/2 (1995), pp. 171–207.CrossRefGoogle Scholar
Parker, Roger, “In Search of Verdi,” in Della Seta, Fabrizio, Marvin, Roberta Montemorra, and Marica, Marco (eds.), Verdi 2001, 2 vols. (Florence: Olschki, 2003), vol. ii, pp. 929–35.
Parker, Roger, Leonora's Last Act: Essays in Verdian Discourse (Princeton University Press, 1997).Google Scholar
Parker, Roger, Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, CA: University of California Press, 2006).CrossRefGoogle Scholar
Patel, Aniruddh D., Music, Language, and the Brain (Oxford University Press, 2008).Google Scholar
Pater, Walter, “Conclusion” to Studies in the History of the Renaissance, in Abrams, M. H. (ed.), Norton Anthology of English Literature, 5th edn. 2 vols. (New York, NY: Norton, 1986), vol. ii, pp. 1565–68.Google Scholar
Paulson, Ronald, Literary Landscape: Turner and Constable (New Haven, CT: Yale University Press, 1982).Google Scholar
Pavel, Thomas, La Pensée du roman (Paris: Gallimard, 2003).Google Scholar
Perloff, Marjorie, The Poetics of Indeterminacy: Rimbaud to Cage (Princeton University Press, 1981).Google Scholar
Phillips-Matz, Mary Jane, Puccini: A Biography (Boston, MA: Northeastern University Press, 2002).Google Scholar
Phillips-Matz, Mary Jane, Verdi: A Biography (Oxford University Press, 1993).Google Scholar
Plato, , The Dialogues of Plato, Jowett, Benjamin (trans.), 2 vols. (New York, NY: Random House, 1937).Google Scholar
Poe, Edgar Allan, The Selected Poetry and Prose, Mabbott, T. O. (ed.) (New York, NY: Random House, 1951).Google Scholar
Potter, Keith, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (Cambridge University Press, 2000).Google Scholar
Pound, Ezra, Make It New: Essays (London: Faber and Faber, 1934).Google Scholar
Prod'homme, J. G., “Les dernières représentations du ‘Devin de village’ (Mai-Juin 1829),”La Revue Musicale, 7 (August 1926), pp. 118–25.Google Scholar
Reich, Steve, Writings on Music: 1965–2000, Hillier, Paul (ed.) (New York, NY: Oxford University Press, 2002).Google Scholar
Reich, Steve, and Beryl, Korot, “A Theater of Ideas: Steve Reich and Beryl Korot on Three Tales,” record liner forThree Tales (New York, NY: Nonesuch Records, 2003).Google Scholar
Reiman, Donald H. and Powers, Sharon B. (eds.) Shelley's Poetry and Prose (New York, NY: Norton, 1977).Google Scholar
Rentrop, M., and Knebel, C., and Förstl, H., “Opera-hallucinosis,”International Journal of Geriatric Psychiatry, 24 (2009), pp. 432–33.CrossRefGoogle Scholar
Reynolds, Joshua, Discourses on Art, Wark, Robert R. (ed.) (San Marino, CA: Huntington Library, 1959).Google Scholar
Richter, Jean Paul, Vorschule der Ästhetik, Miller, Norbert (ed.), in Werke, 7 vols. (Munich: Carl Hanser, 1960–64), vol. v (1963), pp. 7–514.Google Scholar
Rimbaud, Arthur, Oeuvres complètes, Renéville, Roland and Mouquet, Jules (eds.) (Paris: Gallimard, 1951).Google Scholar
Rizzolatti, G., Fadiga, L., Fogassi, L. and Gallese, V., “Resonance Behaviors and Mirror Neurons,”Archives Italiennes de Biologie, 137 (1999), pp. 85–100.Google Scholar
Robinson, Paul, Opera and Ideas: From Mozart to Strauss (New York, NY: Harper and Row, 1985).Google Scholar
Rosand, Ellen, Monteverdi's Last Operas: A Venetian Trilogy (Berkeley, CA: University of California Press, 2007).CrossRefGoogle Scholar
Rosand, Ellen, Opera in Seventeenth-Century Venice: The Creation of a Genre (Berkeley, CA: University of California Press, 1991).Google Scholar
Rosen, David, “Meter, Character, and Tinta in Verdi's Operas,” in Chusid, Martin (ed.), Verdi's Middle Period: 1849–1859: Source Studies, Analysis, and Performance Practice (University of Chicago Press, 1997), pp. 339–92.Google Scholar
Rosselli, John, The Opera Industry in Italy from Cimarosa to Verdi: The Role of the Impresario (Cambridge University Press, 1984).Google Scholar
Rossini, Gioacchino, Otello ossia il more di Venezia, Collins, Michael (ed.), 2 vols. (Pesaro: Fondazione Rossini, 1994).Google Scholar
Rossini, Gioacchino, Tancredi, Gossett, Philip (ed.), 2 vols. (Pesaro: Fondazione Rossini, 1984).Google Scholar
Rousseau, Jean-Jacques, The Confessions, Cohen, J. M. (trans.) (Harmondsworth: Penguin, 1953).Google Scholar
Rousseau, Jean-Jacques, and Herder, J. G., On the Origin of Language, Moran, John H. and Gode, Alexander (trans.) (New York, NY: Frederick Ungar, 1966).Google Scholar
Rozin, Alexander, Paul, Rozin, and Emily, Goldberg. “The Feeling of Music Past: How Listeners Remember Musical Affect,”Music Perception, 22/1 (2004), pp. 15–39.CrossRefGoogle Scholar
Rumph, Stephen, “Mozart's Archaic Endings: A Linguistic Critique,”Journal of the Royal Musical Association, 130/2 (2005), pp. 159–96.CrossRefGoogle Scholar
Ruskin, John, Modern Painters, 5 vols. (London: George Allen, 1901–11).
Ryan, Lawrence, Hölderlins Lehre vom Wechsel der Töne (Stuttgart: Kohlhammer, 1960).Google Scholar
Sachse, Georg, Sprechmelodien, Mischklänge, Atemzüge: Phonetische Aspekte im Vokalwerk Steve Reichs (Kassel: Gustav Bosse Verlag, 2004).Google Scholar
Sacks, Oliver, Musicophilia: Tales of Music and the Brain (New York, NY: Knopf, 2007).Google Scholar
Salzman, Eric, and Thomas, Desi, The New Music Theater: Seeing the Voice, Hearing the Body (New York, NY: Oxford University Press, 2008).CrossRefGoogle Scholar
Samuel, Richard (ed.), Das philosophische Werkii, in Novalis Schriften: die Werke Friedrich von Hardenbergs, Kluckhohn, Paul and Samuel, Richard (eds.), 6 vols. (Darmstadt: Wissenschaftliche Buchgesellschaft), vol. iii (1968).Google Scholar
Schelling, F. W. J., Philosophy of Art, Stott, Douglas W. (ed. and trans.) (Minneapolis, MN: University of Minnesota Press, 1989).Google Scholar
Scher, Steven Paul, Verbal Music in German Literature (New Haven, CT: Yale University Press, 1968).Google Scholar
Schiller, Friedrich, Über die ästhetische Erziehung des Menschen, in Janz, Rolf-Peter (ed.), Theoretische Schriften (Frankfurt am Main: Deutscher Klassiker Verlag, 1992).Google Scholar
Schlegel, August Wilhelm, Vorlesungen über Ästhetik I, Behler, Ernst (ed.) (Paderborn: Ferdinand Schöningh, 1989).Google Scholar
Schlegel, Friedrich, Kritische Schriften, Rasch, Wolfdietrich (ed.) (Munich: Carl Hanser, 1964).Google Scholar
Schoenberg, Arnold, Der biblische Weg, Lazar, Moshe (trans.), Journal of the Arnold Schoenberg Institute, 17 (1994), pp. 162–329.
Schoenberg, Arnold, Briefe, Stein, Erwin (ed.) (Mainz: B. Schott's Söhne, 1958).Google Scholar
Schoenberg, Arnold, Moses und Aron (Mainz: Schott, 2000).Google Scholar
Schön, Daniele, and Reyna Leigh, Gordon, and Mireille, Besson, “Musical and Linguistic Processing in Song Perception,”Annals of the New York Academy of Sciences, 1060 (2005), pp. 71–81.CrossRefGoogle Scholar
Schopenhauer, Arthur, The World as Will and Presentation, Aquila, Richard E. and Carus, David (trans.), 2 vols. (New York, NY: Pearson/Longman), vol. i (2008).Google Scholar
Senici, Emanuele, “‘Se potessimo tornare da capo’,” in Fabrizio Della, Seta, Roberta Montemorra, Marvin, and Marco, Marica (eds.), Verdi 2001, 2 vols. (Florence: Olschki, 2003), vol. ii, pp. 937–43.Google Scholar
Sheppard, W.Anthony, “Blurring the Boundaries: Tan Dun's Tinte and The First Emperor,”Journal of Musicology, 26 (2009), pp. 285–326.CrossRefGoogle Scholar
Shreffler, Anne C., Webern and the Lyric Impulse: Songs and Fragments on Poems of Georg Trakl (Oxford: Clarendon Press, 1994).Google Scholar
Solger, K. W. F., Vorlesungen über Ästhetik, Heyse, K. W. L. (ed.) (Darmstadt: Wissenschaftliche Buchgesellschaft, 1962).Google Scholar
Spitzer, Leo, Essays on English and American Literature, Hatcher, Anna (ed.) (PrincetonUniversity Press, 1962).Google Scholar
Spitzer, Leo, “Once Again on Mörike's Poem ‘Auf eine Lampe’,” Lang, Berel and Ebel, Christine (trans.), Proceedings of the Modern Language Association, 105 (1990), pp. 427–34.Google Scholar
Sridharan, Devarajan, and Levitin, Daniel J., Chafe, Chris H., Berger, Jonathan, and Menon, Vinod, “Neural Dynamics of Event Segmentation in Music: Converging Evidence for Dissociable Ventral and Dorsal Networks,”Neuron, 55 (2007), pp. 521–32.CrossRefGoogle Scholar
Stadlen, Peter, “Schoenberg's Speech-Song,”Music and Letters, 62 (1981), pp. 1–11.CrossRefGoogle Scholar
Steinberg, Michael P., and Susan, Stewart-Steinberg, “Fascism and the Operatic Unconscious,” in Johnson, Victoria, Fulcher, Jane F., and Ertman, Thomas (eds.), Opera and Society in Italy and France from Monteverdi to Bourdieu (Cambridge University Press, 2007), pp. 267–88.CrossRefGoogle Scholar
Steinheuer, Joachim, “Orfeo (1607),” in John, Whenham and Richard, Wistreich (eds.), The Cambridge Companion to Monteverdi (Cambridge University Press, 2007), pp. 119–40.CrossRefGoogle Scholar
Stendhal, , Life of Rossini, Coe, Richard N. (trans.) (New York, NY: Orion Press, 1970).Google Scholar
Stravinsky, Igor, The Rake's Progress (London: Boosey and Hawkes, 1951).Google Scholar
Stravinsky, Igor, and Robert, Craft, Memories and Commentaries (Berkeley, CA: University of California Press, 1959).Google Scholar
Sulzer, J. G., Allgemeine Theorie der Schönen Künste, 2nd edn. (Leipzig: Weidmannsche Buchhandlung, 1792).Google Scholar
Thomas, Downing A., Aesthetics of Opera in the Ancien Régime, 1647–1785 (Cambridge University Press, 2002).Google Scholar
Thompson, William Forde, and Russu, Frank A., “Facing the Music,”Psychological Science, 18/9 (2007), pp. 756–57.CrossRefGoogle Scholar
Till, Nicholas, Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas (London: Faber and Faber, 1992).Google Scholar
Tomlinson, Gary, Metaphysical Song: An Essay on Opera (Princeton University Press, 1999).CrossRefGoogle Scholar
Tomlinson, Gary, Monteverdi and the End of the Renaissance (Berkeley, CA: University of California Press, 1987).Google Scholar
Tommasini, Anthony, “A ‘Tristan und Isolde’ Well Worth the Wait,” New York Times, March 30, 2008.
Toye, Francis, Verdi: His Life and Works (New York, NY: Knopf, 1931).Google Scholar
Trimpi, Wesley, “The Meaning of Horace's ut pictura poesis,”Journal of the Warburg and Courtauld Institutes, 37 (1973), pp. 1–34.CrossRefGoogle Scholar
Vaget, Hans-Rudolf, “The Spell of Salome: Thomas Mann and Richard Strauss,” in Reschke, Claus and Pollack, Howard (eds.), German Literature and Music: An Aesthetic Fusion – 1890–1989 (Munich: Fink, 1992), pp. 39–60.Google Scholar
Vaget, Hans-Rudolf, “Thomas Mann und Richard Strauss: Zeitgenossenschaft ohne Brüderlichkeit,”Thomas Mann Jahrbuch, 3 (1990), pp. 50–85.Google Scholar
Verdi, Giuseppe, La traviata, Della Seta, Fabrizio (ed.) (University of Chicago Press, 1996).Google Scholar
Verdi, Giuseppe, Il trovatore, Lawton, David (ed.) (University of Chicago Press, 1992).Google Scholar
Vinci, Leonardo da, Paragone: a Comparison of the Arts, Richter, Irma A. (trans.) (London: Oxford University Press, 1959).Google Scholar
Vines, Bradley W., and Krumhansl, Carol L., Wanderley, Marcelo M., and Levitin, Daniel J., “Cross-Modal Interactions in the Perception of Musical Performance,”Cognition, 101 (2006), pp. 80–113.CrossRefGoogle Scholar
Visconti, Luchino. Two Screenplays: La Terra Trema, Senso, Green, Judith (trans.) (New York, NY: Orion, 1970).Google Scholar
Wackenroder, Wilhelm Heinrich, Sämtliche Werke und Briefe, Vietta, Silvio and Littlejohns, Richard (eds.), 2 vols. (Heidelberg: Carl Winter, 1991).Google Scholar
Wagner, Richard, Gesammelte Schriften, Kapp, Julius (ed.), 14 vols. (Leipzig: Hesse und Becker [1914]).Google Scholar
Wagner, Richard, Mein Leben, Middell, Eike (ed.), 2 vols. (Bremen: Carl Schünemann Verlag, 1986).Google Scholar
Wagner, Richard, Parsifal, Voss, Egon (ed.) (Mainz: Schott, 1973).Google Scholar
Walton, Benjamin, Rossini in Restoration Paris: The Sound of Modern Life (Cambridge University Press, 2007).Google Scholar
Watt, Ian, The Rise of the Novel: Studies in Defoe, Richardson and Fielding (Berkeley, CA: University of California Press, 1957).Google Scholar
Webb, Daniel, Observations on the Correspondence between Poetry and Music (1769), in Ruth, Katz and Ruth HaCohen, (eds.), The Arts in Mind: Pioneering Texts of a Coterie of British Men of Letters (New Brunswick, NJ: Transaction Publishers, 2003), pp. 255–324.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
Weill, Kurt, Musik und musikalisches Theater: gesammelte Schriften mit einer Auswahl von Gesprächen und Interviews, Hinton, Stephen and Schebera, Jürgen (eds.), rev. edn. (Mainz: Schott, 2000).Google Scholar
Wellbery, David, Lessing's “Laocoon”: Semiotics and Aesthetics in the Age of Reason (Cambridge University Press, 1984).Google Scholar
Wellek, René, Concepts of Criticism, Nichols, Jr Stephen G.. (ed.) (New Haven, CT: Yale University Press, 1963).Google Scholar
Whenham, John (ed.), Claudio Monteverdi: Orfeo (Cambridge University Press, 1986).Google Scholar
Wiesmann, Sigrid, “‘Eine verlachte Liebe ist die ehrgeizigste Liebe, die es gibt’ – Anmerkungen zu Werfels Nachdichtungen von La forza del destino, Simon Boccanegra und Don Carlos,” in Döhring, Sieghart and Osthoff, Wolfgang (eds.), Verdi-Studien: Pierluigi Petrobelli zum 60. Geburtstag (Munich: G. Ricordi, 2000), pp. 281–89.Google Scholar
Wilhelm, Kurt, Richard Strauss persönlich: Eine Bibliographie (Berlin: Henschel, 1999).Google Scholar
Williams, Bernard, “Naïve and Sentimental Opera Lovers,” in Edna, and Margalit, Avishai (eds.), Isaiah Berlin: A Celebration (London: Hogarth Press, 1991), pp. 180–92.Google Scholar
Wordsworth, William, The Prelude, Wordsworth, Jonathan, Abrams, M. H., and Gill, Stephen (eds.) (New York, NY: Norton, 1979).Google Scholar