Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-cjp7w Total loading time: 0 Render date: 2024-07-05T06:30:08.906Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  05 November 2015

Erling E. Guldbrandsen
Affiliation:
Universitetet i Oslo
Julian Johnson
Affiliation:
Royal Holloway, University of London
Get access
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2015

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

Adlington, Robert, ‘Into the Sensuous World: The Music of Rebecca Saunders’, The Musical Times, 140/1868 (1999), 4856.CrossRefGoogle Scholar
Adorno, Theodor W., Aesthetic Theory, ed. Adorno, Gretel and Tiedemann, Rolf, trans. Hullot-Kentor, Robert (London and New York: Continuum, 1997; new edn 2004).Google Scholar
Adorno, Theodor W., Alban Berg: Der Meister des kleinsten Überganges (Frankfurt am Main: Suhrkamp, 1995).Google Scholar
Adorno, Theodor W., Essays on Music, ed. Leppert, Richard, trans. Gillespie, Susan H. (Berkeley and Los Angeles, CA: University of California Press, 2002).Google Scholar
Adorno, Theodor W., Introduction to the Sociology of Music, trans. Ashton, E. B. (New York: Seabury Press, 1976).Google Scholar
Adorno, Theodor W., L’art et les arts, trans. Lauxerois, Jean (Paris: Desclée de Brouwer, 2002).Google Scholar
Adorno, Theodor W., Mahler: A Musical Physiognomy, trans. Jephcott, Edmund (University of Chicago Press, 1992).CrossRefGoogle Scholar
Adorno, Theodor W., Musikalische Schriften, ed. Tiedemann, Rolf and Schultz, Klaus (Frankfurt am Main: Suhrkamp, 2003).Google Scholar
Adorno, Theodor W., Philosophy of New Music, trans. and ed. Hullot-Kentor, Robert (Minneapolis, MN: University of Minnesota Press, 2006).Google Scholar
Adorno, Theodor W., ‘Rede zu Rudolf Kolisch‘s 60: Geburtstag’, Musiktheorie: Zeitschrift für Musikwissenschaft, 24/3 (2009), 238–40.Google Scholar
Adorno, Theodor W., Sound Figures, trans. Livingstone, Richard (Redwood City, CA: Stanford University Press, 1999).CrossRefGoogle Scholar
Adorno, Theodor W., Zu einer Theorie der musikalischen Reproduktion (Frankfurt am Main: Suhrkamp, 2001); Towards a Theory of Musical Reproduction, ed. Henri Lonetz, trans. Weiland Honban (Cambridge: Polity Press, 2006).Google Scholar
Aguila, Jésus, Le Domaine musical: Pierre Boulez et vingt ans de création contemporaine (Paris: Fayard, 1992).Google Scholar
Aho, Kalevi, ‘Bergman, Erik’, Komponisten der Gegenwart, 32. Lfg. (Munich: Edition Text + Kritik, 2006).Google Scholar
Aho, Kalevi, Jalkanen, Pekka, Salamenhaara, Erkki and Virtamo, Keijo, Finnish Music, trans. Binham, Timothy and Binham, Philip (Keuruu: Otava, 1996).Google Scholar
Albèra, Philippe, ‘Avant-propos’ in György Kurtág: Entretien, Textes, Écrits sur son Œuvre (Geneva: Contrechamps, 1995), pp. 710.Google Scholar
Alter, Robert, The Five Books of Moses: A Translation with Commentary (New York: W. W. Norton, 2004).Google Scholar
Amirkhanians, Charles, Other Minds: Cathy Berberian on KPFA‘s Ode to Gravity Series (MP3 audiofile), 1 min. 31 sec., 1 November 1972, ‘RadiOM.Org/Interviews’, available at: http://rediom.org/berberianotg.php (accessed 24 July 2010).Google Scholar
Anderson, Martin, ‘Erik Bergman [Obituary]’, The Independent (9 May 2006).Google Scholar
Appadurai, Arjun, Modernity at Large: Cultural Dimensions of Globalization (Minneapolis, MN: University of Minnesota Press, 1996).Google Scholar
Appiah, Anthony, Cosmopolitanism: Ethics in a World of Strangers (New York: W. W. Norton, 2006).Google Scholar
Artaud, Antonin, ‘The Body Is the Body’, trans. McKeon, Roger, Semiotext(e), 2/3 (1977), 5960.Google Scholar
Ashby, Arved, The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology (University of Rochester Press, 2004).Google Scholar
Avery, James and Cox, Frank, ‘Hübler, Klaus K.’ in Sadie, Stanley and Tyrrell, John (eds.), The New Grove Dictionary of Music and Musicians, 2nd edn (Version at Grove Music Online).Google Scholar
Babbitt, Milton, ‘Who Cares If You Listen?’, High Fidelity (February 1958).Google Scholar
Badiou, Alain, Logics of Worlds: Being and Event (II), trans. Toscano, Alberto (London: Continuum, 2009).Google Scholar
Balázs, Istvan, ‘But, chemin, hésitation’ in Albèra, Philippe (ed.), György Kurtág (Geneva: Contrechamps, 1995), pp. 173–83.Google Scholar
Ballantine, Christopher, ‘Modernism and Popular Music’, Journal of the Royal Musical Association, 139/1 (2014), 200–4.CrossRefGoogle Scholar
Bannister, Matthew, ‘“Loaded”: Indie Guitar Rock, Canonism, White Masculinities’, Popular Music, 25/1 (2006), 7795.CrossRefGoogle Scholar
Barrett, Richard, ‘Standpoint and Sightlines (provisional) 1995’ in Polaschegg, Nina, Hager, Uwe and Richtsteig, Tobias (eds.), Diskurse zur gegenwärtigen Musikkultur (Regensburg: ConBrio Verlagsgesellschaft, 1996), pp. 2135.Google Scholar
Barrett, Richard, and Deforce, Arne, ‘The Resonant Box with Four Strings: Interview on the Musical Esthetics of Richard Barrett and the Genesis of His Cello Music’, http://www.arnedeforce.be/composerfiles_toelichtingen/barrettresbox.htm.Google Scholar
Barthes, Roland, ‘From Work to Text’ in Image, Music, Text (London: Fontana Press, 1977), pp. 155–64.Google Scholar
Bartók, Bela, Essays, ed. Suchoff, Benjamin (London: Faber, 1993).Google Scholar
Bassetto, Luisa, ‘Orient—Accident? Pli selon pli, ou l’“eurexcentrisme” selon Boulez’ in Albèra, Pierre (ed.), Pli selon pli de Pierre Boulez: Entretiens et etudes (Genève: Éditions Contrechamps, 2003), pp. 3744.CrossRefGoogle Scholar
Bauer, Amy, Ligeti’s Laments: Nostalgia, Exoticism and the Absolute (Farnham: Ashgate, 2011).Google Scholar
Beck, Ulrich, The Cosmopolitan Vision (Cambridge: Polity Press, 2006).Google Scholar
Begbie, Jeremy, Music, Modernity, and God: Essays in Listening (Oxford University Press, 2014).Google Scholar
Bekker, Paul, ‘Kunst und Krieg: Zwei Feldpostbriefe’ in Kritische Zeitbilder (Gesammelte Schriften, vol. 1) (Berlin: Schuster & Loeffler, 1921), pp. 177–97.Google Scholar
Bekker, Paul, Neue Musik (Berlin: E. Reiss, 1920; reprinted Nendeln, Liechtenstein: Kraus Reprint, 1973).Google Scholar
Bellman, Jonathan (ed.), The Exotic in Western Music (Lebanon, NH: Northeastern University Press, 1998).Google Scholar
Benjamin, Walter, The Origin of the German Tragic Drama, trans. Osborne, John (London: Verso, 2003).Google Scholar
Benjamin, Walter, ‘Thesis on the Philosophy of History’ in Illuminations, ed. with an introduction by Arendt, Hannah, trans. Zohn, Harry (New York: Schocken Books, 1969), pp. 253–67.Google Scholar
Benjamin, Walter, ‘Über den Begriff der Geschichte’ in Tiedemann, Rolf and Schweppenhäuser, Hermann, Gesammelte Schriften, 7 vols. (Frankfurt am Main: Suhrkamp, 1974), vol. I.Google Scholar
Berberian, Cathy, ‘Cathy’s Solo Talk Show’ (1979), produced by Frans van Rossum and Frits Bloemink, audio material digitized by Joes Roelofs and edited by John Knap for CD (2010). Special transcript by Pamela Karantonis in Karantonis, Pamela, Francesca Placanica, Anna Sivuoja-Kauppala and Pieter Verstraete (eds.), Cathy Berberian: Pioneer of Contemporary Vocality (Farnham: Ashgate, 2014), pp. 3344.Google Scholar
Berberian, Cathy, ‘La nuova vocalità nell’opera contemporanea’, Discoteca, 62 (1966), 34–5.Google Scholar
Berger, Karol, and Newcomb, Anthony (eds.), Music and the Aesthetics of Modernity: Essays (Cambridge, MA: Harvard University Press, 2005).Google Scholar
Bernard, Jonathan W., ‘Voice Leading as a Spatial Function in the Music of Ligeti’, Music Analysis, 13/2–3 (1994), 227–53.CrossRefGoogle Scholar
Bhabha, Homi, The Location of Culture (London: Routledge, 1994).Google Scholar
Bhabha, Homi, ‘Unsatisfied: Notes on Vernacular Cosmopolitanism’ in Garcia-Morena, Laura and Pfeiffer, Peter C. (eds.), Text and Nation: Cross-Disciplinary Essays on Cultural and National Identities (London: Camden House, 1996), pp. 191207.Google Scholar
Bloom, Harold, The Anxiety of Influence: A Theory of Poetry, 2nd edn (Oxford University Press, 1997).Google Scholar
Bloom, Harold, Poetics of Influence: New and Selected Criticism, ed. with an introduction by Hollander, John (New Haven, CT: Henry R. Schwab, 1988), pp. 213–34.Google Scholar
Bohlman, Philip V., ‘Epilogue: Musics and Canons’ in Bergeron, Katherine and Bohlman, Philip V. (eds.), Disciplining Music: Musicology and Its Canons (University of Chicago Press, 1992), pp. 197210.Google Scholar
Bohrer, Karl Heinz, Suddenness: On the Moment of Aesthetic Experience, trans. Crowley, Ruth (New York: Columbia University Press, 1994).Google Scholar
Bonds, Mark Evan, Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton University Press, 2006).Google Scholar
Bonds, Mark Evan, ‘The Spatial Representation of Musical Form’, The Journal of Musicology, 27/3 (2010), 265307.CrossRefGoogle Scholar
Born, Georgina, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley, CA: University of California Press, 1995).CrossRefGoogle Scholar
Born, Georgina, and Hesmondhalgh, David (eds.), Western Music and Its Others: Difference, Representation, and Appropriation in Music (Berkeley, CA: University of California Press, 2000).Google Scholar
Botstein, Leon, ‘Modernism’, The New Grove, 2nd edn, 29 vols., ed. Sadie, Stanley and Tyrrell, John (London: Macmillan, 2001), vol. XVI.Google Scholar
Botstein, Leon, ‘Out of Hungary: Bartók, Modernism, and the Cultural Politics of Twentieth-Century Music’ in Laki, Peter (ed.), Bartók and His World (Princeton University Press, 1995), pp. 363.Google Scholar
Boulez, Pierre, Boulez on Music Today, trans. Bradshaw, Susan and Bennett, Richard Rodney (London: Faber and Faber, 1971).Google Scholar
Boulez, Pierre, Conversations with Célestin Deliège (London: Eulenburg, 1976).Google Scholar
Boulez, Pierre, Jalons (pour une décennie) (Paris: Éditions Christian Bourgois, 1989).Google Scholar
Boulez, Pierre, Leçons de musique (Points de repère III), collected and ed. Nattiez, Jean-Jacques (Paris: Éditions Christian Bourgois, 2005).Google Scholar
Boulez, Pierre, ‘L’informulé’, Révue d´ésthetique: Adorno, 8 (1985), 2530.Google Scholar
Boulez, Pierre, Orientations (London: Faber and Faber, 1986).Google Scholar
Boulez, Pierre, Penser la musique aujourd’hui (Genève: Gonthier, 1963).Google Scholar
Boulez, Pierre, Points de repère (Paris: Éditions Christian Bourgois, 1985).Google Scholar
Boulez, Pierre, Regards sur autrui (Points de repère II), collected and ed. Nattiez, Jean-Jacques and Galaise, Sophie (Paris: Éditions Christian Bourgois, 2005).Google Scholar
Boulez, Pierre, Relevés d’apprenti (Paris: Seuil, 1966).Google Scholar
Boulez, Pierre, Stocktakings from an Apprenticeship, collected and ed. Thévenin, Paule, trans. Walsh, Stephen (Oxford: Clarendon Press, 1991).Google Scholar
Boulez, Pierre, and Deliège, Célestin, Par volonté et par hasard (Paris: Seuil, 1975).Google Scholar
Boulez, Pierre, Changeux, Jean-Pierre and Manoury, Philippe, Les Neurones enchantés (Paris: Odile Jacob, 2014).Google Scholar
Bowie, Andrew, Music, Philosophy, and Modernity (Cambridge University Press, 2007).CrossRefGoogle Scholar
Boym, Svetlana, The Future of Nostalgia (New York: Basic Books, 2001).Google Scholar
Breckenridge, Carol A. (ed.), Cosmopolitanism, Millennial Quartet (Durham, NC: Duke University Press, 2002).Google Scholar
Brooker, Peter, and Thacker, Andrew (eds.), Geographies of Modernism: Literatures, Cultures, Spaces (London and New York: Routledge, 2005).Google Scholar
Brunner, Raphaël, ‘L’“Improvisation III sur Mallarmé” de Pierre Boulez: Éléments pour une mise en perspective’, Dissonanz/Dissonance, 50 (1996), 414.Google Scholar
Bürger, Peter, Theory of the Avant-Garde, trans. Shaw, Michael (Minneapolis, MN: University of Minnesota Press, 1984).Google Scholar
Burnham, Scott, Beethoven Hero (Princeton, NJ: Princeton University Press, 1995).CrossRefGoogle Scholar
Burnham, Scott, Sounding Values: Selected Essays (Farnham: Ashgate, 2010).Google Scholar
Busch, Regina, ‘Thematisch oder athematisch?’, Mitteilungen der internationalen Schönberg-Gesellschaft, 3–4 (1989), 59.Google Scholar
Butor, Michel, ‘Mallarmé selon Boulez’, Melos, 28 (1961), 356–9.Google Scholar
Butt, John, Bach’s Dialogue with Modernity: Perspectives on the Passions (Cambridge University Press, 2007).Google Scholar
Bye, Antony, ‘Darkness at Noon: Anthony Bye Explores the Music of Simon Holt’, The Musical Times, 134/1804 (1993), 313–16.CrossRefGoogle Scholar
Campbell, Edward, Boulez, Music and Philosophy (Cambridge University Press, 2010).Google Scholar
Chaigne, Jean-Paul, ‘La complexité de la musique de Brian Ferneyhough: Étude philologique et esthétique’, unpublished DMA dissertation, University of Nice – Sophia Antipolis (2008).Google Scholar
Cherlin, Michael, Schoenberg’s Musical Imagination (Cambridge University Press, 2007).CrossRefGoogle Scholar
Chernilo, Daniel, ‘Cosmopolitanism and the Question of Universalism’ in Delanty, Gerard (ed.), Routledge Handbook of Cosmopolitan Studies (Abingdon: Routledge, 2012), pp. 4759.Google Scholar
Cobussen, Marcel, Thresholds: Rethinking Spirituality through Music (Aldershot: Ashgate, 2010).Google Scholar
Cohen, Brigid, ‘Limits of National History: Yoko Ono, Stefan Wolpe, and Dilemmas of Cosmopolitanism’, The Musical Quarterly, 97/2 (2014), 181237.CrossRefGoogle Scholar
Cohen, Brigid, Stefan Wolpe and the Avant-Garde Diaspora (Cambridge University Press, 2012).CrossRefGoogle Scholar
Cohn, Robert, Towards the Poems of Mallarmé (Berkeley, CA: University of California Press, 1980).Google Scholar
Cone, Edward T., The Composer’s Voice (Berkeley and Los Angeles, CA: University of California Press, 1974).CrossRefGoogle Scholar
Connor, Steven, ‘The Decomposing Voice of Postmodern Music’, New Literary History, 32/3 (2001), 467–83.CrossRefGoogle Scholar
Connor, Steven, ‘Edison’s Teeth: Touching Hearing’ in Erlmann, Veit (ed.), Hearing Cultures: Essays on Sound, Listening and Modernity (Oxford: Berg, 2004), pp. 153–72.Google Scholar
Cook, Nicholas, and Pople, Anthony (eds.), The Cambridge History of Twentieth-Century Music (Cambridge University Press, 2004).CrossRefGoogle Scholar
Corrado, Omar, Vanguardias al sur: la música de Juan Carlos Paz (Buenos Aires: University Nacional de Quilmes Ed., 2012).Google Scholar
Coulembier, Klaas ‘Multi-Temporality: Analysing Simultaneous Time Layers in Selected Compositions by Elliott Carter and Claus-Steffen Mahnkopf’, unpublished PhD dissertation, University of Leuven (2013).Google Scholar
Couroux, Marc, ‘Evryali and the Exploding of the Interface: From Virtuosity to Anti-Virtuosity and Beyond’, Contemporary Music Review, 21/2–3 (2002), 5367.CrossRefGoogle Scholar
Cox, Frank, ‘Notes toward a Performance Practice for Complex Music’ in Cox, Frank, Schurig, Wolfram and Mahnkopf, Claus-Steffen (eds.), Polyphony and Complexity: New Music and Aesthetics in the 21st Century (Hofheim: Wolke Verlag, 2002) pp. 70132.Google Scholar
Crang, Mike, Cultural Geography (London: Routledge, 1998).Google Scholar
Critchley, Simon, The Ethics of Deconstruction: Derrida and Levinas (Edinburgh University Press, 1999).Google Scholar
Csipák, Károly, ‘Sehr schnelle Reflexe: Erinnerungen an das Kolisch-Quartett’, Musica (1986), 518–24.Google Scholar
Dahlhaus, Carl, ‘Adornos Begriff des musikalischen Materials’ in Schönberg und andere: Gesammelte Aufsätze zur Neuen Musik (Mainz: Schott, 1978), pp. 336–9.Google Scholar
Dallmayr, Fred R., Beyond Orientalism: Essays on Cross-Cultural Encounter (Albany, NY: SUNY Press, 1996).Google Scholar
Danuser, Hermann, ‘Zur Haut zurückkehren: zu Theodor W. Adornos Theorie der musikalischen Reproduktion’, Musik & Ästhetik, 7/25 (2003), 522.Google Scholar
Darbon, Nicholas, ‘Virtuosité et complexité: l’injouable selon Brian Ferneyhough’, Analyse musicale, 52 (2005), 96111.Google Scholar
Decroupet, Pascal, ‘Comment Boulez pense sa musique au début des années soixante’ in Albèra, Pierre (ed.), Pli selon pli de Pierre Boulez: Entretiens et etudes (Genève: Éditions Contrechamps, 2003), pp. 4958.CrossRefGoogle Scholar
Delanty, Gerard, ‘The Idea of Critical Cosmopolitanism’ in Delanty, Gerard (ed.), Routledge Handbook of Cosmopolitan Studies (Abingdon: Routledge, 2012), pp. 3846.CrossRefGoogle Scholar
Deleuze, Gilles, The Fold: Leibniz and the Baroque, trans. Conley, Tom (London: Athlone, 1993).Google Scholar
Deleuze, Gilles, and Guattari, Félix, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Massumi, Brian (London: Athlone, 1988).Google Scholar
Deleuze, Gilles, and Guattari, Félix, What is Philosophy?, trans. Burchell, Graham and Tomlinson, Hugh (London: Verso, 1994).Google Scholar
de Man, Paul, Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism, 2nd edn (Minneapolis, MN: Methuen, 1983).Google Scholar
Derrida, Jacques, Dissemination, trans. Johnson, Barbara (The University of Chicago Press, 1981).CrossRefGoogle Scholar
Derrida, Jacques, ‘The Law of Genre’, Critical Inquiry, 7 (1980), 5581.CrossRefGoogle Scholar
Derrida, Jacques, Margins of Philosophy, trans. Bass, Alan (The University of Chicago Press, 1982).Google Scholar
Derrida, Jacques, Positions, trans. Bass, Alan (London and New York: Continuum, 2002).Google Scholar
Derrida, Jacques, Writing and Difference, trans. Bass, Alan (London: Routledge, 1978).Google Scholar
de Swaan, Carrie (dir.), Music Is the Air I Breathe (documentary) (Amsterdam: Swaan Produkties, 1995).Google Scholar
Dewenter, Carola, ‘Neue Musik und Musikpädagogik: Ein Gespräch mit Klaus-Kart Hübler’, Zeitschrift für Musikpädagogik, 11 (1986), 2731.Google Scholar
Downes, Michael, Jonathan Harvey: Song Offerings and White as Jasmine (Farnham: Ashgate, 2009).Google Scholar
Doyle, Laura, and Winkiel, Laura A., Geomodernisms: Race, Modernism, Modernity (Bloomington, IN: Indiana University Press, 2005).Google Scholar
Duncan, Michelle, ‘The Operatic Scandal of the Singing Body’, Cambridge Opera Journal, 16/3 (2008), 283306.CrossRefGoogle Scholar
Duteurtre, Benoît, Requiem pour une avant-garde (Paris: Robert Laffont, 1995).Google Scholar
Dwyer, Benjamin, ‘Transformational Ostinati in Györgi Ligeti’s Sonatas for Solo Cello and Solo Viola’ in Duchesneau, Louise and Marx, Wolfgang (eds.), György Ligeti: Of Foreign Lands and Strange Sounds (Woodbridge: Boydell and Brewer, 2011), pp. 1952.Google Scholar
Edwards, Peter, György Ligeti’s Le Grand Macabre (Farnham: Ashgate, 2016, forthcoming).Google Scholar
Edwards, Peter, ‘Tradition and the Endless Now: A Study of György Ligeti’s Le Grand Macabre’, unpublished PhD dissertation, University of Oslo (2012).Google Scholar
Erauw, Willem, ‘Canon Formation: Some More Reflections on Lydia Goehr’s Imaginary Museum of Musical Works’, Acta Musicologica, 70/2 (1998), 109–15.CrossRefGoogle Scholar
Erdely, Stephen, ‘Bartok and Folk Music’ in Bayley, Amanda (ed.), The Cambridge Companion to Bartók (Cambridge University Press, 2001), pp. 2444.CrossRefGoogle Scholar
Fanning, David, ‘Expressionism’ in Sadie, Stanley and Tyrrell, John(eds.), The New Grove, 2nd edn, 29 vols. (London: Macmillan, 2001), vol. IIX.Google Scholar
Feller, Ross, ‘Resistant Strains of Postmodernism: The Music of Helmut Lachenmann and Brian Ferneyhough’ in Lochhead, Judy and Auner, Joseph (eds.), Postmodern Music, Postmodern Thought (London and New York: Routledge, 2002), pp. 249–62.Google Scholar
Feller, Ross, ‘Strategic Defamiliarization: The Process of Difficulty in Brian Ferneyhough’s Music’, The Open Space Magazine, 2 (2000), 197202.Google Scholar
Ferneyhough, Brian, Collected Writings, ed. Boros, James and Toop, Richard, with foreword by Harvey, Jonathan (Amsterdam: Harwood Academic Publishers, 1995).Google Scholar
Ferneyhough, Brian, ‘Questionnaire Response’ in Bons, Joël (ed.), Complexity in Music? An Inquiry into Its Nature, Motivation and Performability (Rotterdam: Job Press, 1990).Google Scholar
Ferneyhough, Brian, and Boros, James, ‘Shattering the Vessels of Received Wisdom’, Perspectives of New Music, 28/2 (1990), 650.CrossRefGoogle Scholar
Finnissy, Michael, ‘Biting the Hand That Feeds You’, Contemporary Music Review, 21/1 (2002), 71–9.CrossRefGoogle Scholar
Fischer-Lichte, Erika, The Transformative Power of Performance: A New Aesthetics, trans. Jain, Saskya Iris (New York: Routledge, 2008).CrossRefGoogle Scholar
Foege, Alec, Confusion is Next: The Sonic Youth Story (New York: St. Martin’s Press, 1994).Google Scholar
Foucault, Michel, The Archaeology of Knowledge, trans. Smith, A. M. Sheridan (New York: Pantheon Books, 1972).Google Scholar
Foucault, Michel, The Order of Things: An Archaeology of the Human Sciences (New York: Pantheon Books, 1971).Google Scholar
Foucault, Michel, and Boulez, Pierre, ‘Contemporary Music and the Public’, Perspectives of New Music, 24/1 (1985), 612.CrossRefGoogle Scholar
Fox, Christopher, ‘The Extended Clarinet: Four Contemporary Approaches’ in Heaton, Roger (ed.), The Versatile Clarinet (London: Routledge, 2006), pp. 1530.Google Scholar
Franklin, Peter, Reclaiming Late-Romantic Music: Singing Devils and Distant Sounds (Berkeley and Los Angeles, CA: University of California Press, 2014).CrossRefGoogle Scholar
Freud, Sigmund, Psychopathology of Everyday Life (Seattle: Pacific Publishing Studio, 2010).Google Scholar
Gilroy, Paul, The Black Atlantic: Modernity and Double-Consciousness (Cambridge, MA: Harvard University Press, 1993).Google Scholar
Gloag, Kenneth, Postmodernism in Music (Cambridge University Press, 2012).Google Scholar
Goehr, Lydia, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford: Clarendon Press, 1992; revised edn Oxford University Press, 2007).Google Scholar
Goehr, Lydia, The Quest for Voice: On Music, Politics, and the Limits of Philosophy (Oxford University Press, 1998).CrossRefGoogle Scholar
Goldman, Jonathan, The Musical Language of Pierre Boulez: Writings and Compositions (Cambridge University Press, 2011).Google Scholar
Goldman, Jonathan, Nattiez, Jean-Jacques and Nicolas, François, La Pensée de Pierre Boulez à Travers ses Écrits (Paris: Delatour, 2010).Google Scholar
Gooley, Dana, ‘Cosmopolitanism in the Age of Nationalism, 1848–1914’, Journal of the American Musicological Society, 66/2 (2013), 523–49.CrossRefGoogle Scholar
Grassl, Markus, and Kapp, Reinhard (eds.), Die Lehre von der musikalischen Aufführung in der Wiener Schule: Verhandlungen des Internationalen Colloquiums Wien 1995 (Vienna, Cologne and Weimar: Boehlau Verlag).Google Scholar
Greenberg, Clement, ‘Modernist Painting’ in O’Brien, John (ed.), Clement Greenberg: The Collected Essays and Criticism, Modernism with a Vengeance (1957–1969), 4 vols. (University of Chicago Press, 1993), vol. IV.Google Scholar
Greene, Jayson, ‘Making Overtures: The Emergence of Indie Classical’, Pitchfork (28 February 2012), http://pitchfork.com/features/articles/8778-indie-classical/ (accessed 24 March 2015).Google Scholar
Griffiths, Paul, A Concise History of Western Music (Cambridge University Press, 2006).Google Scholar
Guilbaut, Serge, How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War, trans. Goldhammer, Arthur (University of Chicago Press, 1985).CrossRefGoogle Scholar
Guldbrandsen, Erling E., ‘Casting New Light on Boulezian Serialism’ in Campbell, Edward and O’Hagan, Peter (eds.), Boulez Studies (Cambridge University Press, 2016, forthcoming).Google Scholar
Guldbrandsen, Erling E., ‘Modernist Composer and Mahler Conductor: Changing Conceptions of Performativity in Boulez’, Studia Musicologica Norvegica, 32 (2006), 140–68.CrossRefGoogle Scholar
Guldbrandsen, Erling E., ‘New Light on Pierre Boulez and Postwar Modernism: On the Composition of “Improvisation I–III sur Mallarmé”’ in Sørensen, Søren Møller (ed.), In the Plural: Institutions, Pluralism and Critical Self-Awareness in Contemporary Music (University of Copenhagen, 1997), pp. 1528.Google Scholar
Guldbrandsen, Erling E., ‘Pierre Boulez in Interview, 1996 (I) Modernism, History and Tradition’, Tempo, 65/255 (2011), 916.CrossRefGoogle Scholar
Guldbrandsen, Erling E., ‘Pierre Boulez in Interview, 1996 (II) Serialism Revisited’, Tempo, 65/256 (2011), 1824.CrossRefGoogle Scholar
Guldbrandsen, Erling E., ‘Pierre Boulez in Interview, 1996 (III) Mallarmé, Musical Form and Articulation’, Tempo, 65/257 (2011), 1121.CrossRefGoogle Scholar
Guldbrandsen, Erling E., ‘Pierre Boulez in Interview, 1996 (IV) Some Broader Topics’, Tempo, 65/258 (2011), 3743.CrossRefGoogle Scholar
Guldbransen, Erling E., ‘Tradisjon og tradisjonsbrudd: En studie i Pierre Boulez: Pli selon pli – portrait de Mallarmé’, unpublished PhD dissertation, University of Oslo (1995).Google Scholar
Guldbrandsen, Erling E., Tradisjon og tradisjonsbrudd: En studie i Pierre Boulez: Pli selon pli – portrait de Mallarmé (Oslo: Scandinavian University Press, 1997).Google Scholar
Hakobian, Levon, Music of the Soviet Age 1917–1987 (Stockholm: Melos Music Literature, 1998).Google Scholar
Hallam, Mandy, ‘Conversation with James MacMillan’, Tempo, 62/245 (2008), pp. 1729.CrossRefGoogle Scholar
Hannerz, Ulf, ‘Cosmopolitans and Locals in World Culture’, Theory, Culture & Society, 7/2 (1990), 237–51.CrossRefGoogle Scholar
Harvey, Jonathan, ‘The Mirror of Ambiguity’ in Emmerson, Simon (ed.), The Language of Electronic Music (London: Macmillan, 1986), pp. 177–90.Google Scholar
Heaton, Roger, ‘The Performer’s Point of View’, Contact, 30 (1987), 30–3.Google Scholar
Hegel, Georg W. F., Aesthetics: Lectures on Fine Arts, trans. Knox, T. M., 2 vols. (Oxford: Clarendon Press, 1975).Google Scholar
Hegel, Georg W. F., The Philosophy of Fine Art, trans. Osmaston, F. P. B., 4 vols. (London: Bells and Sons, 1920), vol. III.Google Scholar
Heile, Björn, ‘Weltmusik and the Globalization of New Music’ in Heile, Björn (ed.) The Modernist Legacy: Essays on New Music (Farnham: Ashgate, 2009), pp. 101–21.Google Scholar
Heininen, Paavo, ‘Erik Bergman’s Path to the New Music’ in Parsons, Jeremy (ed.), Erik Bergman: A Seventieth Birthday Tribute (Helsinki: Pan, 1981), pp.113–50.Google Scholar
Heiniö, Mikko, ‘Bergman, Erik’ in Heister, Hanns-Werner and Sparrer, Walter-Wolfgang (eds.), Komponisten Der Gegenwart, 10. Lfg. (Munich: Edition Text + Kritik, n.d.).Google Scholar
Hell, Julia, and Schölne, Andreas (eds.), Ruins of Modernity (Durham, NC and London: Duke University Press, 2010).CrossRefGoogle Scholar
Hewett, Ivan, Music: Healing the Rift (New York and London: Continuum 2003).Google Scholar
Hibbett, Ryan, ‘What is Indie Rock?’, Popular Music and Society, 28/1 (2005), 5577.CrossRefGoogle Scholar
Hobsbawm, Eric and Ranger, Terence (eds.), The Invention of Tradition (Cambridge University Press, 1983).Google Scholar
Hoeckner, Berthold, Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment (Princeton University Press, 2002).Google Scholar
Hooper, Giles, The Discourse of Musicology (Aldershot: Ashgate, 2006).Google Scholar
Howell, Tim, After Sibelius: Studies in Finnish Music (Aldershot, UK and Burlington, VT: Ashgate, 2006).Google Scholar
Hübler, Klaus K., ‘Expanding String Technique’, trans. Cox, Frank in Cox, Frank, Schurig, Wolfram and Mahnkopf, Claus-Steffen (eds.), Polyphony and Complexity: New Music and Aesthetics in the 21st Century, pp. 233–44.Google Scholar
Hullot-Kentor, Robert, ‘Right Listening and a New Type of Human Being’ in Things Beyond Resemblance: Collected Essays on Theodor W. Adorno (New York: Columbia University Press, 2006), pp. 193209.Google Scholar
Hutcheon, Linda, A Theory of Parody: The Teachings of Twentieth-Century Art Forms (New York: Methuen, 1985).Google Scholar
Huyssen, Andreas, After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington, IN: Indiana University Press, 1987).Google Scholar
Huyssen, Andreas, ‘Nostalgia for Ruins’, Grey Room, 2 (2006), 621.CrossRefGoogle Scholar
Iddon, Martin, New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez (Cambridge University Press, 2013).CrossRefGoogle Scholar
Idel, Moshe, Kabbalah and Eros (New Haven, CT: Yale University Press, 2005).Google Scholar
Ivashkin, Alexander, Alfred Schnittke (London: Phaidon Books Ltd., 1996).Google Scholar
Jameson, Fredric, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991).Google Scholar
Jameux, Dominique, Pierre Boulez (Paris: Fayard, 1984).Google Scholar
Jencks, Charles, What is Post-Modernism? (New York and London: St. Martin’s Press, 1986; Chichester: Academy Editions, 1996).Google Scholar
Johnson, Julian, ‘An Interview with Jonathan Harvey’ in O’Hagan, Peter (ed.), Aspects of British Music of the 1990s (Aldershot: Ashgate, 2003), pp. 119–30.Google Scholar
Johnson, Julian, Mahler’s Voices: Expression and Irony in the Songs and Symphonies (Oxford University Press, 2009).CrossRefGoogle Scholar
Johnson, Julian, Out of Time: Music and the Making of Modernity (Oxford University Press, 2015).Google Scholar
Johnson, Julian, Webern and the Transformation of Nature (Cambridge University Press, 1999).Google Scholar
Johnson, Julian, Who Needs Classical Music?: Cultural Choice and Musical Value (Oxford University Press, 2002).CrossRefGoogle Scholar
Josephson, David, ‘The German Musical Exile and the Course of American Musicology’, Current Musicology, 79 and 80 (2005), 953.Google Scholar
Kanno, Mieko, ‘Prescriptive Notation: Limits and Challenges’, Contemporary Music Review, 26/2 (2007), 231–54.CrossRefGoogle Scholar
Kant, Immanuel, Perpetual Peace (Minneapolis, MN: Filiquarian Publishing, LLC., 2007).Google Scholar
Karantonis, Pamela, ‘Cathy Berberian and the Performative Art of Voice’ in Karantonis, Pamela, Placanica, Francesca, Sivuoja-Kauppala, Anna and Verstraete, Pieter (eds.), Cathy Berberian: Pioneer of Contemporary Vocality (Farnham: Ashgate, 2014), pp. 151–68.Google Scholar
Karantonis, Pamela, Placanica, Francesca, Sivuoja-Kauppala, Anna and Verstraete, Pieter (eds.), Cathy Berberian: Pioneer of Contemporary Vocality (Farnham: Ashgate, 2014).Google Scholar
Katz, Ruth, and Dahlhaus, Carl (eds.), Contemplating Music: Source Readings in the Aesthetics of Music (Stuyvesant: Pendragon Press, 1992).Google Scholar
Kawabata, Mai, ‘Virtuoso Codes of Violin Performance: Power, Military Heroism, and Gender (1789–1830)’, 19th-Century Music, 28/2 (2004), 89107.CrossRefGoogle Scholar
Kerman, Joseph, The Beethoven Quartets (New York: W. W. Norton, 1979).Google Scholar
Kerman, Joseph, Contemplating Music: Challenges to Musicology (Cambridge, MA: Harvard University Press, 1985).Google Scholar
Kerman, Joseph, Musicology (London: Fontana Press, 1985).Google Scholar
Kimbrough, Andrew, Dramatic Theories of Voice in the Twentieth Century (Amherst: Cambria Press, 2011).Google Scholar
Klotz, Heinrich, Kunst im 20. Jahrhundert: Moderne-Postmoderne-Zweite Moderne (Munich: C. H. Beck, 1994).Google Scholar
Kolisch, Rudolf, Rudolf Kolisch: Zur Theorie der Aufführung (Musik-Konzepte 29/30), ed. Metzger, Heinz-Klaus and Riehn, Rainer (Munich: edition text+kritik, 1983).Google Scholar
Kolisch, Rudolf, ‘Tempo and Character in Beethoven’s Music,’ trans. Mendel, Arthur, The Musical Quarterly, 29/2 (1943), 169–87 (part 1); 29/3 (1943), 291–311 (part 2).Google Scholar
Kolisch, Rudolf, and Leibowitz, René, ‘Aufführungsprobleme im Violinkonzert von Beethoven’, Musica, 33/2 (1979), 148–55.Google Scholar
Kostelanetz, Richard, Conversing with Cage (New York: Routledge, 2003).CrossRefGoogle Scholar
Kramer, Lawrence, Why Classical Music Still Matters (Berkeley and Los Angeles, CA: University of California Press, 2007).Google Scholar
Kurasawa, Fuyuki, ‘A Cosmopolitanism from Below: Alternative Globalization and the Creation of a Solidarity without Bounds’, European Journal of Sociology/Archives Européennes de Sociologie, 45/02 (2004), 233–55.Google Scholar
Lachenmann, Helmut, Écrits et entretiens (Genève: Contrechamps, 2009).CrossRefGoogle Scholar
Lachenmann, Helmut, Musik Als Existensielle Erfahrung: Schriften 1966–1995, 2nd edn (Wiesbaden: Breitkopf & Härtel, 2004).Google Scholar
Leech-Wilkinson, Daniel, ‘Musicology and Performance’ in Blazekovic, Zdravko (ed.), Music’s Intellectual History: Founders, Followers and Fads (New York: RILM, 2009), pp. 791804.Google Scholar
Leibowitz, René, ‘Comment interprète-t-on Beethoven?’, Les Temps Modernes, 175–6 (1960), 630–46.Google Scholar
Lester, Paul, ‘Tank Boy’, The Guardian (5 October 2001), http://www.guardian.co.uk/culture/2001/oct/05/artsfeatures3 (accessed 24 March 2015).Google Scholar
Levi, Erik, and Scheding, Florian, Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond (Lanham, MD and Plymouth, UK: Scarecrow Press, 2010).Google Scholar
Levinas, Michaël, Le compositeur trouvère: écrits et entretiens (1982–2002), collected and ed. Castanet, Pierre A. and Cohen-Levinas, Danielle (Paris: L’Harmattan, 2002).Google Scholar
Levitz, Tamara, ‘Vogel, Wladimir’ in Sadie, Stanley and Tyrrell, John (eds.), The New Grove Dictionary of Music and Musicians, 2nd edn. Version at Grove Music Online.Google Scholar
Lévy, Fabien, ‘Inintelligible, injouable, incompréhensible: La complexité musicales est-elle analytique, instrumentale, perceptive ou hétéronome?’, Itamar, revista de investigacion musical, 1 (2008), 6187.Google Scholar
Lewin, David, Studies in Music and Text (Oxford University Press, 2006).CrossRefGoogle Scholar
Ligeti, György, ‘Form’ in Thomas, Ernst (ed.), Darmstädter Beiträge zur Neuen Musik (Mainz: Schott, 1966), pp. 2335.Google Scholar
Locke, Ralph P., Musical Exoticism: Images and Reflections (Cambridge University Press, 2009).Google Scholar
Lutosławski, Witold, Lutosławski on Music, ed. and trans. Skowron, Zbigniew (Lanham, MA: Rowman & Littlefield, 2007).Google Scholar
Lyotard, Jean-François, ‘Musique et postmodernité’, Surfaces, 6/203 (v.1.0 F – 27 November 1996), 416.CrossRefGoogle Scholar
Lyotard, Jean-François, The Postmodern Condition: A Report on Knowledge, trans. Bennington, Geoff and Massumi, Brian (Manchester University Press, 1984; Minneapolis, MN: University of Minnesota Press, 1984; La Condition Postmoderne: Rapport sur le Savoir, Paris: Les Editions de Minuit, 1979).Google Scholar
Magaldi, Cristina, ‘Cosmopolitanism and World Music in Rio de Janeiro at the Turn of the Twentieth Century’, The Musical Quarterly, 92/3–4 (2009), 329–64.CrossRefGoogle Scholar
Mahnkopf, Claus-Steffen, Cox, Frank and Schurig, Wolfram, Facets of the Second Modernity: New Music and Aesthetics in the 21st Century (Hofheim: Volke Verlag, 2008).Google Scholar
Makarius, Michel, Ruins, trans. Radzinowicz, David (Paris: Fammarion, 2004).Google Scholar
Mallarmé, Stéphane, Œuvres complètes (Paris: Pléiade, 1989).Google Scholar
Mauser, Siegfried, ‘Zum Begriff des musikalischen Charakters in Beethovens frühen Klaviersonaten’ in Kolleritsch, Otto (ed.), Beethoven und die Zweite Wiener Schule (Studien zur Wertungsforschung 25) (Wien: Universal, 1992), pp. 190202.Google Scholar
McClary, Susan, Conventional Wisdom: The Content of Musical Form (Berkeley and Los Angeles, CA: University of California Press, 2000).Google Scholar
McClary, Susan, Desire and Pleasure in Seventeenth-Century Music (Berkeley and Los Angeles, CA: University of California Press, 2012).Google Scholar
McClary, Susan, Georges Bizet: Carmen (Cambridge: Cambridge University Press, 1992).CrossRefGoogle Scholar
McClary, Susan, Reading Music: Selected Essays (Aldershot: Ashgate, 2007).Google Scholar
McClary, Susan, ‘Soprano Masculinities’ in Purvis, Philip (ed.), Masculinity in Opera, (London: Routledge, 2013), pp. 5179.Google Scholar
McClary, Susan, ‘Terminal Prestige: The Case of Avant-Garde Music Composition’, Cultural Critique, 12 (1989), 5781.CrossRefGoogle Scholar
McClary, Susan, ‘The World According to Taruskin’, Music and Letters, 87/3 (2006), 408–15.CrossRefGoogle Scholar
McLeod, Kembrew, and DiCola, Peter, Creative License: The Law and Culture of Digital Sampling (Durham, NC: Duke University Press, 2011).Google Scholar
Menger, Pierre-Michel, ‘From the Domaine Musical to IRCAM: Pierre Boulez in conversation with Pierre-Michel Menger’, trans. Bernard, Jonathan W., Perspectives of New Music, 28/1 (1990), 619.Google Scholar
Metzer, David, Musical Modernism at the Turn of the Twenty-First Century (Cambridge University Press, 2009).Google Scholar
Meyer, Thomas, ‘Zum Tod von Hansjörg Pauli’, Dissonanz/Dissonance, 98 (2007), 46–7.Google Scholar
Minor, Ryan, ‘Beyond Heroism: Music, Ethics, and Everyday Cosmopolitanism’, Journal of the American Musicological Society, 66/2 (2013), 529–34.Google Scholar
Moretti, Franco, Atlas of the European Novel, 1800–1900 (London: Verso, 1998).Google Scholar
Morrison, Richard, ‘Julian Anderson in Conversation with Richard Morrison’, The Times 2 (30 April 2014), 89.Google Scholar
Mosch, Ulrich, ‘“Ihre Lieder Sind Stimmungsvoll Und Schön, Nur …”: Erik Bergmans Studien Bei Heinz Tiessen Zwischen 1937 Und 1943’, Mitteilungen Der Paul Sacher Stiftung, 24 (2011), 1218, http://www.paul-sacher-stiftung.ch/de/forschung_publikationen/publikationen/mitteilungen/nr_24_april_2011.html.Google Scholar
Müller-Doohm, Stefan, Adorno: A Biography (Cambridge: Polity Press, 2009).Google Scholar
Nehemas, Alexander, Only a Promise of Happiness: The Place of Beauty in a World of Art (Princeton University Press, 2010).Google Scholar
Nelson, Maggie, The Art of Cruelty: A Reckoning (New York: W. W. Norton, 2012).Google Scholar
Newman, Michael Z., ‘Indie Culture: In Pursuit of the Authentic Autonomous Alternative’, Cinema Journal, 48/3 (2009), 1634.CrossRefGoogle Scholar
New York Times, ‘Mark Oppenheimer, “Poetry’s Cross-Dressing Kingmaker”’, Sunday Magazine (14 September 2012).Google Scholar
Nietzsche, Friedrich W., The Birth of Tragedy, trans. Fadiman, Clifton (New York: Dover Publications, 1995).Google Scholar
Nordwall, Ove, György Ligeti: Eine Monographie (Mainz: Schott, 1971).Google Scholar
Nyman, Michael, Experimental Music: Cage and Beyond, 2nd edn (Cambridge University Press, 1999).Google Scholar
O’Meara, Caroline, ‘Clarity and Order in Sonic Youth’s Early Noise Rock’, Journal of Popular Music Studies, 25 (2013), 1330.CrossRefGoogle Scholar
Oesch, Hans, ‘Exotisches Bei Erik Bergman’ in Parsons, Jeremy (ed.), Erik Bergman: A Seventieth Birthday Tribute (Helsinki: Pan, 1981), pp. 183206.Google Scholar
Oramo, Ilkka, ‘Bergmann [sic], Erik (Valdemar)’ in Blume, Friedrich (ed.), Die Musik in Geschichte Und Gegenwart: Allgemeine Enzyklopädie der Musik, revised 2nd edn, ed. Finscher, Ludwig (Kassel, Stuttgart, etc.: Bärenreiter, Metzler, 1999), vol. 2, pp. 1271–7.Google Scholar
Orledge, Robert, ‘Evocations of Exoticism’, The Cambridge Companion to Ravel (Cambridge University Press, 2002), pp. 2746.Google Scholar
Osmond-Smith, David, ‘The Tenth Oscillator: The Work of Cathy Berberian 1958–1966’, Tempo, 58/227 (2004), 213; reprinted in Karantonis, Pamela, Placanica, Francesca, Sivuoja-Kauppala, Anna and Verstraete, Pieter (eds.), Cathy Berberian: Pioneer of Contemporary Vocality (Farnham: Ashgate, 2014), pp. 1931.CrossRefGoogle Scholar
Paddison, Max, Adorno’s Aesthetics of Music (Cambridge University Press, 1993).CrossRefGoogle Scholar
Paddison, Max, ‘Performance and the Silent Work’, Filigrane: Musique, esthétique, sciences, société, http://revues.mshparisnord.org/filigrane/index.php?id=147 (accessed 27 May 2011).Google Scholar
Perloff, Marjorie, 21st-Century Modernism: The ‘New’ Poetics (Oxford: Blackwell, 2002).Google Scholar
Piencikowski, Robert, ‘Nature morte avec guitare’ in Häusler, Josef (ed.), Festschrift Pierre Boulez (Mainz: Schott, 1985), pp. 6681.Google Scholar
Placanica, Francesca, ‘Cathy Berberian: Performance as Composition’, unpublished Master’s thesis, Southern Methodist University (Dallas, 2007).Google Scholar
Potter, Keith, Gann, Kyle and ap Siôn, Pwyll (eds.), The Ashgate Research Companion to Minimalist and Postminimalist Music (Farnham: Ashgate, 2013).Google Scholar
Pousseur, Henri, Musiques croisées (Paris: L’Harmattan, 1997).Google Scholar
Proust, Françoise, L’Histoire à Contretemps: Le Temps Historique Chez Walter Benjamin (Passages) (Paris: Éditions du Cerf, 1994).Google Scholar
Rancière, Jacques, The Politics of Aesthetics: The Distribution of the Sensible, trans. Rockhill, Gabriel (London: Continuum, 2004).Google Scholar
Rehding, Alexander, Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany (Oxford University Press, 2009).CrossRefGoogle Scholar
Revuluri, Sindhumathi, ‘Review: Musical Exoticism: Images and Reflections’, Journal of the American Musicological Society, 64/1 (2011), 253–61.Google Scholar
Reynolds, Simon, ‘Review: Public Enemy, Fear of a Black Planet,’ Melody Maker (April 1990).Google Scholar
Richard, Jean-Pierre, L’univers imaginaire de Mallarmé (Paris: Seuil, 1961).Google Scholar
Riegl, Alois, ‘The Modern Cult of Monuments: Its Character and Its Origin’ (1928), trans. Forster, Kurt W. and Ghirardo, Diane, Oppositions, 25 (1982), 2151.Google Scholar
Rihm, Wolfgang, Ausgesprochen: Schriften und Gespräche, ed. Mosch, Ulrihc, 2 vols (Mainz: Schott, 2002).Google Scholar
Rose, Tricia, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover and London: Wesleyan University Press, 1994).Google Scholar
Rosen, Charles, ‘Music and the Cold War,’ New York Review of Books (7 April 2011).Google Scholar
Rosen, Charles, ‘The Piano Music’ in Glock, William (ed.), Pierre Boulez: A Symposium (London: Eulenburg, 1986), pp. 8597.Google Scholar
Rosen, Charles, The Romantic Generation (Cambridge, MA: Harvard University Press, 1995).Google Scholar
Ross, Alex, ‘American Sublime’, The New Yorker (19 June 2006).Google Scholar
Ross, Alex, Listen to This (New York: Farrar, Straus and Giroux, 2010).Google Scholar
Said, Edward, Orientalism (London: Penguin Books, 2003).Google Scholar
Saunders, James (ed.), The Ashgate Research Companion to Experimental Music (Farnham: Ashgate, 2009).Google Scholar
Savenko, Svetlana, ‘Valentin Silvestrov’s Lyrical Universe’ in Tsenova, Valeria (ed.), Underground Music from the Former USSR (Amsterdam: Harwood Academic Publishers, 1998), pp. 6683.Google Scholar
Scaldaferri, Nicola, Musica nel laboratorio elettroacustico (Lucca: Libreria Musicale Italiana, 1994).Google Scholar
Schäfer, Thomas, ‘Zwischen Schönberg und Stockhausen: Rudolf Kolisch bei den Internationalen Ferienkursen’ in Stephan, Rudolf, Knessl, Lothar, Tomek, Otto, Trapp, Claus and Fox, Christopher (eds.), Von Kranichstein zur Gegenwart (Stuttgart: DACO, 1996), pp. 104–11.Google Scholar
Scherer, Jacques, Le ‘Livre’ de Mallarmé (Paris: Gallimard, 1957).Google Scholar
Schick, Steven, ‘Developing an Interpretative Context: Learning Brian Ferneyhough’s Bone Alphabet’, Perspectives of New Music, 32/1 (1994), 132–53.CrossRefGoogle Scholar
Schiff, David, ‘Unreconstructed Modernist’, The Atlantic Monthly (September 1995), 104–8.Google Scholar
Schlegel, Friedrich, Philosophical Fragments, trans. Firchow, Peter (Minneapolis, MN: University of Minnesota Press, 1991).Google Scholar
Schmalfeldt, Janet, In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Oxford University Press, 2011).Google Scholar
Schmelz, Peter J., Such Freedom, If Only Musical: Unofficial Soviet Music during the Thaw (Oxford University Press, 2009).CrossRefGoogle Scholar
Schmelz, Peter J., ‘Valentin Silvestrov and the Echoes of Music History’, The Journal of Musicology, 31/2 (2014), 231–71.CrossRefGoogle Scholar
Schmelz, Peter J., ‘What Was “Shostakovich”, and What Came Next?’, The Journal of Musicology, 24/3 (2007), 297338.CrossRefGoogle Scholar
Schoenberg, Arnold, ‘Aphorismen’, Die Musik, 9/21 (1909/10), 159–63.Google Scholar
Scholem, Gershom G., Major Trends in Jewish Mysticism (New York: Schocken Books, 1961).Google Scholar
Scholem, Gershom G. On the Mystical Shape of the Godhead, trans. Neugroschel, Joachim (New York: Schocken Books, 1991).Google Scholar
Schönle, Andreas, Architecture of Oblivion: Ruins and Historical Consciousness in Modern Russia (DeKalb: Northern Illinois University Press, 2011).CrossRefGoogle Scholar
Schwarz, David, Kassabian, Anahid and Siegel, Lawrence (eds.), Keeping Score: Music, Disciplinarity, Culture (Charlottesville, VA: University Press of Virginia, 1997).Google Scholar
Scruton, Roger, Death-Devoted Heart: Sex and the Sacred in Wagner’s Tristan und Isolde (Oxford University Press, 2004).CrossRefGoogle Scholar
Seabrook, Mike, ‘“Dark Fire”: Simon Holt and His Music’, Tempo, 201 (1997), 21–7.Google Scholar
Seeger, Charles, ‘Prescriptive and Descriptive Music-Writing’, The Musical Quarterly, 44/2 (1958), 184–95.Google Scholar
Seherr-Thoss, Peter, György Ligetis Oper Le Grand Macabre: Erste Fassung: Entstehung und Deutung: von der Imagination bis zur Realisation einer musikdramatischen Idee (Eisenach: Wagner, 1998).Google Scholar
Shaw, Jennifer, ‘New Performance Sources and Old Modernist Productions: Die Jakobsleiter in the Age of Mechanical Reproduction’, The Journal of Musicology, 19/3 (2002), 434–60.CrossRefGoogle Scholar
Shenk, David, Data Smog: Surviving the Information Glut (New York: Harper Collins, 1997).Google Scholar
Simmel, Georg, ‘The Ruin’ (1911) in Wolff, Kurt H (ed.),Georg Simmel, 1858–1918: A Collection of Essays, With Translations and a Bibliography, trans. Kettler, David (Columbus: The Ohio State University Press, 1959), pp. 259–66.Google Scholar
Small, Christopher, Music of the Common Tongue: Survival and Celebration in African-American Music, 2nd edn (Middletown, CT: Wesleyan University Press, 1998).Google Scholar
Small, Christopher, Music, Society, Education, 2nd edn (Middletown, CT: Wesleyan University Press, 1996).Google Scholar
Small, Christopher, Musicking: The Meanings of Performing and Listening (Middletown, CT: Wesleyan University Press, 1998).Google Scholar
Small, Christopher, Schoenberg (London: John Calder, 1978).Google Scholar
Steinitz, Richard, György Ligeti: Music of the Imagination (London: Faber, 2003).Google Scholar
Stokes, Martin, ‘On Musical Cosmopolitanism’, The Macalester International Roundtable (2007), http://digitalcommons.macalester.edu/intlrdtable/3.Google Scholar
Stoler, Ann Laura, ‘Imperial Debris: Reflections on Ruins and Ruination’, Cultural Anthropology, 23/2 (2008), 191219.CrossRefGoogle Scholar
Straus, Joseph, ‘The Myth of Serial “Tyranny” in the 1950s and 1960s’, The Musical Quarterly, 83/3 (1999), 301–43.CrossRefGoogle Scholar
Stravinsky, Igor, Poetics of Music in the Form of Six Lessons (Cambridge, MA: Harvard University Press, 1970).CrossRefGoogle Scholar
Sturken, Marita, ‘Monuments – Historical Overview’ in Kelly, Michael (ed.), Encyclopedia of Aesthetics in Oxford Art Online (accessed 4 September 2012).Google Scholar
Suarès, Carlo, The Song of Songs: The Canonical Song of Solomon Deciphered According to the Original Code of the Qabala (Boston, MA: Shambala, 1972).Google Scholar
Taruskin, Richard, ‘Afterword: Nicht Blutbefleckt?’, The Journal of Musicology, 26/2 (2009), 274–84.CrossRefGoogle Scholar
Taruskin, Richard, The Oxford History of Western Music, 6 vols. (Oxford University Press, 2005; 5. vols., 2010).Google Scholar
Tommasini, Anthony, ‘Drifting Back to the Real World’, New York Times (8 June 2014).Google Scholar
Toop, Richard, ‘Against a Theory of Musical (New) Complexity’ in Paddison, Max and Deliège, Irène (eds.), Contemporary Music: Theoretical and Philosophical Perspectives, (Farnham: Ashgate, 2010), pp. 8997.Google Scholar
Toop, Richard, ‘Four Facets of “the New Complexity”’, Contact, 32 (1988), 450.Google Scholar
Torvinen, Juha, ‘The Tone of the North’, Finnish Music Quarterly (September 2010), http://www.fmq.fi/2010/09/the-tone-of-the-north/.Google Scholar
Trigg, Dylan, The Aesthetics of Decay: Nothingness, Nostalgia, and the Absence of Reason (New York: Peter Lang Publishing, 2006).Google Scholar
Várnai, Péter, Häusler, Josef, Samuel, Claude and Ligeti, György, György Ligeti in Conversation with Péter Várnai, Josef Häusler, Claude Samuel and Himself (London: Eulenburg Books, 1983).Google Scholar
Vila, Marie-Christine, Cathy Berberian Cant’atrice (Paris: Fayard, 2003).Google Scholar
Wagner, Richard, Richard Wagner: Briefe (Stuttgart: Reclam, 1995).Google Scholar
Wald, Elijah, How the Beatles Destroyed Rock and Roll: An Alternative History of American Popular Music (Oxford University Press, 2009).Google Scholar
Wason, Robert, ‘Webern’s “Variations for Piano”, Op. 27: Musical Structure and the Performance Score’, Intégral, 1 (1987), 57103.Google Scholar
Watkins, Holly, ‘Schoenberg’s Interior Designs’, Journal of the American Musicological Society, 61/1 (2008), 123206.CrossRefGoogle Scholar
Weber, William, The Rise of Musical Classics: A Study in Canon, Ritual and Ideology (Oxford University Press, 1992).Google Scholar
Weiss, Allen S., ‘La glossolalie et la glossographie dans les délires théologiques’, trans. (French) Chantal, Thomas, Langages, 23/91 (1988), Les glossolalies, 105–10.CrossRefGoogle Scholar
Wells, Dominic P., ‘In the Footsteps of Bach: Passion Settings of David Lang and James MacMillan’, Tempo, 67/264 (2013), 4051.CrossRefGoogle Scholar
Wells, Dominic P., ‘James MacMillan: Retrospective Modernist’, unpublished PhD dissertation, University of Durham (2012).Google Scholar
Werbner, Pnina, ‘Anthropology and the New Ethical Cosmopolitanism’ in Delanty, Gerard (ed.) Routledge Handbook of Cosmopolitan Studies (Abingdon: Routledge, 2012), pp. 153–65.Google Scholar
Werbner, Pnina, ‘Global Pathways. Working Class Cosmopolitans and the Creation of Transnational Ethnic Worlds’, Social Anthropology, 7/1 (1999), 1735.CrossRefGoogle Scholar
White, Hayden, ‘Anomalies of Genre: The Utility of Theory and History for the Study of Literary Genres’, New Literary History, 34 (2003), 597615.CrossRefGoogle Scholar
White, John D., and Christensen, Jean, New Music of the Nordic Countries (Hillsdale, NY: Pendragon Press, 2002).Google Scholar
Whittall, Arnold, ‘Boulez at 80: The Path from the New Music’, Tempo, 59/233 (2005), 315.CrossRefGoogle Scholar
Whittall, Arnold, Musical Composition in the Twentieth Century, revised edn (Oxford University Press, 1999).Google Scholar
Whittall, Arnold, ‘Schoenberg and the “True Tradition”: Theme and Form in the String Trio’, Musical Times, 115/1579 (1974), 739–43.CrossRefGoogle Scholar
Whittall, Arnold, ‘“Unbounded visions”: Boulez, Mallarmé and Modern Classicism,’ Twentieth-Century Music, 1/1 (2004), 6580.CrossRefGoogle Scholar
Wilson, Samuel, ‘An Aesthetics of Past-Present Relations in the Experience of Late 20th– and Early 21st-Century Art Music’, unpublished PhD dissertation, Royal Holloway, University of London (2013).Google Scholar
Wilson, Samuel, ‘After Beethoven, After Hegel: Legacies of Selfhood in Schnittke’s String Quartet No. 4’, International Review of the Aesthetics and Sociology of Music, 45/2 (2014), 311–34.Google Scholar
Wilson, Samuel, ‘Building an Instrument, Building an Instrumentalist: Helmut Lachenmann’s Serynade’, Contemporary Music Review, 32/5 (2013), 425–36.CrossRefGoogle Scholar
Wolff, Christoph, ‘Schoenberg, Kolisch, and the Continuity of Viennese Quartet Culture’ in Brinkmann, Reinhold and Wolff, Christoph (eds.), Music of My Future: The Schoenberg Quartets and Trio (Cambridge, MA: Harvard University Press, 2000), pp. 1324.Google Scholar
Zenck, Martin, ‘Auswirkungen einer “musique informelle” auf die neue Musik: Zu Theodor W. Adornos Formvorstellung’, International Review of the Aesthetics and Sociology of Music, 10/2 (1979), 137–65.CrossRefGoogle Scholar
Zimmermann, Bernd Alois, ‘Intervalle et temps’ in Albéra, Philippe (ed.), Bernd Alois Zimmermann (Contrechamps 5), (Lausanne: Édition L’Age d’Homme, 1985), pp. 3235.CrossRefGoogle Scholar
Zoppelli, Luca, ‘Processo compositivo, “furor poeticus” e Werkcharakter nell’opera romantica italiana: Osservazioni su un “continuity draft” di Donizetti’ in Il Saggiatore Musicale, 12/2 (2005), 301–38.Google Scholar

Save book to Kindle

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

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

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Edited by Erling E. Guldbrandsen, Universitetet i Oslo, Julian Johnson, Royal Holloway, University of London
  • Book: Transformations of Musical Modernism
  • Online publication: 05 November 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316411766.018
Available formats
×

Save book to Dropbox

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

  • Bibliography
  • Edited by Erling E. Guldbrandsen, Universitetet i Oslo, Julian Johnson, Royal Holloway, University of London
  • Book: Transformations of Musical Modernism
  • Online publication: 05 November 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316411766.018
Available formats
×

Save book to Google Drive

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

  • Bibliography
  • Edited by Erling E. Guldbrandsen, Universitetet i Oslo, Julian Johnson, Royal Holloway, University of London
  • Book: Transformations of Musical Modernism
  • Online publication: 05 November 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316411766.018
Available formats
×