[Footnotes]

[Footnotes]
1
Joseph Kerman in "Viewpoint," this journal 2 (1978), 190- 91
Kerman
190
2
19th Century Music
1978
Parker, "Levels of Motivic Definition in Verdi's Ernani," ibid. 6 (1982), 141
Parker
141
6
journal
1982
Newcomb, "The Birth of Music out of the Spirit of Drama," ibid. 5 (1981), 40 and 41 (con- flated here)10.2307/2136681
40
idem, "Those Images That Yet Fresh Images Be- get," Journal of Musicology 2 (1983), 23710.2307/763729
237
Carl Dahlhaus, "Wagner, Richard," The New Grove, ed. Stanley Sadie (Lon- don, 1980), vol. 20, pp. 117, 125
Dahlhaus
Wagner, Richard
117
20
The New Grove
1980
"Issues in Composi- tion," in his Between Romanticism and Modernism, tr. Mary Whittall (Berkeley, 1980), pp. 40-78
Issues in Composition
40
Between Romanticism and Modernism
1980
2
Parker and Brown, "Motivic and Tonal Interaction in Un ballo in maschera," Journal of the American Musicological Society 36 (1983), 243-65, esp. 262ff.10.2307/831065
243
Cone, "On the Road to Otello: Tonality and Structure in Simon Boccanegra," Studi verdiani 1 (1982), 72-98
Cone
72
1
Studi verdiani
1982
3
Dahlhaus, "Issues," pp. 69, 66
Dahlhaus
69
Issues
The New Grove, vol. 20, p. 123
123
20
The New Grove
Newcomb, "Birth of Music," pp. 49-50, 53-54
Newcomb
49
Birth of Music
4
Robert Bailey, The Genesis of Tristan und Isolde and a Study of Wagner's Sketches and Drafts for the First Act (Ph.D. diss., Princeton, University, 1969), pp. 147-59
"Norton Critical Score" edn. of the Prelude and Isolde's transfiguration [New York, 1985], pp. 121-26
Norton Critical Score
121
Prelude and Isolde's transfiguration
1985
"The Struc- ture of the Ring and its Evolution," this journal 1 (1977), 59- 61
59
1
19th Century Music
1977
Lorenz, see p. 54, n. 12
54
n. 9
5
Bailey, "Structure of the Ring," p. 51 ff
Bailey
51
Structure of the Ring
6
Parker, as in nn. 1-2
1
Newcomb, "Birth of Music," pp. 43- 50, 64
Newcomb
43
Birth of Music
"Images," pp. 233-34, 237-45
233
Images
Powers, " 'La solita forma' and 'The Uses of Convention'," Acta Musicologica 49 (1987), 65-9010.2307/932865
65
7
Bailey, "Genesis," pp. 147-59
Bailey
147
Genesis
Groos, "Appropriation in Wagner's Tristan and Parsifal,]" to appear in Reading Opera, ed. Parker and Groos (Princeton University Press, scheduled for 1988)
Groos
Appropriation in Wagner's Tristan and Parsifal
Reading Opera
1988
8
Tristan in The Thematic Process in Music (New York, 1951), p. 342
342
Tristan in The Thematic Process in Music
1951
Bailey's edn. of the Prelude and Transfiguration, p. 296: "A historic course is completed: opera has become a unified musical form."
Bailey
296
opera has become a unified musical form
n. 9
9
University of California Press as Analyzing Verdi and Wagner, ed. Parker and Abbate (scheduled for 1988)
Analyzing Verdi and Wagner
1988
10
Kerman in this journal 2 (1978), 191, 190
191
2
19th Century Music
1978
Parker and Brown, pp. 263, 265
263
11
Birth of Music," p. 39, n. 4.
39
Birth of Music
12
Dahlhaus, "Schoenberg and Schenker," Proceedings of the Royal Musical Association 100 (1973- 74), 209-1510.2307/766185
209
Ruth A. Solie, "The Living Work: Organicism and Musical Analysis," this journal 4 (1980), 147-56
Solie
147
4
19th Century Music
1980
13
Chicago, 1960
14
Edward T. Cone, Musical Form and Musical Performance (New York, 1968)
Cone
Musical Form and Musical Performance
1968
15
Maynard Solomon, "Beethoven's Ninth Symphony: A Search for Order," this journal 10 (1986), 3- 23
Solomon
3
10
19th Century Music
1986
16
Hermann Abert, W. A. Mozart, 2 vols. (Leipzig, 1923-24), passim
Abert
W. A. Mozart
1924
Stefan Kunze's recent Mo- zarts Opern (Stuttgart, 1984)
Kunze
Mozarts Opern
1984
Thrasybulos Georgiades, "Aus der Musiksprache des Mozart-Theaters," Mozart-Jahrbuch, 1950, pp. 76-98
Georgiades
76
Mozart-Jahrbuch
1950
Hellmut Federhofer, "Die Harmonik als dramatischer Ausdrucksfaktor in Mo- zarts Meisteropern," ibid., 1968-70, pp. 77-87
Federhofer
77
Mozart-Jahrbuch
1968
Sieghart Döhring, "Die Arienformen in Mozarts Opern," ibid., pp. 66-76
Döhring
66
Mozart-Jahrbuch
idem, Formgeschichte der Opernarien ... (Mar- burg/Lahn, 1975)
Formgeschichte der Opernarien ...
1975
Jutta Ruile-Dronke, Ritornell und Solo in Mozarts Klavierkonzerten (Tutzing, 1978), pp. 67-81
Ruile-Dronke
67
Ritornell und Solo in Mozarts Klavierkonzerten
1978
Sa- bine Henze-Döhring, Opera seria, opera buffa und Mozarts Don Giovanni (Laaber, 1986)
Henze-Döhring
Opera seria, opera buffa und Mozarts Don Giovanni
1986
Rolf Damann, "Die 'Register-Arie' [Catalogue Aria] in Mozarts Don Giovanni," Archiv für Musikwissenschaft 33 (1976), 278-308
Damann
278
33
Archiv für Musikwissenschaft
1976
34 (1977), 56-78
17
Kerman, Opera as Drama (New York, 1956), chs. 3-4
Kerman
chs. 3
Opera as Drama
1956
Ro- sen, The Classical Style (New York, 1971), pp. 288-325
Rosen
288
The Classical Style
1971
Noske, The Signifier and the Signified: Studies in the Op- eras of Mozart and Verdi (The Hague, 1977), part I
Noske
The Signifier and the Signified: Studies in the Operas of Mozart and Verdi
1977
Heartz, "Tonality and Motif in Idomeneo," Musical Times 115 (1974), 382-8610.2307/959046
382
Levarie, Mozart's Le nozze di Figaro (Chi- cago, 1952)
Levarie
Mozart's Le nozze di Figaro
1952
Allanbrook, Rhythmic Gesture in Mozart (Chi- cago, 1983)
Allanbrook
Rhythmic Gesture in Mozart
1983
18
Classic Music (New York, 1980)
Classic Music
1980
20
ltalienische Opernarien des frühen Settecento (1720- 1730), 2 vols. (Cologne, 1976)
ltalienische Opernarien des friihen Settecento (1720-1730)
1976
Die italienische Oper im 18. Jahrhundert (Wilhelmshaven, 1979)
Die italienische Oper im 18. Jahrhundert
1979
21
Marita P. McClymonds, Niccoló Jommelli: The Last Years, 1769-1774 (Ann Arbor, 1980), pp. 229-48
McClymonds
229
Niccoló Jommelli: The Last Years, 1769-1774
1980
Virginia Palmer, "The Application of the Sonata Principle to Structure in La clemenza di Scipione by J. C. Bach," Indiana Theory Review 6 (1982-83), pp. 32-62
Palmer
32
6
Indiana Theory Review
1982
Eric Weimer, Opera Seria and the Evolution of Classical Style, 1755-1772 (Ann Arbor, 1984)
Weimer
Opera Seria and the Evolution of Classical Style, 1755-1772
1984
Rosen, Sonata Forms (New York, 1980), ch. 4
Rosen
ch. 4
Sonata Forms
1980
22
Cheryl Sprague, "Sonata Forms Revisited: An Alternative View of Aria," unpublished paper, read at the Annual Meet- ing of the American Musicological Society, Ann Arbor, 1982.
23
Haydn's Aria Forms: A Study of the Arias in the Italian Operas Written at Eszterháza, 1766-1783 (Ph.D. diss., Cornell University, 1982)
"Haydn's Sonata-Form Arias," Current Musicology, 37/38 (1984), pp. 19-32
19
37
Current Musicology
1984
The Journal of Musicology
The Journal of Musicology
24
"Verbal to Musical Drama: Adaptation or Creation?" in Drama, Dance and Music, ed. James Redmond (Cambridge, 1981), pp. 143-52
Verbal to Musical Drama: Adaptation or Creation?
143
Drama, Dance and Music
1981
"Social Tensions in Le Nozze di Figaro," Music & Letters 50 (1969), 45-6210.2307/732899
45
Sig- nifier and Signified, ch. 2
ch. 2
Signifier and Signified
26
Opera as Drama, pp. 80-90
80
Opera as Drama
p. 86
27
The Classical Style, pp. 293-302.
293
The Classical Style
28
Christoph Wolff, "... Zum VerstÄndnis der Sprechers- zene [in der] Zauberflöte," in Analysen: ... Festschrift ... Hans Heinrich Eggebrecht ..., ed. Werner Breig et al. (Stutt- gart, 1984), pp. 234-47.
Wolff
... Zum VerstÄndnis der Sprecherszene [in der] Zauberflöte
234
Analysen: ... Festschrift ... Hans Heinrich Eggebrecht ...
1984
29
Letter to Leopold Mozart, 26 September 1781, with respect to Osmin's rage-cabaletta to his act I aria in Die Entführung aus dem Serail.
Die Entführung aus dem Serail
1781
30
Michael Freyhan in "Toward the Original Text of Mozart's Die Zauberflöte," Journal of the American Musicological Society 39 (1982), 355-8010.2307/831534
355
31
"Biography and the Work of Art: The Case of Mozart," Rutgers University, 1984 (unpublished)
32
Mozart-Jahrbuch, 1973-74, pp. 82-97, 130-44
82
Mozart-Jahrbuch
1974
33
W. A. Mozart: Don Giovanni (Cambridge, 1981).
W. A. Mozart: Don Giovanni
1981
34
Lorenz, "Das Finale in Mozarts Meisteropem," Die Musik 19 (1926-27), 621-32
Lorenz
621
19
Die Musik
1926
Hans Engel, "Die Finali der Mozartschen Opern," Mozart-Jahrbuch, 1954, pp. 113-34
Engel
113
Mozart-Jahrbuch
1954
Allanbrook, passim
Heartz, "The Creation of the Buffo Finale in Italian Opera," Proceedings of the Royal Music Association 104 (1977- 78), 67-7810.2307/766056
67
35
Levarie, pp. 108-09
108
(quoting Lorenz), 219-21
36
Music and Drama in the Opera Buffa Finale: Mozart and his Contemporaries, 1781-1790 (Ph.D. diss., University of Pennsylvania, 1984)
37
Paul J. Horsley, Dittersdorf and the Finale in the Late Eighteenth-Century German Comic Opera (Ph.D. diss., Cornell University, 1987), essentially follows Platoff's model.
38
Oswald Jonas, "The Relation of Word and Tone," in Intro- duction to the Theory of Heinrich Schenker, tr. John Rothgeb (New York, 1982), pp. 149-61
Jonas
The Relation of Word and Tone
149
Introduction to the Theory of Heinrich Schenker
1982
Ernst Oster, "The Dramatic Character of the Egmont Overture," Musicology 2 (1949), 269-85
Oster
269
2
Musicology
1949
Aspects of Schenkerian Theory, ed. David Beach (New Haven and London, 1983), pp. 209-22
209
Aspects of Schenkerian Theory
1983
Carl Schachter, "Motive and Text in Four Schubert Songs," ibid., pp. 61- 76
Schachter
Motive and Text in Four Schubert Songs
61
Aspects of Schenkerian Theory
38
"How We Got into Analysis, and How to Get Out," Critical Inquiry 7 (1980), 311-31
311
7
Critical Inquiry
1980
"The State of Academic Music Criticism," in On Criticizing Music, ed. Kingsley Price (Baltimore and London, 1981), pp. 38-54
The State of Academic Music Criticism
38
On Criticizing Music
1981
Contemplating Music (Cam- bridge, Mass., 1985), ch. 3 et passim
ch. 3
Contemplating Music
1985
40
"Eric's Dream and Tann- hÄuser's Narrative," in Reading Opera. The Wotan study is unpublished
41
Treitler and Ritva Jonsson, "Medieval Music and Lan- guage: A Reconsideration of the Relationship," in Studies in the History of Music, vol. I, Music and Language (New York, 1983), pp. 1-23
Treitler
Medieval Music and Language: A Reconsideration of the Relationship
1
I
Studies in the History of Music
1983
Randel, "Dufay the Reader," ibid., pp. 38-78;
Randel
Dufay the Reader
38
Studies in the History of Music
Reynolds, "Musical Evidence of Compositional Planning in the Renaissance: Josquin's Plus nulz regretz," Journal of the American Musicological Society 40 (1987), 53-8110.2307/831582
53
42
Kramer, "Multiple and Linear Time in Beethoven's opus 135," Perspectives of NewMusic 11 (1973), 122-45.
Kramer
122
11
Perspectives of NewMusic
1973
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