[Footnotes]

[Footnotes]
1
Peter Kivy, Sound and Semblance: Reflections on Mu- sical Representation (Princeton, 1984), chap. 9 ("Music as Narration")
Kivy
chap. 9
Sound and Semblance: Reflections on Musical Representation
1984
2
Wagner, "Szenische Epik. Marginalien zu Wagners Dramenkonzep- tion im Ring des Nibelungen," in Richard Wagner: Werk und Wirkung, ed. Carl Dahlhaus (Regensburg, 1971), pp. 85-96
Wagner
Szenische Epik. Marginalien zu Wagners Dramenkonzeption im Ring des Nibelungen
85
Richard Wagner: Werk und Wirkung
1971
'Drei der Fragen stell' ich mir frei': Zur Wanderer- Szene im 1. Akt von Wagners 'Siegfried'," Jahrbuch des staatlichen Instituts für Musikforschung (Berlin, 1972), pp. 120-62
Drei der Fragen stell' ich mir frei': Zur Wanderer Szene im 1. Akt von Wagners 'Siegfried'
120
Jahrbuch des staatlichen Instituts ffir Musikforschung
1972
"Richard Wagner der Erzähler," Österreichische Musikzeitschrift 37 (1982), 297-306
297
37
Osterreichische Musikzeitschrift
1982
"Sentas Traumer- zählung," Bayreuther Programmheft 1984 (Bayreuth, 1984), pp. 1-17
Sentas Traumerzihlung
1
Bayreuther Programmheft 1984
1984
Carl Dahlhaus's "Wagner und die Programmusik," Jahr- buch des staatlichen Instituts für Musikforschung (Berlin, 1973), pp. 50-63
Dahlhaus
Wagner und die Programmusik
50
Jahrbuch des staatlichen Instituts fär Musikforschung
1973
"Thesen über Programmusik," in Beiträge zur musikalischen Hermeneutik, ed. Dahlhaus (Regensburg, 1975)
Thesen über Programmusik
Beiträge zur musikalischen Hermeneutik
1975
nn. 1 and 4
3
Dahlhaus, Musikalischen Hermeneutik, pp. 7-8
Dahlhaus
7
Musikalischen Hermeneutik
4
Carl Dahlhaus, Richard Wagner's Music Dramas (Cambridge, 1979), pp. 84-87
Dahlhaus
84
Richard Wagner's Music Dramas
1979
Die Walküre, pp. 122-24
122
Die Walküre
6
Al- fred Lorenz, Das Geheimnis der Form bei Richard Wagner, vol. 1 (Berlin, 1924), pp. 73-74
Lorenz
73
I
Das Geheimnis der Form bei Richard Wagner
1924
Carl Dahlhaus, "Formprinzi- pien in Wagners 'Ring des Nibelungen'," Beiträge zur Ge- schichte der Oper, ed. Heinz Becker (Regensburg, 1969), pp. 112-13
Dahlhaus
Formprinzipien in Wagners 'Ring des Nibelungen
112
Beiträge zur Geschichte der Oper
1969
Carolyn Abbate, introduction to Analyzing Opera: Verdi and Wagner, ed. Carolyn Abbate and Roger Parker (Berkeley and Los Angeles, 1989), pp. 6-7
Abbate
6
Analyzing Opera: Verdi and Wagner
1989
8
J. R. Tull, trans., B. V. Asaf'ev, Musical Form as a Process (Ph.D. diss., Ohio State University, 1976), 1, 184-95
11, 543ff. and 625-33
Frits Noske in The Signifier and the Signified (The Hague, 1977)
Noske
The Signifier and the Signified
1977
9
Roland Barthes, S/Z, trans. Richard Miller (New York, 1974
Miller
Roland Barthes, S/Z
1974
original edn. Paris, 1970)
10
Harold S. Powers, "Language Models and Musical Analy- sis, " Ethnomusicology 24 (1980), 16-25 (Levi-Strauss)10.2307/851308
16
11
Roland Barthes, S/Z, p. 29
29
Roland Barthes, S/Z
12
Ibid., p. 29
29
13
"Nattiez's Semiotics of Music," Ca- nadian Journal of Research in Semiotics 5 (1977-78), 17
17
5
Canadian Journal of Research in Semiotics
1977
14
Jean-Jacques Nattiez, "The Concept of Plot and Seriation Process in Music Analysis," trans. Catherine Dale, Music Analysis 4 (1985), 107-18.10.2307/854238
107
15
Paul Ricoeur, Time and Narrative, vol. 11 (Chicago, 1985), p. 68
Ricoeur
68
II
Time and Narrative
1985
Ricoeur. On pp. 29-30
29
16
G. W. F. Hegel, Aesthetik, ed. Friedrich Bassenge (Berlin, 1985), 11, 474-80
Hegel
474
II
Aesthetik
1985
17
Günther Müller, "Erzählzeit and erzählte Zeit," Festschrift für P. Kluckhohn und Hermann Schneider, 1948
Miller
Erzählzeit and erzählte Zeit
Festschrift für P. Kluckhohn und Hermann Schneider
1948
Morphologische Poetik, Tübingen, 1968)
Morphologische Poetik
1968
Genette began his classic Narrative Discourse (Ithaca, 1980)
Narrative Discourse
1980
Ricoeur, Time and Narrative 11, 61-99
Ricoeur
61
II
Time and Narrative
18
Peter Brooks, Reading for the Plot (Oxford, 1984), p. 25.
Brooks
25
Reading for the Plot
1984
19
Jonathan Culler, "Story and Discourse in the Analysis of Narrative," in his The Pursuit of Signs (Ithaca, 1981), pp. 169-87
Culler
Story and Discourse in the Analysis of Narrative
169
The Pursuit of Signs
1981
20
Reading for the Plot, p. 97
97
Reading for the Plot
"The Minimal Unit of Plot," in Literature and History: Theoreti- cal Problems and Russian Case Studies (Stanford, 1986), pp. 221-29
The Minimal Unit of Plot
221
Literature and History: Theoretical Problems and Russian Case Studies
1986
21
Dahlhaus's Wagnerian studies-for example, his classic "Formprinzipien in Wagners 'Ring des Nibelungen'," Bei- träge zur Geschichte der Oper, ed. Heinz Becker (Regens- burg, 1969), pp. 95-129
Dahlhaus
Formprinzipien in Wagners 'Ring des Nibelungen'
95
Beiträge zur Geschichte der Oper
1969
Schumann's transformation of a basic symphonic model, Critical In- quiry 10 (1984), 614-4210.2307/1343314
614
Philip Gossett, "Verdi, Ghislanzoni, and Aida: The Uses of Con- vention," Critical Inquiry 1 (1974), 291-33410.2307/1342787
291
Harold S. Powers, " 'La solita forma' and 'The Uses of Convention'," Acta musicologica 59 (1987), 65-9010.2307/932865
65
A Theory of Semiotics (Indiana, 1976), pp. 237-41
237
A Theory of Semiotics
1976
22
Schumann and Late Eighteenth- Century Narrative Strategies," this journal 11 (1987), 164- 74
164
11
Nineteenth-Century Music
1987
24
Caryl Emerson, "Real Endings and Rus- sian Death: Mussorgskij's Pesni i plaski smerti," Russian Language Journal 38 (1984), 199-216
Emerson
199
38
Russian Language Journal
1984
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