Recent Submissions

  • Balades 32 and 33 and the res dalemangne 

    Bain, Jennifer, (Author). 2003. "Balades 32 and 33 and the res dalemangne." In Machaut's music: New interpretations, . Woodbridge, Suffolk, UK: Boydell Press.
    In Le Voir Dit Guillaume de Machaut maintains that he composed his balade Nes que on porroit les estoilles nombrer "a la guise d'un res d'alemangne" without elaborating any further. His other comments about the song, ...
  • Essays in honor of Sarah Fuller 

    Bain, Jennifer. 2008. Essays in honor of Sarah Fuller. Durham: Duke Univ. Press.
    The following contributions are cited separately in RILM: Elizabeth AUBREY, Reconsidering high style and low style in medieval song (RILM ref]2008-13720/ref]); Jennifer BAIN, Hildegard, Hermannus, and late chant style (RILM ...
  • A Sarah Fuller bibliography 

    Bain, Jennifer, and Meredith Evans. 2008. "A Sarah Fuller bibliography." Journal of music theory 52(1): 9-12.
    No abstract available.
  • The Metropolitan Opera stories of the great operas. I 

    Freeman, John W., James Levine, and Peter Allen. 1984. The Metropolitan Opera stories of the great operas. I. New York: Metropolitan Opera Guild.
    Provides plot summaries for 150 operas, with biographical sketches of 72 composers.
  • Alban Berg 

    Schroeder, David P.. 1999. "Alban Berg." In Schoenberg, Berg, and Webern: A companion to the Second Viennese School., 185-250. Westport, Conn: Greenwood Press.
    Unlike Schoenberg, Berg spent much time at the Viennese cafés, an environment that had a substantial influence on him and his works. Berg's interests were shaped in that environment, and often ran counter to Schoenberg's ...
  • Mozart in revolt: Strategies of resistence, mischief and deception 

    Schroeder, David P.. 1999. Mozart in revolt: Strategies of resistence, mischief and deception. New Haven: Yale University Press.
    A study of Mozart's letters during his time in Paris, in the context of the 18th-c. letter-writing tradition, provides new insight into his relationship with his father, Leopold Mozart, and his development as a composer.
  • Pubblico e recezione nelle sinfonie londinesi di Haydn 

    Schroeder, David P.. 1999. "Pubblico e recezione nelle sinfonie londinesi di Haydn." In Haydn, . Bologna: Società editrice il Mulino.
    An Italian translation of the article abstracted as RILM ref]1985-02244/ref].
  • Haydn and the Enlightenment: The late symphonies and their audience 

    Schroeder, David P.. 1990. Haydn and the Enlightenment: The late symphonies and their audience. Oxford: Clarendon.
    Haydn was not isolated from 18th-c. enlightened thinking; his moral aspirations are apparent in many compositions. The means for achieving enlightened goals are particularly well developed in his late symphonies. The ...
  • Hitchcock's ear: Music and the director's art 

    Schroeder, David P.. 2012. Hitchcock's ear: Music and the director's art. New York: Continuum.
    Unedited] Music is an underexplored dimension in Hitchcock’s works. Taking a different view from most works on Hitchcock, this book focuses on how an expanded definition of music influences Hitchcock’s conception of ...
  • Mozart and late eighteenth-century aesthetics 

    Schroeder, David P.. 2003. "Mozart and late eighteenth-century aesthetics." In The Cambridge companion to Mozart., 48-58. Cambridge: Cambridge University Press.
    Literature about Mozart through the late 20th c. focused so much on his genius (particularly his childlike status), that the influence of aesthetics and contemporary thought on the composer has been widely overlooked. He ...
  • Our Schubert: His enduring legacy 

    Schroeder, David P.. 2009. Our Schubert: His enduring legacy. Lanham: Scarecrow Press.
    Examines Schubert and the ways audiences and artists—both his contemporaries and their descendents—relate to him, analyzing some of the uses of Schubert's music and providing an intimate portrait of the man. Audiences ...
  • Orchestral music: Symphonies and concertos 

    Schroeder, David P.. 2005. "Orchestral music: Symphonies and concertos." In <B>The Cambridge companion to Haydn</B>, . Cambridge: Cambridge University Press.
    Haydn, like many other 18th-c. artists and philosophers, placed vocal music above instrumental music in terms of expressive power, and he often viewed symphonic composition through an operatic or vocal lens. He approached ...
  • Arnold Schoenberg as poet and librettist: Dualism, epiphany, and Die Jakobsleiter 

    Schroeder, David P., (Author). 2000. "Arnold Schoenberg as poet and librettist: Dualism, epiphany, and Die Jakobsleiter." In Political and religious ideas in the works of Arnold Schoenberg, 41-59. Hoboken: Taylor and Francis.
    Schoenberg often dismissed his talents as a poet and librettist, despite the fact that he wrote many of the texts for his major vocal works. The text of Die Jakobsleiter is complex and shows evidence of various literary, ...
  • Cinema's illusions, opera's allure: The operatic impulse in film 

    Schroeder, David P.. 2002. Cinema's illusions, opera's allure: The operatic impulse in film. New York: Continuum.
    Explores the numerous ways in which opera proved to be a useful model for early cinema and a resource of filmic images. The influence of Richard Wagner on filmmakers as well as the visual images they devised—emerging ...
  • Musicological Identities: Essays in honor of Susan McClary 

    Baur, Steven, Raymond Knapp, Jacqueline Warwick, and Rose Rosengard Subotnik. 2008. Musicological Identities: Essays in honor of Susan McClary. Aldershot: Ashgate.
    A review essay is cited as RILM ref]2009-03895/ref]. The following contributions are cited separately in RILM: David AKE, Musicology beyond the score...and the performance: Making sense of the creak on Miles Davis's Old ...
  • Girl groups, girl culture: Popular music and identity in the 1960s 

    Warwick, Jacqueline. 2007. Girl groups, girl culture: Popular music and identity in the 1960s. New York: Routledge.
    This study addresses '60s girl group music from the perspective of its most significant audience—teenage girls. More than 1500 girl groups were recorded in the 1960s, including the Ronettes, the Supremes, and the Shirelles, ...
  • 'He hit me, and I was glad': Violence, masochism, and anger in girl group music 

    Warwick, Jacqueline. 2010. "'He hit me, and I was glad': Violence, masochism, and anger in girl group music." In She's so fine: Reflections on whiteness, femininity, adolescence and class in 1960s music, 89-112. Burlington, VT: Ashgate.
    No abstract available.
  • 'He's got the power': The politics of production in girl group music 

    Warwick, Jacqueline. 2004. "'He's got the power': The politics of production in girl group music." In Music, space and place: Popular music and cultural identity, 191-200. Aldershot: Ashgate.
    No abstract available.
  • I'm Eleanor Rigby: Female identity and Revolver 

    Warwick, Jacqueline. 2002. "I'm Eleanor Rigby: Female identity and Revolver." In 'Every sound there is': The Beatles' Revolver and the transformation of rock and roll, 58-68. Aldershot: Ashgate.
    No abstract available.
  • Singing style and white masculinity 

    Warwick, Jacqueline. 2009. "Singing style and white masculinity." In The Ashgate research companion to popular musicology, . Aldershot: Ashgate.
    No abstract available.

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