19th century music

PER. US. 8

– ADORNO (T. W.), Schubert, pp.3-14, Volume XXIX, No.1 Summer, 2005

– AGAWU (K.), What Adorno makes possible for music analysis, pp.49-55, Volume XXIX, No.1 Summer, 2005

– AUNER (J.), Composing on stage: Schoenberg and the creative process as public performance, pp.64-93, Volume XXIX, No.1 Summer, 2005

– BAILEYSHEA (M), The struggle for orchestral control: power, dialogue, and the role of the orchestra in Wagner’s Ring, pp.3-27, Volume XXXI, No.1 Summer, 2007

– BARHAM (J.), Recurring dreams and moving images: the cinematic appropriation of Schumann’s Op. 15, No.7, pp.271-301, Volume XXXIV, No. 3 Spring, 2011

– BERRY (D. C.), The meaning(s) of “Without”: An esploration of Liszt’s Bagatelle ohne Tonart, pp.230-262 Volume XXVII, No.3, Spring 2004

– BOCZKOWSKA (C.), Chopin’s Ghosts, pp.204-223, Volume XXXV, No.3 Spring, 2012

– BONDS (M. E.), Aesthetic amputations: absolute music and the deleted endings of Hanslick’s Vom Musikalisch-Schonen, pp.3-23, Volume XXXVI, No.1 Summer, 2012

– BOTTGE (K. M.), Brahm’s “Wiegenlied” and the maternal voice, pp.185-213, Volume XXVIII, No.3 Spring, 2005

•”Das verlassene Magdlein” Grief Partaken, pp.173-192, Volume XXXIII, No. 2 Fall, 2009

– BRITTAN (F.), Berlioz and the pathological fantastic: melancholy, monomania, and romantic autobiography, pp.211-239, Volume XXIX, No.3 Spring, 2006

– BROOKS (M.), Strauss and Hofmannthal’s Arabella and the resacralization of the operatic tradition, pp.272-301, Volume XXXVIII, No. 3 Spring, 2015

– BUCH (E.), Adorno’S “Schubert”: from the critique of the garden gnome to the defense of atonalism, pp.25-30, Volume XXIX, No.1 Summer, 2005

-BULLOCK (P.R.), Lyric and Landscape in Rimsky-Korsakov’s songs, pp.223-238, Volume XL, No. 3 Spring 2017

– BURFORD (M.), Hanslick’s idealist materialism, pp.166-181, Volume XXX, No.2 Fall, 2006

– BURNHAM (S.), Landscape as music, landscape as truth: Schubert and the burden of repetition, pp.31-41, Volume XXIX, No.1 Summer, 2005

• The stillness of time, the fullness of space: Four settings of Goethe’s “Wandrers Nachtlied” pp. 189-200, Volume XL, No.3 Spring, 2017

– CADDY (D.), Parisian cake walks, pp.288-317, Volume XXX, No.3 Spring, 2007

– CAMPO-BOWEN (C.), Bohemian rhapsodist: Antonin Dvorak’s Pisen bohatyrskà and the historiography of Czech music, pp.159-181, Volume XL, No. 2 Fall, 2016

– CHAPIN (K.), Lost in quotation: the nuances behind E. T. A. Hoffmann’s Programmatic statements, pp.44-64, Volume XXX, No.1 Summer, 2006

•Time and the keyboard fugue, pp.186-207, Volume XXXIV, No. 2 Fall, 2010

– CHENG (W.), Hearts for sale: the french romance and the sexual traffico of musical mimicry, pp.34-71, Volume XXXV, No. Summer, 2011

– CHRISTIANSEN (P.), The turk in the mirror: orientalism in Haydn’s string quartet in D minor Op. 76, no. 2 (“Fifhts”), pp.179-192, Volume XXXI, No.3 Spring, 2008

– CHUA (D. K. L.), Listening to the self, pp.341-355, Volume XXXIV, No. 3 Spring, 2011

– CITRON (M. J.), The operatics of detachment: Tosca in the James Bond film, pp.316-340, Volume XXXIV, No. 3 Spring, 2011

– CLARK (M.), The body and the voice in La Muette de Portici, pp.116-131, Volume XXVII, No. 2, Fall, 2003

– COCHRAN (T. B.), Adapting Debussy: dislocation and crisis in Prelude a l’apres- midi d’un faune, pp.35-55, Volume XXXIX, No. 1 Summer, 2015

– CODE (D. J.), Debussy’s string quartet in the Brussels Salon of  “La libre esthetique”, pp.257-287, Volume XXX, No.3 Spring, 2007

– COOK (N), The other Beethoven: Heroism, the Canon, and the Works of 1813-14,pp.3-24, Volume XXVII, No. 1 Summer 2003

•Slyernative realities: a reply to Richard Taruskin, pp.205-208, Volume XXX, No.2 Fall, 2006

– CORMAC (J.), Liszt, language, and identity: a multinational chamelon, pp.231-247, Volume XXXVI, No.3 Spring, 2013

– CRAMER (A. W.), Of serpentina and stenography: shake of handwriting in romantic melody, pp.133-165, Volume XXX, No.2 Fall, 2006

– CRUZ (G.), Sr. Josè, the worker melomane, or opera and democracy in Lisbona ca.1850, pp.81-105, Volume XL, No. 2 Fall, 2016

– DAUB (A.), Mother mime: Siegfried, the fairy tale, and the metaphysics of sexual difference, pp.160-177, Volume XXXII, No.2 Fall, 2009

•The ob-scene of the total work of art-frank wedekind, Richard Strauss, and the spectacle of dance, pp.272-289, Volume XXXIX, No. 3 Spring, 2016

– DAYAN (P.), Nature, music, and meaning in Debussy’s writing, pp.214-229, Volume XXVIII, No.3 Spring, 2005

– DESAI (B.), The boy Brahms, pp.132-136, Volume XXVII, No. 2, Fall 2003

– DAVIES (J. Q.), Dancing the Symphonic: Beethoven-Bochsa’s Symphonie Pastorale, 1829, pp.25-47, Volume XXVII, No. 1,Summer 2003

-DOLAN (E. I.), The work of the orchestra in Haydn’s Creation, pp.3-38, Volume XXXIV, No. 1 Summer, 2010

– DOLP (L.), Viennese moderne and its spatial planes sounded, pp.247-269, Volume XXXIII, No. 3 Spring, 2010

– DUNSBY (J.), Adorno’s image of Schubert’s Wanderer Fantasy multiplied by ten, pp.42-48, Volume XXIX, No.1 Summer, 2005

– EATOCK (C.), The crystal palace concerts: canon formation and the english musical renaissance, pp.87-105, Volume XXXIV, No. 1 Summer, 2010

– ERKEN (E. A.), Narrative ballet as multimedial art, pp.159-171, Volume XXXVI, No.2 Fall, 2012

– ESSE (M.), Donizetti’s gothic resurrections, pp.81-109, Volume XXXIII, No. 2 Fall, 2009

– EVERIST (M.), Grand Opera – Petit Opera: Parisian opera and ballet from the restoration to the second empire, pp.195-231, Volume XXXIII, No. 3 Spring, 2010

– FILLERUP (J.), Ravel and Robert-Houdin, magicans, pp.130-158, Volume XXXVII, No. 2 Fall, 2013

– FISK (C.), Nineteenth-century music? The case of Rachmaninov, pp.245-265, Volume XXXI, No.3 Spring, 2008

•Chopin’s Duets- and mine, pp.182-203, Volume XXX, No.3 Spring, 2012

– FRIED BLOCH (A.), Matinee mania, or the regendering of Nineteenth-Century audiences in New York City, pp.193-216, Volume XXXI, No.3 Spring, 2008

– FRIGAU MANNING (C.), Phrenologizing opera singers: the scientific “Proofs of musical genius”, pp.125-141, Volume XXXIX, No. 2 Fall, 2015

– FREY (E.), Nowhere man: evgeny onegin and the politics of reflection in Nineteenth-century Russia, pp.209-230, Volume XXXVI, No.3 Spring, 2013

– GELBART (M.), One more to Mendelssohn’s Scotland: the laws of music, the double tonic, and the sublimation of modality, pp.3-36, Volume XXXVII, No.1 Summer, 2013

– GIBBONS (W.), Musico f the future, musico f the past: Tannhauser and alceste at the Paris Opera, pp.232-246, Volume XXXIII, No. 3 Spring, 2010

– GINGERICH (J. M.), Unfinished considerations: Schubert’s “Unifinished” Symphony in the context of his Beethoven project, pp.99-112, Volume XXXI, No.2 Fall, 2007

– GOLDBERG (H.), Nationalizing the Kujawiak and constructions of nostalgia in Chopin’s Mazurkas, pp.223-247, Volume XXXIX, No. 3 Spring, 2016

– GOSS (G. D.),A backdrop for young sibelius: the intellectual genesis of the Kullervo Symphony, pp.48-73, Volume XXVII, No. 1 Summer 2003

– GRAMIT (D.), Orientalism and the Lied: Schubert’s “Du liebst mich nich”, pp.97-131, Volume XXVII, No. 2, Fall 2003

•Everyday extraordinary: music in letters of a German Amateur, pp.109-140, Volume XXXIV, No. 2 Fall, 2010

– GRIMLEY (D. M.), “In the mood”: Peer Gynt and the affective landscapes of Grieg’s Stemniger, pp.106-130, Volume XL, No. 2 Fall, 2016

– HALLMARK (R.), The literary and musical rhetoric of Apostrophe in Winterreise, pp.3-33, Volume XXXV, No.1 Summer, 2011

– HAMESSLEY (L.), Within sight: Tree-Dimensional perspectives on women and banjos in the late Nineteenth century, pp.131-163, Volume XXXI, No.2 Fall, 2007

– HARPER-SCOTT (J. P. E.), Elgar’s invention of the human: Falstaff, op. 68, pp. 230-253, Volume XXVIII, No.3 Spring, 2005

•Berlioz, live, and Beatrice et Benedict, pp.3-34, Volume XXXIX, No. 1 Summer, 2015

– HEAD (M.), Beethoven heroine: a female allegory of music and authorship in Egmont, pp.97-132, Volume XXX, No.2 Fall, 2006

-HENSON(K.), Verdi versus Victor Maurel on Falstaff: twelve new Verdi letters and other operatic and musical theater sources, pp.113-130, Volume XXXI, No.2 Fall, 2007

– HEPOKOSKI (J.), Framing till eulenspiegel, pp.4-43, Volume XXX, No.1 Summer, 2006

– HIBBERD (S.), Le naufrage de la meduse and operatic spectacle in 1830s Paris, pp.248-263, Volume XXXVI, No.3 Spring, 2013

•Note rom the guest editor, pp.83-86, Volume XXXIX, No. 2 Fall, 2015

•Principles of geology and sensory experience at London’s Cyclorama, pp.167-183, Volume XXXIX, No. 2 Fall, 2015

– HYUN-SU KIM (D.), The brahmsian hairpin, pp.46-57, Volume XXXVI, No.1 Summer, 2012

– HOECKNER (B.), Paths through Dichterliebe, pp.65-80, Volume XXX, No.1 Summer, 2006

– HUEBNER (S.), Edouard Dujardin, Wagner, and the origino of stream of consciousness writing, pp.56-87, Volume XXXVII, No.1 Summer, 2013

-JOHNSON (J.), Present absence: Debussy, song, and Art of (Dis)appearing, pp.239-256, Volume XL, No.3 Spring, 2017

– KAHAN (S.), “Rien de la tonalitè usuelle”: Edmond de Polignac and the octatonic scale in Nineteenth-century France, pp.97-120, Volume XXIX, No.2 Fall, 2005

– KANGAS (R. R.), Mouring, remembrance, and Mahler’s “Resurrection”, pp.58-83, Volume XXXVI, No.1 Summer, 2012

– KELLY (E.), Evolution versus authenticity: Johannes Brahms, Robert Franz, and continuo practice in the late Nineteenth-century, pp.182-204, Volume XXX, No.2 Fall, 2006

– KIEFFER (A.), The Debussyist ear: Listening, representation, and french musical modernism, pp.56-79, Volume XXXIX, No. 1 Summer, 2015

– KINDERMAN (W.), The third.act Prelude of Wagner’s Parsifal: genesis, form, and dramatic meanig, pp.161-184, Volume XXIX, No.2 Fall, 2005

– KLEIN (M.), Debussy’s Isle joyeuse as territorial assemblage, pp.28-52, Volume XXXI, No.1 Summer, 2007

•Chopin dreams: the mazurka in C# minor, Op.30, No.4, pp.238-260, Volume XXXV, No.3 Spring, 2012

– KNAPIK (S.), Vitalistic discourses of violin pedagogy in the early twentieth century, pp.169-190, Volume XXXVIII, No. 2  Fall, 2014

– KNAPP (R.), “Selbst dann bini ch die welt” on the subjective-musical basis of Wagner’s Gesamtkunstwelt, pp.142-160, Volume XXIX, No.2 Fall, 2005

– KNITTEL (K. M.), “Polemik im concertsaal”: Mahler, Beethoven, and the viennese critics, pp.289-317, Volume XXIX, No.3 Spring, 2006

– KNUST (M.), Music, drama, and sprechgesang: about Wagner’s creative process, pp.219-242, Volume XXXVIII, No. 3 Spring, 2015

– KOLB (K.), Flying leaves: between Berlioz and Wagner, pp.25-61, Volume XXXIII, No.1 Summer, 2009

– KRAMER (L.), Chopin’s rogue pitches: artifice personification, and the cult of the dandy in three later mazurkas, pp.224-237, Volume XXXV, No.3 Spring, 2012

• Introduction: battle music, ballads, and their afterlives, pp. 3-5, volume XL, no.1, summer 2016

  • Afterword: song as subjectivity and desire, pp.301-308, Volume XL, No.3 Spring, 2017

– LARKIN (D.), Dancing to the Devil’s Tune: Liszt’s Mephisto Waltz and the encounter with virtuosità, pp.193-218, Volume XXXVIII, No. 3 Spring, 2015

– LEE (S.), “Ein seltsam spielen”,: narrative performance, and impossibile voice in Mahler’s das Klagende Lied, pp.72-89, Volume XXXV, No.1 Summer, 2011

– LEISTRA-JONES (K.), Improvisational idyll: Joachim’s presence and Brahm’s violin concerto, op.77, pp.243-271, Volume XXXVIII, No. 3 Spring, 2015

– LEPPERT (R.), On reading Adorno hearing Schubert, pp.56-63, Volume XXIX, No.1 Summer, 2005

•Civil war imagery, song, and poetics: the aesthetics of sentiment, grief and remembrance, pp.20-46, Volume XL, No. 1 Summer, 2016

– MAHIET (D.), The aesthetics and politics of wonder in the first Nutcracker, pp.131-158, Volume XL, No. 2 Fall, 2016

– MARKS (M.), Screwball Fantasia: classical music in Unfaithfully Yours, pp.237-270, Volume XXXIV, No. 3 Spring, 2011

– MATHEW (N.), Beethoven’s political music, the Handelian sublime, and the aesthetics of prostration, pp.110-150, Volume XXXIII, No. 2 Fall, 2009

– MCCLARY (S.), Playing the identity card: of grieg, indians, and women, pp.217-227, Volume XXXI, No.3 Spring, 2008

– MCDONALD (M.), Silent narration? Elements of narrative in Ives’s The Unanswered Question, pp.263-286, Volume XXVII, No. 3, Spring, 2004

– MEYER (S. C.), Parsifal’s Aura, pp.151-172, Volume XXXIII, No. 2 Fall, 2009

– MIKUSI (B.), Mendelssohn’s “Scottish” tonality?, pp.240-260, Volume XXIX, No.3 Spring, 2006

– MILLER (K.), Americanism Musically: nation, evolution, and pubblic education at the Columbian Exposition, 1839, pp.137-155, Volume XXVII, No. 2, Fall 2003

– MINOR (R.), Occasions and nations in Brahms’s Fest-un Gedenkspruche, pp.261-288,Volume XXIX, No.3 Spring, 2006

– MOLNAR (A.), Adorno, Schubert, and mimesis, pp.53-78, Volume XXXVIII, No. 1 Summer, 2014

– MONDELLI (P.), The sociability of history in French grand opera, pp.37-55, Volume XXXVII, No.1 Summer, 2013

– MONAHAN (S.), “Inescapable” coherence and the failure of the Novel-Symphony in the finale of Mahler’s Sixth, PP.53-95, Volume XXXI, No.1 Summer, 2007

– MORDEY (D.), Auber’s horses: l’Annèe terrible and apocalyptic narratives, pp.213-229, Volume XXX, No.3 Spring, 2007

– MORGAN (E.), The accompained sonata and the domestic novel in Britain at the turn of the Nineteenth century, pp.88-100, Volume XXXVI, No.2 Fall, 2012

•Combat at the keys: women and battle pieces for the piano during the american civil war, pp.7-19, Volume XL, No. 1 Summer, 2016

– MORRISON (S.), The origin of Daphnis and Chloè (1912), pp.50-76, Volume XXVIII, No. 1, Summer, 2004

– NEWARK (C.), “Vous qui faites l’endormie”: the Phantom and the buried voices of the Paris Opèra, pp.62-78, Volume XXXIII, No.1 Summer, 2009

-NOTLEY (M.), Bruckner Problems, in Perpetuity, pp.81-93, Volume XXX, No.1, Summer 2006

-OWEN (C.), On singing and listening in Vaughan Williams’s Early Songs, pp.257-282, Volume XL, No. 3 Spring, 2017

– PARR (S. M.), Dance and the female singer in second empire opera, pp.101-121, Volume XXXVI, No.2 Fall, 2012

– PARAKILAS (J.), Disruping the Genre: unforseen personifications in Chopin, pp.165-181, Volume XXXV, No. 2 Fall, 2009

– PASLER (J.), Deconstructing d’indy, or the problem of a composer’s reputation, pp.230-256, Volume XXX, No.3 Spring, 2007

– PEARSON (R. D.), Harmony of hearts: marital love in Beethoven’s Leonore of 1806, pp.145-168, Volume XXXVIII, No. 2  Fall, 2014

– PERLEY (N.), The language o fan unknown country, intratextuality in Proust’s In search of Lost Time, pp.136-145, Volume XXXVI, No.2 Fall, 2012

– PERREY (B.), Exposed: Adorno and Schubert in 1928, pp.15-24, Volume XXIX, No.1 Summer, 2005

– PERRY (J.), Paganini’s quest: the twenty-four Capricci per violino solo, Op. 1, pp.208-229, Volume XXVII, No. 3, Spring, 2004

– PERRY (S.), A voice unknown: undercurrents in Mussorgsky’s Sunless, pp.1 c 9, Volume XXVIII, No. 1, Summer, 2004

– PIERRE (K. ST.), Smetana’s “Vysehrad” and mythologies of Czechness in Scholarship, pp.91-112, Volume XXXVII, No. 2 Fall, 2013

– PLATTE (N.), Dream analysis: Korngold, Mendelssohn, and musical adaptations in Warner Bros, pp.211-236, Volume XXXIV, No. 3 Spring, 2011

– PONTARA (T.), Beethoven overcome: romantic and existentialist utopia in Andrei Tarkovsky’s Stalker, pp.302-315, Volume XXXIV, No. 3 Spring, 2011

– PRUETT (L. M.), “Mon triste voyage”: sentimentalità and autobiography in Gottschalk’s The Dying Poet, pp.146-158, Volume XXXVI, No.2 Fall, 2012

– RANDEL (D. M.), Conseguence between poetry and music in Schumann’s Dichterliebe, pp.30-52, Volume XXXVIII, No. 1 Summer, 2014

– RAZ (C.), “The expressive organ within us”: ether, ethereality, and early romantic ideas about music and the nerves, pp.115-144, Volume XXXVIII, No. 2  Fall, 2014

– REVULURI (S.), French folk songs and the invention of history, pp.248-271, Volume XXXIX, No. 3 Spring, 2016

– RINGS (S.), Mystères limpides: time and trasformation in Debussy’s Des par sur la neige, pp.178-208, Volume XXXII, No.2 Fall, 2009

– RITCHEY (M.), Echoes of the Guillotine: Berlioz and the French fantastic, pp.168-185, Volume XXXIV, No. 2 Fall, 2010

– RONYAK (J.), “Serious play”, performance, and the lied: the Stagemann Schone Mullerin revisited, pp.141-167, Volume XXXIV, No. 2 Fall, 2010

– ROTHFARB (L. A.), August Halm on body and spirit in music, pp.121-141, Volume XXIX, No.2 Fall, 2005

– SALFEN (K.), Britten the anthologist, pp.79-112, Volume XXXVIII, No. 1 Summer, 2014

– SCHWARTZ (A.), Rough music: Tosca and Verismo reconsidered, pp.228-244, Volume XXXI, No.3 Spring, 2008

– SHOLES (J.), Lovelorn lamentation or histrionic  historicism?, pp.61-86, Volume XXXIV, No. 1 Summer, 2010

– SMART (M. A.), Parlor games: italian music and italian polictis in the Parisian salon, pp.39-60, Volume XXXIV, No. 1 Summer, 2010

– SOLOMON (M), Schubert: family matters, pp.3-14, Volume XXVIII, No. 1, SummeR 2004

– STILWELL (R. J.), Black voices, white women’s tears, and the civil war in classical Hollywood movies, pp.56-78, Volume XL, No. 1 Summer, 2016

– TAYLOR (B.),Musical history and self-consciousness in Mendelssohn’s octet, Op. 20, pp.131-159, Volume XXXII, No.2 Fall, 2008

•Introduction: Subjectivity in European song: time, place and identity, pp. 185-188, Volume  XL, No. 3 Spring, 2017

•Seascape in the mist: lost in Mendelssohn’s Hebrides, pp.187-222, Volume XXXIX, No. 3 Spring, 2016

•Absent subjects and empty centers: Eichendorff’s roamtic phantasmagoria and Schumann’s Liederkreis, Op. 39, pp. 201-222, Volume Xl, No.3 Spring, 2017

– THOMSON (A. J.), Elgar and Chivalry, pp.254-275, Volume XXVIII, No.3 Spring, 2005

– TRIPPETT (D.), Exercising musical minds: phrenology and music pedagogy in London circa 1830, pp.99-124, Volume XXXIX, No. 2 Fall, 2015

-TUNBRIDGE (L.), Versioning Strauss, pp. 283-300, Volume XL, no. 3 Spring, 2017

– VAN RIJ (I.), “There is no anachronism”: indian dancing girls in ancient carthage in Berlioz’s Les Troyens, pp.3-24, Volume XXXIII, No.1 Summer, 2009

•”A living fleshy bond”: the electric telegraph, musical throught, and embodiment, pp.142-166, Volume XXXIX, No. 2 Fall, 2015

– VELLUTINI (C.), Adina par excellence: Eugenia Tadolini and the performing tradition of Donizetti’s L’elisir d’amore in Vienna, pp.3-29, Volume XXXVIII, No. 1 Summer, 2014

– WANG (D.), Melodrama, teo ways, pp.122-135, Volume XXXVI, No.2 Fall, 2012

– WARDROP (D.), Body, comity, and civil war band: thoughts on music poetry, pp.47-55, Volume XL, No. 1 Summer, 2016

– WATKINS (H.), From the mine to the shrine: the critical origins of musical depth, pp.179-207, Volume XXVII, No. 3, Spring, 2004

•The floral poetics of SCHUMANN’S Blumenstuck Op. 19; pp.24-45, Volume XXXVI, No.1 Summer, 2012

– WETTERS (B.), Idea and actualization: Bruno Moderna’s adaptation of Friedrich Holderlin’s Hyperion, pp.172-190, Volume XXXVI, No.2 Fall, 2012

– WELLS (B.), “Secret mechanism”: Les Contes d’Hoffmann and the intermedial uncanny in the metropolitan Opera’s live in HD series, pp.191-203, Volume XXXVI, No.2 Fall, 2012

– WERRET (S.), Disciplinary culture: artillery, sound, and science in Woolwich, 1800-1850, pp.87-98, Volume XXXIX, No. 2 Fall, 2015

– WILLIAMS (G.), A voice of the crowd: futurism and the politics noise, pp.113-129, Volume XXXVII, No. 2 Fall, 2013

– WIKSHALAND (S.), Elektra’s oceanic time: voice and identity in Richard Strauss, pp.164-174, Volume XXXI, No.2 Fall, 2007

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