Representation in Western Music - Title page

pp iii-iii

Copyright page

pp iv-iv

Dedication

pp v-vi

Contents

pp vii-viii

Illustrations

pp ix-x

Contributors

pp xi-xiv

Acknowledgements

pp xv-xvi

Introduction

pp 1-10

Part I - Representation and the interpretation of musical meaning

pp 11-100

1 - Layers of representation in nineteenth-century genres: the case of one Brahmsballade

pp 13-32

2 - ‘As a stranger give it welcome’: musical meanings in 1830s London

pp 33-46

3 - ‘Music is obscure’: textless Soviet works and their phantom programmes

pp 47-63

4 - Representing Arlen

pp 64-78

5 - Video cultures: ‘Bohemian Rhapsody’,Wayne’s World, and beyond

pp 79-100

Part II - Sound and visual representations: music, painting, and dance

pp 101-164

6 - ‘On wings of song’: representing music as agency in nineteenth-century culture

pp 103-126

7 - Representation and musical portraiture in the twentieth century

pp 127-143

8 - Representational conundrums: music and early modern dance

pp 144-164

Part III - Musical representations in opera and cinema

pp 165-246

9 - Allusive representations: homoerotics in Wagner’sTristan

pp 167-181

10 - Der Dichter spricht: self-representation inParsifal

pp 182-202

11 - Memory and the leitmotif in cinema

pp 203-223

12 - Self-representation in music: the case of Hindemith’s meta-operaCardillac

pp 224-246

Part IV - Music, representation, and the concepts of East and West

pp 247-309

13 - Doing more than representing western music

pp 249-266

14 - The persistence of Orientalism in the postmodern operas of Adams and Sellars

pp 267-286

Afterword: What else?

pp 287-309

Index

pp 310-316