Volume
Year
Contents
26
2018
In press
25
2016
In press
24
2015
Debussy and
Maeterlinck
11-32
Affect
Regulation and Trauma in Alban Berg's Wozzeck: Peak
of
33-50
“...when
all the stupidities and irrelevances of a thousand critics have
hardened,
51-78
The Art of
Grafted Song: Citation and Allusion in the Age of
Machaut,
79-82
A
Dictionary for the Modern Singer, by Matthew
Hoch
83-85
Rhyme’s
Challenge: Hip Hop, Poetry and Contemporary Rhyming
Culture,
86-89
The
Politics of Appropriation: German Romantic Music and
the
90-94
CONTRIBUTORS
95-98
GUIDELINES
FOR
CONTRIBUTORS
99
23
2014
Who Sings
“Rest, Rest”?: An Ambiguous Moment in Vaughan
Williams’s Dream Land
11-32
Fictionalized
Wagner: A "Lost"
Chapter
33-54
Frank
O’Hara’s
Virtuosity
55-80
Blackness
in Opera, edited by Naomi André, Karen M. Bryan, Eric
Saylor
81-85
Expressive
Intersections in Brahms: Essays in Analysis and
Meaning,
86-89
Erik Satie:
Music, Art and Literature, edited by Caroline
Potter
90-96
Mozart’s
Grace, by Scott
Burnham
97-102
CONTRIBUTORS
103-106
GUIDELINES
FOR
CONTRIBUTORS
107
22
2013
An Overview
of Lithuania’s History in Song: Legend, Narration and
Nationalism
1-20
Mute the
Bereaved Memories Speak “Vulgar! Rough! Tasteless! –
A major
21-40
Suomi and
the National Opera: The Language of the Finnish Opera
Boom
41-82
“I am
a Jew, in my soul and heart”: Moses Pergament and the
dilemma of
83-94
REVIEWS:
The Romance
in Nineteenth-Century Danish
Opera
131-156
Richard
Wagner’s Influence on Swedish Opera between 1880 and
1920
157-178
Bourgeoning
Modernisms and Multisonant
Gestures:
179-228
CONTRIBUTORS
229-232
GUIDELINES
FOR
CONTRIBUTORS
233
21
2012
Singing
Wolves and Dreaming Apples: The
Cosmopolitan
1-40
Text-Music
Relations in the Early Settecento: The Case of Il trionfo della
carità
41-70
Wagner und
Verdi Manche Gemeinsamkeiten – viele Antithesen
71-88
La musique
vocale française en
1900
89-98
The ‘Queer’
Marriage of Words and
Music
99-114
Brahms,
Again the ‘Master of Allusion,’With His Godson in
Mind
115-154
A
“Cremation Cantata”? The Dramatic Conclusion of
the
155-172
Song as
Memory, Memory as
Song
173-208
Reviews
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 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,
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 OperaticTabaré
REVIEWSArt as Music, Music as Poetry, Poetry as Art,
From Whistler to Stravinsky , by Peter Dayan (Helen Julia
Minors)
129-131A Clockwork Counterpoint: The Music and Literature of Anthony
Burgess Anthony Burgess: Music in Literature and Literature in Music ,
Zdenek Fibich as a Central European
Composer at the End of the Nineteenth (Judith
Fiehler)
134-137Difficult Rhythm Music and the Word in E.M. Forster , by
Michelle FillionLieder and Liederbücher , by Burghart
Wachingner (Johanna Rodda)
140-141The Narrative Arts of Tianjin : Between
Music and Language , Ancient Text Messages of the Yorùbá Bátà
Drum: Cracking the Code ,
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,
Mendelssohn
in Italy: Coming to Terms with His Heritage, by Siegwart
Reichwald
57-92
Reconsidering
Mendelssohn, Bartholomew, and the Elijah
Correspondence,
Inspiration
and Obfuscation in Brahms's Choices and Settings of Biblical
Texts,
Between
Sehnsucht and Nostalgia: Brahms's Lieder und Romanzen
for Women's
REVIEWSFelix Mendelssohn Bartholdys Schauspielmuiken, by Rebecca
RosenthalOf Poetry and Song: Approaches to the
Nineteenth-Century Lied, edited byAwake My Soul: The Story of the Sacred Harp,
1989: Bob Dylan Didn't Have This to Sing About by Joshua
Clover"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
Extant
Music for a Spanish Seventeenth-Century Religious Play: El
bruto (The Brute of Babylon) (1652?), by George Yuri
Porras
19-42
Musical
Consequences of Cultural Encounter: Nahua Influence on Early
Mexican
The
Audience as Poet: Traditional Tunes and Contemporary Satire
in
Common-Tone
Tonality and Schubert's Ihr Bild: A Musical
Parergon,
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,
Mahler's
"Volkslieder als Wiener Bizarrerie," Molly M.
Breckling
143-156
Toward an
Aesthetic of Resistance: Georges Auric's Quatre Chants de la
France by Colin
Roust
157-172
Unrecording
Philomel: Taped Voice as Schizophrenic
Prosthesis,
Metaphor
Transforms Perception: Highlighting American "New Folk"
Singer-
REVIEWSMusic in the Words: Musical Form and Counterpoint in the
Twentieth-Century by Alan Shockley (Lawrence
Switzky)
211-213The Opera Lover's Companion, by Charles Osborne (Mark
Herman)
214-220Chant and Its Origins , ed.Thomas Forest Kelly, and Oral
and Written ed. Thomas Forrest Kelly, and Sung
Birds: , by
ElizabethEcho & Reverb: Fabricating Space in
Popular Music by Peter
Doyle
225-229
Contributors
230-233
17
2008
Ars
LYRICA Celtica in Memoriam Bernard Le Nail
Foreword,
by Timothy P.
Bridgman
ix-xi
In Search
of Music and Song: The Field Diary of Séamus Ennis,
1942-1946,
Two Magical
Arts: Music and Poetry in Irish and Welsh
Mythology,
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,
Rekindling
Celtic Solidarity: The Abergavenny Eisteddfod of 1838 and the
Birth
A
Midsummer Night's Dream: Toward a Hermeneutic
Understanding,
REVIEWSPrehistoric Music of Ireland, by Simon O'Dwyer (Sharon
Paice MacLeod)
229-232Embellishing the Liturgy: Tropes and Polyphony, by
Alejandro EnriqueFrauenlob's Song of Songs: A Medieval German Poet and His
Masterpiece Performing Piety: Musical Culture in Medieval English
Nunneries, William Byrd and His Contemporaries: Essays and a
Monograph, by Philip Brett (Teresa Aynes
Batterson)
239Music and Sexuality in Britten: Selected Essays, by
Philip Brett (Gail Lowther)
240-243
Corrigenda
to Volume
16
244
Contributors
to this
Volume
245-248
16
2007
Defending
The Grand Duke, by Jeff S.
Dailey
1-18
The Umukoro
Songs: Reflections from the Studio of the Composer,
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,
Discovering
"Musical Impressionism" by Way of Eichendorff and
Schumann:
"...
so würde sie noch besser auf den Text gemacht seyn":
Zonca, Raaff,Idomeneo, by Bruce
Brown
87-108
The Songs
in Agustin Moreto's La vida de San Alejo: Their Function
and Significance,
Reconsidering
Rousseau's Le devin du village: An Opera of
Surprising
REVIEWS
165-195Opera and the Novel: The Case of Henry James, ed. Walter
Bernhart,Opera: The Art of Dying, by Linda Hutcheon and Michael
HutcheonThree Modes of Perception in Mozart: The Philosophical,
Pastoral, and Comic Così fan tutte, by Edmund J. Goehring (Edward
Green)
169-175Liber amicorum Isabell Cazeaus: Symbols Parallels and
Discoveries ed. Paul-André Bempéchat (Edward
Rutschman)
175-178Sir Arthur Sullivan 's Grand Opera Ivanhoe and Its
Musical Precursors: Understanding the Women of Mozart's Operas , by Kristi
Brown-MontesanoDivas and Scholars: Performing Italian Opera, by Philip
Gossett (Peter Laki)
183-185Music and Revolution: Cultural Change in Socialist Cuba,
by Robin D. MooreOlivier Messiaen 's System of Signs: Notes Towards
Understanding His Music,
Corrigenda
to Volume
15
191-193
Contributors
to this
Volume
194-195
15
2005-2006
Don
Giovani: Models and Reproductions, by Candelas
Gala
1-22
Strains of
Elvish Songs and Voices: Victorian Medievalism, Music, and
Tolkien,
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,
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,
Marcabru
and the Foundations of Modern Song, by Edward
Green
79-101
"Anywhere
Out of the World": Escapism in Baudelaire-Duparc 's
"L'Invitation
REVIEWS
127-136Opera and the Novel: The Case for Henry James, by Michael
HalliwellAn Introduction to the Study of Medieval Latin Versification,
by Dag NorbergDas italienische Oratorium 1625-1665: Musik und
Dichtung, The Culture of Opera Buffa in Mozart's Vienna, by Mary
Hunter
14
2004
Jacques
Leguerney: Nearly Forgotten Contributor to the French Mélodie
Tradition
Trespassing
the Boundaries of Decent Discourse: Sex in the Early
Madrigal,
Paralyzed
by Perfection(ism): Brahms's Search for the Ideal Opera
Text,
"The
distant music mournfully murmereth. . . ": The Influence of
James Joyce on Irish
REVIEWS
95-108The Court Musicians in Florence During the Principate of the
Medici, with a by Warren
KirkendaleLuisa Tetrazzini: The Florentine Nightingale, by Charles
Nelson GaffeyOpera: 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
The
Interface of Literature and Music in Martin Beheim-Schwarzbach
's Short Story
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,
Review
Essay: John Cage: Composed by Academics, by Mark
NelsonJohn Cage: Composed in America, by
Marjorie Perloff
REVIEWS
123-135A Handbook of the Troubadours, ed. F. R. P. Akehurst and
Judith M. DavisFirst Intermissions: Twenty-One Great Operas Explored,
Explained, by Owen Lee (Mark
Herman)
126-128W. S. Gilbert: A Classic Victorian & His Theatre, by
Jane W. StedmanAntonio Salieri and Viennese Opera, by John A. Rice and
The Culture of 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
91-120Giovanni Gabrielli (ca. 1555-1612): A Thematic Catalogue of
his Music Gluck and the French Theatre in Vienna, by Bruce Alan
BrownBallet de la Jeunesse, by Michel-Richard Delalande
(Bertil van Boer)
111-113Mozart: A Musical Biography, by Conrad Küster
(Bertil van Boer)
113-116Disembodied Voices: Music and Culture in an Early Modern
Italian Convent,
11
2000
Veiled
Messages and Encoded Meanings: Exoticism, Verdi and Women's
Lower
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,
Notes on
Performativity and Mood in Le Mariage de Figaro and Le
Nozze di Figaro,
Celluloid
Butterfly, by Gillian
Steinberg
133-144
Suite For
Three (songs), by Lois W.
Parker
145-151
10
1999
Special
Issue: Music and Literature
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
Music as
Theme, Symbol, and Structural Model in Willi Bredel's Novella
"Spring
Introducing
Wallace Stevens as "Peter Quince at the Clavier": A
Debut Performance ofRite 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
Burning
Bright Burns Brightly as an Opera, by Robert
Morsberger
5-12
Keynote:
Transformations of the Poetic Text in Italian Baroque
Opera,
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
Session:
Shakespeare
129-156
Sound and Sense in Drama: The Word-Music Connection in Stage
Plays,
Ringtime: Sexual and Musical Play in As You Like It, by
Jacquelyn Fox-Good
139-156
Session:
Theory & Song
Program:
American Song Settings of Emily Dickinson, Deborah Bussineau,
Soprano,
Reviews
The Madrigal, by Jerome Roche (Gloria
Allaire)
175-178Language, Music and the Sign: A Study in 'Esthetics, Poetics
and Poetic by Kevin Berry (Daniel
Fischlin)
178-185Elizabethan Lyric Poetry and its Music, by Winifred
Maynard, (Daniel Fischlin)
186-192Bach and the Riddle of the Number
Alphabet, by Ruth Tatlow (Tai Wai
Li)
193-196
ReviewsThe Don Juan Legend before Mozart, by Charles C. Russell
(Perry Gethner)
197-199Don Giovanni: Myths of Seduction and Betrayal, ed.
Jonathan MillerGustav Ill and the Swedish Stage: Opera, Theatre, and Other
Foibles, ed.
Bertil H. van Boer, Jr. (James
Conely)
201-205The Nineteenth-Century German Lied, by Lorraine Gorrell
(Harold Slamovitz)
205–209The Bel Canto Operas of Rossini, Donizetti and Bellini,
by Charles Osborne,The Viking Opera Guide, ed. Amanda Holden (Patricia
B. Brauner)
209-217
ReviewsMusica Ficta: Figures of Wagner, by Philippe
Lacoue-LabartheThe Teutonic Mythology of Richard Wagner 's "The Ring of
the Nibelung," by William O. Cord (William G.
Wallis)
220-223Verdi: A Biography, by Mary Jane Phillips-Matz (Charles
Affron)
223-226Verdi at the Golden Gate, by George Martin (Thomas G.
Neumiller)
226-229Music in the Theater: Essays on Verdi and Other
Composers, by Pierluigi Petrobelli (Herbert
Josephs)
229-233La Tosca (The Drama behind the Opera), by Victorien
Sardou, tr. and ed.
8
1994
From the
Editor's
Desktop
3-4
Marsyas, or
the Supremacy of Music (poem), by Joseph
Tusiani
5-12
Orpheus in
Opera
Reason and Emotion in Haydn's L'anima del Filosofo ossia
Orfeo ed Euridice ,
Tales of Hoffmann:
Orpheus and the Muse,
La bohème,
"'Happily
Ever After": The Criticism of Stephen
Sondheim
43-92
Overview, by Sandor
Goodhart
43-48
The Funeral of Follies: Stephen Sondheim and the Razing
of American Musical
"Every Day a Little Death": Sondheim's Un-Musicaling
of Marriage,
Maternity, Madness, and Art in the Theater of Stephen
Sondheim,
Shakespeare's
"It was a Lover and His Lass": The Authentic Music and
Its Performance
Les Ballets
franco-italiens de Lully: Leur importance pour la formation de
son style,
Phantasmal
Orchestras: Incidental Music in Under the Greenwood Tree and
Far From by W. Eugene
Davis
123-134
Hymnodic
Revision: Editorial License or Intellectual Laziness? by Samuel
J. Rogal
135-148
Review
Essay, by Brian
Watson
147-157The 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
REVIEWS
158-198Singing for Survival: Songs of the Lodz Ghetto, 1940-45,
by Gila FlamMemory and Re-Creation in Troubadour Lyric, by Amelia E.
Van VleckThe Oratorio in Modena, by Victor Crowther (Gloria
Allaire)
168-171and the Evolution of Classical Style 1755-1772,
by Eric WeimerLes Saint-Simoniens et la musique, by Ralph P. Locke
(William Cloonan)
174-176Music as Cultural Practice: 1800-1900, by Lawrence
KramerThe Faust Legend in Music and Literature, Vol. 2, by
William E. GrimGeorge Bizet: "Carmen" by Susan McClary
(Herbert Josephs)
185-188Hugo Wolf's Lieder and Extensions of Tonality, by Deborah
J. SteinPoetry as Text in Twentieth-Century Vocal Music: from
Stravinsky to Reich A General Introduction to Hymnody and Congregational
Song,
Errata
199-200
7
1993
In
Memoriam: Sarah Jane Williams
The Lyrics
of Machaut's Voir Dit: "Voir" and "Veoir,"
by Sarah Jane Williams
7-15
Machaut's
Voir Dit as Game, by James I.
Wimsatt
17-24
On
Re-Creation in Medieval Music: Some Melodic and Textual
Relationships among
Eustache
Deschamps and his Double: Musique Naturele and Musique
Artificiele,
The Exile
of Reason: The Dramatic Use of Emotion in the tragedie lyrique,
A
Systematic Classification for Madrigalism, by Irving
Godt
75-81
Music as
Metaphor in Herbert's Poetry, by Roy E.
Aycock
82-92
The
Dramatic Use of Songs in Federico Garcia Lorca's Yerma,
by Dennis A. Klein
93-105
Sounding
the Sirens Again: An Evaluation of Musical Structures in the
SirensUlysses, by James
Conely
107-116
Igor
Stravinsky in the Pantheon of the Moderns, by Rose A.
Zak
117-124
Music, Mode and Words in Orlando di Lasso's Last
Works, Emily Brontë and Beethoven: Romantic Equilibrium in
Fiction and Music, The Faust Legend in Music and Literature, by William E.
GrimThe Angel's Cry: Beyond the Pleasure Principle in Opera,
by Michel PoizatWagner in Thought and Practice, by Geoffrey Skelton
(Nichole Gantshar)
140-144Musicians Wrestle Everywhere: Emily Dickinson and
Music,
Members'
News
147-150
A Memorial
Tribute to Howard Mayer Brown, by Frank
Tirro
151-152
6
1992
Pedagogy
3-24
Teaching Poetry Through Song, by Leslie
Dunn
3-17
Teaching Music and Fiction: Austen and Mozart, Brontë and
Beethoven,
Teaching Poetry and Opera, by C. J.
Gianakaris
25-33
Faust
34-62
Overview:"The Demonic Pact": The Faust Myth in Music
and Literature,
Devilish Bargains, by Robert
Scholes
35-40
Die Frau Ohne Schatten: A Feminist Faust, by Max F.
Schulz
41-47
Faust as Magician: The Demonic Pact in Doktor Faust, by
William E. Grim
48-54
Faustian Modulations: Boito and Pynchon, by Marcia
Green
55-62
The
Magic
Flute
56-86
Auden and Opera: The Poet's Magic Flute, by Kathy
Rugoff
63-71
Mozart's Opera and G. L.Dickinson' s "Fantasia," The
Magic Flute:
Justus
Friedrich Wilhelm Zachariä's Die Pilgrime auf Golgotha:
A Passion Oratorio
REVIEWS
The
Tuning of the Word , by David Michael Herz (William E.
Grim)
103-104Literature, Painting and Music, by Peter Egri (William E.
Grim)
105-106 Opera, or the Undoing of Women , by Catherine Clement
(Leslie Dunn)
105-111Masters of Contemporary Brazilian Song, by Charles A.
Perrone
Members'
News
116-121
5
1989
Special
Issue: The Lyrical Arts, A Humanities Symposium
Introduction
7-10
Program
11-12
Early Greek
Lyric: One Voice and Many, by Anne Pippin
Burnett
13-28
Intrinsic
Music in the Medieval Chinese Lyric, by Shuen-fu
Lin
29-54
Rhythmic
Form in Twentieth Century American Lyric, by Paul
Diehl
55-70
Catullan
Kisses: A Study in Passion, by Helena
Dettmer
71-82
The Lyre
and the Liar in the Lyric Poetry of the German High Middle
Ages,
The
Afro-Caribbean Sorrow Song: Transmission and
Transformation,
Lyricism
and Dance, by Carol
Horwitz
131-134
Photography
and the Lyric, by Roger
Aikin
135-147
Conference
Themes and Variations, by Donald G.
Marshall
149-156
4
1988
Musique et
Théâtre dans la Psychologie des Peoples, by
Marc-Henri Mainguy
2-6
When the
Message Becomes the Medium: Text-Music Relationships in the
Avant-
Questions
of Quantity: Some Difficulties in Translating Opera for
Performance in
Cognitive
Experiments on the Relationship between Melody and Text, by
Mary
Lyrics
(Song Text) as Lyric (Poetry): The Case of Brazil, by Charles A.
Perrone
37-45
Athalie,
Oratorio, by Françoise
Siguret
47-60
"At
Auschwitz They Hanged Men to Waltzes": Dramatic Song in
Theory and Practice,
REVIEWS
73-94The Experience of Songs, by Mark W. Booth (Mimi S.
Daitz)
76-79 Opera in the Development of German Critical Thought, by
Gloria FlahertyThe Schubert Song Companion, by John Reed (Stephen
Carlton)
80-83Schubert Studies: Problems of Style and Chronology, ed.
by Eva Badura-SkodaAmerican
Art Song and American Poetry, vol 3: The Century Advances,
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
Members
95-106
3
1986
From the
Editor, by Louis E.
Auld
iii-v
Mozart as a
Reader of Poetry: A Reconsideration of His Songs, by Douglass
Seaton
1-22
A Rondeau
with a One-line Refrain Can Be Sung, by Howard Mayer
Brown
23-35
A Note on
Ithamore's Song in The Jew of Malta, by John
Cutts
37-46
In Memoriam
John Duke, by Ruth C.
Friedberg
47-48
REVIEWS
49-74
LYRICA
Business
75-76
From the
Editor's Desk, by Louis E.
Auld
76-78
Corrigenda
78
Conference
Reports
79-83
Members
84-98
2
1983
Letter from
the Editor, by Louis E.
Auld
4-8
Can a
Rondeau with a One-Line Refrain Be Sung? by Howard
Garey
10-21
Text and
Context in Dichterliebe , by Lawrence
Moss
24-38
REVIEWS: A
new
section
40-50The Music of the Medieval Church Dramas, by William
Smolden
Membership
List
51-71
From the
Editor's Desk: News, Notes, & Queries, by Louis E.
Auld
73-77
Conference
Announcements &
Reports
76-77
1
1980-81
Letter from
the
Editor
4-8
The
Significance of Song, by John
Duke
9-21
List of
Members
23-32
Business
33-42
From the
Editor' s Desk (News, Notes, & Queries), by Louis E.
Auld
43-48
Conferences
49-55
Report on
the
Questionaire
56-60
