Book contents
- Interwar Symphonies and the Imagination
- Music in Context
- Interwar Symphonies and the Imagination
- Copyright page
- Dedication
- Contents
- Figures
- Examples
- Preface
- Acknowledgements
- Abbreviations
- 1 Between Europe and America: Kurt Weill’s Symphony in a Suitcase
- 2 Listening for the Intimsphäre in Hans Pfitzner’s Symphony in C♯ Minor
- 3 Liberalism, Race, and the American West in Roy Harris’s Symphony 1933
- 4 Aaron Copland’s and Carlos Chávez’s Pan-American Bounding Line
- 5 Arthur Honegger’s ‘Modernised Eroica’
- 6 The Right Kind of Symphonist: Florence Price and Kurt Weill
- Select Bibliography
- Index
- References
Select Bibliography
Published online by Cambridge University Press: 28 January 2023
Book contents
- Interwar Symphonies and the Imagination
- Music in Context
- Interwar Symphonies and the Imagination
- Copyright page
- Dedication
- Contents
- Figures
- Examples
- Preface
- Acknowledgements
- Abbreviations
- 1 Between Europe and America: Kurt Weill’s Symphony in a Suitcase
- 2 Listening for the Intimsphäre in Hans Pfitzner’s Symphony in C♯ Minor
- 3 Liberalism, Race, and the American West in Roy Harris’s Symphony 1933
- 4 Aaron Copland’s and Carlos Chávez’s Pan-American Bounding Line
- 5 Arthur Honegger’s ‘Modernised Eroica’
- 6 The Right Kind of Symphonist: Florence Price and Kurt Weill
- Select Bibliography
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Interwar Symphonies and the ImaginationPolitics, Identity, and the Sound of 1933, pp. 236 - 252Publisher: Cambridge University PressPrint publication year: 2023
References
Select Bibliography
Abbate, Carolyn. ‘Offenbach, Kracauer, and Ethical Frivolity’. Opera Quarterly 33 (2017): 62–86.Google Scholar
Abbate, Carolyn Unsung Voices: Opera and Musical Narrative in the Nineteenth-Century. Princeton: Princeton University Press, 1991.Google Scholar
Absher, Amy. The Black Musician and the White City: Race and Music in Chicago, 1900–1967. Ann Arbor: University of Michigan Press, 2014.Google Scholar
Adams, Byron. ‘“Thor’s Hammer”: Sibelius and British Music Critics, 1905–1957’. In Jean Sibelius and His World, edited by Grimley, Daniel M., 125–57. Princeton: Princeton University Press, 2011.Google Scholar
Adorno, Theodor W. Introduction to the Sociology of Music. Translated by E. B. Ashton [Ernst Basch]. New York: Continuum, 1989.Google Scholar
Adorno, Theodor W. Mahler: A Musical Physiognomy. Translated by Edmund Jephcott. Chicago: University of Chicago Press, 1992.Google Scholar
Adorno, Theodor W. and Horkheimer, Max. Dialectic of Enlightenment. Translated by John Cumming. London: Allen Lane, 1973.Google Scholar
Agawu, Kofi. ‘How We Got Out of Analysis, and How to Get Back in Again’. Music Analysis 23 (2004): 267–86.Google Scholar
André, Naomi. Black Opera: History, Power, Engagement. Urbana: University of Illinois Press, 2018.Google Scholar
André, Naomi Voicing Gender: Castrati, Travesti, and the Second Woman in Early Nineteenth-Century Italian Opera. Bloomington: Indiana University Press, 2006.Google Scholar
Anzaldúa, Gloria. Borderlands/La Frontera: The New Mestiza. San Francisco: Aunt Lute Books, 1987.Google Scholar
Aoki, Keith. ‘(Intellectual) Property and Sovereignty: Notes Toward a Cultural Geography of Authorship’. Stanford Law Review 48 (1996): 1293–355.Google Scholar
Applegate, Celia. ‘How German Is It? Nationalism and the Idea of Serious Music in the Early Nineteenth Century’. 19th-Century Music 21 (1998): 274–96.Google Scholar
Attali, Jacques. Noise: The Political Economy of Music. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 2006.Google Scholar
Attfield, Nicholas. ‘Symphonic Aspirations: German Music and Politics, 1900–1945 (review)’. Music and Letters 90 (2009): 296–8.Google Scholar
Bailey, Robert. ‘Musical Language and Formal Design in Weill’s Symphonies’. In A Stranger Here Myself: Kurt Weill-Studien, edited by Kowalke, Kim H. and Edler, Horst, 207–15. Hindelsheim: Georg Olms Verlag, 1993.Google Scholar
Bauman, Thomas. ‘Mahler in a New Key: Genre and the “Resurrection” Finale’. Journal of Musicology 23 (2006): 468–85.Google Scholar
Beausang, Ita. Ina Boyle (1889–1967): A Composer’s Life, with an Essay on the Music by Séamas de Barra. Cork: Cork University Press, 2018.Google Scholar
Bekker, Paul Die Sinfonie von Beethoven bis Mahler. Berlin: Schuster & Loeffler, 1918.Google Scholar
Benjamin, Walter. The Arcades Project. Translated by Howard Eiland and Kevin McLaughlin. Cambridge, MA: Belknap Press, 1999.Google Scholar
Benjamin, Walter ‘Critique of Violence’. In Selected Writings, edited by Bullock, Marcus and Jennings, Michael W., 236–52. Vol. 1, 1913–1928. Cambridge, MA: Belknap Press, 1996.Google Scholar
Besseler, Heinrich. ‘Musik und Raum’. In Musik und Bild: Festschrift Max Seiffert, edited by Besseler, 151–60. Kassel: Bärenreiter, 1938.Google Scholar
Bhabha, Homi. ‘Of Mimicry and Man: The Ambivalence of Colonial Discourse’. October 28 (1984): 125–33.Google Scholar
Biddle, Ian. ‘The Gendered Eye: Music Analysis and the Scientific Outlook in German Early Romantic Music Theory’. In Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, edited by Clark, Suzanne and Rehding, Alexander, 183–96. Cambridge: Cambridge University Press, 2001.Google Scholar
Blackmer, Corinne E. and Smith, Patricia Juliana, eds. En Travesti: Women, Gender Subversion, Opera. New York: Columbia University Press, 1995.Google Scholar
Blake, William. The Complete Poetry and Prose of William Blake. Edited by Erdman, David V.. Berkeley: University of California Press, 1982.Google Scholar
Bohlman, Philip V. ‘Musicology as a Political Act’. Journal of Musicology 11 (1993), 411–36.Google Scholar
Bonds, Mark Evan. Music as Thought: Listening to the Symphony in the Age of Beethoven. Princeton: Princeton University Press, 2006.Google Scholar
Bourin, Odile, Germain-David, Pierrette, Massip, Catherine, and Ourgandjian, Raffi, eds. Elsa Barraine, une compositrice au XXème siècle. Sampzon: Éditions Delatour, 2010.Google Scholar
Bowles, Paul. ‘Forecast and Review: Letter from Mexico’. Modern Music 19 (1941): 36–9.Google Scholar
Brinkmann, Reinhold. ‘The Compressed Symphony: On the Historical Content of Schoenberg’s Op. 9’. Translated by Irene Zedlacher. In Schoenberg and His World, edited by Frisch, Walter, 141–61. Princeton: Princeton University Press, 2012.Google Scholar
Brinkmann, Reinhold ‘The Distorted Sublime: Music and National Socialist Ideology – A Sketch’. In Music and Nazism: Art under Tyranny, 1933–1945, edited by Kater, Michael H and Riethmüller, Albrecht, 43–63. Laaber: Laaber-Verlag, 2003.Google Scholar
Brown, A. Peter. The Symphonic Repertoire. 5 vols. Bloomington: Indiana University Press, 2002.Google Scholar
Brown, Rae Linda. ‘Florence B. Price’s “Negro Symphony”’. In Temples for Tomorrow: Looking Back at the Harlem Renaissance, edited by Fabre, Geneviève and Feith, Michel, 84–98. Bloomington: Indiana University Press, 2001.Google Scholar
Brown, Rae Linda The Heart of a Woman: The Life and Music of Florence B. Price. Urbana: University of Illinois Press, 2020.Google Scholar
Brown, Rae Linda ‘Lifting the Veil: The Symphonies of Florence B. Price’. In Florence Price: Symphonies Nos. 1 and 3, edited by Brown, Rae Linda and Shirley, Wayne, xv–lii. Middleton: AR Editions, 2008.Google Scholar
Brown, Rae Linda ‘Selected Orchestral Music of Florence B. Price (1888–1953) in the Context of Her Life and Work’. PhD thesis, Yale University, 1987.Google Scholar
Brückner, Martin and Hsu, Hsuan L., eds. American Literary Geographies: Spatial Practice and Cultural Production, 1500–1900. Newark, DE: University of Delaware Press, 2007.Google Scholar
Brückner, Martin and Hsu, Hsuan L. Early American Cartographies. Chapel Hill: University of North Carolina Press, 2011.Google Scholar
Christa, Brüstle. ‘Elizabeth Maconchy and Bela Bartók: “Ultra-Modernity” in British Music’. In Elizabeth Maconchy: Music as Impassioned Argument, edited by Brüstle, Christa and Sofer, Danielle, 124–49. Vienna: Universal Edition, 2018.Google Scholar
Brüstle, Christa and Sofer, Danielle, eds. Elizabeth Maconchy: Music as Impassioned Argument. Vienna: Universal Edition, 2018.Google Scholar
Burnham, Scott G. Beethoven Hero. Princeton: Princeton University Press, 1995.CrossRefGoogle Scholar
Busch, Sabine. Hans Pfitzner und der Nationalsozialismus. Stuttgart: J. B. Metzler, 2001.Google Scholar
Canarina, John. ‘The American Symphony’. In A Guide to the Symphony, edited by Layton, Robert, 402–24. Oxford: Oxford University Press, 1995.Google Scholar
Carlier, Matthieu. ‘La forme dans les trois Mouvements symphoniques d’Arthur Honegger’. Thesis, Paris-Sorbonne University, 1992.Google Scholar
Carter, Marquese. ‘The Poet and Her Song: Analyzing the Art Songs of Florence B. Price’. DMus thesis, Indiana University, 2018.Google Scholar
Chude-Sokei, Louis. The Sound of Culture: Diaspora and Black Technopoetics. Middletown: Wesleyan University Press, 2016.Google Scholar
Clague, Mark. ‘The Industrial Evolution of the Arts: Chicago’s Auditorium Building (1889–) as Cultural Machine’. Opera Quarterly 22 (2006): 477–511.Google Scholar
Clement, Catherine. Opera, or the Undoing of Women. Translated by Betsy Wing. Minneapolis: University of Minnesota Press, 1988.Google Scholar
Cogdell, Christina. ‘The Futurama Recontextualized: Norman Bel Geddes’s Eugenic “World of Tomorrow”’. American Quarterly 52 (2000): 193–245.CrossRefGoogle Scholar
Cohen, Deborah and O’Connor, Maura. Comparison and History: Europe in Cross-National Perspective. New York: Routledge, 2004.Google Scholar
Cook, Nicholas and Everist, Mark, eds. Rethinking Music. Oxford: Oxford University Press, 1999.Google Scholar
Coombe, Rosemary J. ‘Authorial Cartographies: Mapping Proprietary Borders in a Less-Than-Brave New World’. Stanford Law Review 48 (1996): 1357–66.Google Scholar
Coombe, Rosemary J. The Cultural Life of Intellectual Properties: Authorship, Appropriation, and the Law. Durham, NC: Duke University Press, 1998.Google Scholar
Copland, Aaron ‘Carlos Chávez: Mexican Composer’. In American Composers on American Music: A Symposium, edited by Cowell, Henry, 102–6. Stanford: Stanford University Press, 1933.Google Scholar
Copland, Aaron and Vivian, Perlis. Copland, 1900–1942. New York: St Martin’s Press, 1984.Google Scholar
Covach, John. ‘Popular Music, Unpopular Musicology’. In Rethinking Music, edited by Cook, Nicholas and Everist, Mark, 452–70. Oxford: Oxford University Press, 1999.Google Scholar
Cox, David. ‘The Symphony in France’. In A Guide to the Symphony, edited by Layton, Robert, 193–220. Oxford: Oxford University Press, 1995.Google Scholar
Crary, Jonathan. Suspension of Perception: Attention, Spectacle, and Modern Culture. Cambridge, MA: MIT Press, 1999.CrossRefGoogle Scholar
Crist, Elizabeth Bergman. Music for the Common Man: Aaron Copland during the Depression and War. Oxford: Oxford University Press, 2005.CrossRefGoogle Scholar
Cusick, Suzanne. ‘Gender, Musicology, and Feminism’. In Rethinking Music, edited by Cook, Nicholas and Everist, Mark, 471–98. Oxford: Oxford University Press, 1999.Google Scholar
Daniels, Stephen. Fields of Vision: Landscape Imagery and National Identity in England and the United States. Cambridge: Polity Press, 1993.Google Scholar
Day, Timothy. A Century of Recorded Music: Listening to Musical History. New Haven: Yale University Press, 2000.Google Scholar
DeLapp, Jennifer. ‘Speaking to Whom? Modernism, Middlebrow and Copland’s Short Symphony’. In Copland Connotations: Studies and Interviews, edited by Dickenson, Peter, 85–102. Woodbridge: Boydell Press, 2002.Google Scholar
Delpar, Helen. ‘Carlos Chávez and the Mexican “Vogue”, 1925–40’. In Carlos Chávez and His World, edited by Saavedra, Leonora, 204–19. Princeton: Princeton University Press, 2015.Google Scholar
Delpar, Helen The Enormous Vogue of Things Mexican: Cultural Relations between the United States and Mexico, 1920–1935. Tuscaloosa: University of Alabama Press, 1992.Google Scholar
Denning, Michael. The Cultural Front: The Laboring of American Culture in the Twentieth Century. London: Verso, 2010.Google Scholar
Deruchie, Andrew. The French Symphony at the Fin de Siècle: Style, Culture, and the Symphonic Tradition. Rochester: University of Rochester Press, 2013.Google Scholar
Doherty, Thomas Patrick. Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930–1934. New York: Columbia University Press, 1999.Google Scholar
Dolan, Emily I. The Orchestral Revolution: Haydn and the Technologies of Timbre. Cambridge: Cambridge University Press, 2013.Google Scholar
Dowling, Linda C. Hellenism and Homosexuality in Victorian Oxford. Ithaca: Cornell University Press, 1994.Google Scholar
Drew, David. ‘Kurt Weill’. In The New Grove Dictionary of Music and Musicians, edited by Sadie, Stanley, 300–10. Vol. 20. London: Macmillan, 1980.Google Scholar
Du Bois, W. E. B. The Souls of Black Folks. Edited by Blight, David W. and Gooding-Williams, Robert. Boston: Bedford Books, 1997.Google Scholar
Dudenbostel, Ryan Keith. The Bounding Line: Rhythm, Meter, and the Performance of Aaron Copland’s Short Symphony. DMus thesis, UCLA, 2014.Google Scholar
Ege, Samantha. ‘The Aesthetics of Florence Price: Negotiating the Dissonances of a New World Nationalism’. PhD thesis, University of York, 2020.Google Scholar
Ege, Samantha ‘Chicago, the “City We Love to Call Home!”: Intersectionality, Narrativity, and Locale in the Music of Florence Beatrice Price and Theodora Sturkow Ryder’. American Music 39 (2021): 1–40.Google Scholar
Ege, Samantha ‘Composing a Symphonist: Florence Price and the Hand of Black Women’s Fellowship’. Women and Music: A Journal of Gender and Culture 24 (2020): 7–27.CrossRefGoogle Scholar
Eidsheim, Nina Sun. ‘Marian Anderson and “Sonic Blackness” in American Opera’. American Quarterly 63 (2011): 641–71.Google Scholar
Elsner, Jaś. ‘Reflections on the “Greek Revolution” in Art: From Changes in Viewing to the Transformation of Subjectivity’. In Rethinking Revolutions through Ancient Greece, edited by Goldhill, Simon and Osborne, Robin, 68–95. Cambridge: Cambridge University Press, 2006.Google Scholar
Sergej, Èrazmovič Pavčinskij. Simfoničeskoe tvorčestvo A. Oneggera. Moskva: Sovetskij Kompozitor, 1972.Google Scholar
Erlmann, Veit. Reason and Resonance: A History of Modern Aurality. New York: Zone Books, 2010.Google Scholar
Ertan, Deniz. ‘When Men and Mountains Meet: Ruggles, Whitman, and Their Landscapes’. American Music 27 (2009): 227–53.Google Scholar
Fabre, Geneviève and Feith, Michel, eds. Temples for Tomorrow: Looking Back at the Harlem Renaissance. Bloomington: Indiana University Press, 2001.Google Scholar
Fanning, David. ‘Symphonik 1930–1950: Gattungsgeschichtliche und analytische Beiträge’ (book review). Music and Letters 85 (2004): 498–9.Google Scholar
Fanning, David ‘The Symphony in the Soviet Union’. In A Guide to the Symphony, edited by Layton, Robert, 292–326. Oxford: Oxford University Press, 1995.Google Scholar
Fanning, David ‘The Symphony since Mahler: National and International Trends’. In The Cambridge Companion to the Symphony, edited by Horton, Julian, 96–129. Cambridge: Cambridge University Press, 2013.Google Scholar
Farrah, Scott David. ‘Signifyin(g): A Semiotic Analysis of Symphonic Works by William Grant Still, William Levi Dawson, and Florence B. Price’. PhD thesis, Florida State University, 2007.Google Scholar
Fischer, Jens Malte. ‘The Very German Fate of a Composer: Hans Pfitzner’. In Music and Nazism: Art under Tyranny, 1933–1945, edited by Kater, Michael H. and Riethmüller, Albrecht, 75–89. Laaber: Laaber-Verlag, 2003.Google Scholar
Flinn, Caryl. Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. Princeton: Princeton University Press, 1992.Google Scholar
Floyd, Samuel A., ed. Black Music in the Harlem Renaissance: A Collection of Essays. New York: Greenwood, 1990.Google Scholar
Forkert, Annika. ‘Beauty among Beasts? Maconchy, Walton, Tippett, and Britten’. In Elizabeth Maconchy: Music as Impassioned Argument, edited by Brüstle, Christa and Sofer, Danielle, 63–85. Vienna: Universal Edition, 2018.Google Scholar
Franklin, Peter. Seeing through Music: Gender and Modernism in Classic Hollywood Film Scores. Oxford: Oxford University Press, 2011.Google Scholar
Gaines, Kevin K. Uplifting the Race: Black Leadership, Politics, and Culture in the Twentieth Century. Durham, NC: University of North Carolina Press, 1996.Google Scholar
Gates, Paul W. Free Homesteads for All Americans: The Homestead Act of 1862. Washington: Civil War Centennial Commission, 1963.Google Scholar
Gervink, Manuel. Die Symphonie in Deutschland und Österreich in der Zeit zwischen den beiden Weltkriegen. Regensburg: Bosse, 1984.Google Scholar
Gilliam, Bryan. ‘The Annexation of Anton Bruckner: Nazi Revisionism and the Politics of Appropriation’. Musical Quarterly 78 (1994): 584–604.CrossRefGoogle Scholar
Gorbman, Claudia. Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press, 1987.Google Scholar
Goss, Glenda Dawn. Jean Sibelius and Olin Downes: Music, Friendship, Criticism. Boston: Northeastern University Press, 1995.Google Scholar
Grimley, Daniel M. Grieg: Music, Landscape, and Norwegian Identity. Woodbridge: Boydell, 2006.Google Scholar
Grimley, Daniel M. ‘Landscape and Distance: Vaughan Williams and the Modernist Pastoral’. In Music and British Modernism, 1890–1930, edited by Riley, Matthew and Rodmell, Paul, 147–74. Aldershot: Ashgate, 2010.Google Scholar
Grimley, Daniel M. ‘Symphony/Antiphony: Formal Strategies in the Twentieth-Century Symphony’. In The Cambridge Companion to the Symphony, edited by Horton, Julian, 285–310. Cambridge: Cambridge University Press, 2013.Google Scholar
Gumbrecht, Hans Ulrich. In 1926: Living at the Edge of Time. Cambridge, MA: Harvard University Press, 1997.Google Scholar
Habermas, Jürgen. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Translated by Thomas Burger and Frederick Lawrence. Cambridge, MA: MIT Press, 1989.Google Scholar
Halbreich, Harry, Arthur Honegger. Edited by Pauly, Reinhard G.. Translated by Roger Nichols. Portland: Amadeus Press, 1999.Google Scholar
Hartman, Saidiya V. Scenes of Subjugation: Terror, Slavery, and Self-Making in Nineteenth-Century America. New York: Oxford University Press, 1997.Google Scholar
Edwards, Brent Hayes. Epistrophies: Jazz and the Literary Imagination. Cambridge, MA: Harvard University Press, 2017.Google Scholar
Hecimovich, Gregg A. ‘“With Pale Blake I Write Tintingface”: The Bounding Line of James Joyce’s Aesthetic’. James Joyce Quarterly 36 (1999): 889–904.Google Scholar
Heidegger, Martin. Being and Time. Translated by John Macquarrie and Edward Robinson. Oxford: Blackwell, 1967.Google Scholar
Heldt, Guido. ‘Erste Symphonien: Britten, Walton und Tippett’. In Symphonik 1930–1950: Gattungsgeschichtliche und analytische Beiträge, edited by Osthoff, Wolfgang and Schubert, Giselher, 84–108. Mainz: Schott, 2003.Google Scholar
Hepokoski, James. ‘Back and Forth from Egmont: Beethoven, Mozart, and the Nonresolving Recapitulation’. 19th-Century Music 25 (2001–2): 127–54.Google Scholar
Hepokoski, James ‘Beethoven Reception: The Symphonic Tradition’. In The Cambridge History of Nineteenth-Century Music, edited by Jim, Samson, 424–59. Cambridge: Cambridge University Press, 2002.Google Scholar
Hepokoski, James ‘Beyond the Sonata Principle’. Journal of the American Musicological Society 55 (2002): 91–154.Google Scholar
Hepokoski, James ‘Masculine. Feminine. Are Current Readings of Sonata Form in Terms of a “Masculine” and “Feminine” Dichotomy Exaggerated? James Hepokoski Argues for a More Subtle Approach to the Politics of Musical Form’. Musical Times 135 (1994): 494–9.Google Scholar
Hepokoski, James and Darcy, Warren. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University Press, 2006.Google Scholar
Hess, Carol A. Representing the Good Neighbor: Music, Difference, and the Pan American Dream. New York: Oxford University Press, 2013.Google Scholar
Hinton, Stephen. The Idea of Gebrauchsmusik: A Study of Musical Aesthetics in the Weimar Republic (1919–1933), with Particular Reference to the Works of Paul Hindemith. New York: Garland, 1989.Google Scholar
Hinton, Stephen Weill’s Musical Theater: Stages of Reform. Berkeley: University of California Press, 2012.Google Scholar
Hoffmann, E. T. A. E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism. Edited by Charlton, David and Clarke, Martyn. Cambridge: Cambridge University Press, 1989.Google Scholar
Holden, Raymond. Richard Strauss: A Musical Life. New Haven, CT: Yale University Press, 2011.Google Scholar
Horton, Julian, ed. The Cambridge Companion to the Symphony. Cambridge: Cambridge University Press, 2013.Google Scholar
Illies, Florian. 1913: Der Sommer des Jahrhunderts. Frankfurt am Main: S. Fischer, 2012.Google Scholar
Illies, Florian 1913: The Year before the Storm. Translated by Shaun Whiteside and Jamie Lee Searle. Brooklyn: Melville House, 2013.Google Scholar
Ingraham, Mary, So, Joseph, and Moodley, Roy, eds. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge, 2016.Google Scholar
Jackson, Barbara Garvey. ‘Florence Price, Composer’. Black Perspective in Music 5 (1977): 30–43.Google Scholar
Jackson, Kevin. Constellations of Genius: 1922: Modernism Year One. London: Hutchinson, 2012.Google Scholar
Johnson, Julian. Mahler’s Voices: Expression and Irony in the Songs and Symphonies. New York: Oxford University Press, 2009.Google Scholar
Johnson, Julian Webern and the Transformation of Nature. Cambridge: Cambridge University Press, 1999.Google Scholar
Johnson, Stephen. ‘After Mahler: The Central European Symphony in the Twentieth Century’. In A Guide to the Symphony, edited by Robert, Layton, 382–401. Oxford: Oxford University Press, 1995.Google Scholar
Joyce, James. A Portrait of the Artist as a Young Man. Edited by Deane, Seamus. Harmondsworth: Penguin Books, 2000.Google Scholar
Jürgens, Birgit. ‘Deutsche Musik’: Das Verhältnis von Ästhetik und Politik bei Hans Pfitzner. Hildesheim: George Olms Verlag, 2009.Google Scholar
Kahan, Sylvia. Music’s Modern Muse: A Life of Winnaretta Singer, Princesse de Polignac. Rochester: University of Rochester Press, 2003.Google Scholar
Kalinak, Kathryn. Settling the Score: Music and the Classical Hollywood Film. Madison: University of Wisconsin Press, 1992.Google Scholar
Kater, Michael H. Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press, 2000.CrossRefGoogle Scholar
Kater, Michael H. and Riethmüller, Albrecht, eds. Music and Nazism: Art under Tyranny, 1933–1945. Laaber: Laaber-Verlag, 2003.Google Scholar
Kennedy, Michael. Richard Strauss: Man, Musician, Enigma. Cambridge: Cambridge University Press, 1999.Google Scholar
Kennedy, Michael The Works of Ralph Vaughan Williams. London: Oxford University Press, 1964.Google Scholar
Koestenbaum, Wayne. The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire. London: Penguin, 1994.Google Scholar
Kolb-Neuhaus, Roberto. ‘Silvestre Revuelta’s Colorines vis-à-vis US Musical Modernism: A Dialogue of the Deaf?’. Latin American Music Review/Revista de Música Latinoamericana 36 (2015): 194–230.Google Scholar
Konrad, Ulrich. ‘Die Sinfonie liturgique von Arthur Honegger und die Tradition der Sinfonie um 1945’. Musik-Konzepte 135 (2007): 25–44.Google Scholar
Korstvedt, Benjamin M. ‘Reading Music Criticism beyond the Fin-de-Siècle Vienna Paradigm’. Musical Quarterly 94 (2011): 156–210.Google Scholar
Kowalke, Kim H. ‘Kurt Weill, Modernism, and Popular Culture: “Offentlichkeit als Stil”’, Modernism/Modernity 2 (1995): 27–69.Google Scholar
Kowalke, Kim H. and Symonnette, Lys, trans. and eds. Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya. London: Hamish Hamilton, 1996.Google Scholar
Kracauer, Siegfried. The Mass Ornament: Weimar Essays. Translated and edited by Levin, Thomas Y.. Cambridge, MA: Harvard University Press, 1995.Google Scholar
Kramer, Lawrence. Classical Music and Postmodern Knowledge. Berkeley: University of California Press, 1995.Google Scholar
Krones, Hartmut. Die österreichische Symphonie im 20. Jahrhundert. Vienna: Böhlau, 2005.Google Scholar
Krones, Hartmut ‘Die österreichische Symphonik in den 1930er und 1940er Jahren’. In Symphonik 1930–1950: Gattungsgeschichtliche und analytische Beiträge, edited by Osthoff, Wolfgang and Schubert, Giselher, 28–40. Mainz: Schott, 2003.Google Scholar
Kuhnt, Christian. ‘“Das Gegenteil von Pastorale”: Anmerkungen zu Kurt Weills 2. Sinfonie’. In Exilmusik: Komposition während der NS-Zeit, edited by Geiger, Friedrich and Schäfer, Thomas, 315–32. Hamburg: Von Bockel, 1999.Google Scholar
Kurth, Ernst. Selected Writings. Translated and edited by Rothfarb, Lee A.. Cambridge: Cambridge University Press, 1991.Google Scholar
Kutschke, Beate and Norton, Barley, eds. Music and Protest in 1968. Cambridge: Cambridge University Press, 2013.Google Scholar
Kyle Stanford, P. ‘August Weissman’s Theory of the Germ-Plasm and the Problem of Unconceived Alternatives’. History and Philosophy of Life Sciences 27 (2005): 163–99.Google Scholar
Lanza, Michael L. Agrarianism and Reconstruction Politics: The Southern Homestead Act. Baton Rouge: Louisiana State University Press, 1990.Google Scholar
Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network Theory. Oxford: Oxford University Press, 2005.Google Scholar
Le Vahr, Maurice. ‘Música y Músicos’. Revista de Revistas: El Semanario Nacional 24, no. 1281 (2 December 1934): 4.Google Scholar
Levi, Erik. Mozart and the Nazis: How the Third Reich Abused a Cultural Icon. New Haven, CT: Yale University Press, 2010.Google Scholar
Levitz, Tamara. Modernist Mysteries: Perséphone. New York: Oxford University Press, 2012.Google Scholar
Levitz, Tamara ‘Putting Kurt Weill in His Historical Place: The New Grove Articles’. Kurt Weill Newsletter 20 (2002): 4–9.Google Scholar
Levy, Beth E. Frontier Figures: American Music and the Mythology of the American West. Berkeley: University of California Press, 2012.Google Scholar
Levy, Beth E. ‘Frontier Figures: American Music and the Mythology of the American West, 1895–1945’. PhD thesis, University of California, Berkeley, 2002.Google Scholar
Levy, Beth E. ‘Roy Harris and the Crisis of Consonance’. In Tonality 1900–1950: Concept and Practice, edited by Wörner, Felix, Scheideler, Ullrich, and Rupprecht, Philip Ernst, 247–60. Stuttgart: Franz Steiner Verlag, 2012.Google Scholar
Levy, Beth E. ‘“The White Hope of American Music”; or, How Roy Harris Became Western’. American Music 19 (2001): 131–67.Google Scholar
Locke, Alain LeRoy. The Negro and His Music. Port Washington, NY: Kennikat Press, 1968.Google Scholar
Locke, Ralph P. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009.Google Scholar
Lookingbill, Brad D. Dustbowl, USA: Depression America and the Ecological Imagination, 1929–1941. Athens, OH: Ohio University Press, 2001.Google Scholar
Lovisa, Fabian R. Musikkritik im Nationalsozialismus: Die Rolle deutschsprachiger Musikzeitschriften 1920–1945. Laaber: Laaber-Verlag, 1993.Google Scholar
Lütteken, Laurenz. Sinfonie als Bekenntnis: Zürcher Festspiel-Symposium 2010. Kassel: Baerenreiter, 2011.Google Scholar
Maconchy, Elizabeth. Ina Boyle: An Appreciation with a Select List of Her Music. Dublin: Dolmen Press, 1974.Google Scholar
Madrid, Alejandro. Sounds of the Modern Nation: Music, Culture, and Ideas in Post-Revolutionary Mexico. Philadelphia: Temple, 2009.Google Scholar
Madrid, Alejandro Transnational Encounters: Music and Performance at the US-Mexico Border. New York: Oxford University Press, 2011.Google Scholar
Maillard, Jean. Les symphonies d’Arthur Honegger. Edited by Jacques, Nahoum. Paris: A. Leduc, 1974.Google Scholar
Mandel, Leon. Driven: The American Four-Wheeled Love Affair. New York: Stein and Day, 1977.Google Scholar
Mannheim, Karl. ‘Ideology and Utopia’. In The Weimar Republic Sourcebook, edited by Kaes, Anton, Jay, Martin, and Dimendberg, Edward, 297–300. Berkeley: University of California Press, 1994. Originally published as Ideologie und Utopie. Bonn: Cohen, 1929.Google Scholar
Marx, Leo. The Machine in the Garden: Technology and the Pastoral Ideal in America. Oxford: Oxford University Press, 2000.Google Scholar
Mathers, Daniel E. ‘Closure in the Sextet and Short Symphony by Aaron Copland: A Study Using Facsimiles and Printed Editions’. MM thesis, Florida State University, 1989.Google Scholar
Mawer, Deborah. ‘“Dancing on the Edge of the Volcano”: French Music in the 1930s’. In French Music since Berlioz, edited by Smith, Richard Langham and Potter, Caroline, 249–80. Aldershot: Ashgate, 2006.Google Scholar
May, Elaine Tyler, Homeward Bound: American Families in the Cold War. New York: Basic Books, 1988.Google Scholar
McClary, Susan. ‘Constructions of Subjectivity in Schubert’s Music’. In Queering the Pitch: The New Gay and Lesbian Musicology, edited by Brett, Philip, Wood, Elizabeth, and Thomas, Gary C., 205–33. Routledge: New York, 2006.Google Scholar
McClary, Susan Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press, 2002.Google Scholar
McClary, Susan ‘The World According to Taruskin’ (review-article). Music and Letters 87 (2006): 408–15.Google Scholar
McMahon, Jennifer L. and Csaki., B. Steve The Philosophy of the Western. Lexington: University Press of Kentucky, 2010.Google Scholar
Mercier, Richard. The Songs of Hans Pfitzner: A Guide and Study. Westport: Greenwood Press, 1998.Google Scholar
Merrill, Karen R. Public Lands and Political Meaning: Ranchers, the Government, and the Property between Them. Berkeley: University of California Press, 2002.Google Scholar
Meyer, Felix, Oja, Carol J., Rathert, Wolfgang, and Shreffler, Anne C., eds. Crosscurrents: American and European Music in Interaction, 1900–2000. Woodbridge: Boydell Press, 2014.Google Scholar
Micznik, Vera. ‘Music and Narrative Revisited: Degrees of Narrativity in Beethoven and Mahler’. Journal of the Royal Musical Association 126 (2001): 193–249.Google Scholar
Mignolo, Walter D. The Darker Side of Western Modernity: Global Futures, Decolonial Options. Durham, NC: Duke University Press, 2011.Google Scholar
Mignolo, Walter D. and Walsh, Catherine E, On Decoloniality: Concepts, Analytics, Praxis. Durham, NC: Duke University Press, 2018.Google Scholar
Miller, Jeffrey, ed. In Touch: The Letters of Paul Bowles. New York: Farrar, Straus and Girouz, 1994.Google Scholar
Moos, Dan. Outside America: Race, Ethnicity, and the Role of the American West in National Belonging. Hanover, NH: University Press of New England, 2005.Google Scholar
Moraña, Mabel, Dussel, Enrique D., and Jáuregui, Carlos A., eds. Coloniality at Large: Latin America and the Postcolonial Debate. Durham, NC: Duke University Press, 2008.Google Scholar
Morgan, Robert P. ‘The Concept of Unity and Musical Analysis’. Music Analysis 22 (2003): 7–50.Google Scholar
Mosch, Ulrich. ‘(Kein) Platz in der Geschichte? Das Honegger-Bild in der Musikgeschichtsschreibung’. In Arthur Honegger: Werk und Rezeption, edited by Jost, Peter, 15–35. Bern: Peter Lang, 2009.Google Scholar
Müller, Sven Oliver. ‘Political Pleasures with Old Emotions? Performances of the Berlin Philharmonic in the Second World War’. International Review of the Aesthetics and Sociology of Music 43 (2012): 35–52.Google Scholar
Müller-Berg, Sandra. ‘Ultramodern versus neoklassizistisch: Ruth Crawfords Three Songs und Aaron Coplands Short Symphony’. In Symphonik 1930–1950: Gattungsgeschichtliche und analytische Beiträge, edited by Osthoff, Wolfgang and Schubert, Giselher, 58–83. Mainz: Schott, 2003.Google Scholar
Mundy, Rachel. ‘The “League of Jewish Composers” and American Music’. Musical Quarterly 96 (2013): 50–99.Google Scholar
Navakas, Michele Currie. ‘Island Nation: Mapping Florida, Revising America’. Early American Studies: An Interdisciplinary Journal 11 (2013): 243–71.Google Scholar
Nietzsche, Friedrich. The Case of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms. Translated by Ludovici, Anthony M.. 3rd edition. Gloucester Dodo Press, 2008.Google Scholar
Notley, Margaret. Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism. Oxford: Oxford University Press, 2007.Google Scholar
Notley, Margaret ‘“Volksconcerte” in Vienna and Late Nineteenth-Century Ideology of the Symphony’. Journal of the American Musicological Society 50 (1997): 421–53.Google Scholar
Ohta, Misako. ‘Kurt Weill und Gustav Mahler: Der Komponist Weill als Nachfolger Mahlers’. Gakushūin Daigaku kenkyū ronshū 2 (1998): 39–58.Google Scholar
Oja, Carol J. Making Music Modern: New York in the 1920s. New York: Oxford University Press, 2000.Google Scholar
Onuf, Peter S. Statehood and Union: A History of the Northwest Ordinance. Bloomington: Indiana University Press, 1987.Google Scholar
Orbón, Julián. ‘Las Sinfonías de Carlos Chávez (II Parte)’. Pauta: Cuadernos de teoría y crítica musical 6 no. 22 (1987): 81–91.Google Scholar
Osthoff, Wolfgang and Schubert, Giselher, eds. Symphonik 1930–1950: Gattungsgeschichtliche und analytische Beiträge. Mainz: Schott, 2003.Google Scholar
Painter, Karen. Symphonic Aspirations: German Music and Politics, 1900–1945. Cambridge, MA: Harvard University Press, 2007.Google Scholar
Painter, Nell Irvin. The History of White People. New York; London: W. W. Norton, 2010.Google Scholar
Palm-Beulich, Helga-Maria. Süddeutsche Komponisten im 20. Jahrhundert: Verzeichnis zeitgenössischer symphonischer Werke. Munich: Bayerischer Musikrat, 1992.Google Scholar
Pederson, Sanna. ‘A. B. Marx, Berlin Concert Life, and German National Identity’. 19th-Century Music 18 (1994): 87–108.Google Scholar
Pelletier, Yvonne Elizabeth. ‘False Promises and Real Estate: Land Speculation and Millennial Maps in Herman Melville’s Confidence-Man’. In American Literary Geographies: Spatial Practice and Cultural Production, 1500–1900, edited by Brückner, Martin and Hsu, Hsuan L., 191–205. Newark, DE: University of Delaware Press, 2007.Google Scholar
Pergher, Roberta and Albanese, Guilia. ‘Historians, Fascism, and Italian Society: Mapping the Limits of Consent’. In In the Society of Fascists: Acclamation, Acquiescence, and Agency in Mussolini’s Italy, edited by Pergher, Roberta and Albanese, Guilia, 1–28. New York: Palgrave Macmillan, 2012.Google Scholar
Pfitzner, Hans Erich. Die neue Aesthetik der musikalischen Impotenz. Munich: Verlag der Süddeutschen Monatshefte, 1920.Google Scholar
Pfitzner, Hans Erich Briefe. Edited by Adamy, Bernhard. Tutzing: Hans Schneider, 1991.Google Scholar
Piekut, Benjamin. ‘Actor-Networks in Music History: Clarifications and Critiques’. Twentieth-Century Music 11 (2014): 191–215.Google Scholar
Piekut, Benjamin Experimentalism Otherwise: The New York Avant-Garde and Its Limits. Berkeley: University of California Press, 2011.Google Scholar
Pierce, Jason E. Making the White Man’s West: Whiteness and the Creation of the American West, Boulder: University Press of Colorado, 2016.Google Scholar
Pistorius, Juliana M. ‘Inhabiting Whiteness: The Eoan Group La Traviata, 1956’. Cambridge Opera Journal 31 (2019): 63–84.Google Scholar
Pollack, Howard. ‘Aaron Copland, Carlos Chávez, and Silvestre Revueltas’. In Carlos Chávez and His World, edited by Saavedra, Leonora, 99–110. Princeton: Princeton University Press, 2015.Google Scholar
Pollack, Howard Aaron Copland: The Life and Work of an Uncommon Man. London: Faber and Faber, 1999.Google Scholar
Pollack, Howard ‘Aaron Copland’s Short Symphony and the Challenge to Human Supervision and Control in Music’. Journal of New Music Research 31 (2002): 201–10.Google Scholar
Potter, Pamela M. Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler’s Reich. New Haven, CT: Yale University Press, 1998.Google Scholar
Potter, Pamela M. ‘Richard Strauss and the National Socialists: The Debate and Its Relevance’. In Richard Strauss: New Perspectives on the Composer and His Work, edited by Gilliam, Bryan, 93–113. Durham, CT: Duke University Press, 1992.Google Scholar
Prendergast, Roy M. Film Music, a Neglected Art: A Critical Study of Music in Films. New York: W. W. Norton, 1977.Google Scholar
Rehding, Alexander, Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany. Oxford: Oxford University Press, 2009.Google Scholar
Rico, Monica. Nature’s Noblemen: Transatlantic Masculinities and the Nineteenth-Century American West. New Haven, CT: Yale University Press, 2013.Google Scholar
Robertson, Malcolm D. ‘Roy Harris’s Symphonies: An Introduction (I)’, Tempo 207 (1998): 9–14.Google Scholar
Roediger, David R. The Wages of Whiteness: Race and the Making of the American Working Class. Revised edition. London: Verso, 2007.Google Scholar
Roosevelt, Franklin D. Addresses and Messages of Franklin D. Roosevelt: Compiled from Official Sources, Intended to Present the Chronological Development of the Foreign Policy of the United States from the Announcement of the Good Neighbor Policy in 1933, Including the War Declarations. London: His Majesty’s Stationary Office, 1943.Google Scholar
Rosenfeld, Paul. By Way of Art: Criticisms of Music, Literature, Painting, Sculpture, and the Dance. New York: Coward-McCann, 1928; reprinted Freeport, NY: Books for Libraries Press, 1967.Google Scholar
Ryding, Erik S. and Pechefsky, Rebecca. Bruno Walter: A World Elsewhere. New Haven, CT: Yale University Press, 2001.Google Scholar
Saavedra, Leonora. ‘Carlos Chávez y la Construcción de una Alteridad Estratégica’. In Diálogo de Resplandores: Carlos Chávez y Silvestre Revueltas, edited by Bitrán, Yael and Miranda, Ricardo, 125–36. Mexico City: Consejo Nacional para la Cultura y las Artes, 2002.Google Scholar
Saavedra, Leonora ‘Carlos Chávez’s Polysemic Style: Constructing the National, Seeking the Cosmopolitan’. Journal of the American Musicological Society 68 (2015): 99–149.Google Scholar
Saavedra, Leonora ‘Preface’. In Carlos Chávez and His World, edited by Saavedra, Leonora, ix–xv. Princeton: Princeton University Press, 2015.Google Scholar
Saavedra, Leonora, ed. Carlos Chávez and His World. Princeton: Princeton University Press, 2015.Google Scholar
Samson, Jim, ‘Analysis in Context’. In Rethinking Music, edited by Cook, Nicholas and Everist, Mark, 35–54. Oxford: Oxford University Press, 1999.Google Scholar
Samson, Jim ‘Nations and Nationalism’. In The Cambridge History of Nineteenth-Century Music, edited by Samson, Jim, 568–600. Cambridge: Cambridge University Press, 2001.Google Scholar
Sanders, Ronald. The Days Grow Short: The Life and Music of Kurt Weill. New York: Limelight Editions, 1985.Google Scholar
Schebera, Jürgen. ‘Amsterdam, 11. Oktober 1934: Einiges zur Uraufführung von Weills Sinfonie Nr. 2’. In Kurt Weill-Studien, edited by Grosch, Nils, Lucchesi, Joachim, and Schebera, Jürgen, 109–18. Stuttgart: M & P, Verlag für Wissenschaft und Forschung, 1996.Google Scholar
Schebera, Jürgen Kurt Weill: An Illustrated Life. Translated by Murphy, Caroline. New Haven, CT: Yale University Press, 1995.Google Scholar
Schenbeck, Lawrence. Racial Uplift and American Music, 1878–1943. Jackson: University of Mississippi Press, 2012.Google Scholar
Schering, Arnold. ‘Über den Begriff des Monumentalen in der Musik’. In Von großen Meistern in der Musik, 7–44. Leipzig: Breitkopf und Härtel, 1935.Google Scholar
Schoenberg, Arnold. The Musical Idea and the Logic, Technique, and Art of Its Presentation. Translated and edited by Carpenter, Patricia and Neff, Severine. New York: Columbia University Press, 1995.Google Scholar
Seiler, Cotton. Republic of Drivers: A Cultural History of Automobility in America. Chicago: University of Chicago Press, 2008.Google Scholar
Shadle, Douglas W. Antonín Dvořák’s New World Symphony. Oxford: Oxford University Press, 2021.Google Scholar
Shadle, Douglas W. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise. New York: Oxford University Press, 2016.Google Scholar
Shapiro, James. A Year in the Life of William Shakespeare: 1599. London: Faber and Faber, 2005.Google Scholar
Simpson, Robert, ed. The Symphony: Elgar to the Present Day. Aylesbury: Penguin Books, 1967.Google Scholar
Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover, NH: University Press of New England, 1998.Google Scholar
Solie, Ruth A. ‘What Do Feminists Want? A Reply to Pieter van den Toorn’. Journal of Musicology 9 (1991): 399–410.Google Scholar
Squire, Michael. The Art of the Body: Antiquity and Its Legacy. New York: Oxford University Press, 2011.Google Scholar
Stallings, Stephanie N. ‘The Pan/American Modernisms of Carlos Chávez and Henry Cowell’. In Carlos Chávez and His World, edited by Saavedra, Leonora, 28–45. Princeton: Princeton University Press, 2015.Google Scholar
Stansbury-O’Donnell, Mark D. ‘Desirability and the Body’. In A Companion to Greek and Roman Sexualities, edited by Hubbard, Thomas K., 33–55. Chichester: Wiley-Blackwell, 2014.Google Scholar
Steblin, Rita. A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries. Rochester: University of Rochester Press, 1996.Google Scholar
Stehman, Dan. ‘The Symphonies of Roy Harris: An Analytical Study of the Linear Materials and of Related Works’. PhD thesis, University of Southern California, 1973.Google Scholar
Steinbeck, Wolfram and Christoph, von Blumröder. Die Sinfonie im 19. und 20. Jahrhundert. Laaber: Laaber-Verlag, 2002.Google Scholar
Steinberg, Michael. The Symphony: A Listener’s Guide. New York: Oxford University Press, 1995.Google Scholar
Sterling, Bryan B. Forgotten Eagle: Wiley Post, America’s Heroic Aviation Pioneer. New York: Carrol and Graf, 2001.Google Scholar
Stewart, Jacqueline. Migrating to the Movies: Cinema and Black Urban Modernity. Berkeley: University of California Press, 2005.Google Scholar
Still, Judith Anne. William Grant Still: A Bio-Bibliography. Westport, CT: Greenwood, 1996.Google Scholar
Stuckenschmidt, H. H. Twentieth Century Composers. Vol. 2, Germany and Central Europe. London: Weidenfeld and Nicolson, 1970.Google Scholar
Subotnik, Rose Rosengard. Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press, 1991.Google Scholar
Tadday, Ulrich. ‘“Ziemlich unabhängig von herkömmlicher Ästhetik”: Arthur Honeggers Symphonie Liturgique und Sinfonie Deliciae Basilienses zwischen Innovation und Affirmation’. Musik-Konzepte 135 (2007): 45–56.Google Scholar
Talbot, Michael. The Finale in Western Instrumental Music. Oxford: Oxford University Press, 2001.Google Scholar
Tappolet, Willy Arthur Honegger. Translated by Tappolet, Claude. Neuchâtel: Editions de la Baconière, 1957.Google Scholar
Taruskin, Richard. The Oxford History of Western Music. Vol. 3, The Nineteenth Century. Oxford: Oxford University Press, 2005.Google Scholar
Taruskin, Richard The Oxford History of Western Music. Vol. 4, The Early Twentieth Century. Oxford: Oxford University Press, 2005.Google Scholar
Tawa, Nicholas E. The Great American Symphony: Music, the Depression, and War. Bloomington: Indiana University Press, 2009.Google Scholar
Taylor, Ronald. Kurt Weill: Composer in a Divided World. London: Simon & Schuster, 1991.Google Scholar
Vaget, Hans Rudolf. ‘“Der gute, alte Antisemitismus”: Hans Pfitzner, Bruno Walter und der Holocaust’. In Bruckner-Probleme: Internationales Kolloquium 7.–9. Oktober 1996 in Berlin, edited by Riethmüller, Albrecht, 215–32. Stuttgart: Franz Steiner, 1999.Google Scholar
Pieter, Van den Toorn. ‘Politics, Feminism, and Contemporary Music Theory’. Journal of Musicology 9 (1991): 275–99.Google Scholar
Frank, Van Nuys. Americanizing the West: Race, Immigrants, and Citizenship, 1890–1930. Lawrence: University Press of Kansas, 2002.Google Scholar
Vilar-Payá, Luisa. ‘Chávez and the Autonomy of the Musical Work: The Piano Music’. In Carlos Chávez and His World, edited by Saavedra, Leonora, 112–33. Princeton: Princeton University Press, 2015.Google Scholar
Vogel, Peter. Hans Pfitzner: Streichquartett Cis-Moll Op. 36. Munich: Fink Verlag, 1991.Google Scholar
Von Glahn, Denise, Music and the Skillful Listener: American Women Compose the Natural World. Bloomington: Indiana University Press, 2013.Google Scholar
Von Glahn, Denise The Sounds of Place: Music and the American Cultural Landscape. Boston: Northeastern University Press, 2003.Google Scholar
Voss, Egon. ‘Pacific 231: Reine Programmemusik oder doch ein Stück absoluter Musik?’. In Arthur Honegger: Werk und Rezeption, edited by Jost, Peter, 199–212. Bern: Peter Lang, 2009.Google Scholar
Vout, Caroline. ‘Antinous, Archaeology, and History’. Journal of Roman Studies 95 (2005): 80–96.Google Scholar
Walter, Keith John. ‘Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger’. PhD thesis, Eastman School of Music, University of Rochester, 1997.Google Scholar
Wamlek-Junk, Elisabeth. Hans Pfitzner und Wien: Sein Briefwechsel mit Victor Junk und andere Dokumente. Tutzing: Hans Schneider, 1986.Google Scholar
Waters, Sarah. ‘“The Most Famous Fairy in History”: Antinous and Homosexual Fantasy’. Journal of the History of Sexuality 6 (1995): 194–230.Google Scholar
Watkins, Holly. Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg. Cambridge: Cambridge University Press, 2011.Google Scholar
Weingartner, Felix. Die Sinfonie nach Beethoven. 4th edition. Leipzig: Breitkopf & Härtel, 1926.Google Scholar
Weissman, August. The Germ-Plasm: A Theory of Hereditary. Translated by W. Newton Parker and Harriet Rönnfeldt. London: W. Scott, 1883.Google Scholar
Whittall, Arnold. ‘Autonomy/Heteronomy: The Contexts of Musicology’. In Rethinking Music, edited by Cook, Nicholas and Everist, Mark, 73–101. Oxford: Oxford University Press, 1999.Google Scholar
Whittall, Arnold Musical Composition in the Twentieth Century. Oxford: Oxford University Press, 1999.Google Scholar
Winckler, Andreas Eberhard. ‘The Nazis in Mexico: Mexico and the Reich in the Prewar Period, 1936–1939’. PhD thesis, University of Texas at Austin, 1983.Google Scholar
Witter, Daniel. The Settler’s Guide to the Entry of Public Lands in Colorado. Denver: News Printing Company, 1882.Google Scholar
Woods, Gregory. Homintern: How Gay Culture Liberated the Modern World. New Haven, CT: Yale University Press, 2016.Google Scholar
Zehrer, Hans. ‘The Revolution of the Intelligentsia’. In The Weimar Republic Sourcebook, edited by Kaes, Anton, Jay, Martin, and Dimendberg, Edward, 295–97. Berkeley: University of California Press, 1994. Originally published as ‘Die Revolution der Intelligenz’. Die Tat 21 (1929): 486–507.Google Scholar