Volume
Year
Contents
26
2018
In press
25
2016
In press
24
2015
Debussy and
Maeterlinck
11-32
DANIEL
ALBRIGHT
Affect
Regulation and Trauma in Alban Berg's Wozzeck: Peak
of
33-50
Expressionism
in the War Years
ELLIOTT ANTOKOLETZ
“...when
all the stupidities and irrelevances of a thousand critics have
hardened,
51-78
it is of no
use at all”: Strauss, Hofmannsthal and Ariadne’s
Critics
SCOTT WARFIELD
The Art of
Grafted Song: Citation and Allusion in the Age of
Machaut,
79-82
by Yolanda Plumley
KAREN COOK
A
Dictionary for the Modern Singer, by Matthew
Hoch
83-85
MARK HERMAN
Rhyme’s
Challenge: Hip Hop, Poetry and Contemporary Rhyming
Culture,
86-89
by David Caplan
AMANDA SEWELL
The
Politics of Appropriation: German Romantic Music and
the
90-94
Ancient Greek Legacy, by Jason Geary
BENEDICT
TAYLOR
CONTRIBUTORS
95-98
GUIDELINES
FOR
CONTRIBUTORS
99
23
2014
Who Sings
“Rest, Rest”?: An Ambiguous Moment in Vaughan
Williams’s Dream Land
11-32
ALLAN ATLAS
Fictionalized
Wagner: A "Lost"
Chapter
33-54
JOHN W. BARKER
Frank
O’Hara’s
Virtuosity
55-80
ANNE LOVERING ROUNDS
Blackness
in Opera, edited by Naomi André, Karen M. Bryan, Eric
Saylor
81-85
BETHANY CENCER
Expressive
Intersections in Brahms: Essays in Analysis and
Meaning,
86-89
edited by Heather Platt,
Peter H. Smith
NICHOLAS J CHONG
Erik Satie:
Music, Art and Literature, edited by Caroline
Potter
90-96
JONATHAN HICKS
Mozart’s
Grace, by Scott
Burnham
97-102
SIMON KEEFE
CONTRIBUTORS
103-106
GUIDELINES
FOR
CONTRIBUTORS
107
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
REVIEWS:
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
Program:
American Song Settings of Emily Dickinson, Deborah Bussineau,
Soprano,
Ruth Friedberg, Pianist and
Lecturer
174
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
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
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
8
1994
From the
Editor's
Desktop
3-4
Marsyas, or
the Supremacy of Music (poem), by Joseph
Tusiani
5-12
Orpheus in
Opera
Overview, by Peggy M.
Simonds
13-15
Reason and Emotion in Haydn's L'anima del Filosofo ossia
Orfeo ed Euridice ,
by William E.
Grim
17-24
Mythic Structure in Offenbach's Tales of Hoffmann:
Orpheus and the Muse,
by Stella P.
Revard
25-32
Passion Unbound: Orpheus and Eurydice Romanticized in Puccini's
La bohème,
by Peggy Muñoz Simonds & Roger T.
Simonds
33-42
"'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
Theater, by Ann Marie
McEntee
49-62
"Every Day a Little Death": Sondheim's Un-Musicaling
of Marriage,
by Kay
Young
63-74
Maternity, Madness, and Art in the Theater of Stephen
Sondheim,
by Allen W.
Menton
75-92
Shakespeare's
"It was a Lover and His Lass": The Authentic Music and
Its Performance
by Douglass
Seaton
93-104
Les Ballets
franco-italiens de Lully: Leur importance pour la formation de
son style,
by Denise
Launay
105-122
Phantasmal
Orchestras: Incidental Music in Under the Greenwood Tree and
Far From
the Madding Crowd, by W. Eugene
Davis
123-134
Hymnodic
Revision: Editorial License or Intellectual Laziness? by Samuel
J. Rogal
135-148
Review
Essay, by Brian
Watson
147-157
(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)
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
Errata
199-200
7
1993
In
Memoriam: Sarah Jane Williams
Sarah Jane
Williams: In Memoriam, by Jean
Harden
2-4
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
Gloria Tropes, by Mark A.
Leach
25-46
Eustache
Deschamps and his Double: Musique Naturele and Musique
Artificiele,
by Robert
Magnan
47-64
The Exile
of Reason: The Dramatic Use of Emotion in the tragedie lyrique,
by Buford
Norman
65-74
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
Sirens
Chapter of Ulysses, by James
Conely
107-116
Igor
Stravinsky in the Pantheon of the Moderns, by Rose A.
Zak
117-124
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
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,
by Robert K.
Wallace
18-24
Teaching Poetry and Opera, by C. J.
Gianakaris
25-33
Faust
34-62
Overview:"The Demonic Pact": The Faust Myth in Music
and Literature,
by Marcia
Green
34
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:
A Comparison, by Hartmut
Kaiser
72-86
Justus
Friedrich Wilhelm Zachariä's Die Pilgrime auf Golgotha:
A Passion Oratorio
Libretto, by Bertil H. van Boer,
Jr.
87-102
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
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,
by Judith P. Aikin
83-105
The
Afro-Caribbean Sorrow Song: Transmission and
Transformation,
by Bernadette
Cailler
107-139
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-
Garde, by Ruth A.
Solie
7-18
Questions
of Quantity: Some Difficulties in Translating Opera for
Performance in
English, by Ronnie
Apter
19-28
Cognitive
Experiments on the Relationship between Melody and Text, by
Mary
Louise
Serafine
29-36
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,
by Elizabeth Hale
Winkler
61-71
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
Members
95-106
Members' News
95-100
Membership
List
101-106
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
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
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
40-50
Reviews in preparation
40
The Music of the Medieval Church Dramas, by William
Smolden
(Clyde W.
Brockett)
41-50
Membership
List
51-71
Business
72
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
Meetings
33-34
Elections
35
Proposed
By-Laws
36-42
From the
Editor' s Desk (News, Notes, & Queries), by Louis E.
Auld
43-48
Conferences
49-55
Announcements
49
Reports
51-55
Report on
the
Questionaire
56-60