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1 7 1 B i b l i o g r a p h y Bibliography Abbate, Carolyn & Roger Parker (eds.), Analyzing Opera: Verdi and Wagner. Berkeley: University of California Press, 1989. Agawu, V. Kofi, Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press, 1991. Bergé, Pieter (ed.), William E. Caplin & Jeroen D’hoe (co-eds.), Beethoven’s Tempest Sonata. Perspectives of Analysis and Performance (Analysis in Context . Leuven Studies in Musicology, Vol. 2). Leuven: Peeters, 2009. Bonds, Mark Evan, Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge: Harvard University Press, 1991. Caplin, William E., “Structural Expansion in Beethoven’s Symphonic Forms,” in William Kinderman (ed.), Beethoven’s Compositional Process . Lincoln: University of Nebraska Press, 1991, pp. 27–54. Caplin, William E., Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998. Caplin, William E., “The Classical Cadence: Conceptions and Misconceptions ,”JournaloftheAmericanMusicologicalSociety,57/1(2004),pp.51–118. Cone,EdwardT.,“AnalysisToday,”MusicalQuarterly,36(1960),pp.172–88. Cone, Edward T., Musical Form and Musical Performance. New York: Norton , 1968. Cook, Nicholas, “The Other Beethoven: Heroism, the Canon, and the Works of 1813–14,” 19th -Century Music, 27(2003), pp. 3–24. Dahlhaus, Carl, Between Romanticism and Modernism (trans. Mary Whittall ). Berkeley: University of California Press, 1980 [orig. published in German, 1974]. Dahlhaus, Carl, “‘Dritte Themen’ in Clementis Sonaten? Zur Theorie der Sonatenform im 18. Jahrhundert,” Annales musicologiques, 21(1982), pp. 444–61. Dahlhaus,Carl,AnalysisandValueJudgment(trans.SiegmundLevarie).New York: Pendragon Press, 1983 [orig. published in German, 1970]. Dahlhaus, Carl, Realism in Nineteenth-Century Music (trans. Mary Whittall). Cambridge: Cambridge University Press, 1985 [orig. published in German, 1982]. Dahlhaus, Carl, Ludwig van Beethoven: Approaches to his Music (trans. Mary Whittall). Oxford: Oxford University Press, 1991 [orig. published in German, 1987]. 1 7 2 B i b l i o g r a p h y Deane, Basil, “The French Operatic Overture from Grétry to Berlioz,” Proceedings of the Royal Musical Association 99 (1972-1973), pp. 67–80. Drabkin, William, Beethoven: Missa Solemnis. Cambridge: Cambridge University Press, 1991. Fillion, Michelle, “Sonata Exposition Procedures in Haydn’s Keyboard Sonatas,” in Jens Peter Larsen, Howard Serwer & James Webster (eds.), Haydn Studies. Proceedings of the International Haydn Congress, Washington, D.C., 1975. New York: Norton, 1981, pp. 475–81. Galand, Joel, “Formenlehre Revived,” Intégral, 13(2001), pp. 143–200. Gossett, Philip, “Carl Dahlhaus and the ‘Ideal Type,’” 19th -Century Music, 13(1989–90), pp. 49–56. Hatten, Robert S., Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press, 1994. Hepokoski, James, “Genre and Content in Mid-Century Verdi,” Cambridge Opera Journal, 1(1989), pp. 249–76. Hepokoski, James, “Back and Forth from Egmont: Beethoven, Mozart, and the Nonresolving Recapitulation,” 19th-Century Music, 25(2001), pp. 127–54. Hepokoski, James, “Beyond the Sonata Principle,” Journal of the American Musicological Society, 55(2002), pp. 91–154. Hepokoski, James & Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University Press, 2006. Iser, Wolfgang, The Act of Reading: A Theory of Aesthetic Response. Baltimore : Johns Hopkins University Press, 1978 [orig. published in German, 1976]. Johnson, Douglas et al., The Beethoven Sketchbooks. Berkeley: University of California Press, 1985. Kallberg, Jeffrey, “The Rhetoric of Genre: Chopin’s Nocturne in G Minor,” 19th-Century Music, 11(1988), pp. 238–61. Kerman, Joseph, Contemplating Music. Cambridge: Harvard University Press, 1985. Kinderman, William, “Beethoven’s Symbol for the Deity in the Missa Solemnis and the Ninth Symphony,” 19th-Century Music, 9(1985), pp. 102–18. Kinderman, William, Beethoven. New York: Oxford University Press, 1995. Larsen, Jens Peter, “Sonata Form Problems,” in Jens Peter Larsen, Handel, Haydn, and the Viennese Classical Style (trans. Ulrich Krämer). Ann Arbor: UMI Research Press, 1988 [orig. published in German, 1963], pp. 269–79. [18.225.149.32] Project MUSE (2024-04-19 23:02 GMT) 1 7 3 B i b l i o g r a p h y Lerdahl, Fred & Ray Jackendoff, A Generative Theory of Tonal Music. Cambridge : MIT Press, 1983. Lerdahl, Fred, Tonal Pitch Space. Cambridge: Cambridge University Press, 2001. Lewin, David, “Behind the Beyond: A Response to Edward T. Cone,” Perspectives of New Music 7/2(1969), pp. 59–69. Lewin, David, “Music Theory, Phenomenology, and Modes of Perception ,” Music Perception, 3/4(1986), pp. 327–92. Lodes,Birgit,“‘WhenItry,nowandthen,togivemusicalformtomyturbulent feelings’: The Human and the Divine in the Gloria of...

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