Skip to main content Accessibility help
Situating Opera
  • Cited by 4
  • Export citation
  • Recommend to librarian
  • Buy the print book

Book description

Setting opera within a variety of contexts - social, aesthetic, historical - Lindenberger illuminates a form that has persisted in recognizable shape for over four centuries. The study examines the social entanglements of opera, for example the relation of Mozart's Abduction from the Seraglio and Verdi's Il trovatore to its initial and later audiences. It shows how modernist opera rethought the nature of theatricality and often challenged its viewers by means of both musical and theatrical shock effects. Using recent experiments in neuroscience, the book demonstrates how different operatic forms developed at different periods to create new ways of exciting a public. Lindenberger considers selected moments of operatic history from Monteverdi's Orfeo to the present to study how the form has communicated with its diverse audiences. Of interest to scholars and operagoers alike, this book advocates and exemplifies opera studies as an active, emerging area of interdisciplinary study.


"...very accessible and offer excellent insights into why operas of the 20th century and beyond seem to have a more limited audience than the lyrical dramatic operas of the 19th century." --Choice

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Send to Kindle
  • Send to Dropbox
  • Send to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.


Abbate, Carolyn, In Search of Opera (Princeton University Press, 2001).
Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton University Press, 1991).
Abrams, M. H., The Mirror and the Lamp: Romantic Theory and the Critical Tradition (New York, NY: Norton, 1958).
Adams, John, Hallelujah Junction: Composing an American Life (New York, NY: Farrar, Straus and Giroux, 2008).
Adams, Nicholson B., “A Spanish Romanticist Parodies Himself: Los Hijos del Tío Tronera,”Proceedings of the Modern Language Association, 45 (1930), pp. 573–77.
Addison, Joseph, and Richard, Steele, The Spectator, Bond, Donald F. (ed.), 5 vols. (Oxford: Clarendon Press, 1965).
Adorno, Theodor W., Beethoven: The Philosophy of Music, Tiedemann, Rolf (ed.), Jephcott, Edmund (trans.) (Stanford University Press, 1998).
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.
Adorno, Theodor W., Gesammelte Schriften, Adorno, Gretel and Tiedemann, Rolf (eds.), 20 vols. (Frankfurt am Main: Suhrkamp, 1970–).
Adorno, Theodor W., Introduction to the Sociology of Music, Ashton, E. B. (trans.) (New York, NY: Continuum, 1988).
Adorno, Theodor W., “Rede über Lyrik und Gesellschaft,” in Noten zur Literatur, 3 vols. (Frankfurt: Suhrkamp, 1958), vol. i, pp. 73–104.
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).
Albright, Daniel, Untwisting the Serpent: Modernism in Music, Literature, and Other Arts (University of Chicago Press, 2000).
Auerbach, Erich, Mimesis: The Representation of Reality in Western Literature, Trask, Willard R. (trans.) (Princeton University Press, 1953).
Auner, Joseph, A Schoenberg Reader: Documents of a Life (New Haven, CT: Yale University Press, 2003).
Bakhtin, Mikhail, The Dialogic Imagination: Four Essays, Holquist, Michael (ed.), Emerson, Caryl and Holquist, Michael (trans.) (Austin, TX: University of Texas Press, 1981).
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.
Barish, Jonas, The Antitheatrical Prejudice (Berkeley, CA: University of California Press, 1981).
Basevi, Abramo, Studio sulle opere di Giuseppe Verdi (1859), Piovano, Ugo (ed.) (Milan: Rugginente, 2001).
Baudelaire, Charles, Oeuvres complètes, Dantec, Y.-G. (ed.) (Paris: Gallimard, 1951).
Bauman, Thomas, W. A. Mozart: “Die Entführung aus dem Serail” (Cambridge University Press, 1987).
Behler, Ernst, “Schellings Ästhetik in der Überlieferung von Henry Crabb Robinson,”Philosophisches Jahrbuch, 83 (1976), pp. 133–83.
Benjamin, Walter, Illuminations, Zohn, Harry (trans.) (New York, NY: Schocken, 1969).
Berger, Karol, Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity (Berkeley, CA: University of California Press, 2007).
Berlin, Isaiah, “The Naiveté of Verdi,”Hudson Review, 21 (1968), pp. 138–47.
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.
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.
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.
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.
Bokina, John, Opera and Politics: From Monteverdi to Henze (New Haven, CT: Yale University Press, 1997).
Bourdieu, Pierre, Distinction: A Social Critique of the Judgment of Taste, Richard, Nice (trans.) (Cambridge, MA: Harvard University Press, 1984).
Bourdieu, Pierre, Homo Academicus, Peter, Collier (trans.) (Stanford University Press, 1988).
Bourdieu, Pierre, The Rules of Art: Genesis and Structure of the Literary Field, Susan, Emanuel (trans.) (Stanford University Press, 1996).
Braider, Christopher, Refiguring the Real: Picture and Modernity in Word and Image, 1400–1700 (Princeton University Press, 1992).
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).
Cairns, David, Berlioz, 2 vols. (Berkeley, CA: University of California Press, 2000).
Carner, Mosco, Alban Berg: The Man and the Work (London: Duckworth, 1975).
Carter, Tim, Monteverdi's Musical Theatre (New Haven, CT: Yale University Press, 2002).
Carter, Tim, “Singing Orfeo: on the Performers of Monteverdi's First Opera,”Ricercare, 11 (1999), pp. 75–118.
Chapados, Catherine, and Levitin, Daniel J., “Cross-Modal Interactions in the Perception of Musical Performances: Physiological Correlates,”Cognition, 108 (2008), pp. 639–51.
Christov-Bakargiev, Carolyn, William Kentridge (Brussels: Société des Expositions du Palais des Beaux-Arts de Bruxelles, 1998).
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.
Collisani, Amalia, La musica di Jean-Jacques Rousseau (Palermo: L'Epos, 2007).
Conati, Marcello (ed.), Encounters with Verdi, Stokes, Richard (trans.) (Ithaca, NY: Cornell University Press, 1984).
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.
Cowper, William, Poetical Works, Milford, H. S. (ed.), 4th edn. (Oxford University Press, 1934).
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.
Crutchfield, Will, “Vocal Ornamentation in Verdi: the Phonographic Evidence,”19th Century Music, 7 (1983), pp. 3–54.
Csampai, Attila, and Holland, Dietmar (eds.), Tannhäuser: Texte, Materialien, Kommentare (Hamburg: Rowohlt, 1986).
Curtius, Ernst Robert, European Literature and the Latin Middle Ages, Trask, Willard R. (trans.) (New York, NY: Pantheon, 1953).
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).
Dahlhaus, Carl, Die Idee der absoluten Musik (Kassel: Bärenreiter, 1978).
Dean, Winton, and John Merrill, Knapp, Handel's Operas: 1704–1726, rev. edn. (Oxford: Clarendon Press, 1995).
Deathridge, John, and Carl, Dahlhaus, The New Grove Wagner (New York, NY: Norton, 1984).
Debussy, Claude, Pelléas et Mélisande (New York, NY: Dover, 1985).
Delacroix, Eugène, Journal, Joubin, André (ed.), 3 vols. (Paris: Plon, 1932).
Grange, Henri-Louis, Gustav Mahler, 4 vols. (Oxford University Press, 1995–).
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.
Van, Gilles, Verdi's Theater: Creating Drama through Music, Roberts, Gilda (trans.) (University of Chicago Press, 1998).
Dent, Edward J., Mozart's Operas: A Critical Study (New York, NY: McBride, Nast, 1913).
Doody, Margaret Anne, The True History of the Novel (New Brunswick, NJ: Rutgers University Press, 1996).
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.
Feldman, Martha, Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy (University of Chicago Press, 2007).
Fenlon, Iain, “Correspondence Relating to the Early Mantuan Performances,” in Whenham, John (ed.), Claudio Monteverdi: Orfeo (Cambridge University Press, 1986), pp. 167–72.
Fenlon, Iain, and Miller, Peter N., The Song of the Soul: Understanding ‘Poppea’ (London: Royal Musical Association, 1992).
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).
Frank, Manfred, Einführung in die frühromantische Ästhetik (Frankfurt am Main: Suhrkamp, 1989).
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).
Friedlander, Walter, David to Delacroix, Goldwater, Robert (trans.) (New York, NY: Schocken, 1968).
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.
Frye, Northrop, Anatomy of Criticism: Four Essays (Princeton University Press, 1957).
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.
García Gutiérrez, Antonio, El Trovador (drama); Los hijos del tío Tronera (sainete), Picoche, Jean-Louis (ed.) (Madrid: Alhambra, 1979).
Gilman, Sander L., “Strauss and the Pervert,” in Groos, Arthur and Parker, Roger (eds.), Reading Opera (Princeton University Press, 1988), pp. 306–27.
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).
Glover, Jane, Cavalli (London: B. T. Batsford, 1978).
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.
Goehr, Lydia, The Imaginary Museum of Musical Works: an Essay in the Philosophy of Music, rev. edn. (New York, NY: Oxford University Press, 2007).
Goldstein, Avram, “Thrills in Response to Music and Other Stimuli,”Physiological Psychology, 8 (1980), pp. 126–29.
Gossett, Philip, Divas and Scholars: Performing Italian Opera (University of Chicago Press, 2006).
Gossett, Philip, The Tragic Finale of Rossini's Tancredi (Pesaro: Fondazione Rossini, 1977).
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.
Grant, Mark N., The Rise and Fall of the Broadway Musical (Boston, MA: Northeastern University Press, 2004).
Grasberger, Franz (ed.), Der Strom der Töne trug mich fort: Die Welt um Richard Strauss in Briefen (Tutzing: Hans Schneider, 1967).
Gregor-Dellin, Martin, Richard Wagner: Sein Leben, Sein Werk, Sein Jahrhundert, 2nd edn. (Munich: Piper, 1991).
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.
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.
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).
Grey, Thomas S. (ed.), Richard Wagner and His World (Princeton University Press, 2009).
Griffiths, Paul, Igor Stravinsky: The Rake's Progress (Cambridge University Press, 1982).
Griffiths, Paul, “Saint François d'Assise,” in Hill, Peter (ed.), The Messiaen Companion (London: Faber, 1995), pp. 488–509.
Hadlock, Heather, “Tancredi and Semiramide,” in Senici, Emanuele (ed.), The Cambridge Companion to Rossini (Cambridge University Press, 2004), pp. 139–58.
Hagstrum, Jean, The Sister Arts: The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray (University of Chicago Press, 1958).
Handel, George Frideric, Rinaldo: opera seria in tre atti, Kimbell, David R. B. (ed.) (Kassel: Bärenreiter, 1993).
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.
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.
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).
Hegel, G. W. F., Aesthetics: Lectures on Fine Art, Knox, T. M. (trans.), 2 vols. (Oxford: Clarendon Press, 1975).
Heller, Wendy, Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice (Berkeley, CA: University of California Press, 2003).
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.
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.
Hoberg, Annagret, “Vasily Kandinsky: Abstract, Absolute, Concrete,” in Kandinsky (New York, NY: Guggenheim Museum, 2009), pp. 23–57.
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).
Hutcheon, Linda, and Michael, Hutcheon, Opera: Desire, Disease, Death (Lincoln, NE: University of Nebraska Press, 1996).
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.
Jack, Ian, Keats and the Mirror of Art (Oxford: Clarendon Press, 1967).
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).
Jefferson, Alan, Elisabeth Schwarzkopf (London: Victor Gollancz, 1996).
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.
Kant, Immanuel, Critique of Judgment, Pluhar, Werner S. (trans.) (Indianapolis, IN: Hackett, 1987).
Katz, Ruth, The Powers of Music: Aesthetic Theory and the Invention of Opera (New Brunswick, NJ: Transaction Publishers, 1994).
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).
Katz, Ruth, and Ruth, HaCohen, Tuning the Mind: Connecting Aesthetics to Cognitive Science (New Brunswick, NJ: Transaction Publishers, 2003).
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.
Keen, Suzanne, “A Theory of Narrative Empathy,”Narrative, 14/3 (2006), pp. 207–36.
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).
Kentridge, William, Flute, Law-Viljoen, Bronwyn (ed.) (Johannesburg: David Krut Publishing, 2007).
Kerman, Joseph, Opera as Drama (New York, NY: Knopf, 1956).
Kintzler, Catherine, Poétique de l'opéra français, de Corneille à Rousseau (Paris: Minerve, 1991).
Koelsch, Stefan, “Investigating Emotion with Music: Neuroscientific Approaches,”Annals of the New York Academy of Sciences, 1060 (2005), pp. 412–18.
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.
Koestenbaum, Wayne, The Queen's Throat: Opera, Homosexuality and the Mystery of Desire (New York, NY: Poseidon Press, 1993).
Kolb, Katherine, “Flying Leaves: Between Berlioz and Wagner,”19th-Century Music, 23 (2009), pp. 25–61.
Kostelanetz, Richard, Conversations with Cage (New York, NY: Limelight Editions, 1988).
Kreuzer, Gundula, “Zurück zu Verdi: The ‘Verdi Renaissance’ and Musical Culture in the Weimar Republic,”Studi Verdiani, 13 (1998), pp. 117–54.
Kristeller, Paul Oskar, Renaissance Thought and the Arts: Collected Essays, 2nd edn. (Princeton University Press, 1990).
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.
Kubik, Reinhold, Händels Rinaldo: Geschichte, Werk, Wirkung (Neuhausen-Stuttgart: Hänssler-Verlag, 1982).
Laloy, Louis, “Schola Cantorum – 26 février,”La Revue musicale, 6 (March 15, 1904), p. 170.
Laurence, Dan H. (ed.), Shaw's Music, 3 vols. (New York, NY: Dodd, Mead, 1981).
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.
Lawton, David, “‘Le Trouvère’: Verdi's Revision of Il trovatore for Paris,”Studi Verdiani, 3 (1985), 79–119.
Leavis, F. R., The Great Tradition: A Study of the English Novel (Garden City, NY: Doubleday, 1954).
Leavis, F. R., “The Novel as Dramatic Poem (I): ‘Hard Times’,”Scrutiny, 14 (1946–47), pp. 185–203.
Leavis, F. R., “The Novel as Dramatic Poem (III): ‘The Europeans’,”Scrutiny, 15 (1947–48), pp. 209–21.
Leavis, F. R., and Leavis, Q. D., Dickens: The Novelist (London: Chatto and Windus, 1970).
Leavis, Q. D., Fiction and the Reading Public (London: Chatto and Windus, 1932).
Lee, Rensselaer W., Names on Trees: Ariosto into Art (Princeton, NJ: Princeton University Press, 1977).
Lee, Rensselaer W., Ut Pictura Poesis: the Humanistic Theory of Painting (New York, NY: Norton, 1967).
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.
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.
Lesure, François (ed.), Debussy on Music, Smith, Richard Langham (trans.) (New York, NY: Knopf, 1976).
Levin, David, Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky (University of Chicago Press, 2007).
Levine, Lawrence W., Highbrow Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1988).
Levinson, Jerrold, Music in the Moment (Ithaca, NY: Cornell University Press, 1997).
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.
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.
Lindenberger, Herbert, “From Opera to Postmodernity: On Genre, Style, Institutions,”Genre, 20 (1987), pp. 259–84.
Lindenberger, Herbert, Georg Trakl (New York, NY: Twayne, 1971).
Lindenberger, Herbert, Historical Drama: The Relation of Literature and Reality (University of Chicago Press, 1975).
Lindenberger, Herbert, The History in Literature: On Value, Genre, Institutions (New York, NY: Columbia University Press, 1990).
Lindenberger, Herbert, On Wordsworth's Prelude (Princeton University Press, 1963).
Lindenberger, Herbert, Opera: The Extravagant Art (Ithaca, NY: Cornell University Press, 1984).
Lindenberger, Herbert, Opera in History: From Monteverdi to Cage (Stanford University Press, 1998).
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).
Lord, Albert Bates, The Singer of Tales (Cambridge, MA: Harvard University Press, 1960).
Luppert, Pauline, “American Idiot and the Road to Berkeley Rep,”The Berkeley Rep Magazine, (2009–10) no. 1, pp. 13–18.
Mäckelmann, Michael, Arnold Schönberg und das Judentum: der Komponist und sein religiöses, nationales und politisches Selbstverständnis nach 1921 (Hamburg: Karl Dieter Wagner, 1984).
Maeterlinck, Maurice, Théâtre, 3 vols. (Paris: Bibliothèque-Charpentier, 1925–29).
Mahler, Alma, Gustav Mahler: Memories and Letters (New York, NY: Viking Press, 1969).
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).
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.
Marvin, Roberta Montemorra, “Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture,”Cambridge Opera Journal, 15 (2003), pp. 33–66.
Massey, Irving, The Neural Imagination: Aesthetic and Neuroscientific Approaches to the Arts (Austin, TX: University of Texas Press, 2009).
McGuinness, Patrick, Maurice Maeterlinck and the Making of Modern Theatre (Oxford University Press, 2000).
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.
Messiaen, Olivier, Music and Color: Conversations with Claude Samuel, Thomas Glasow, E. (trans.) (Portland, OR: Amadeus Press, 1986).
Messiaen, Olivier, Saint François d'Assise, 8 vols. (Paris: Alphonse Leduc, 1988–1992).
Mill, John Stuart, Essays on Poetry, Parvin Sharpless, F. (ed.) (Columbia, SC: University of South Carolina Press, 1976).
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.
Moldenhauer, Hans, and Rosaleen, Moldenhauer, Anton von Webern: A Chronicle of His Life and Work (New York, NY: Knopf, 1979).
Montale, Eugenio, Mottetti: Poems of Love, Gioia, Dana (trans.) (St. Paul, MN: Greywolf Press, 1990).
Montale, Eugenio, L'opera in versi, Bettarini, Rosanna and Contini, Gianfranco (eds.) (Turin: Giulio Einaudi, 1980).
Montale, Eugenio, Selected Poems, Galassi, Jonathan, Wright, Charles, and Young, David (trans.) (Oberlin, OH: Oberlin College Press, 2004).
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.
Franco, Moretti (ed.), The Novel, 2 vols. (Princeton University Press, 2006).
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.
Nietzsche, Friedrich, The Birth of Tragedy and The Case of Wagner, Kaufmann, Walter (trans.) (New York, NY: Random House, 1967).
O'Dea, Michael, Jean-Jacques Rousseau: Music, Illusion and Desire (New York, NY: St. Martin's Press, 1995).
Orledge, Robert, Debussy and the Theatre (Cambridge University Press, 1982).
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.
Panksepp, Jaak, “The Emotional Sources of ‘Chills’ Induced by Music,”Music Perception, 13/2 (1995), pp. 171–207.
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).
Parker, Roger, Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, CA: University of California Press, 2006).
Patel, Aniruddh D., Music, Language, and the Brain (Oxford University Press, 2008).
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.
Paulson, Ronald, Literary Landscape: Turner and Constable (New Haven, CT: Yale University Press, 1982).
Pavel, Thomas, La Pensée du roman (Paris: Gallimard, 2003).
Perloff, Marjorie, The Poetics of Indeterminacy: Rimbaud to Cage (Princeton University Press, 1981).
Phillips-Matz, Mary Jane, Puccini: A Biography (Boston, MA: Northeastern University Press, 2002).
Phillips-Matz, Mary Jane, Verdi: A Biography (Oxford University Press, 1993).
Plato, , The Dialogues of Plato, Jowett, Benjamin (trans.), 2 vols. (New York, NY: Random House, 1937).
Poe, Edgar Allan, The Selected Poetry and Prose, Mabbott, T. O. (ed.) (New York, NY: Random House, 1951).
Potter, Keith, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (Cambridge University Press, 2000).
Pound, Ezra, Make It New: Essays (London: Faber and Faber, 1934).
Prod'homme, J. G., “Les dernières représentations du ‘Devin de village’ (Mai-Juin 1829),”La Revue Musicale, 7 (August 1926), pp. 118–25.
Reich, Steve, Writings on Music: 1965–2000, Hillier, Paul (ed.) (New York, NY: Oxford University Press, 2002).
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).
Reiman, Donald H. and Powers, Sharon B. (eds.) Shelley's Poetry and Prose (New York, NY: Norton, 1977).
Rentrop, M., and Knebel, C., and Förstl, H., “Opera-hallucinosis,”International Journal of Geriatric Psychiatry, 24 (2009), pp. 432–33.
Reynolds, Joshua, Discourses on Art, Wark, Robert R. (ed.) (San Marino, CA: Huntington Library, 1959).
Richter, Jean Paul, Vorschule der Ästhetik, Miller, Norbert (ed.), in Werke, 7 vols. (Munich: Carl Hanser, 1960–64), vol. v (1963), pp. 7–514.
Rimbaud, Arthur, Oeuvres complètes, Renéville, Roland and Mouquet, Jules (eds.) (Paris: Gallimard, 1951).
Rizzolatti, G., Fadiga, L., Fogassi, L. and Gallese, V., “Resonance Behaviors and Mirror Neurons,”Archives Italiennes de Biologie, 137 (1999), pp. 85–100.
Robinson, Paul, Opera and Ideas: From Mozart to Strauss (New York, NY: Harper and Row, 1985).
Rosand, Ellen, Monteverdi's Last Operas: A Venetian Trilogy (Berkeley, CA: University of California Press, 2007).
Rosand, Ellen, Opera in Seventeenth-Century Venice: The Creation of a Genre (Berkeley, CA: University of California Press, 1991).
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.
Rosselli, John, The Opera Industry in Italy from Cimarosa to Verdi: The Role of the Impresario (Cambridge University Press, 1984).
Rossini, Gioacchino, Otello ossia il more di Venezia, Collins, Michael (ed.), 2 vols. (Pesaro: Fondazione Rossini, 1994).
Rossini, Gioacchino, Tancredi, Gossett, Philip (ed.), 2 vols. (Pesaro: Fondazione Rossini, 1984).
Rousseau, Jean-Jacques, The Confessions, Cohen, J. M. (trans.) (Harmondsworth: Penguin, 1953).
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).
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.
Rumph, Stephen, “Mozart's Archaic Endings: A Linguistic Critique,”Journal of the Royal Musical Association, 130/2 (2005), pp. 159–96.
Ruskin, John, Modern Painters, 5 vols. (London: George Allen, 1901–11).
Ryan, Lawrence, Hölderlins Lehre vom Wechsel der Töne (Stuttgart: Kohlhammer, 1960).
Sachse, Georg, Sprechmelodien, Mischklänge, Atemzüge: Phonetische Aspekte im Vokalwerk Steve Reichs (Kassel: Gustav Bosse Verlag, 2004).
Sacks, Oliver, Musicophilia: Tales of Music and the Brain (New York, NY: Knopf, 2007).
Salzman, Eric, and Thomas, Desi, The New Music Theater: Seeing the Voice, Hearing the Body (New York, NY: Oxford University Press, 2008).
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).
Schelling, F. W. J., Philosophy of Art, Stott, Douglas W. (ed. and trans.) (Minneapolis, MN: University of Minnesota Press, 1989).
Scher, Steven Paul, Verbal Music in German Literature (New Haven, CT: Yale University Press, 1968).
Schiller, Friedrich, Über die ästhetische Erziehung des Menschen, in Janz, Rolf-Peter (ed.), Theoretische Schriften (Frankfurt am Main: Deutscher Klassiker Verlag, 1992).
Schlegel, August Wilhelm, Vorlesungen über Ästhetik I, Behler, Ernst (ed.) (Paderborn: Ferdinand Schöningh, 1989).
Schlegel, Friedrich, Kritische Schriften, Rasch, Wolfdietrich (ed.) (Munich: Carl Hanser, 1964).
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).
Schoenberg, Arnold, Moses und Aron (Mainz: Schott, 2000).
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.
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).
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.
Sheppard, W.Anthony, “Blurring the Boundaries: Tan Dun's Tinte and The First Emperor,”Journal of Musicology, 26 (2009), pp. 285–326.
Shreffler, Anne C., Webern and the Lyric Impulse: Songs and Fragments on Poems of Georg Trakl (Oxford: Clarendon Press, 1994).
Solger, K. W. F., Vorlesungen über Ästhetik, Heyse, K. W. L. (ed.) (Darmstadt: Wissenschaftliche Buchgesellschaft, 1962).
Spitzer, Leo, Essays on English and American Literature, Hatcher, Anna (ed.) (PrincetonUniversity Press, 1962).
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.
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.
Stadlen, Peter, “Schoenberg's Speech-Song,”Music and Letters, 62 (1981), pp. 1–11.
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.
Steinheuer, Joachim, “Orfeo (1607),” in John, Whenham and Richard, Wistreich (eds.), The Cambridge Companion to Monteverdi (Cambridge University Press, 2007), pp. 119–40.
Stendhal, , Life of Rossini, Coe, Richard N. (trans.) (New York, NY: Orion Press, 1970).
Stravinsky, Igor, The Rake's Progress (London: Boosey and Hawkes, 1951).
Stravinsky, Igor, and Robert, Craft, Memories and Commentaries (Berkeley, CA: University of California Press, 1959).
Sulzer, J. G., Allgemeine Theorie der Schönen Künste, 2nd edn. (Leipzig: Weidmannsche Buchhandlung, 1792).
Thomas, Downing A., Aesthetics of Opera in the Ancien Régime, 1647–1785 (Cambridge University Press, 2002).
Thompson, William Forde, and Russu, Frank A., “Facing the Music,”Psychological Science, 18/9 (2007), pp. 756–57.
Till, Nicholas, Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas (London: Faber and Faber, 1992).
Tomlinson, Gary, Metaphysical Song: An Essay on Opera (Princeton University Press, 1999).
Tomlinson, Gary, Monteverdi and the End of the Renaissance (Berkeley, CA: University of California Press, 1987).
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).
Trimpi, Wesley, “The Meaning of Horace's ut pictura poesis,”Journal of the Warburg and Courtauld Institutes, 37 (1973), pp. 1–34.
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.
Vaget, Hans-Rudolf, “Thomas Mann und Richard Strauss: Zeitgenossenschaft ohne Brüderlichkeit,”Thomas Mann Jahrbuch, 3 (1990), pp. 50–85.
Verdi, Giuseppe, La traviata, Della Seta, Fabrizio (ed.) (University of Chicago Press, 1996).
Verdi, Giuseppe, Il trovatore, Lawton, David (ed.) (University of Chicago Press, 1992).
Vinci, Leonardo da, Paragone: a Comparison of the Arts, Richter, Irma A. (trans.) (London: Oxford University Press, 1959).
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.
Visconti, Luchino. Two Screenplays: La Terra Trema, Senso, Green, Judith (trans.) (New York, NY: Orion, 1970).
Wackenroder, Wilhelm Heinrich, Sämtliche Werke und Briefe, Vietta, Silvio and Littlejohns, Richard (eds.), 2 vols. (Heidelberg: Carl Winter, 1991).
Wagner, Richard, Gesammelte Schriften, Kapp, Julius (ed.), 14 vols. (Leipzig: Hesse und Becker [1914]).
Wagner, Richard, Mein Leben, Middell, Eike (ed.), 2 vols. (Bremen: Carl Schünemann Verlag, 1986).
Wagner, Richard, Parsifal, Voss, Egon (ed.) (Mainz: Schott, 1973).
Walton, Benjamin, Rossini in Restoration Paris: The Sound of Modern Life (Cambridge University Press, 2007).
Watt, Ian, The Rise of the Novel: Studies in Defoe, Richardson and Fielding (Berkeley, CA: University of California Press, 1957).
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.
Weber, William, The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology (Oxford: Clarendon Press, 1992).
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).
Wellbery, David, Lessing's “Laocoon”: Semiotics and Aesthetics in the Age of Reason (Cambridge University Press, 1984).
Wellek, René, Concepts of Criticism, Nichols, Jr Stephen G.. (ed.) (New Haven, CT: Yale University Press, 1963).
Whenham, John (ed.), Claudio Monteverdi: Orfeo (Cambridge University Press, 1986).
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.
Wilhelm, Kurt, Richard Strauss persönlich: Eine Bibliographie (Berlin: Henschel, 1999).
Williams, Bernard, “Naïve and Sentimental Opera Lovers,” in Edna, and Margalit, Avishai (eds.), Isaiah Berlin: A Celebration (London: Hogarth Press, 1991), pp. 180–92.
Wordsworth, William, The Prelude, Wordsworth, Jonathan, Abrams, M. H., and Gill, Stephen (eds.) (New York, NY: Norton, 1979).


Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.