Bibliography for MU2002: Studies in Music History BETA

1.

Abbate, C., Parker, R.: A History of Opera: The Last Four Hundred Years. Penguin Books, UK (2015).

2.

Abbate, C.: In Search of Opera. Princeton University Press, Princeton, N.J. (2003).

3.

Abbate, C.: Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton University Press, Princeton, N.J. (1991).

4.

Abbate, C.: Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton University Press (1991).

5.

André, ̌Naomi Adele: Black Opera: History, Power, Engagement. University of Illinois Press, Urbana (2018).

6.

Andre, N.: Black Opera: History, Power, Engagement. University of Illinois Press, Champaign (2018).

7.

Andr, ̌Naomi Adele: Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera. Indiana University Press, Bloomington, Ind (2006).

8.

Blackmer, C.E., Smith, P.J.: En Travesti: Women, Gender Subversion, Opera. Columbia University Press, New York (1995).

9.

Carnegy, P.: Wagner and the Art of the Theatre. Yale University Press, New Haven, Connecticut (2013).

10.

Clément, C.: Opera, or, The Undoing of Women. University of Minnesota Press, Minneapolis, Minn (1988).

11.

Kreuzer, G.K.: Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera. University of California Press, Oakland, California (2018).

12.

Kreuzer, G.K.: Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera. University of California Press, Oakland, California (2018).

13.

Till, N.: The Cambridge Companion to Opera Studies. Cambridge University Press, Cambridge (2012).

14.

Till, N.: The Cambridge Companion to Opera Studies. Cambridge University Press, Cambridge (2012).

15.

Rutherford, S.: Verdi, Opera, Women. Cambridge University Press, Cambridge (2013).

16.

Groos, A.: Return of the Native: Japan in Madama Butterfly/Madama Butterfly in Japan. Cambridge Opera Journal. 1, (1989). https://doi.org/10.1017/S0954586700002950.

17.

Groos, A.: Return of the Native: Japan in Madama Butterfly/Madama Butterfly in Japan. Cambridge Opera Journal. 1, (1989). https://doi.org/10.1017/S0954586700002950.

18.

Greenwald, H.M.: Picturing Cio-Cio-San: House, Screen, and Ceremony in Puccini’s ‘Madama Butterfly’. Cambridge Opera Journal. 12, (2000).

19.

Zizek, S.: Brunnhilde’s Act. The Opera Quarterly. 23, 199–216 (2008). https://doi.org/10.1093/oq/kbn044.

20.

Nietzsche, F.W., Smith, D.: The Birth of Tragedy. Oxford University Press, Oxford (2008).

21.

Francis, K., Lachapelle, S.: The Medical and the Musical: French Physiology and Late Nineteenth-Century Operatic Training. Cambridge Opera Journal. 28, 347–362 (2016). https://doi.org/10.1017/S0954586716000458.

22.

Henson, K. ed: Technology and the Diva: Sopranos, Opera, and Media From Romanticism to the Digital Age. Cambridge University Press, Cambridge (2016).

23.

Wagner, R., Spencer, S., Millington, B.: Wagner’s Ring of the Nibelung: A Companion: The Full German Text. Thames and Hudson, London (1993).

24.

DiGaetani, J.L.: Inside the Ring: Essays on Wagner’s Opera Cycle. McFarland, Jefferson, N.C. (2006).

25.

Gordon, B.: The Castrato Meets the Cyborg. The Opera Quarterly. 27, 94–122 (2011). https://doi.org/10.1093/oq/kbr015.

26.

Vella, F.: (De)railing Mobility: Opera, Stasis, and Locomotion on Late-Nineteenth-Century Italian Tracks. The Opera Quarterly. 34, 3–28 (2018). https://doi.org/10.1093/oq/kby005.

27.

Davies, J.Q.: "Veluti in Speculum”: The Twilight of the Castrato. In: Romantic anatomies of performance. University of California Press, Berkeley (2014).

28.

Abbate, C.: The Tenor Comes of Age. In: A history of opera: the last four hundred years. Penguin Books, UK (2015).

29.

Abbate, C.: Young Verdi. In: A history of opera: the last four hundred years. Penguin Books, UK (2015).

30.

Abbate, C.: Verdi Older Still. In: A history of opera: the last four hundred years. Penguin Books, UK (2015).

31.

Andre, N.: From Otello to Porgy: Blackness, Masculinity, and Morality in Opera. In: Blackness in opera. University of Illinois Press, Urbana, Ill (2012).

32.

Andre, N.: From Otello to Porgy: Blackness, Masculinity, and Morality in Opera. In: Blackness in Opera. University of Illinois Press, Baltimore, UNITED STATES (2012).

33.

Parker, R.: The Opera Industry. In: The Cambridge History of Nineteenth-Century Music. Cambridge University Press, Cambridge (2001).

34.

Parker, R.: The Opera Industry. In: The Cambridge History of Nineteenth-Century Music. Cambridge University Press, Cambridge (2001).

35.

Smart, M.A.: The Silencing of Lucia. Cambridge Opera Journal. 4, (1992). https://doi.org/10.1017/S0954586700003694.

36.

Hyer, B.: Parsifal Hysterique. The Opera Quarterly. 22, 269–320 (2007). https://doi.org/10.1093/oq/kbl009.

37.

Parr, S.: Coloratura and Technology in the Mid Nineteenth-Century Mad Scene. In: Henson, K. (ed.) Technology and the diva: sopranos, opera, and media from romanticism to the digital age. Cambridge University Press, Cambridge (2016).

38.

Locke, R.P.: Reflections on Orientalism in Opera and Musical Theater. The Opera Quarterly. 10, 48–64 (1993). https://doi.org/10.1093/oq/10.1.48.

39.

André, N.: Engaged Opera. In: Black Opera: History, Power, Engagement. University of Illinois Press, Urbana (2018).

40.

André, N.: Engaged Opera. In: Black Opera: History, Power, Engagement. University of Illinois Press, Champaign (2018).

41.

Lee, J.: My Objects All Sublime: Racial Performance and Commodity Culture. In: The Japan of pure invention: Gilbert and Sullivan’s The Mikado. pp. 3–38. University of Minnesota Press, Minneapolis, Minn (2010).

42.

Lee, J.: My Objects All Sublime: Racial Performance and Commodity Culture. In: The Japan of Pure Invention: Gilbert and Sullivan’s the Mikado. pp. 3–38. University of Minnesota Press, Minneapolis, Minn (2010).

43.

Abbate, C.: Brünnhilde Walks by Night. In: Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton University Press, Princeton, N.J. (1991).

44.

Abbate, C.: Brünnhilde Walks by Night. In: Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton University Press (1991).

45.

Harper-Scott, J.P.E.: Medieval Romance and Wagner’s Musical Narrative in the Ring. 19th-Century Music. 32, 211–234 (2009). https://doi.org/10.1525/ncm.2009.32.3.211.

46.

Ridout, N.: Opera and the Technologies of Theatrical Production. In: The Cambridge companion to opera studies. Cambridge University Press, Cambridge (2008).

47.

Ridout, N.: Opera and the Technologies of Theatrical Production. In: The Cambridge Companion to Opera Studies. Cambridge University Press, Cambridge (2012).

48.

Davies, J.Q.: "Veluti in Speculum”: The Twilight of the Castrato. In: Romantic anatomies of performance. University of California Press, Berkeley (2014).

49.

Abbate, C.: Outside the Tomb. In: In Search of Opera. pp. 185–246. Princeton University Press, Princeton, N.J. (2003).

50.

Kreuzer, G.: Opera, Staging, Technologies. In: Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera. pp. 1–26. University of California Press, Oakland, California (2018).

51.

Kreuzer, G.: Opera, Staging, Technologies. In: Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera. University of California Press, Berkeley, UNITED STATES (2018).

52.

Kreuzer, G.: Steam. In: Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera. pp. 162–214. University of California Press, Oakland, California (2018).

53.

Kreuzer, G.: Steam. In: Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera. University of California Press, Berkeley, UNITED STATES (2018).

54.

Gordon, B.: The Castrato Meets the Cyborg. The Opera Quarterly. 27, 94–122 (2011). https://doi.org/10.1093/oq/kbr015.

55.

Stravinsky, I., Craft, R.: Conversations With Igor Stravinsky. Faber and Faber, London (1959).

56.

Boulez, P., Nattiez, J.-J.: Orientations: Collected Writings. Harvard University Press, Cambridge, Mass (1986).

57.

Craft, R.: Stravinsky: Chronicle of a Friendship. Vanderbilt University Press, Nashville (1994).

58.

Robinson, J.B., Walsh, S., Griffiths, E.: Avatar of Modernity: The Rite of Spring Reconsidered. Paul Sacher Foundation, Basel (2013).

59.

Taruskin, R.: Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra. Oxford University Press, Oxford (1996).

60.

Taruskin, R.: Stravinsky and the Russian Traditions. University of California Press, Berkeley (1996).

61.

Taruskin, R.: On Russian Music. University of California Press, Berkeley (2009).

62.

Taruskin, R.: On Russian Music. University of California Press, Berkeley (2008).

63.

Taruskin, R.: Russian Music at Home and Abroad: New Essays. University of California Press, Oakland, California (2016).

64.

Routh, F.: Stravinsky. Dent, London (1975).

65.

Cross, J.: The Cambridge Companion to Stravinsky. Cambridge University Press, Cambridge (2003).

66.

Cross, J., Cross, J.: The Cambridge Companion to Stravinsky. Cambridge University Press, Cambridge (2003).

67.

Cross, J.: The Stravinsky Legacy. Cambridge University Press, Cambridge (1998).

68.

Toorn, P.C. van den: Stravinsky and The Rite of Spring: The Beginnings of a Musical Language. University of California Press, Berkeley (1987).

69.

Van den Toorn, P.C.: Stravinsky and The Rite of Spring: The Beginnings of a Musical Language. University of California Press, Berkeley (1987).

70.

Forte, A.: The Harmonic Organization of ‘The Rite of Spring’. Yale University Press, New Haven (1978).

71.

Griffiths, P.: Stravinsky. Dent, London (1992).

72.

Hill, P.: Stravinsky: The Rite of Spring. Cambridge University Press, Cambridge (2000).

73.

Levitz, T.: Stravinsky and His World. Princeton University Press, Princeton, New Jersey (2013).

74.

Levitz, T.: Stravinsky and His World. Princeton University Press, Princeton, New Jersey (2013).

75.

Maes, F.: A History of Russian Music: From Kamarinskaya to Babi Yar. University of California Press, Berkeley (2002).

76.

Walsh, S.: The Music of Stravinsky. Routledge, London (1988).

77.

Stravinsky, I.: Poetics of Music: In the Form of Six Lessons. Harvard University Press, Cambridge, Mass (1970).

78.

Adorno, T.W., Hullot-Kentor, R.: Philosophy of New Music. University of Minnesota Press, Minneapolis, Minn (2006).

79.

Adorno, T.W., Livingstone, R.: Quasi Una Fantasia: Essays on Modern Music. Verso, London (1992).

80.

Kelly, T.F.: First Nights: Five Musical Premieres. Yale University Press, New Haven (2000).

81.

Garafola, L.: Diaghilev’s Ballets Russes. Oxford University Press, New York (1989).

82.

Taruskin, R.: Resisting the Rite. In: Russian Music at Home and Abroad: New Essays. University of California Press, Oakland, California (2016).

83.

Gloag, K.: Russian Rites: Petrushka, The Rite of Spring, and Les Noces. In: The Cambridge Companion to Stravinsky. Cambridge University Press, Cambridge (2003).

84.

Gloag, K.: Russian Rites: Petrushka, The Rite of Spring, and Les Noces. In: The Cambridge Companion to Stravinsky. Cambridge University Press, Cambridge (2003).

85.

Arnold Whittall: Defusing Dionysus? New Perspectives on ‘The Rite of Spring’. Music Analysis. 21, 87–104 (2002).

86.

Levitz, T.: Racism at the Rite. In: The Rite of Spring at 100. Indiana University Press (2017).

87.

Levitz, T.: Racism at the Rite. In: The Rite of Spring at 100. Indiana University Press, Bloomington, Indiana (2017).

88.

Hill, P.: Rehearsals and First Performance. In: Stravinsky: The Rite of Spring. Cambridge University Press, Cambridge (2000).

89.

Craft, R.: The Rite of Spring: Genesis of a Masterpiece. Perspectives of New Music. 5, 20–36 (1966). https://doi.org/10.2307/832386.

90.

Kelly, T.F.: Igor Stravinsky, "Le Sacre du Printemps”: Thursday, May 29, 1913. In: First Nights: Five Musical Premieres. pp. 256–334. Yale University Press, New Haven (2000).

91.

Maes, F.: The Clash of Ideas: The Quest for the Essence of the New Russian Music. In: A History of Russian Music: From Kamarinskaya to Babi Yar. University of California Press, Berkeley (2002).

92.

Cross, J.: Stravinsky in Exile. In: Stravinsky and His World. Princeton University Press, Princeton, New Jersey (2013).

93.

Cross, J.: Stravinsky in Exile. In: Stravinsky and His World. Princeton University Press, Princeton, New Jersey (2013).

94.

Taruskin, R.: Russian Folk Melodies in ‘The Rite of Spring’. Journal of the American Musicological Society. 33, 501–543 (1980). https://doi.org/10.2307/831304.

95.

Boulez, P.: Stravinsky: ‘The Rite of Spring’. In: Orientations: Collected Writings. Faber, London (1986).

96.

Van Den Toorn, P.C., Tymoczko, D.: Stravinsky and the Octatonic: The Sounds of Stravinsky. Music Theory Spectrum. 25, 167–202 (2003). https://doi.org/10.1525/mts.2003.25.1.167.

97.

Chua, D.K.I.: Rioting with Stravinsky: a Particular Analysis of the Rite of Spring. Music Analysis. 26, 59–109 (2007). https://doi.org/10.1111/j.1468-2249.2007.00250.x.

98.

Cross, J.: Stravinsky’s Modernism. In: The Stravinsky Legacy. Cambridge University Press, Cambridge (1998).

99.

Andriessen, L., Cross, J.: Composing with Stravinsky. In: The Cambridge Companion to Stravinsky. Cambridge University Press, Cambridge (2003).

100.

Andriessen, L., Cross, J.: Composing with Stravinsky. In: The Cambridge Companion to Stravinsky. Cambridge University Press, Cambridge (2003).

101.

Adorno, T.W.: Stravinsky: A Dialectical Portrait. In: Quasi Una Fantasia: Essays on Modern Music. Verso, London (1992).

102.

Donizetti, G.: Lucia di Lammermoor, (2004).

103.

Puccini, G.: Madama Butterfly, (2011).

104.

Offenbach, J.: Offenbach : Les Contes d’Hoffmann - Royal Opera House/Prêtre, (2003).