1.
André NA. Black opera: history, power, engagement. Urbana: University of Illinois Press; 2018.
2.
Andre N. Black Opera: History, Power, Engagement [Internet]. Champaign: University of Illinois Press; 2018. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=5404257
3.
Beckerman MB. Dvorák and His World. Princeton, N.J.: Princeton University Press; 1993.
4.
Beckerman MB. Dvorak and His World [Internet]. Princeton, N.J.: Princeton University Press; 1993. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3030296
5.
Bellman J. The Exotic in Western Music. Boston: Northeastern University Press; 1998.
6.
Berger H, Carroll MT. Global pop, local language. Jackson, Miss: University Press of Mississippi; 2003.
7.
Berger HM, Carroll MT. Global Pop, Local Language [Internet]. Jackson, UNITED STATES: University Press of Mississippi; 2003. Available from: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=840340
8.
Born G, Hesmondhalgh D. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press; 2000.
9.
Hesmondhalgh D, Born G. Western Music and Its Others : Difference, Representation, and Appropriation in Music [Internet]. Berkeley, UNITED STATES: University of California Press; 2000. Available from: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=223029
10.
Francaviglia RV. Go east, young man: imagining the American West as the Orient. Logan, Utah: Utah State University Press; 2011.
11.
Francaviglia RV. Go East, Young Man: Imagining the American West as the Orient [Internet]. Logan: Utah State University Press; 2011. Available from: http://www.oapen.org/search?identifier=625249
12.
Locke RP. Music and the exotic from the Renaissance to Mozart. Cambridge: Cambridge University Press; 2017.
13.
Locke RP. Music and the Exotic From the Renaissance to Mozart [Internet]. 2015. Available from: https://www.fulcrum.org/concern/monographs/kw52j8644
14.
Locke RP. Musical exoticism: images and reflections. Cambridge: Cambridge University Press; 2009.
15.
Machin-Autenrieth M, University of London. School of Oriental and African Studies. Flamenco, regionalism and musical heritage in southern Spain. London: Routledge; 2017.
16.
Machin-Autenrieth M. Flamenco, Regionalism, and Musical Heritage in Southern Spain [Internet]. London: Routledge; 2017. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315582504
17.
MacKenzie JM. Orientalism: History, Theory, and the Arts. Manchester: Manchester University Press; 1995.
18.
Pisani MV. Imagining native America in music. New Haven, Conn: Yale University Press; 2005.
19.
Taruskin R. Defining Russia Musically: Historical and Hermeneutical Essays. Princeton, N.J: Princeton University Press; 1997.
20.
Taruskin R. The Oxford History of Western Music: Vol. 3: Music in the Nineteenth Century. Oxford University Press; 2010.
21.
Taruskin R. Music in the Nineteenth Century [Internet]. Oxford: Oxford University Press; 2010. Available from: http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833.xml
22.
Taylor TD. Beyond Exoticism: Western Music and the World. Durham: Duke University Press; 2007.
23.
Bloechl OA. Native American song at the frontiers of early modern music. Cambridge: Cambridge University Press; 2008.
24.
Bové PA. Edward Said and the work of the critic: speaking truth to power. Durham: Duke University Press; 2000.
25.
Ayres B. The Emperor’s Old Groove: Decolonizing Disney’s Magic Kingdom. New York: P. Lang; 2003.
26.
Williams C. Gilbert and Sullivan: gender, genre, parody [Internet]. New York: Columbia University Press; 2012. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=908700
27.
Ashcroft B, Ahluwalia P. Edward Said. [New] ed. New York: Routledge; 2001.
28.
Ashcroft B, Ahluwalia DPS. Edward Said [Internet]. London: Routledge; 2009. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=179693
29.
Said E. Chapter 1: The Scope. Orientalism. [New ed.]. London: Penguin; 2003.
30.
Said EW. Introduction. Culture and Imperialism. London: Vintage; 1994.
31.
Scott DB. Orientalism and Musical Style. The Musical Quarterly [Internet]. Oxford University Press; 1998;82(2). Available from: https://www.jstor.org/stable/742411
32.
Lewis B. The Question of Orientalism. The New York Review of Books [Internet]. 1982;(June 24, 1982). Available from: https://www.nybooks.com/articles/1982/06/24/the-question-of-orientalism/
33.
Mackenzie JM. Chapter 1: The Orientalism Debate. Orientalism: History, Theory, and the Arts. Manchester: Manchester University Press; 1995.
34.
Head M. Orientalism, Masquerade and Mozart’s Turkish Music. London: Royal Musical Association; 2000.
35.
Hunter M. The Alla Turca Style in the Late Eighteenth Century: Race and Gender in the Symphony and the Seraglio. The Exotic in Western Music. Boston: Northeastern University Press; 1998.
36.
Melman B. Women’s Orients: English Women and the Middle East, 1718-1918: Sexuality, Religion and Work. Basingstoke: Macmillan; 1990.
37.
O’Connell JM. In the Time of Alaturka: Identifying Difference in Musical Discourse. Ethnomusicology [Internet]. University of Illinois Press; 2005;49(2). Available from: https://www.jstor.org/stable/20174375
38.
Pratt ML. Imperial Eyes: Travel Writing and Transculturation. London: Routledge; 1992.
39.
Pratt ML. Imperial Eyes: Travel Writing and Transculturation [Internet]. London: Routledge; 1992. Available from: http://www.myilibrary.com?id=35437
40.
Wolff L. The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage From the Siege of Vienna to the Age of Napoleon. Stanford: Stanford University Press; 2016.
41.
Bellman JD. Musical Voyages and Their Baggage: Orientalism in Music and Critical Musicology. The Musical Quarterly [Internet]. Oxford University Press; 2011;94(3). Available from: https://www.jstor.org/stable/41289212?seq=1#metadata_info_tab_contents
42.
Head M. Musicology on Safari: Orientalism and the Spectre of Postcolonial Theory. Music Analysis [Internet]. Wiley; 2003;22(1). Available from: https://www.jstor.org/stable/3700422?seq=1#metadata_info_tab_contents
43.
Locke RP. Cutthroats and Casbah Dancers, Muezzins and Timeless Sands: Musical Images of the Middle East. 19th-Century Music. 1998;22(1):20–53.
44.
Locke RP. On Exoticism, Western Art Music, and the Words We Use. Archiv für Musikwissenschaft [Internet]. Franz Steiner Verlag; 2012; Available from: https://www.jstor.org/stable/23375158?seq=1#metadata_info_tab_contents
45.
Pasler J. Theorizing Race in Nineteenth-Century France: Music as Emblem of Identity. The Musical Quarterly [Internet]. Oxford University Press; 2006;89(4). Available from: https://www.jstor.org/stable/25172849?seq=1#metadata_info_tab_contents
46.
Bohlman PV. The European Discovery of Music in the Islamic World and the ‘Non-Western’. The Journal of Musicology. 1987;5(2):147–163.
47.
Cooke M. "The East in the West”: Evocations of the Gamelan in Western Music. The Exotic in Western Music. Boston: Northeastern University Press; 1998.
48.
Locke RP. Musical exoticism: images and reflections. Cambridge: Cambridge University Press; 2009.
49.
Andre N. Conclusion: Engaged Musicology, Political Action, and Social Justice. Black opera: history, power, engagement. Urbana: University of Illinois Press; 2018.
50.
Andre N. Conclusion: Engaged Musicology, Political Action, and Social Justice. Black Opera: History, Power, Engagement [Internet]. Champaign: University of Illinois Press; 2018. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=5404257
51.
Locke RP. Constructing the Oriental ‘Other’: Saint-Saëns’s “Samson et Dalila”. Cambridge Opera Journal [Internet]. Cambridge University Press; 1991;3(3). Available from: https://www.jstor.org/stable/823619#metadata_info_tab_contents
52.
Locke RP. Reflections on Orientalism in Opera (And Musical Theater). Revista de Musicología. 1993;16(6).
53.
Greenwald HM. Picturing Cio-Cio-San: House, Screen, and Ceremony in Puccini’s ‘Madama Butterfly’. Cambridge Opera Journal [Internet]. Cambridge University Press; 2000;12(3). Available from: https://www.jstor.org/stable/3250716
54.
Groos A. Cio-Cio-San and Sadayakko: Japanese Music-Theater in Madama Butterfly. Monumenta Nipponica. 1999;54(1).
55.
Lee JD. The Japan of pure invention: Gilbert and Sullivan’s The Mikado. Minneapolis, Minn: University of Minnesota Press; 2010.
56.
Locke RP. Musical exoticism: images and reflections. Cambridge: Cambridge University Press; 2009.
57.
Williams C. Gilbert and Sullivan: gender, genre, parody [Internet]. New York: Columbia University Press; 2012. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=908700
58.
Yoshihara M. The Flight of the Japanese Butterfly: Orientalism, Nationalism, and Performances of Japanese Womanhood. American Quarterly [Internet]. The Johns Hopkins University Press; 2004;56(4). Available from: https://www.jstor.org/stable/40068292?seq=1#metadata_info_tab_contents
59.
Cruz G. Aida’s Flutes. Cambridge Opera Journal [Internet]. Cambridge University Press; 2002;14(1). Available from: https://www.jstor.org/stable/3878290?seq=1#metadata_info_tab_contents
60.
Seta FD, Groos A. ‘O cieli azzurri’: Exoticism and Dramatic Discourse in “Aida”. Cambridge Opera Journal [Internet]. Cambridge University Press; 1991;3(1). Available from: https://www.jstor.org/stable/823648?seq=1#metadata_info_tab_contents
61.
Guarracino S. Verdi’s Aida Across the Mediterranean (And Beyond). California Italian Studies [Internet]. 2010;1(1). Available from: https://escholarship.org/uc/item/9tj7h4wv
62.
Huebner S. ‘O patria mia’: Patriotism, Dream, Death. Cambridge Opera Journal [Internet]. Cambridge University Press; 2002;14(1). Available from: https://www.jstor.org/stable/3878289?seq=1#metadata_info_tab_contents
63.
Locke RP. Beyond the Exotic: How ‘Eastern’ Is Aida? Cambridge Opera Journal [Internet]. Cambridge University Press; 2005;17(2). Available from: https://www.jstor.org/stable/3878257?seq=1#metadata_info_tab_contents
64.
Robinson P. Is ‘Aida’ an Orientalist Opera? Cambridge Opera Journal [Internet]. Cambridge University Press; 1993;5(2). Available from: https://www.jstor.org/stable/823799?seq=1#metadata_info_tab_contents
65.
Said EW. The Imperial Spectacle. Grand Street. 1987;6(2).
66.
Large B, Levin J. Aida: Opera in Four Acts [Internet]. Available from: https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2123053850002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,aida&sortby=rank&facet=rtype,include,media&offset=0
67.
Beckerman M. The Master’s Little Joke: Antonín Dvořák and the Mask of Nation. Dvorák and His World. Princeton, N.J.: Princeton University Press; 1993.
68.
Francaviglia RV. Go east, young man: imagining the American West as the Orient. Logan, Utah: Utah State University Press; 2011.
69.
Francaviglia RV. Go East, Young Man: Imagining the American West as the Orient [Internet]. Logan: Utah State University Press; 2011. Available from: http://www.oapen.org/search?identifier=625249
70.
Perlove N. Inherited Sound Images: Native American Exoticism in Aaron Copland’s Duo for Flute and Piano. American Music. 2000;18(1).
71.
Rosenberg RE. Among Compatriots and Savages: The Music of France’s Lost Empire. The Musical Quarterly [Internet]. Oxford University Press; 2012;95(1). Available from: https://www.jstor.org/stable/41478969?seq=1#metadata_info_tab_contents
72.
Browner T. Music of the First Nations: Tradition and Innovation in Native North America. Urbana: University of Illinois Press; 2009.
73.
Gorbman C. Scoring the Liberal Western. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press; 2000.
74.
Pisani MV. Imagining native America in music. New Haven, Conn: Yale University Press; 2005.
75.
Piotrowska AG. About Twin Song Festivals in Eastern and Western Europe: Intervision and Eurovision. International Review of the Aesthetics and Sociology of Music [Internet]. Croatian Musicological Society; 2016;47(1). Available from: https://www.jstor.org/stable/43869457?seq=1#metadata_info_tab_contents
76.
Tragaki D. The Monsters’ Dream: Fantasies of the Empire Within. In: Tragaki D, editor. Empire of song: Europe and nation in the Eurovision Song Contest. Lanham: The Scarecrow Press; 2013.
77.
Solomon T. The Oriental Body on the European Stage: Producing Turkish Cultural Identity on the Margins of Europe. In: Tragaki D, editor. Empire of song: Europe and nation in the Eurovision Song Contest. Lanham: The Scarecrow Press; 2013.
78.
Gumpert M. ‘Everyway That I Can’: Auto-Orientalism at Eurovision 2003. A Song for Europe: Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate; 2007.
79.
Bohlman PV. World Music: A Very Short Introduction. Oxford: Oxford University Press; 2002.
80.
Booth MW. Campe-toi! On the Origins and Definitions. Camp. London: Quartet; 1983.
81.
Shay A, Sellers-Young B. Belly Dance: Orientalism: Exoticism: Self-Exoticism. Dance Research Journal [Internet]. Congress on Research in Dance; 2003;35(1). Available from: https://www.jstor.org/stable/1478477?seq=1#metadata_info_tab_contents
82.
Raykoff I. Camping on the Borders of Europe. A Song for Europe: Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate; 2007.
83.
Björnberg A. Return to Ethnicity: The Cultural Significance of Musical Change in the Eurovision Song Contest. A Song for Europe: Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate; 2007.
84.
Lemish D. Gay Brotherhood: Israeli Gay Men and the Eurovision Song Contest. A Song for Europe: Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate; 2007.
85.
Swedenburg T. Saida Sultan/Danna International: Transgender Pop and the Polysemiotics of Sex, Nation, and Ethnicity on the Israeli-Egyptian Border. The Musical Quarterly [Internet]. Oxford University Press; 1997;81(1). Available from: https://www.jstor.org/stable/742451?seq=1#metadata_info_tab_contents
86.
Born G, Hesmondhalgh D. Introduction: On Difference, Representation and Appropriation in Music. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press; 2000.
87.
Feld S. A Sweet Lullaby for World Music. Public Culture. 2000;12(1):145–171.
88.
Feld S. The Poetics and Politics of Pygmy Pop. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press; 2000.
89.
Feld S. Pygmy POP. A Genealogy of Schizophonic Mimesis. Yearbook for Traditional Music. 1996;28.
90.
Meintjes L. Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning. Ethnomusicology. 1990;34(1).
91.
Taylor TD. Some Versions of Difference: Discourses of Hybridity in Transnational Musics. Beyond Exoticism: Western Music and the World. Durham: Duke University Press; 2007.
92.
White BW. Music and Globalization: Critical Encounters [Internet]. Bloomington: Indiana University Press; 2012. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=670297
93.
Willson RB. The Parallax Worlds of the West–Eastern Divan Orchestra. Journal of the Royal Musical Association. 2009;134(2):319–347.
94.
Cheah E. An Orchestra Beyond Borders: Voices of the West-Eastern Divan Orchestra. London: Verso; 2009.
95.
Beckles Willson R. Whose Utopia? Perspectives on the West-Eastern Divan Orchestra. Music & Politics [Internet]. 2009;3(2). Available from: http://dx.doi.org/10.3998/mp.9460447.0003.201
96.
Etherington B. Instrumentalising Musical Ethics: Edward Said and the West-Eastern Divan Orchestra. Australasian Music Research [Internet]. University of Melbourne, Centre for Studies in Australian Music; 2007;(9):121–129. Available from: https://search.informit.com.au/documentSummary;dn=988049973656075;res=IELHSS;type=pdf
97.
Riiser S. National Identity and the West-Eastern Divan Orchestra. Music and Arts in Action [Internet]. 2010;2(2):19–37. Available from: http://www.musicandartsinaction.net/index.php/maia/article/view/nationalidentity
98.
Winegar J. The Humanity Game: Art, Islam, and the War on Terror. Anthropological Quarterly [Internet]. The George Washington University Institute for Ethnographic Research; 2008;81(3). Available from: https://www.jstor.org/stable/25488228?seq=1#metadata_info_tab_contents
99.
Fink R. Klinghoffer in Brooklyn Heights. Cambridge Opera Journal. 2005;17(02).
100.
Longobardi RS. Re-Producing Klinghoffer: Opera and Arab Identity Before and After 9/11. Journal of the Society for American Music. 2009;3(03).
101.
May T. The John Adams Reader: Essential Writings on an American Composer. Pompton Plains, N.J.: Amadeus; 2006.
102.
Taruskin R. Music’s Dangers And The Case For Control: The Dangers of Music and the Case for Control. New York Times (1923-Current file) [Internet]. 2001; Available from: https://search.proquest.com/docview/92107235?accountid=11455
103.
Adams J, Woolcock P, Goodman A. The Death of Klinghoffer [Internet]. Decca; 2003. Available from: https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2132060420002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&isFrbr=true&tab=tab2&query=any,contains,The%20death%20of%20Klinghoffer&sortby=date&facet=frbrgroupid,include,1288048280&offset=0