Literature and Music
Comparative Literature 691A
Selected Bibliography
Also consult "A Bibliography on the relations of Literature and
the other Arts", 1952-present, MLA Gen. Topics 9;
Sadie, Stanley, ed., The New Grove Dictionary of Music
and Musicians. 1980;
Michael Kennedy, ed., The Oxford Dictionary of Music,
1986.
This bibliography is a work in progress. Except for the "General"
category, each main category includes subsets organized by period or genre..
General
CULTURAL, POLITICAL, GENRE AND THEMATIC STUDIES
MUSIC INTERPRETING WORDS: European context
RHETORICAL, STRUCTURAL AND PROSODIC CONSIDERATIONS
MORE
GENRE CONSIDERATIONS
General
Adorno, Theodor.Dissonanzen, Einleitung in die Musiksociologie.
1973.
--- Introduction to the Sociology of Music. New York: Seabury,
1962.
--- Philosophie der neuen Musik. 1949.
--- Philosophy of Modern Music, tr. by Mitchell and Blomster. 1973.
Attali, Jacques. Noise: the political
economy of music. Brian Massumi, tr. Minneapolis: U. of Minnesota,
1985.
Barthes, Roland. Fragments d’un discours amoureux. Paris: Éd.
du Seuil, 1977.
Blackmur, R.P. Language as Gesture. 1952.
Blaukopf. Musiksoziologie. 1950.
Brett, Philip; Wood, Elizabeth; Thomas, Gary C., eds. Queering the
Pitch: The New Gay and Lesbian Musicology.
Brion, Marcel. La musique et l'amour. 1967.
Brown, Calvin. Music and Literature. 1948.
Butor, Michel (interview with). "Les rapports de l'écrit et de
l'oral".La quinzaine littéraire, 1/30 août, 1978, 284:4-5.
Celis, Raphael, ed.littérature et musique. 1982.
Coeuroy, André.Musique et littérature: Etudes de musique
et de littérature comparées.
Deliège, Célestin. "La musicologie devant le structuralisme",
L'ARC, 26, 1967, 50-59.
D'Indy, Vincent. Cours de composition musicale. 1912.
Egri, Peter. Literature, painting and music: an interdisciplinary approach
to Comparative Literature. 1988.
Gaither, Mary. "Literature and the Arts" in Comparative Literature:
Method and Perspective, ed. by Stallknecht and Frenz. 1961.
Hassan, Ihab.The Dismemberment of Orpheus: Towards a Postmodern Literature.
1971.
Jackendoff, Ray and Fred Lerdahl. A Generative Theory of Tonal Music.
Boston: MIT Press, 1996.
--- “The Capacity for Music: What is It, and What’s Special About it?”
Cognition, Vol. 100, 1, May 2006, 33-72.
Jacobs, Arthur. A Short History of Western Music. 1972.
Jakobson, Roman. "On the relations between visual and auditory signs"
in Selected Writings, II, (Word and Language). 1971.
---"Quest for the essence of language" in Selected Writings, II
(Word and Language). 1971.
Kramer, Lawrence. Classical Music and Postmodern Knowledge. 1995.
Langer, Suzanne K. Philosophy in a New Key. 1942, 1951.
Lanier, Sidney. Music and Poetry: Essays upon some aspects of and interrelations
of the two arts. 1898, reprt. 1969.
Lévi-Strauss, Claude. "Ouverture" to Le cru et le cuit.
1964.
--- "La voix compte plus que la parole".La quinzaine littéraire,
1/30 août, 1978, 284: 9.
Longuet-Higgins, H.G. "The Language of Music", TLS, Nov. 20, 1970.
McClary, Susan. Feminine Endings:Music, Gender, and Sexuality.
Meyer, Leonard. Emotion and Meaning in Music. 1956.
Miller, Jonathan. Don Giovanni: Myths of Seduction and Betrayal. 1990.
Said, Edward W. Musical Elaborations. 1991.
Solie, Ruth, ed. Musicology and Difference: Gender and Sexuality in
Music Scholarship. 1994.
Steiner, Wendy. The Sign in Music and Literature. 1981.
Stravinsky, Igor. The Poetics of Music. 1947.
Strunk, Oliver, ed. Source Readings in Music History. 1950.
Taruskin, Richard. Text and Act: Essays on Music and Performance.
1995
Thomas, Lewis. The Lives of a Cell. 1974. See esp. "The music of
this sphere".
Tovey, Donald Francis.The Main Stream of Music and Other Essays.
1959.
Warden, John, ed. Orpheus: The Metamorphoses of a Myth. 1983.
Weisstein, Ulrich. "The Mutual Illumination of the Arts" in Comparative
Literature and Literary Theory,
tr. by Wm. Riggan, 1973. 150-166.
--- ed. The Essence of Opera. New York: Norton, 1969.
Wellek, René; Warren, Austin.Theory of Literature. 1942,
1947, 1949. See esp. Ch. XI, "Literature and the Other Arts",
and Ch. XIII, "Euphony,
Rhythm and Meter".
Winn, James Anderson.Unsuspected Eloquence: A History of the Relations
between Poetry and Music. 1981.
Zuckerkandl, Victor. Sound and Symbol, tr. by Willard R. Trask.1956,
1973.
--- Man the Musician (Sound and Symbol: Vol. II) tr. by
Norbert Guterman. 1973.
Return to Top of File
CULTURAL, POLITICAL, GENRE
AND THEMATIC STUDIES
Pre-Greek, Greek and Post-Greek Culture
Anderson, Warren.Ethos and Education in Greek Music. 1966.
--- Music and Musicians in Ancient Greece. 1994.
Daniélou, Alain.The Rágas of Northern Indian Music.
1980.
Galpin, Francis. Music of the Sumerians. 1937.
Goldron, Romain. Ancient and Oriental Music. New York: Doubleday,
1968.
Herndon, Marica & McLeod, Norma. Music as Culture. Darby, PA:
Norwood, 1980.
Jaeger, Werner. Paideia: The Ideals of Greek Culture, tr. by Gilbert
Highet, 1943. See esp. Vol.II.
Lucas, F.L. Tragedy. 1957, 1962. See esp. Ch. 2-4.
Mayerson, Philip.Classical Mythology in Literature, Art and Music.
1971.
Pickard-Cambridge, A.W.Dithyramb, Tragedy and Comedy (2nd ed.,
rev. by T.B.L. Webster), 1962.
Sachs, Kurt.The Rise of Music in the Ancient World, East and West.
1943.
Wellesz, Egon, ed.The New Oxford History of Music, Vol. 1, Ancient
and Oriental Music.
Winnington-Ingram, R.P.Mode in Ancient Greek Music. 1936.
European Middle Ages
Bonner, Anthony, ed. Songs of the Troubadors. 1972.
Connelly, Bridget. Arab Folk Epic and Identity. Berkeley: U of
California, 1986. See esp. “Musical Improvisation and the
Oral Formulaic Mode,” 69-88.
Dulak, Michelle. “The Early-Music World Circles Its Wagons Again.” NYTimes,
June 11, 1995, H 25, 40.
Hamori, Andras. On the Art of Medieval Arabic Literature. Princeton,
NJ: Princeton UP, 1980.
See esp. “The Poem and its Parts,” and “Ambiguities,” 101-141.
Hughes, Dom Anselm, and Abraham, Gerald, eds.The New Oxford History
of Music, Vol.II,
Early Music up to 1300.
--- The New Oxford History of Music, Vol. III, Ars Nova and
the Renaissance, c. 1300-1540.
Menocal, Maria Rosa. The Arabic Role in Medieval Literary History.
Philadelphia: UPenn, 1987. See esp. Chapter Four,
“Discovery”: The Muwashshahat” 91-113.
Reese, Gustave. Music in the Middle Ages. 1940.
Press, Alan, tr. and ed. Anthology of Troubadour Lyric Poetry.
1971.
Seagrave, Barbara Garvey, and Wesley Thomas. The Songs of the Minnesingers.
Urbana & London: U of Illinois, 1966.
Young, Karl. The Drama of the Medieval Church. 1933, rpt, 1967.
European and English Renaissance
Abraham, Gerald, ed. The New Oxford History of Music, Vol. IV,
The Age of Humanism, 1540-1630.
Boyd, Morrison Comegys. Elizabethan Music and Musical Criticism,
2nd ed. 1962.
Chan, Mary. Music in the Theatre of Ben Jonson. 1980.
Evans, Willa McClung. Ben Jonson and Elizabethan Music. 1965.
Finney, Gretchen. Musical Backgrounds for English Literature: 1580-1650.
NJ: Rutgers UP, 1962.
Igly, France. Pierre de Ronsard et ses Musiciens. 1955.
Hollander, John.The Untuning of the Sky: Ideas of Music in English
Poetry. 1500-1700. 1961.
Katz, Ruth. Divining the Powers of Music: Aesthetic Theory and the
Origins of the Opera. New York: Pendragon, 1986.
Laumonier, Paul. Ronsard: Poète Lyrique. rpt. 1972.
Long, John M., Shakespeare’s Use of Music: A Study of the Music and
its Performance in the Original Production of
Seven Comedies. Gainesville: U of
Florida, 1961.
--- ed. Music in English Renaissance Drama. 1968.
Lowinsky, Edward E. "Humanism in the Music of the Renaissance", Medieval
and Renaissance Studies 9.
Maynard, Winifred. Elizabethan Lyric Poetry and its Music. 1986.
Mellers, Wilfred. "Tuning into the natural Law," TLS, Oct. 1, 1971.
Montagu, Jeremy.The World of Medieval and Renaissance Musical Instruments.
1976.
Naylor, Edward W. Shakespeare and Music. 1965.
Noble, Richmond. Shakespeare's Use of Song. 1966.
Reese, Gustave. Music in the Renaissance. 1959.
Sternfeld, Frederick W. Music in Shakespearean Tragedy. 1967.
Walker, D.P."Musical Humanism in the 16th and early 17th centuries",
Music Review, I-II, 1940-1941, 1-13,
111-121, 220, 227, 288-308.
1610-1750
Bronson, Bertrand H. "Some Aspects of Music and Literature," Facets
of the Enlightenment:
Studies in English
Literature and its Contexts. 1968. 91-118.
Deleuze, Gilles. The fold: Leibniz and the Baroque. Tim Conley,
tr. 1993 (Fr. orig., 1988).
Fiske, Roger. English Theatre Music in the Eighteenth Century,
rev. ed., 1987.
Fortune, Nigel and Lewis, Anthony, eds.The New Oxford History of Music,
Vol. V, Opera and
Church Music, 1630-1750.
Freer, Coburn. Music for a King: George Herbert's Style and the Metrical
Psalms. 1972.
Girdlestone, Cuthbert. J.P. Rameau: His Life and Work. 1957, 1969.
---La Tragédie en Musique considerée comme genre littéraire
(1673-1750). 1972.
1750-present
Abbate, Carolyn.Unsung Voices:Opera and Musical Narrative in the Nineteenth
Century. 1991.
Abraham, Gerald, ed.The New Oxford History of Music, Vol. VIII,
The Age of Beethoven, 1790-1830.
Allanbrook, Wye Jamison. Rhythmic Gesture in Mozart:le nozze di Figaro
and Don Giovanni. 1983.
Aronson, Alex.Music in the Novel: A Study of Twentieth-Century Fiction.
1980.
Baker, Houston A. Jr. Blues, Ideology, and Afro-American Literature:
A Vernacular Theory. Chicago: University of Chicago Press,
1984.
Banat, Gabriel. The Chevalier de Saint-Georges: Virtuoso of the Sword
and the Bow. Hillsdale, New York: Pendragon, 2006.
Barzun, Jacques. Berlioz and the Romantic Century. 1969.
Basso, Ellen. A Musical View of the Universe: Kalapalo Myth and Ritual
Performance. 1985.
Beckerman, Michael. “Tonality is Dead; Long Live Tonality.” NYTimes.
July 31, 1994, H 23.
Berlioz, Hector.The Memoirs of Hector Berlioz, translated and edited
by David Cairns. 1969, 1975.
Block, Adrienne Fried. Amy Beach, Passionate Victorian: The Life and
Work of an American Composer,
1867-1944. NY: Oxford UP, 1998.
Blum, David. “Where a Farmer Named Verdi Occasionally Composed Music”.
NYTimes. July 18, 1993, H 23.
Blumenthal, Ralph. “Satchmo With His Tape Recorder Running.” NYTimes,
Aug. 3, 1999, B1, B3.
Boxer, Sarah. “International Sleuthing Adds Insight About Bach.” NYTimes,
Aug. 16, 1999.
Brody, Elaine. Paris, The Musical Kaleidoscope 1870-1925. 1987.
Cabrera Infante, Guillermo. Mi música extremada, edición
de Rosa M. Pereda.Madrid : Espasa Calpe, c1996.
Carnegy, Patrick. Faust as Musician: A Study of Thomas Mann's Doctor
Faustus. 1973.
Carpentier, Alejo.Los pasos perdidos . Mexico, Compañia
General de Ediciones, S.A. , 1966.
--- La música en Cuba. La Habana, Cuba : Editorial Letras
Cubanas, 1988.
--- Ese músico que llevo dentro. Selections Ese músico
que llevo dentro selección y prólogo
de Eduardo Rincón. Madrid : Alianza, c1987
Chernoff, John Miller. African Rhythm and African Sensibility: Aesthetics
and Social Action in
African Musical
Idioms. 1979.
Coeuroy, André.Wagner et l'esprit romantique; Wagner et la France,
le Wagnerisme littéraire. 1965.
Comini, Alessandra.The Changing Image of Beethoven:A Study in Myth-Making.
1987.
Cone, Edward T. The Composer’s Voice. 1974.
Conrad, Jon Alan. “The Many Spirits of Cole Porter.” NYTimes. June
6, 1993.H 29.
Cooper, Martin, ed. The New Oxford History of Music, Vol. X,
The Modern Age, 1890-1960.
Crutchfield, Will. "Finding a Stand-In for Words, And Even for an Unlived
Life". New York Times, December 12, 1993, H15-H20.
Davies, Stephen. "Artistic Expression and the Hard Case of Pure Music"
in Contemporary Debates in Aesthetics
and the Philosophy
of Art. (ed., Matthew Kieran). Malden: Blackwell, 2006.
Delany, Samuel R.Wagner/Artaud: a Play of 19th and 20th Century Critical
Fictions. 1988.
Dolfsma, Wilfred. Institutional economics
and the formation of preferences : the advent of pop music.
Cheltenham, UK ;
Northampton, MA : Edward Elgar,
2004.
Downes, Stephen. "“Musical Pleasures and Amorous Passions: Stendhal, the
Crystallization Process, and Listening to Rossini and
Beethoven.” 19th Century Music, Spring 2003, Vol.
26 Issue 3, p 235, 23p.
De Falla, Manuel. On Music and Musicians. London: Marion Boyars,
1979.
Elliott, Susan. "Off the Stage, What's Behind the Music," New York Times, Arts
& Leisure Sunday, August 19, 2008, 5, 22.
Fairchild, B.H.Such Holy Song: Music as Idea, Form and Image in the
Poetry of William Blake. 1980.
Frith, Simon. Sound effects : youth,
leisure, and the politics of rock. London : Constable, 1983.
--- Music for Pleasure: Essays in the
Sociology of Pop. N.Y.: Routledge, 1988.
Garabedian, Steven. "Blues Testimony and Black Agency." Transformations: The Journal of Inclusive Scholarship
and Pedagogy.
17. 1, 2006, 98-105.
Gemmill, Nigel. The British Invasion. New York: Harmony, 1982.
Gerhard, Anselm, The Urbanization of
Opera : Music Theater in Paris in the Nineteenth Century. trans. Mary
Whittall.
Chicago: University of Chicago Press,
1998.
Gioseffi, Daniela. "In the Mercy of Time---Flute Music: an Interview with
Meena Alexander" in World Literature Today,
Jan.-Feb. 2006, 46-49.
Giroud, Françoise. Alma Mahler or the Art of Being Loved.
Oxford: Oxford UP, 1991.
Glass, Philip. “Open to the Influence of Unfamiliar Cultures.” (on George
Harrison). NY Times, Arts and Leisure, Dec. 9, 2001, p. 33.
Gottlieb, Robert. "Wake Up and Dream," review of Wilfred Sheed, The
House that George Built.... New York Review of Books,
August 16, 2007,
14-16.
Grim, William E. The Faust Legend in Music and Literature. New
York: Edwin Mellen, 1988.
Groth, Susan... “Challenging the Big Words: Folk Revival Meets Authenticity,
Politics, and Reflexivity.”
Folklore
Historian: Journal of the Folklore and History Section of the American Folklore
Society 16 (1999): 20-42.
Guichard, Léon.La musique et les lettres en France au temps
du romantisme. 1955.
Hamann, Brigitte. Hitler's Vienna: A Dictator's Apprenticeship.
Thomas Thornton, tr. Oxford, New York: Oxford UP, 1999.
See especially "The Austro-Hungarian Court Opera after the Mahler era,"
pp. 60-68.
Haneke, Michael ; Jelinek, Elfriede: Die Klavierspielerin : Drehbuch,
Gespräche, Essays. Wien : Sonderzahl, 2001.
Haneke, Michael ; Jelinek, Elfriede: La pianiste : scénario
d'après le roman de Elfriede Jelinek. [Paris] : Cahiers du cinéma,
2001.
Hartman, Elwood. French Literary Wagnerism.
N.Y.: Garland Publications in Comparative Literature, 1988.
Harvith, John, and Susan Edwards Harvith, eds.. Edison, musicians, and the phonograph : a
century in retrospect.
N.Y. : Greenwood Press, 1987.
Hertz, David Michael. The Tuning of
the Word: The Musico-Literary Poetics of the Symbolist Movement.
Carbondale: Southern Illinois UP, 1987.
Herwitz, Daniel, “The Cook, His Wife, the Philosopher, and the Librettist.”
The Musical Quarterly, Vol. 78,
No. 1 (Spring, 1994), 48-76
Horowitz, Joseph. “Why Americans Speak in Tongues At the Opera House.”
NYTimes, Jan. 5, 1992, H 27.
--- “Learning to Live in a Post-Classical World.” NYTimes, Feb.
28, 1999.
Huebner, Steven. French opera
at the fin de siècle : Wagnerism, nationalism, and style.
Oxford [England]; New York:
Oxford University Press, 1999.
Hughes, Spike. Famous Mozart Operas. 1958, 1972.
James, Burnett. Manuel de Falla and the Spanish Musical Renaissance.
London: Victor Gollancz, 1979.
Johnston, William M. The Austrian Mind: An Intellectual and Social
History 1848-1938. Berkeley
and Los Angeles: U. of California, 1972. See especially in the "Aestheticism
at Vienna" section,
"Musicians and Music Critics," pp. 128-140.
Katz, Derek. “Reading the Future in Readings of ‘Rusalka’”NYTimes,
May 2, 1999, AR 22.
Kramer, Lawrence. Music and Poetry:
The Nineteenth Century and After. Berkeley: U. of California P, 1984.
Leppert, Richard. “Sexual Identity, Death, and the Family Piano.”
Nineteenth Century Music 16.2, 1995, 105-126.
Lacoue-Labarthe, Philippe. Musica Ficta:
Figures of Wagner. Palo Alto: Stanford UP, 1994.
Large, David C. (ed.) Wagnerism in European
Culture and Politics. Ithaca: Cornell UP, 1984.
Livingston, Tamara E. “Music Revivals: Towards a General Theory.” Ethnomusicology:
Journal of the Society
for Ethnomusicology
43. 1 (1999): 66-85.
Magee, Brian. Aspects of Wagner.
Oxford: Oxford UP, 1988.
--- Wagner and Philosophy. London:
Penguin, 2000.
Mann, Thomas. "Essay on Schopenhauer" (1938) in Essays, tr. by
Lowe-Porter. 1957.
--- "Sufferings and Greatness of Richard Wagner", in Essays, tr.
by Lowe-Porter. 1957.
Martin, Robert K. “Saving Captain Vere: Billy Budd From Melville’s
Novella To Britten’s Opera.” Studies in
Short Fiction;
Winter 86, Vol. 23 Issue 1, p49, 8p.
Miner, Margaret. Resonant Gaps: Between
Baudelaire and Wagner. Athens: University of Georgia P, 1995
Mingus, Sue Graham. Tonight at Noon: A Love Story. New York: Pantheon,
2001.
Review by Joyce Johnson,
“Epitaph for an Angry Man: Charles Mingus’s widow recalls
his career and their marriage,”
NYTimes Book Review, May 12, 2002, 14.
Moore, William Angus. The Significance
of Late Nineteenth-Century French 'Wagnerisme' in the Relationship of Paul
Dukas and Edouard Dujardin. Austin: U. of
Texas, 1986.
Morgan, Robert P. “Rethinking Musical Culture: Canonic Reformulations
in a Post Tonal Age” in Bergeron, Katherine
and Bohlman, Philip V., eds., Disciplining
Music. Chicago: Chicago UP, 1992.
Morley, Paul. Words and Music: A History
of Pop in the Shape of a City. Athens: U. of Georgia P, 2005.
Monson, Karen. Alma Mahler: Muse to Genius. Boston: Houghton Mifflin,
1983.
Mortaigne, Véronique. “L’ode soufie de Youssou N’Dour à
l’islam éclairé.” Le Monde, 11 juin 2004, 27.
Nettl, Bruno. “Biography of a Blackfoot Indian Singer,” in Musical
Quarterly, Winter, 1989, vol. 68, no. 1, 199-
Nicholson, Stuart. Billie Holiday. Boston: Northeastern UP, 1995.
Pareles, Jon. "It's Got a Beat and You can Surrender to It."New York
Times, March 28, 1993.
Pattison, Robert.The Triumph of Vulgarity: Rock Music in the Mirror
of Romanticism. 1987.
Pinckney, Darryl. "Paris: The Black Maestro" review of The Chevalier
de Saint-Georges: Virtuoso of the Sword and
the Bow by Gabriel Banat. New York
Review of Books, August 16, 2007, 36-38.
Prokhorov, Vadim. “Will Piano Lessons Make My Child Smarter?” Parade
Magazine, June 14, 1998, 15-17.
Reye, Anne. Erik Satie. 1988.
Rockwell, John. “The Perils of Being a Purist” NYTIMES, July 14,
1991, H 19.
Ronström, Owe. “Revival Reconsidered.” World of Music 38.3
(1996): 5-21.
Rorem, Ned. Music and People. New York: George Braziller, 1968.
--------, -----. “That Blue Voice” (Billie Holiday). NYTimes, Oct.
29, 1995, BR 32-33.
Rosenberg, Neil V. and Alan Jabbour. Transforming Tradition: Folk Music
Revivals Examined.
Urbana: U of
Illinois P, 1993.
Rosenthal, Debra J. "'Hoods and the Woods: Rap Music as Environmental
Literature." Journal of Popular Culture
39.4 (2006), 661-676.
Rothstein, Edward. “What is the Politics of ‘Tristan’?” NYTimes,
Jan. 12, 1992, H25.
--- “Americans Lose a Voice Of Tradition.” NYTimes, July 5, 1992,
H20.
--- “Composers Come Calling, Leaving Scores and Trinkets.” NYTimes,
June 11, 1995, H25.
--- “Musicologists Roll Over Beethoven.” NYTimes, Nov. 26, 1995,
4, 1, 4.
Salmi, Hannu. Richard Wagner's Imagined
Germany. N.Y.: Peter Lang, 1999.
Schiff, David.“A New Measure for Heroes in Music’s Valhalla.” NYTimes,
Feb. 28, 1999, 33, 48.
Shankar, Ravi. “A Childlike Simplicity, Full of Love and Fun” (on George
Harrison). NYTimes, Arts and Leisure, Dec. 9, 2001, p. 33.
Sheed, Wilfred. The House That George Built: with a little help
from Irving, Cole, and a crew of about fifty. NY: Random House, 2007.
Slansky, Paul. “Hymn to Slim” (on Eminem), The New York Observer,
June 3, 2002, p. 17f.
Soyinka, Wole. "African Traditions at Home in the Opera House." NYTimes, April 25, 1999.
Stauffer, George B. “Beyond Bach the Monument, Who was Bach the Man?"
NYTimes, April 2, 2000.
Steinberg, Ada.Words and Music in the Novels of Andrey Bely. 1982.
Steinberg, Michael P. “Old Brahms a Modernist? In More Ways Than One,”
NYTimes, Sept. 29, 1996, H31.
Strauss, Walter.Descent and Return: The Orphic Theme in Modern Literature.
Cambridge: Harvard UP, 1971.
Stuckenschmidt, H.H. Maurice Ravel: Variations of His Life and Work.
S.R. Rosenbaum, tr. London: Calder and Boyars, 1969.
Taruskin, Richard."'Nationalism': Colonialism in Disguise?", NY Times,
Aug.22, 1993, H24.
--- ”Dispelling the Contagious Wagnerian Mist,” NYTimes, Jan. 28,
1996, H23.
--- ”The Trouble With Classics: They Are Only Human.” NYTimes,
Aug.14, 1994, H25, 31.
--- “Great Artists Serving Stalin Like a Dog,” NY Times, May 28,
1995, 22H
--- “Music’s Dangers And The Case For Control,” NYTimes, Arts and
Leisure, Dec. 9, 2001, p. 1, 36.
Tommasini, Anthony. “’Salome’ Unveils Emotions (and a Soprano).”NY
Times, March 17, 2004, B1, B5.
Urban, G.R.Kinesis and Stasis: A study in the attitude of Stefan George
and his circle to the musical arts. 1962.
Watson, Ian. Song and Democratic Culture in Britain: An Approach to
Popular Culture in Social Movements.
New York: St. Martin’s, 1983.
Watts, Pauline. Music: the Medium of the Metaphysical in E.T.A. Hoffmann.
1972.
Wellesz, Egon and Sternfeld, Frederick W., eds.The New Oxford History
of Music, Vol. VII, The
Age of Enlightenment, 1745-1790.
Williamson, George S. The Longing for
Myth in Germany: Religion and Aesthetic Culture from Romanticism to Nietzsche.
Chicago: University of Chicago P, 2004.
Wooton, Carol. "The Lure of the Basilisk: Chopin's Music in the Writings
of Thomas Mann, John
Galsworthy and Hermann Hesse." Arcadia 9 (1974),
23-38.
Wright, David. “A Steamy Scandal Of the 13th Century Revived in Music.”
NYTimes, Jan. 20, 2002, AR 31, 40.
Zauder, David et al. “Wagner, Nazis and the Israeli Soul.” NYTimes,
Jan. 12, 1992, 2, 1, 25.
MUSIC INTERPRETING WORDS:
European context
1200-1700
Brenneke, Ernest. "Shakespeare's Musical Collaboration with Morley." PMLA
54 (1939): 139-58.
Gibbon, John Murray. Melody and the Lyric from Chaucer to the Cavaliers.
1939.
Jorgens, Elise Bickford.The Well-Tun'd Word: Musical Interpretations
of English Poetry,
1597-1651. 1982.
Long, J.H. Shakespeare's Use of Music (2 Vol.) 1961.
Maynard, Winifred.Elizabethan Lyric Poetry and its Music. 1986.
Mellers, Wilfred. "Words and Music in Elizabethan England" in The Age
of Shakespeare, ed. by Ford. 1955.
Pattison, Bruce. Music and Poetry of the English Renaissance. 1948.
Sternfeld, F.W. Music in Shakespearean Tragedy. 1963, 1967.
Stevens, John. Music and Poetry in the Tudor Court. 1961.
1700-present
Ash, John. "READING MUSIC: Some notes on Music and Literaure", PN REVIEW,
Vol. 12, No. 6 (1986), 45-48;
Vol. 13, No. 1, (1986), 34-37.
Cone, Edward T. The Composer’s Voice. 1974.
During, Werner-Joachim. Erlkönig-Vertonungen: eine historische
und systematische Untersuchung. 1972.
Gorrell, Lorraine. The Nineteenth Century German Lied. 1993.
Kirby, F.E. Wagner's themes: a study
in musical expression. Harmonic Park: Warren, 2004.
Kramer, Lawrence. Music and Poetry: the Nineteenth Century and After.
1984.
--- Classical Music and Postmodern Knowledge. 1995.
Nattiez, Jean-Jacques. “Can One Speak of Narrativity in Music?”, tr. Katherine
Ellis. Journal of
the Royal Musical Association.
115.2 (1990), 240-257.
Stein, Deborah. “Shubert’s ‘Erlkönig’: Motivic Parallelism and Motivic
Transformation.”
Nineteenth Century Music 8:2 (1989),
145-158.
RHETORICAL,
STRUCTURAL AND PROSODIC CONSIDERATIONS
Greek, Roman and Arabic
Barthes, Roland. "L'ancienne rhétorique" in Communication,
16, Seuil, 1970.
Dale, A.M. The Lyric Metres of Greek Drama (2nd ed.) 1968.
Nelson, Kristina. The Art of Reciting the Qur’an. Austin: U. of
Texas, 1985. See esp. Chapter Three: “The Sama’ Polemic,”
on the debates over the permissibility of musical audition, 32-52.
Rosenmeyer, Thomas G.; Ostwald, Martin: Halpern, James W. The Meters
of Greek and Latin Poetry. 1963.
Stanford, W.B. The Sound of Greek. 1967.
Webster, T.B.L. The Greek Chorus. 1970.
European Medieval
Schueller, Herbert. The Idea of Music: An Introduction to Musical Aesthetics
in Antiquity and the Middle Ages.
Kalamazoo, MI: Medieval Institute
Publications, 1988.
Treitler, Leo. "Musical Syntax in the Middle Ages: Background to an Aesthetic
Problem,"
Perspectives of New Music, Fall-Winter, 1965.
Zumthor, Paul. “De la circularité du chant à propos des
trouvères des XIIe et XIIIe siècles.” Poétique
2: 129-140.
--- "Style and expressive register in medieval poetry" Literary Style:
A Symposium,
ed. by Seymour Chatman. 1971. 263-281.
--- "Rhétorique médievale et poétique", in Poetics,
I, ed. by Teun A. Van Dijk, 1971, 46-82.
Anglo-European: 1500-1700
Carpenter, Nan Cook. "Ronsard's 'Préface sur la Musique'", Modern
Language Notes, 75, 1960, 126-133.
Genette, Gérard. "Figures" in Figures, I, 1966, 205-221.
Hollander, John. Untuning of the Sky: Ideas of Music in English Poetry,
1500-1700. 1961.
--- Vision and Resonance: Two Senses of Poetic Form. 1975.
Johnson, Paula. Form and Transformation in Music and Poetry of the
Renaissance. 1972.
Lowinsky, Edward.Tonality and Atonality in 16th Century Music.
1962.
Vickers, Brian. Classical Rhetoric in English Poetry. 1970.
Anglo-European: 1700-present
Aiello, Rita. “Can Music Be Experimentally Studied? In Aiello, Rita and
Sloboda, John A., eds. Musical Perceptions.
New York: Oxford UP, 1994, 273-82.
Barry, Kevin. Language, Music And Signs. Cambridge: Cambridge UP,
1987.
Barthes, Roland. "Style and its Image" in Literary Style: A Symposium,
ed. Seymour Chatman. 1971. 3-15.
Bernard, Suzanne. Mallarmé et la Musique. 1959.
Brendel, Alfred. Music Sounded Out. New York: Farrar, Straus &
Giroux, 1991.
Brogan, T.V.F. English Versification 1570-1980. 1981.
Burke, Kenneth. Philosophy of Literary Form. 1941. Esp. "On Musicality
in Verse".
Crutchfield, Will. “The Lure of History and Interpretive Power.”NYTimes,
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Dixon, Peter. Rhetoric. 1971.
Fairchild, B.H. Such Holy Song: Music as Idea, Form and Image in the
Poetry of William Blake. 1980.
Frye, Northrop, ed. Sound and Poetry: English Institute Essays,
1956, 1957.
Goldberg, Vicki. “Water Music, Captured on Film: The Return of the Ocean
as Subject.” New York Times, June 13, 2004, AR 35.
Gross, Harvey. Sound and Form in Modern Poetry: a study of prosody
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--- ed.The Structure of Verse: Modern Essays in Prosody, rev. ed.,
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Hollander, John. "The Metrical Emblem" in Essays on the Language of
Literature, ed. Seymour Chatman & S.R. Levin. 1967.
Hymes, Dell. "Phonological Aspects of Style: Some English Sonnets" in
Thomas A. Sebeok, ed.,
Style in Literature, 1960, 109-131.
Kisselgoff, Anna. “Baring Chests and Emotions in an Eruption of Energy”
David Byrne review, NY Times, July 13, 2000.
Levin, Samuel. Linguistic Structures in Poetry. 1962.
Lévi-Strauss, Claude; Jakobson, Roman. "Charles Baudelaire's 'Les
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Minahan, John A. Word like a Bell: John Keats, Music and the Romantic
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Palmer, Roy. The Sound of History. New York: Oxford UP, 1988.
Salzman, Eric. “Music-Theater Defined: It’s...Well...Um...”NYTimes,
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Saunders-Smith, Stuart and DeLio, Thomas, eds. & contributors. Words
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Scher, Steven P. Verbal Music in German Literature. 1968.
Schuessler, Karl F. Musical Taste and Socio-Economical Background.
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Seidel, Michael. “An Irish Tenor Named Joyce Inspires a Musical.” NYTimes,
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Sewell, Elizabeth. The Orphic Voice. 1960.
Stimpson, Brian.Paul Valéry and Music: A Study of the Techniques
of Composition in Valéry's Poetry. 1984.
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S. Brown in Comparative Literature 38:4, Fall, 1986, 376f.
Storr, Anthony. Music and the Mind. New York: Ballantine, 1992.
Turner, Frederick. "The Neural Lyre: Poetic Meter, The Brain, and Time"
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Wheelwright, Philip. The Burning Fountain. 1968.
Wimsatt, W.K., Jr., ed.Versification: Major Language Types. Sixteen
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NOVEL
Aronson, Alex. Music in the Novel:A Study in Twentieth-Century Fiction.
1980.
Brown, E.K. Rhythm in the Novel. 1950.
Butor, Michel. "Music, a Realistic Art" in Inventory. 1961, 1968.
Forster, E.M. Aspects of the Novel. 1927, rprt. 1974. Esp. "Pattern
and Rhythm."
Guetti, James.Word-Music: The Aesthetic Aspect of Narrative Fiction.
1980.
Matoré, Georges; Mecz, Irene.Musique et structure romanesque
dans LA RECHERCHE DU TEMPS PERDU. 1973.
Moebius, William. “Fugue sur un air américain” in Musiques du
texte et de l’image, Jean Perrot, ed. Paris: Centre
national de documentation pédagogique, 1997, 31-42.
Steinberg, Ada. Words and Music in the Novels of Andrey Bely. 1982.
Symes, Colin. "From Tomorrow's Eve to High Fidelity: novel responses to
the gramophone in twentieth century literature."
Popular Music 24/2, 2005.
DRAMA
Barry, Jackson G. Dramatic Structure: The Shaping of Experience.1970.
See Chap. VIII: "Music
and Dramatic Structure", 126-156.
Benjamin, Walter.The Origin of German Tragic Drama, tr. J. Osborne.
1985.
FILM
Atkins, Irene Kahn. Source Music in Motion Pictures. London: Associated
U. Press, 1983.
Barrios, Richard. A Song in the Dark: The Birth of the Musical Film.NY:
Oxford UP, 1995.
Bowrie, Phil and Robynn Stil Well (eds.). Changing Tunes: The Use of Pre-existing Music
in Film.
Aldershot, GB; Burlington, VT: Ashgate,
2006.
Cormack, Mike. "The Pleasures of Ambiguity: Using Classical Music in Film."
In
Bowrie, Phil and Robynn Stil Well (ed.).
Changing Tunes: The Use of Pre-existing
Music in Film.
Aldershot, GB; Burlington, VT: Ashgate,
2006, 19-30.
Faulkner, Robert R. Hollywood Studio Musicians: Their Work and Careers
in the Recording
Industry. 1971, 1985.
Ross, Alex. “An Unequal Partner Raises Its Lovely Voice,” NY TIMES,
March 12, 1995, H15
--- “A ‘Serious’ Composer Lives Down Hollywood Fame,” NYTIMES,
Nov.26, 1995, H31.
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