Volume
|
Year
|
Contents
|
|
22
|
2013
|
An Overview of Lithuania’s History in Song:
Legend, Narration and
Nationalism
1-20
MARYTE BIZINKAUSKAS
|
|
|
|
Mute the Bereaved Memories Speak “Vulgar!
Rough! Tasteless! – A
major
21-40
musical event! Brilliant critique of civilization!”
PER BROMAN
|
|
|
|
Suomi and the National Opera: The Language
of the Finnish Opera
Boom
41-82
LAUREN FRANKEL
|
|
|
|
“I am a Jew, in my soul and heart”: Moses
Pergament and the dilemma
of
83-94
cultural identities
HENRIK ROSENGREN
|
|
|
|
Swedish Opera in Translation: Gustav Adolf
and Ebba
Brahe
95-130
KIRSTEN RUTSCHMAN
|
|
|
|
The Romance in Nineteenth-Century Danish
Opera
131-156
DAN SHORE
|
|
|
|
Richard Wagner’s Influence on Swedish Opera
between 1880 and
1920
157-178
JOAKIM TILLMAN
|
|
|
|
Bourgeoning Modernisms and Multisonant
Gestures:
179-228
Cosmopolitan Identities in Turn-of-the-Century Scandinavia
RYAN WEBER
|
|
|
|
CONTRIBUTORS
229-232
|
|
|
|
GUIDELINES FOR
CONTRIBUTORS
233
|
|
21
|
2012
|
Singing Wolves and Dreaming Apples: The
Cosmopolitan
1-40
Imagination in Ligeti’s Weöres Songs
AMY BAUER |
|
|
|
Text-Music Relations in the Early
Settecento: The Case of Il trionfo della
carità
41-70
CARRIE CHURNSIDE
|
|
|
|
Wagner und Verdi Manche Gemeinsamkeiten –
viele Antithesen
71-88
CONSTANTIN FLOROS
|
|
|
|
La musique vocale française en
1900
89-98
DANIÈLE PISTONE
|
|
|
|
The ‘Queer’ Marriage of Words and
Music
99-114
PHILIP PURVIS
|
|
|
|
Brahms, Again the ‘Master of Allusion,’With
His Godson in
Mind
115-154
JANET SCHMALFELDT
|
|
|
|
A “Cremation Cantata”? The Dramatic
Conclusion of
the
155-172
Brahms-Wesendonck Correspondence
JACQUELYN SHOLES
|
|
|
|
Song as Memory, Memory as
Song
173-208
JÜRGEN THYM
|
|
|
|
Reviews
Fascinating Rhythm: The Collaboration of George and Ira
Gershwin,
209-218
by Deena Rosenberg;
George Gershwin: A New Biography
by William G. Hyland;
The George Gershwin Reader ed. by Robert Wyatt and John
Andrew Johnson;
and George Gershwin: His Life and Work
by Howard Pollack
MARK HERMAN
Indo-European Poetry and
Myth
219-220
by M.L. West
SHARON PAICE MCLEOD
Guillaume de Machaut: Secretary, Poet,
Musician
221-222
by Elizabeth Eva Leach
ANDREW ALBIN
Olivier Messiaen: Journalism,
1935-1939
223-227
by Stephen Broad 223
LAURA HAMER
|
|
|
|
Contributors
228-232
|
|
|
|
Guidelines for
Contributors
233
|
|
20
|
2011
|
J.S. Bach's Lost Son, by Edwin H. Ford
II
1-7 |
|
|
|
"One for Whom the Opera is by No Means
New": Byron's Debt to Mozart's Don
Giovanni in "Canto 4" of Don Juan, by
Jonathan
Gross
9-18 |
|
|
|
Translating Opera into Performable English,
by Mark Herman and Ronnie
Apter
19-62
|
|
|
|
Music Quenched in Blood; What Poets
Hear in Chopin's Raindrop Prelude,
by Jean
Kreiling
63-80
|
|
|
|
Surveying a Primary Source of Dukas' Ariane
et Barbe-Bleue, by Helen Julia
Minors
81-100
|
|
|
|
Erik Satie's Obstacles venimeux, by
Caroline
Potter
101-114
|
|
|
|
The Construction of National and
Transnational Hispanic Identities in Two Operatic
Adaptations of Juan Zorrilla de San martin's Poem Tabaré
by Victoria Wolff
115-128
|
|
|
|
REVIEWS
Art as Music, Music as Poetry, Poetry as Art,
From Whistler to Stravinsky
and Beyond, by Peter Dayan (Helen Julia
Minors)
129-131
A Clockwork Counterpoint: The Music and Literature of
Anthony Burgess,
ed. by Marc Jeannin
Anthony
Burgess: Music in Literature and Literature in Music,
ed. by Marc Jeannin (Lawrence Switzky)
132-133
Zdenek Fibich as a Central
European Composer at the End of the Nineteenth
Century (Judith
Fiehler)
134-137
Difficult Rhythm Music and the Word in E.M. Forster,
by Michelle Fillion
(Eric
Saylor)
138-140
Lieder and Liederbücher, by
Burghart Wachingner (Johanna
Rodda)
140-141
The Narrative Arts of Tianjin: Between Music
and Language,
by Francsca R. Sborgi (Joys H.Y.
Cheung)
141-145
Ancient Text Messages of the Yorùbá
Bátà Drum: Cracking the Code,
by Amanda Villepastour (Marie Agatha
Ozah)
145-148
|
|
|
|
Contributors
149-152
|
|
|
|
Guidelines for
Contributors
153-154
|
|
19
|
2010
|
Mendelssohn and Assimilation: Two Case
Studies, by Jeffrey S.
Sposato
1-26
|
|
|
|
Mendelssohn's Reformation Symphony
and the Culture of Assimilation,
by Paul-André
Bempéchat
27-56
|
|
|
|
Mendelssohn in Italy: Coming to Terms with
His Heritage, by Siegwart
Reichwald
57-92
|
|
|
|
Reconsidering Mendelssohn, Bartholomew, and
the Elijah Correspondence,
by Angela R.
Mace
93-112
|
|
|
|
Inspiration and Obfuscation in Brahms's
Choices and Settings of Biblical Texts,
by Virginia
Hancock
113-128
|
|
|
|
Between Sehnsucht and Nostalgia:
Brahms's Lieder und Romanzen for Women's
Chorus, op. 44, by Daniel
Beller-McKenna
129-152
|
|
|
|
REVIEWS
Felix Mendelssohn Bartholdys
Schauspielmuiken, by Rebecca Rosenthal
(Seigwart
Reichwald)
153-155
Mozart and His Operas, by David
Cairns (Mark Herman)
156-163
Of Poetry
and Song: Approaches to the Nineteenth-Century Lied, edited
by
Jürgen Thym (Kenneth Stilwell)
164-167
Awake My
Soul: The Story of the Sacred Harp,
directed by Matt and Erica Hinton (Duncan
Vinson)
168-170
1989: Bob Dylan Didn't Have This to Sing About by
Joshua Clover
(Rachael C.
Brungard)
171-176
"Mek Some Noise": Gospel Music and the Ethics of Style
in Trinidad,
by Timothy Rommen (Kassandra
Hartford)
177-182
|
|
|
|
Contributors
|
|
|
|
Guidelines for Contributors
|
|
|
18
|
2009
|
An Avant-Garde Look at Early
Music: Luigi Nono's Thoughts on Sixteenth-Century
Polyphony, by Katelijne
Schiltz
1-17
|
 |
|
|
Extant Music for a Spanish
Seventeenth-Century Religious Play: El bruto
de Babilonia (The
Brute of Babylon) (1652?), by George Yuri Porras
19-42 |
 |
|
|
Musical Consequences of
Cultural Encounter: Nahua Influence on Early Mexican
Polyphony, by Timothy Watkins
43-62
|
 |
|
|
The Audience as Poet:
Traditional Tunes and Contemporary Satire in
Eighteenth-Century Ballad Opera, by Vanessa L.
Rogers
63-83 |
 |
|
|
Common-Tone Tonality and
Schubert's Ihr Bild: A Musical Parergon,
by Russell Knight
85-104 |
 |
|
|
Wagner, Nietzsche, and the
Dionysian Tannhäuser, by Stella P.
Revard
105-114
|
 |
|
|
Louise Bertin's Fausto and Faust's Operatic Debut in
France: A Love Story Revisited,
by Anne Marcoline
115-141 |
 |
|
|
Mahler's "Volkslieder als
Wiener Bizarrerie," Molly M. Breckling
143-156 |
 |
|
|
Toward an Aesthetic of
Resistance: Georges Auric's Quatre Chants de
la France
malheureuse, by Colin
Roust
157-172
|
 |
|
|
Unrecording Philomel:
Taped Voice as Schizophrenic Prosthesis,
by Christopher M. Barry
173-188 |
 |
|
|
Metaphor Transforms
Perception: Highlighting American "New Folk" Singer-
Songwriters, David Roth and Peter Mayer, by Lisa
Wersal
189-210 |
 |
|
|
REVIEWS
Music in the Words: Musical Form and
Counterpoint in the Twentieth-Century
Novel,by Alan Shockley
(Lawrence Switzky)
211-213
Hildegard of Bingen's Unknown Language: An
Edition, Translation, and
Discussion, by Sarah
L. Higley (Steven Rozenski, Jr.)
213-214
The Opera Lover's Companion, by
Charles Osborne (Mark Herman)
214-220
Chant and Its Origins, ed.Thomas
Forest Kelly, and Oral and Written
Transmission in Chant,
ed. Thomas Forrest Kelly, and Sung Birds:
Music, Nature, and Poetry
in the Later Middle Ages, by Elizabeth
Eva Leach (Andrew Albin)
220-224
Review Essay: Echoes of the Twentieth Century, by Jeremy
Wallach
An essay-review of Echo & Reverb:
Fabricating Space in Popular Music
Recording, 1900-1960, by
Peter Doyle
225-229 |
 |
|
|
Contributors
230-233
Style Sheet and Guidelines for Contributors
235-236 |
 |
|
17
|
2008
|
Ars LYRICA
Celtica in Memoriam Bernard Le Nail
In Memoriam Bernard Le Nail
ii-v
|
|
|
|
Foreword, by Timothy P.
Bridgman
ix-xi
|
 |
|
|
In Search of Music and
Song: The Field Diary of Séamus Ennis,
1942-1946,
by Ríonach uí Ógáin
1-23 |
 |
|
|
Two Magical Arts: Music and
Poetry in Irish and Welsh Mythology,
and Their 21st-Century
Reinterpretation, by Natalie Kirschstein
25-43 |
 |
|
|
Word and Music in Medieval
Cornish Drama, by Benjamin Bruch
45-74 |
 |
|
|
The Keening of Women and
the Roar of the Pipe: From Clàrsach to Bagpipe,
ca 1600-1782, by Michael
Newton and Hugh Cheape
75-95 |
 |
|
|
Rekindling Celtic
Solidarity: The Abergavenny Eisteddfod of 1838 and the
Birth
of Barzaz Breiz, by
Paul-André Bempéchat
97-129
|
 |
|
|
A Midsummer
Night's Dream: Toward a Hermeneutic Understanding,
by Daniel Albright
131-227 |
 |
|
|
REVIEWS
Prehistoric Music of Ireland, by
Simon O'Dwyer (Sharon Paice MacLeod)
229-232
Embellishing the Liturgy: Tropes and
Polyphony, by Alejandro Enrique
Planchart (Katarina
Livljanic)
232-234
Frauenlob's Song of Songs: A Medieval
German Poet and His Masterpiece
by Barbara Newman (Julia
Haag)
235-237
Performing Piety: Musical Culture in
Medieval English Nunneries,
by Anne Bagnall Yardley (Steven Rozenski, Jr.)
237-240
William Byrd and His Contemporaries:
Essays and a Monograph,
by Philip Brett (Teresa
Aynes Batterson)
239
Music and Sexuality in Britten:
Selected Essays, by Philip Brett (Gail Lowther) 240-243 |
 |
|
|
Corrigenda to Volume 16
244
|
 |
|
|
Contributors to this Volume
245-248
Style Sheet and Guidelines for Contributors
249-251 |
 |
|
16
|
2007
|
Defending The Grand Duke, by
Jeff S. Dailey
1-18
|
 |
|
|
The Umukoro Songs:
Reflections from the Studio of the Composer,
by Wallace McClain Cheatham
19-27
|
 |
|
|
Amy Clampitt on Beethoven:
Music, Memory, and Poetic Polyphony, by Jean Kreiling
29-44
|
 |
|
|
The Emperor
Jones Meets Porgy and Bess: William
Grant Still, Langston Hughes,
and their Troubled Island, by
Kimberly Fairbrother Canton
45-55 |
 |
|
|
Discovering "Musical
Impressionism" by Way of Eichendorff and Schumann:
Wolf and Pfitzner at the
Threshold, by Jürgen Thym
57-85
|
 |
|
|
"... so würde
sie noch besser auf den Text gemacht seyn": Zonca,
Raaff,
and Mozart's First Aria for Idomeneo, by Bruce Brown
87-108
|
 |
|
|
The Songs in Agustin
Moreto's La vida de San Alejo: Their
Function and Significance,
by Yuri Porras
109-129 |
 |
|
|
Reconsidering Rousseau's Le devin du village: An Opera of
Surprising
and Valuable Paradox, by
Edward Green
131-163 |
 |
|
|
REVIEWS
165-195
Opera and the Novel: The Case of Henry
James, ed. Walter Bernhart,
by Michael Halliwell (Mark
Herman)
165-167
Opera: The Art of Dying, by Linda
Hutcheon and Michael Hutcheon
(Mark Herman)
168-169
Three Modes of Perception in Mozart:
The Philosophical, Pastoral, and Comic
in Così fan tutte, by Edmund J. Goehring
(Edward Green)
169-175
Liber amicorum Isabell Cazeaus: Symbols
Parallels and Discoveries
in Her Honor, ed.
Paul-André Bempéchat (Edward Rutschman)
175-178
Sir Arthur Sullivan 's Grand Opera Ivanhoe and Its Musical Precursors:
Adaptations of Sir Walter
Scott's Novel for the Stage,1819-1891
by Jeff S. Dailey (Ronald Cross)
178-180
Understanding the Women of Mozart's
Operas, by Kristi Brown-Montesano
(Mark Herman)
180-182
Divas and Scholars: Performing Italian
Opera, by Philip Gossett (Peter Laki)
183-185
Music and Revolution: Cultural Change
in Socialist Cuba, by Robin D. Moore
(Alira Ashvo-Muñoz)
185-188
Olivier Messiaen 's System of Signs:
Notes Towards Understanding His Music,
by Andrew Shenton (Rachel Bergman)
188-190 |
 |
|
|
Corrigenda to Volume 15
191-193 |
 |
|
|
Contributors to this Volume
194-195
Style Sheet and Guidelines for Contributors
196-198 |
|
|
15
|
2005-2006
|
Don Giovani: Models
and Reproductions, by Candelas Gala
1-22
|
 |
|
|
Strains of Elvish Songs and
Voices: Victorian Medievalism, Music, and Tolkien,
by Brad Eden
23-37
|
 |
|
|
Rich in Love: Images and
Perspectives in the Songs of David Roth, by Lisa Wersal
39-52
|
 |
|
|
"Do You Think You Have a
Choice? — Forget "Power to the People": Hyper-reality,
Hegemony, and Consumerism in
R & B and Alternative Rock, by Julie
Goodspeed-Chadwick
53-55
|
 |
|
|
From Purcell to Albeniz:
Merlin at the Opera, by Anne Berthelot
57-66
|
 |
|
|
Malory Meets Wagner in
Madrid: Albéniz's Merlin and the
Mythologizing of Arthur,
by Robert S. Haller
67-78
|
 |
|
|
Marcabru and the
Foundations of Modern Song, by Edward Green
79-101
|
 |
|
|
"Anywhere Out of the
World": Escapism in Baudelaire-Duparc 's "L'Invitation
au voyage" by Angélica Minero
Escobar
103-125 |
 |
|
|
REVIEWS
127-136
Opera and the Novel: The Case for Henry
James, by Michael Halliwell
(Mark Herman)
127-129
An Introduction to the Study of
Medieval Latin Versification, by Dag Norberg
(Charlene Shipman)
130-131
Das italienische Oratorium 1625-1665:
Musik und Dichtung,
by Christian Speck (Edward
Rutschman)
131-133
The Culture of Opera Buffa in Mozart's
Vienna, by Mary Hunter
(Bertil van Boer)
133-136 |
 |
|
14
|
2004
|
Jacques Leguerney: Nearly Forgotten
Contributor to the French Mélodie Tradition
Worthy of Revival, by David
Sannerud
3-15
|
 |
|
|
Trespassing the Boundaries
of Decent Discourse: Sex in the Early Madrigal,
by Alexandra Amati-Camperi
17-38 |
 |
|
|
Paralyzed by
Perfection(ism): Brahms's Search for the Ideal Opera Text,
by Mary I. Ingraham
39-70 |
 |
|
|
"The distant music
mournfully murmereth. . . ": The Influence of James Joyce
on Irish
Composers, by Axel Klein
71-94 |
 |
|
|
REVIEWS
95-108
Music Grooves: Essays and Dialogues, by
Charles Keil and Steven Field
(Betsy Bowden)
95-97
The Court Musicians in Florence During
the Principate of the Medici, with a
Reconstruction of the
Artistic Endowment, by Warren Kirkendale
(Edward Rutschman)
97-102
Luisa Tetrazzini: The Florentine
Nightingale, by Charles Nelson Gaffey
(Gloria Allaire)
102-104
Opera: A History in Documents,
comp. Piero Weiss (Laurel Zeiss)
104-108 |
 |
|
|
Lyrica Society for
Word-Music Relations By-Laws as approved 10/2004
109-114 |
|
|
13
|
2003
|
The Music of Language in a
Passage from Tannhäuser, by Frank Lewin
3-8
|
 |
|
|
Our Second Movement (short
story) by Martin Beheim-Schwarzbach
(translated by Harmut Kaiser)
9-14
|
 |
|
|
The Interface of Literature
and Music in Martin Beheim-Schwarzbach 's Short Story
"Unser zweiter Satz" by
Hartmut Kaiser
15-28
|
 |
|
|
The Music of T. S. Eliot's
Four Quartets, by George Gopen
29-75
|
 |
|
|
"Words Susceptible to
Music:" Versi sciolti in Mozart's Da
Ponte Operas,
by Laurel Zeiss
76-114
|
 |
|
|
Review Essay: John Cage:
Composed by Academics, by Mark Nelson
An essay-review of John Cage: Composed
in America, by Marjorie Perloff
and Charles Junkerman
115-122
|
 |
|
|
REVIEWS
123-135
A Handbook of the Troubadours, ed.
F. R. P. Akehurst and Judith M. Davis
(Mark Herman)
123-125
First Intermissions: Twenty-One Great
Operas Explored, Explained,
and Brought to Life from the Met, by Owen Lee
(Mark Herman)
126-128
W. S. Gilbert: A Classic Victorian
& His Theatre, by Jane W. Stedman
(Mark Herman)
128-130
Antonio Salieri and Viennese Opera,
by John A. Rice and The Culture of
Opera Buffa in Mozart's
Vienna: A Poetics of Entertainment,
by Mary Hunter (Laurel
Zeiss)
131-135 |
 |
|
12
|
2001-2002
|
Narrating the Symbol: Jean
Cras' Legacy of Song, by Paul-André Bempéchat
3-70
|
 |
|
|
An Old Song Resung: A. O.
Vinje, Edvard Grieg and Charles Ives, by Alan Swanson
71-90 |
 |
|
|
REVIEWS
91-120
Giovanni Gabrielli (ca. 1555-1612): A
Thematic Catalogue of his Music
with a Guide to the Source
Materials and Translations of his Vocal Texts,
by Richard Charteris (Bertil
van Boer)
91-94
Gluck and the French Theatre in Vienna,
by Bruce Alan Brown
(Bertil van Boer)
95-98
Orlando di Lasso 's Magnificats for
Counter-Reformation Munich,
by David Crook (Alejandro
Planchart)
98-110
Ballet de la Jeunesse, by
Michel-Richard Delalande (Bertil van Boer)
111-113
Mozart: A Musical Biography, by
Conrad Küster (Bertil van Boer)
113-116
Disembodied Voices: Music and Culture
in an Early Modern Italian Convent,
by Craig A. Monson (Gloria
Allaire)
116-120 |
 |
|
11
|
2000
|
Veiled Messages and Encoded
Meanings: Exoticism, Verdi and Women's Lower
Voices, by Naomi André
1-22
|
 |
|
|
Operatic Sound and the
Aural Unconscious, by Jeremy Tambling
23-38
|
 |
|
|
The Lai in Remede
de Fortune, by William Calin and Lawrence Earp
39-75
|
 |
|
|
Circulatio
as Tonal Morpheme in the Liturgical Music of J. S. Bach,
by Tim Smith
77-88
|
 |
|
|
Parody and Politics: The
Dramaturgical Integration of the Arts in Brecht's Schweyk,
by Ellen Gerdeman-Klein
89-114
|
 |
|
|
Notes on Performativity and
Mood in Le Mariage de Figaro and Le Nozze di Figaro,
by Downing Thomas
115-131 |
 |
|
|
Celluloid Butterfly, by
Gillian Steinberg
133-144
|
 |
|
|
Suite For Three (songs), by
Lois W. Parker
145-151 |
 |
|
10
|
1999
|
Special Issue:
Music and Literature
Literature and Music / Music and Literature, by Patricia
Stanley
3-15
|
 |
|
|
Jazz in Words: A Literary
Medley, by James Maynor
16-29
|
 |
|
|
F. Scott Fitzgerald's Use
of Jazz in The Great Gatsby, by Terri Tomaszek
30-48
|
 |
|
|
The Spellthrower Sonata (a
drama), by Lisbeth Herer
49-61
|
 |
|
|
A Tango in the Dark:
Enrique Morente's Modern Flamenco Version of San Juan
de la Cruz's "Cantar del alma
que se huelga de conocer a Dios por fe,"
by Barbara J. Brunner
62-76
|
 |
|
|
Music as Theme, Symbol, and
Structural Model in Willi Bredel's Novella "Spring
Sonata" by Hartmut M. Kaiser
77-95
|
 |
|
|
Introducing Wallace Stevens
as "Peter Quince at the Clavier": A Debut Performance of
Stravinsky's Rite of Spring, by
David Linebarger
96-122
|
 |
|
|
Errata: The Neurobiology of
Lyricwriting Style: Summary by Sheila Davis
123-126 |
 |
|
9
|
1998
|
Proceedings of the First
International LYRICA Conference
Editor's Comments
3-4
|
|
|
|
Burning Bright
Burns Brightly as an Opera, by Robert Morsberger
5-12
|
 |
|
|
Keynote: Transformations of
the Poetic Text in Italian Baroque Opera,
by Irène Mamczarz
13-32 |
 |
|
|
Session: Opera and Text
before 1800
33-78
|
|
|
|
Manon Lescaut: Literary Shadow and
Operatic Form, by Herbert Josephs
33-40
|
 |
|
|
Roles of the Chorus in 17th-Century Opera, by Perry
Gethner
41-49 |
 |
|
|
Andromeda Plight to the Rock: Textual Variations on
a Lamento,
by Benoît Bolduc
50-66
|
 |
|
|
Musical Theater in Colonial Mexico, by Pamela H.
Long
67-78 |
 |
|
|
The Neurobiology of
Lyricwriting Style: Summary, by Sheila Davis
79-80
|
 |
|
|
Session: Drama into Opera /
Music in Drama
81-128
|
|
|
|
Verdi and Romani's Un giorno di regno:
Better than Reputed, by Ronnie Apter
81-89
|
 |
|
|
"Eros is in the Word": Music, Homoerotic Desire,
and the Psychopathologies
of Fascism or, The "Strangely
Fruitful Intercourse" of Thomas Mann and
Benjamin Britten, by Daniel
Fischlin
91-128 |
 |
|
|
Session: Shakespeare
129-156
|
|
|
|
Sound and Sense in Drama: The Word-Music Connection
in Stage Plays,
by James Conely
129-138
|
 |
|
|
Ringtime:
Sexual
and
Musical
Play
in
As You Like It, by Jacquelyn Fox-Good
139-156 |
 |
|
|
Session: Theory & Song
The Dramaturgic Analysis of Opera: A Helpful Little
Tool, by Irving Godt
157-173
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Program: American Song
Settings of Emily Dickinson, Deborah Bussineau, Soprano,
Ruth Friedberg, Pianist and
Lecturer
174
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Reviews
The Madrigal, by Jerome Roche
(Gloria Allaire)
175-178
Language, Music and the Sign: A Study
in 'Esthetics, Poetics and Poetic
Practice from Collins to
Coleridge, by Kevin Berry (Daniel Fischlin)
178-185
Elizabethan Lyric Poetry and its Music,
by Winifred Maynard, (Daniel Fischlin)
186-192
Bach en het getal (Bach et le Nombre), by Kees van
Houten and Marinus
Karbergen, and Bach
and the Riddle of the Number Alphabet,
by Ruth Tatlow (Tai Wai
Li)
193-196 |
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Reviews
The Don Juan Legend before Mozart,
by Charles C. Russell (Perry Gethner)
197-199
Don Giovanni: Myths of Seduction and
Betrayal, ed. Jonathan Miller
(Carl Goldberg)
199-201
Gustav Ill and the Swedish Stage:
Opera, Theatre, and Other Foibles,
ed. Bertil H. van Boer,
Jr. (James Conely)
201-205
The Nineteenth-Century German Lied,
by Lorraine Gorrell (Harold Slamovitz)
205–209
The Bel Canto Operas of Rossini,
Donizetti and Bellini, by Charles Osborne,
and The Viking Opera Guide, ed.
Amanda Holden (Patricia B. Brauner)
209-217 |
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Reviews
Musica Ficta: Figures of Wagner, by
Philippe Lacoue-Labarthe
(Lawrence Kramer)
217-220
The Teutonic Mythology of Richard
Wagner 's "The Ring of the Nibelung,"
by William O. Cord (William G. Wallis)
220-223
Verdi: A Biography, by Mary Jane
Phillips-Matz (Charles Affron)
223-226
Verdi at the Golden Gate, by George
Martin (Thomas G. Neumiller)
226-229
Music in the Theater: Essays on Verdi
and Other Composers,
by Pierluigi Petrobelli
(Herbert Josephs)
229-233
La Tosca (The Drama behind the Opera),
by Victorien Sardou, tr. and ed.
by W. Laird Kleine-Ahlbrandt
(Herbert Josephs)
233-237
Modern Languages for Musicians, by Julie Yarbrough
(Mark Herman)
237-240
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8
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1994
|
From the Editor's Desktop
3-4
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Marsyas, or the Supremacy
of Music (poem), by Joseph Tusiani
5-12
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Orpheus in Opera
Overview, by Peggy M. Simonds
13-15
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Reason and Emotion in Haydn's L'anima
del Filosofo ossia Orfeo ed Euridice ,
by William E. Grim
17-24
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Mythic Structure in Offenbach's Tales
of Hoffmann: Orpheus and the Muse,
by Stella P. Revard
25-32 |
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Passion Unbound: Orpheus and Eurydice Romanticized
in Puccini's La bohème,
by Peggy Muñoz Simonds &
Roger T. Simonds
33-42 |
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"'Happily Ever After": The
Criticism of Stephen Sondheim
43-92
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Overview, by Sandor Goodhart
43-48
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The Funeral of Follies: Stephen
Sondheim and the Razing of American Musical
Theater, by Ann Marie McEntee
49-62 |
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"Every Day a Little Death": Sondheim's
Un-Musicaling of Marriage,
by Kay Young
63-74
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Maternity, Madness, and Art in the Theater of
Stephen Sondheim,
by Allen W. Menton
75-92
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Shakespeare's "It was a
Lover and His Lass": The Authentic Music and Its
Performance
by Douglass Seaton
93-104
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Les Ballets franco-italiens
de Lully: Leur importance pour la formation de son style,
by Denise Launay
105-122
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Phantasmal Orchestras:
Incidental Music in Under the Greenwood Tree
and Far From
the Madding Crowd, by
W. Eugene Davis
123-134
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Hymnodic Revision:
Editorial License or Intellectual Laziness? by Samuel J.
Rogal
135-148
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Review Essay, by Brian
Watson
147-157
(Roy Palmer, The Sound of History: Songs and
Social Comment; Clark Haller,
For Democracy,
Workers, and God: Labor Song-Poems and Labor Protest;
Robbie Lieberman, "My Song Is My Weapon": People's Songs,
American
Communism, and the Politics
of Culture, 1930-50)
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REVIEWS
158-198
Singing for Survival: Songs of the Lodz
Ghetto, 1940-45, by Gila Flam
(Mark Herman)
158-162
Memory and Re-Creation in Troubadour
Lyric, by Amelia E. Van Vleck
(Amy Wygant)
163-166
"Goostly Psalmes and Spirituall Songes": English
and Dutch Metrical Psalms
from Coverdale to Utenhove
1535-66, by Robin A. Leaver (Ian Sloan)
166-168
The Oratorio in Modena, by Victor
Crowther (Gloria Allaire)
168-171
Opera Seria and the Evolution of
Classical Style 1755-1772, by Eric Weimer
(Gloria Allaire)
171-174
Les Saint-Simoniens et la musique,
by Ralph P. Locke (William Cloonan)
174-176
Music as Cultural Practice: 1800-1900,
by Lawrence Kramer
(Elaine Hoffman Baruch)
177-180
The Faust Legend in Music and
Literature, Vol. 2, by William E. Grim
(Kristie A. Foell)
180-184
George Bizet: "Carmen" by Susan
McClary (Herbert Josephs)
185-188
Hugo Wolf's Lieder and Extensions of
Tonality, by Deborah J. Stein
(Jeff Newberry)
188-190
Poetry as Text in Twentieth-Century
Vocal Music: from Stravinsky to Reich
by Joseph Coroniti (James
Conely)
190-193
A General Introduction to Hymnody and
Congregational Song,
by Samuel J. Rogal (Douglas
Murray)
193-195
The Queen's Throat: Opera, Homosexuality, and the
Mystery of Desire,
by Wayne Koestenbaum (Marilyn
R. Farwell)
196-198 |
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Errata
199-200
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7
|
1993
|
In
Memoriam: Sarah Jane Williams
Sarah Jane Williams: In Memoriam, by Jean Harden
2-4
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The Lyrics of Machaut's Voir Dit: "Voir" and "Veoir," by Sarah Jane
Williams
7-15
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Machaut's Voir
Dit as Game, by James I. Wimsatt
17-24
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On Re-Creation in Medieval
Music: Some Melodic and Textual Relationships among
Gloria Tropes, by Mark A.
Leach
25-46
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Eustache Deschamps and his
Double: Musique Naturele and Musique Artificiele,
by Robert Magnan
47-64
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The Exile of Reason: The
Dramatic Use of Emotion in the tragedie lyrique,
by Buford
Norman
65-74
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A Systematic Classification
for Madrigalism, by Irving Godt
75-81
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Music as Metaphor in
Herbert's Poetry, by Roy E. Aycock
82-92
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The Dramatic Use of Songs
in Federico Garcia Lorca's Yerma, by
Dennis A. Klein
93-105
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Sounding the Sirens Again:
An Evaluation of Musical Structures in the Sirens
Chapter of Ulysses,
by James Conely
107-116
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Igor Stravinsky in the
Pantheon of the Moderns, by Rose A. Zak
117-124 |
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REVIEWS
125-146
Music, Mode and Words in Orlando di
Lasso's Last Works,
by Robert C. Luoma (John
Duffy)
125-129
Emily Brontë and Beethoven: Romantic
Equilibrium in Fiction and Music,
by Robert K. Wallace (James
Conely)
130-132
The Faust Legend in Music and
Literature, by William E. Grim
(Kristie A. Foell)
132-138
The Angel's Cry: Beyond the Pleasure
Principle in Opera, by Michel Poizat
(Carl Goldberg)
138-140
Wagner in Thought and Practice, by
Geoffrey Skelton (Nichole Gantshar)
140-144
Musicians Wrestle Everywhere: Emily
Dickinson and Music,
by Carlton Lowenberg (Laura
Feitzinger Brown)
145-146 |
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Members' News
147-150
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A Memorial Tribute to
Howard Mayer Brown, by Frank Tirro
151-152 |
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6
|
1992
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Pedagogy
3-24
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Teaching Poetry Through Song, by Leslie Dunn
3-17
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Teaching Music and Fiction: Austen and Mozart,
Brontë and Beethoven,
by Robert K. Wallace
18-24
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Teaching Poetry and Opera, by C. J. Gianakaris
25-33
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Faust
34-62
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Overview:"The Demonic Pact": The Faust Myth in
Music and Literature,
by Marcia Green
34
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Devilish Bargains, by Robert Scholes
35-40
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Die Frau Ohne Schatten: A Feminist Faust, by
Max F. Schulz
41-47
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Faust as Magician: The Demonic Pact in Doktor
Faust, by William E. Grim
48-54
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Faustian Modulations: Boito and Pynchon, by Marcia
Green
55-62
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The Magic Flute
56-86
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Auden and Opera: The Poet's Magic
Flute, by Kathy Rugoff
63-71
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Mozart's Opera and G. L.Dickinson' s "Fantasia," The Magic Flute:
A Comparison, by Hartmut Kaiser
72-86
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Justus Friedrich Wilhelm
Zachariä's Die Pilgrime auf Golgotha: A
Passion Oratorio
Libretto, by Bertil H. van
Boer, Jr.
87-102
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REVIEWS
The Tuning of the Word, by David
Michael Herz (William E. Grim)
103-104
Literature, Painting and Music, by
Peter Egri (William E. Grim)
105-106
Opera, or the Undoing of Women, by
Catherine Clement (Leslie Dunn)
105-111
Masters of Contemporary Brazilian Song,
by Charles A. Perrone
(Leopoldo M. Bernucci)
111-115
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Members' News
116-121 |
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5
|
1989
|
Special Issue:
The Lyrical Arts, A Humanities Symposium
Introduction
7-10 |
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Program
11-12
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Early Greek Lyric: One
Voice and Many, by Anne Pippin Burnett
13-28
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Intrinsic Music in the
Medieval Chinese Lyric, by Shuen-fu Lin
29-54
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Rhythmic Form in Twentieth
Century American Lyric, by Paul Diehl
55-70
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Catullan Kisses: A Study in
Passion, by Helena Dettmer
71-82
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The Lyre and the Liar in
the Lyric Poetry of the German High Middle Ages,
by Judith P. Aikin
83-105
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The Afro-Caribbean Sorrow
Song: Transmission and Transformation,
by Bernadette Cailler
107-139
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Lyricism and Dance, by
Carol Horwitz
131-134
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Photography and the Lyric,
by Roger Aikin
135-147
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Conference Themes and
Variations, by Donald G. Marshall
149-156 |
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4
|
1988
|
Musique et Théâtre dans la
Psychologie des Peoples, by Marc-Henri Mainguy
2-6
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When the Message Becomes
the Medium: Text-Music Relationships in the Avant-
Garde, by Ruth A. Solie
7-18 |
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Questions of Quantity: Some
Difficulties in Translating Opera for Performance in
English, by Ronnie Apter
19-28
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Cognitive Experiments on
the Relationship between Melody and Text, by Mary
Louise Serafine
29-36
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Lyrics (Song Text) as Lyric
(Poetry): The Case of Brazil, by Charles A. Perrone
37-45
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Athalie,
Oratorio, by Françoise Siguret
47-60
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"At
Auschwitz They Hanged Men to Waltzes": Dramatic Song in
Theory and Practice,
by Elizabeth Hale Winkler
61-71
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REVIEWS
73-94
Music and Poetry: The Nineteenth Century and After,
by Lawrence Kramer
(Barbara Turchin)
73-76
The Experience of Songs, by Mark W. Booth (Mimi S. Daitz)
76-79
Opera in the Development of German
Critical Thought, by Gloria Flaherty
(William E. Grim)
79-80
The Schubert Song Companion, by
John Reed (Stephen Carlton)
80-83
Schubert Studies: Problems of Style and
Chronology, ed. by Eva Badura-Skoda
and Peter Branscomb (Stephen
Carlton)
83-86
Thumbnail Reviews, by Louis E.
Auld
87-94
American
Art
Song
and
American Poetry, vol 3: The Century Advances,
by Ruth C. Friedberg; English Renaissance
Song, by Edward Doughtie;
The Craft of Lyric Writing and
Successful Lyric Writing, by Sheila Davis;
Music and Language, by Thrasybulos Geordiades, tr.
Marie Louise Göllner
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Members
95-106
Members'
News
95-100
Membership List
101-106
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3
|
1986
|
From the Editor, by Louis E.
Auld
iii-v
|
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|
|
Mozart as a Reader of
Poetry: A Reconsideration of His Songs, by Douglass Seaton
1-22
|
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|
A Rondeau with a One-line
Refrain Can Be Sung, by Howard Mayer Brown
23-35
|
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|
|
A Note on Ithamore's Song
in The Jew of Malta, by John Cutts
37-46
|
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In Memoriam John Duke, by
Ruth C. Friedberg
47-48 |
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|
|
REVIEWS
49-74
Music
Theory:
Special Topics, edited by Richmond Browne [rev. Ruth
A. Solie]
49-53
Of Wines & Bottles: Some Recent, Noteworthy
Publications, by Louis E. Auld
54-74 |
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LYRICA Business
75-76
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From the Editor's Desk, by
Louis E. Auld
76-78 |
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Corrigenda
78 |
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Conference Reports
79-83 Members
84-98 |
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2
|
1983
|
Letter from the Editor, by
Louis E. Auld
4-8
|
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Can a Rondeau with a
One-Line Refrain Be Sung? by Howard Garey
10-21
|
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Text and Context in Dichterliebe, by Lawrence Moss
24-38
|
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REVIEWS: A new section
40-50
Reviews in preparation
40
The
Music
of
the
Medieval
Church
Dramas, by William Smolden
(Clyde W. Brockett)
41-50
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Membership List
51-71
Business
72
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From the Editor's Desk:
News, Notes, & Queries, by Louis E. Auld
73-77
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|
|
Conference Announcements
& Reports
76-77 |
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1
|
1980-81
|
Letter from the Editor
4-8
|
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The Significance of Song,
by John Duke
9-21
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List of Members
23-32
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Business
33-42
Meetings
33-34
Elections
35
Proposed By-Laws
36-42 |
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From the Editor' s Desk
(News, Notes, & Queries), by Louis E. Auld
43-48
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Conferences
49-55
Announcements
49
Reports
51-55
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Report on the
Questionaire
56-60 |
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