An unalterable and unquestioned law of the musical
world required that the German text of French operas
sung by Swedish artists should be translated into
Italian for the clearer understanding of
English-speaking audiences. —Edith Wharton,
The Age of Innocence (1920)
Le
commencement continué : la mélodie, une herméneutique
?
in press
EMMANUELE
GOULON
Two
Operatic
Oppenheimers
in press
PETER
LAKI
Rectifying
the Rectified: Beethoven, Die schöne Schusterin,
and
the
in press
Viennese Roots of Fidelio's Morality
MARTIN
NEDBAL
Redefining
Timbre: Poetic and Orchestral Tone Color in Mahler's
"Der
Abschied"
in press
KIRSTEN
RUTSCHMAN
REVIEWS:
Laughter Between Two Revolutions: Opera Buffa in Italy,
1831-1848.
in press
Francesco Izzo. Rochester, NY: University of Rochester
Press, 2013. Eastman
Studies in Music Book 106. xiii+304 pp. Includes musical
examples,
bibliographical references, and index. ISBN 9781580462938.
$90.00
and
Verdi in America: Oberto through Rigoletto. George W.
Martin. Rochester,
NY: University of Rochester Press, 2011. Eastman Studies
in Music Book
86. xxi+474 pp. Includes tables, photographs,
bibliographical references,
and index. ISBN 9781580463881. $85.00.
BENJAMIN AYOTTE
Aisling Kenny
and Susan Wollenberg, eds.:
Women and the Nineteenth-Century
Lied.
Farnham, Surrey,
and Burlington, Vermont: Ashgate (2015). 275 pages.
ISBN
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 Porras19-42
Musical Consequences of
Cultural Encounter: Nahua Influence on Early Mexican Polyphony, by Timothy Watkins43-62
The Audience as Poet:
Traditional Tunes and Contemporary Satire in Eighteenth-Century Ballad Opera, by Vanessa L.
Rogers63-83
Common-Tone Tonality and
Schubert's Ihr Bild: A Musical Parergon, by Russell Knight85-104
Wagner, Nietzsche, and the
Dionysian Tannhäuser, by Stella P.
Revard105-114
Louise Bertin's Fausto and Faust's Operatic Debut in
France: A Love Story Revisited, by Anne Marcoline115-141
Mahler's "Volkslieder als
Wiener Bizarrerie," Molly M. Breckling143-156
Toward an Aesthetic of
Resistance: Georges Auric's Quatre Chants de
la France malheureuse, by Colin
Roust157-172
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 Doyle225-229
Contributors230-233
Style Sheet and Guidelines for Contributors235-236
17
2008
Ars LYRICA
Celtica in Memoriam Bernard Le Nail
In Memoriam Bernard Le Nailii-v
Foreword, by Timothy P.
Bridgmanix-xi
In Search of Music and
Song: The Field Diary of Séamus Ennis,
1942-1946, by Ríonach uí Ógáin1-23
Two Magical Arts: Music and
Poetry in Irish and Welsh Mythology, and Their 21st-Century
Reinterpretation, by Natalie Kirschstein25-43
Word and Music in Medieval
Cornish Drama, by Benjamin Bruch45-74
The Keening of Women and
the Roar of the Pipe: From Clàrsach to Bagpipe, ca 1600-1782, by Michael
Newton and Hugh Cheape75-95
Rekindling Celtic
Solidarity: The Abergavenny Eisteddfod of 1838 and the
Birth of Barzaz Breiz, by
Paul-André Bempéchat97-129
A Midsummer
Night's Dream: Toward a Hermeneutic Understanding, by Daniel Albright131-227
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 16244
Contributors to this Volume245-248
Style Sheet and Guidelines for Contributors249-251
16
2007
Defending The Grand Duke, by
Jeff S. Dailey1-18
The Umukoro Songs:
Reflections from the Studio of the Composer, by Wallace McClain Cheatham19-27
Amy Clampitt on Beethoven:
Music, Memory, and Poetic Polyphony, by Jean Kreiling29-44
The Emperor
Jones Meets Porgy and Bess: William
Grant Still, Langston Hughes, and their Troubled Island, by
Kimberly Fairbrother Canton45-55
Discovering "Musical
Impressionism" by Way of Eichendorff and Schumann: Wolf and Pfitzner at the
Threshold, by Jürgen Thym57-85
"... so würde
sie noch besser auf den Text gemacht seyn": Zonca,
Raaff, and Mozart's First Aria for Idomeneo, by Bruce Brown87-108
The Songs in Agustin
Moreto's La vida de San Alejo: Their
Function and Significance, by Yuri Porras109-129
Reconsidering Rousseau's Le devin du village: An Opera of
Surprising and Valuable Paradox, by
Edward Green131-163
REVIEWS165-195 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 15191-193
Contributors to this Volume194-195
Style Sheet and Guidelines for Contributors196-198
15
2005-2006
Don Giovani: Models
and Reproductions, by Candelas Gala1-22
Strains of Elvish Songs and
Voices: Victorian Medievalism, Music, and Tolkien, by Brad Eden23-37
Rich in Love: Images and
Perspectives in the Songs of David Roth, by Lisa Wersal39-52
"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-Chadwick53-55
From Purcell to Albeniz:
Merlin at the Opera, by Anne Berthelot57-66
Malory Meets Wagner in
Madrid: Albéniz's Merlin and the
Mythologizing of Arthur, by Robert S. Haller67-78
Marcabru and the
Foundations of Modern Song, by Edward Green79-101
"Anywhere Out of the
World": Escapism in Baudelaire-Duparc 's "L'Invitation au voyage" by Angélica Minero
Escobar103-125
REVIEWS127-136 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
Sannerud3-15
Trespassing the Boundaries
of Decent Discourse: Sex in the Early Madrigal, by Alexandra Amati-Camperi17-38
Paralyzed by
Perfection(ism): Brahms's Search for the Ideal Opera Text, by Mary I. Ingraham39-70
"The distant music
mournfully murmereth. . . ": The Influence of James Joyce
on Irish Composers, by Axel Klein71-94
REVIEWS95-108 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 10/2004109-114
13
2003
The Music of Language in a
Passage from Tannhäuser, by Frank Lewin3-8
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 Kaiser15-28
The Music of T. S. Eliot's
Four Quartets, by George Gopen29-75
"Words Susceptible to
Music:" Versi sciolti in Mozart's Da
Ponte Operas, by Laurel Zeiss76-114
Review Essay: John Cage:
Composed by Academics, by Mark Nelson An essay-review of John Cage: Composed
in America, by Marjorie Perloff and Charles Junkerman115-122
REVIEWS123-135 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 Bempéchat3-70
An Old Song Resung: A. O.
Vinje, Edvard Grieg and Charles Ives, by Alan Swanson71-90
REVIEWS91-120 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 André1-22
Operatic Sound and the
Aural Unconscious, by Jeremy Tambling23-38
The Lai in Remede
de Fortune, by William Calin and Lawrence Earp39-75
Circulatio
as Tonal Morpheme in the Liturgical Music of J. S. Bach,
by Tim Smith77-88
Parody and Politics: The
Dramaturgical Integration of the Arts in Brecht's Schweyk, by Ellen Gerdeman-Klein89-114
Notes on Performativity and
Mood in Le Mariage de Figaro and Le Nozze di Figaro, by Downing Thomas115-131
Celluloid Butterfly, by
Gillian Steinberg133-144
Suite For Three (songs), by
Lois W. Parker145-151
10
1999
Special Issue:
Music and Literature
Literature and Music / Music and Literature, by Patricia
Stanley3-15
Jazz in Words: A Literary
Medley, by James Maynor16-29
F. Scott Fitzgerald's Use
of Jazz in The Great Gatsby, by Terri Tomaszek30-48
The Spellthrower Sonata (a
drama), by Lisbeth Herer49-61
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. Brunner62-76
Music as Theme, Symbol, and
Structural Model in Willi Bredel's Novella "Spring Sonata" by Hartmut M. Kaiser77-95
Introducing Wallace Stevens
as "Peter Quince at the Clavier": A Debut Performance of Stravinsky's Rite of Spring, by
David Linebarger96-122
Errata: The Neurobiology of
Lyricwriting Style: Summary by Sheila Davis123-126
9
1998
Proceedings of the First
International LYRICA Conference
Editor's Comments3-4
Burning Bright
Burns Brightly as an Opera, by Robert Morsberger5-12
Keynote: Transformations of
the Poetic Text in Italian Baroque Opera, by Irène Mamczarz13-32
Session: Opera and Text
before 180033-78
Manon Lescaut: Literary Shadow and
Operatic Form, by Herbert Josephs33-40
Roles of the Chorus in 17th-Century Opera, by Perry
Gethner41-49
Andromeda Plight to the Rock: Textual Variations on
a Lamento, by Benoît Bolduc50-66
Musical Theater in Colonial Mexico, by Pamela H.
Long67-78
The Neurobiology of
Lyricwriting Style: Summary, by Sheila Davis79-80
Session: Drama into Opera /
Music in Drama81-128
Verdi and Romani's Un giorno di regno:
Better than Reputed, by Ronnie Apter81-89
"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
Fischlin91-128
Session: Shakespeare129-156
Sound and Sense in Drama: The Word-Music Connection
in Stage Plays, by James Conely129-138
Ringtime:
Sexual
and
Musical
Play
in
As You Like It, by Jacquelyn Fox-Good139-156
Session: Theory & Song The Dramaturgic Analysis of Opera: A Helpful Little
Tool, by Irving Godt157-173
Program: American Song
Settings of Emily Dickinson, Deborah Bussineau, Soprano, Ruth Friedberg, Pianist and
Lecturer174
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 Desktop3-4
Marsyas, or the Supremacy
of Music (poem), by Joseph Tusiani5-12
Orpheus in Opera Overview, by Peggy M. Simonds13-15
Reason and Emotion in Haydn's L'anima
del Filosofo ossia Orfeo ed Euridice , by William E. Grim17-24
Mythic Structure in Offenbach's Tales
of Hoffmann: Orpheus and the Muse, by Stella P. Revard25-32
Passion Unbound: Orpheus and Eurydice Romanticized
in Puccini's La bohème, by Peggy Muñoz Simonds &
Roger T. Simonds33-42
"'Happily Ever After": The
Criticism of Stephen Sondheim43-92
Overview, by Sandor Goodhart43-48
The Funeral of Follies: Stephen
Sondheim and the Razing of American Musical Theater, by Ann Marie McEntee49-62
"Every Day a Little Death": Sondheim's
Un-Musicaling of Marriage, by Kay Young63-74
Maternity, Madness, and Art in the Theater of
Stephen Sondheim, by Allen W. Menton75-92
Shakespeare's "It was a
Lover and His Lass": The Authentic Music and Its
Performance by Douglass Seaton93-104
Les Ballets franco-italiens
de Lully: Leur importance pour la formation de son style, by Denise Launay105-122
Phantasmal Orchestras:
Incidental Music in Under the Greenwood Tree
and Far From the Madding Crowd, by
W. Eugene Davis123-134
Hymnodic Revision:
Editorial License or Intellectual Laziness? by Samuel J.
Rogal135-148
Review Essay, by Brian
Watson147-157
(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)
REVIEWS158-198 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
Errata199-200
7
1993
In
Memoriam: Sarah Jane Williams
Sarah Jane Williams: In Memoriam, by Jean Harden2-4
The Lyrics of Machaut's Voir Dit: "Voir" and "Veoir," by Sarah Jane
Williams7-15
Machaut's Voir
Dit as Game, by James I. Wimsatt17-24
On Re-Creation in Medieval
Music: Some Melodic and Textual Relationships among Gloria Tropes, by Mark A.
Leach25-46
Eustache Deschamps and his
Double: Musique Naturele and Musique Artificiele, by Robert Magnan47-64
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 Godt75-81
Music as Metaphor in
Herbert's Poetry, by Roy E. Aycock82-92
The Dramatic Use of Songs
in Federico Garcia Lorca's Yerma, by
Dennis A. Klein93-105
Sounding the Sirens Again:
An Evaluation of Musical Structures in the Sirens Chapter of Ulysses,
by James Conely107-116
Igor Stravinsky in the
Pantheon of the Moderns, by Rose A. Zak117-124
REVIEWS125-146 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' News147-150
A Memorial Tribute to
Howard Mayer Brown, by Frank Tirro151-152
6
1992
Pedagogy3-24
Teaching Poetry Through Song, by Leslie Dunn3-17
Teaching Music and Fiction: Austen and Mozart,
Brontë and Beethoven, by Robert K. Wallace18-24
Teaching Poetry and Opera, by C. J. Gianakaris25-33
Faust34-62
Overview:"The Demonic Pact": The Faust Myth in
Music and Literature, by Marcia Green34
Devilish Bargains, by Robert Scholes35-40
Die Frau Ohne Schatten: A Feminist Faust, by
Max F. Schulz41-47
Faust as Magician: The Demonic Pact in Doktor
Faust, by William E. Grim48-54
Faustian Modulations: Boito and Pynchon, by Marcia
Green55-62
The Magic Flute56-86
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 Kaiser72-86
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' News116-121
5
1989
Special Issue:
The Lyrical Arts, A Humanities Symposium
Introduction7-10
Program11-12
Early Greek Lyric: One
Voice and Many, by Anne Pippin Burnett13-28
Intrinsic Music in the
Medieval Chinese Lyric, by Shuen-fu Lin 29-54
Rhythmic Form in Twentieth
Century American Lyric, by Paul Diehl55-70
Catullan Kisses: A Study in
Passion, by Helena Dettmer71-82
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 Cailler107-139
Lyricism and Dance, by
Carol Horwitz131-134
Photography and the Lyric,
by Roger Aikin135-147
Conference Themes and
Variations, by Donald G. Marshall149-156
4
1988
Musique et Théâtre dans la
Psychologie des Peoples, by Marc-Henri Mainguy2-6
When the Message Becomes
the Medium: Text-Music Relationships in the Avant-
Garde, by Ruth A. Solie7-18
Questions of Quantity: Some
Difficulties in Translating Opera for Performance in English, by Ronnie Apter19-28
Cognitive Experiments on
the Relationship between Melody and Text, by Mary Louise Serafine29-36
Lyrics (Song Text) as Lyric
(Poetry): The Case of Brazil, by Charles A. Perrone37-45
Athalie,
Oratorio, by Françoise Siguret47-60
"At
Auschwitz They Hanged Men to Waltzes": Dramatic Song in
Theory and Practice, by Elizabeth Hale Winkler61-71
REVIEWS73-94
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
Mozart as a Reader of
Poetry: A Reconsideration of His Songs, by Douglass Seaton1-22
A Rondeau with a One-line
Refrain Can Be Sung, by Howard Mayer Brown23-35
A Note on Ithamore's Song
in The Jew of Malta, by John Cutts37-46
In Memoriam John Duke, by
Ruth C. Friedberg47-48
REVIEWS49-74
Music
Theory:
Special Topics, edited by Richmond Browne [rev. Ruth
A. Solie]49-53 Of Wines & Bottles: Some Recent, Noteworthy
Publications, by Louis E. Auld54-74
LYRICA Business75-76
From the Editor's Desk, by
Louis E. Auld76-78
Corrigenda78
Conference Reports79-83Members
84-98
2
1983
Letter from the Editor, by
Louis E. Auld4-8
Can a Rondeau with a
One-Line Refrain Be Sung? by Howard Garey10-21
Text and Context in Dichterliebe, by Lawrence Moss24-38
REVIEWS: A new section40-50 Reviews in preparation 40
The
Music
of
the
Medieval
Church
Dramas, by William Smolden
(Clyde W. Brockett)41-50
Membership List51-71
Business72
From the Editor's Desk:
News, Notes, & Queries, by Louis E. Auld73-77
From the Editor' s Desk
(News, Notes, & Queries), by Louis E. Auld43-48
Conferences
49-55 Announcements49
Reports51-55
Report on the
Questionaire
56-60
Lyrica Society for
Word-Music Relations, c/o Dr. Paul-André Bempéchat,
23 DeWolf Stree, Leverett House, Harvard
University, Cambridge, MA 02138 lyricasociety@aol.com
