MUS2078: Musical Romanticism

Module Handbook

Caspar David Friedrich: ‘Klosterfriedhof im Schnee’ [Friedhof monastery in the snow],circa 1812

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Contents

Module Summary..........................................3Intended Knowledge Outcomes...........................3Intended Skill Outcomes...............................3Methods of Assessment.................................4Notes on the Examination..............................4Notes on the Essay....................................4Deadline for Hand in of Essay:........................4

Lecture schedule........................................5Semester one..........................................5Semester two..........................................5

SEMESTER ONE............................................6Week 1. Introduction: what is romanticism? (IB).......6Week 2. The origins of musical romanticism: the mature

Viennese classical style, Beethoven and the romantic conception of the composer (IB)......7

Week 3. The romantic Lied: Schumann’s Dichterliebe (DC)..............................................8

Week 4. French and German romantic symphonies: Berlioz and Schumann (BL).............................9

Week 5. The rise of the virtuoso: romantic conceptions of musical performance (IB)..................10

Week 7. New German opera: Wagner’s Tristan und Isolde (IB) 11Week 8. Issues in composition: Brahms’ clarinet quintet

(DC).........................................12Week 9. Gustav Mahler and the end of the symphony (IB)

.............................................13Week 10. German and French opera after Wagner: Debussy’s

Pelléas et Mélisande and Strauß’s Salome (IB)......14Week 11. ...From romanticism to modernism: Schoenberg’s

Erwartung (IB)................................16Week 12: ........................................No session

.............................................17SEMESTER TWO...........................................18Study Groups...........................................20Reading list...........................................22

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Module Summary

This module covers some of the landmark works andrepertoires of European Romanticism (ER). The coursecovers the main philosophical and historical contexts forthe rise of ER and situates the musical repertoires ofboth Romanticism and so-called neo-Romanticism withinthat framework. We concentrate in the course on WesternClassical Music, although we also mention other musicalrepertories, especially folk and other vernacular musicalforms. We will also look briefly at the visual arts,literature and poetry of the period in order to gain afirm grasp of the political trajectories of France andGermany in particular. The second half of the course insemester 2 gives students the opportunity to explore inmore depth some of the key ideas and works introduced insemester 1.

Aims to build familiarity with the wider European music

repertories from the so-called ‘long nineteenth century’

to enrich understandings of contextual studies embedded within these repertories;

to provide an intermediate-level training in the study of a key phase in music history, and so to prepare students for advanced-level contextual studies in their final year;

to cultivate independent learning through student participation in seminars and student-led presentations.

Intended Knowledge Outcomes A general knowledge of the musical repertory, 1780-

1914, and specific knowledge of selected composers and sub-repertories;

General knowledge of the wider historical field and specific knowledge of salient political and social contexts;

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Awareness of historiographical issues arising from the study of these repertories.

Intended Skill Outcomes The ability to evaluate a variety of musical

repertories from the long nineteenth century; An understanding of the compositional and

theoretical structures which underpin these repertories;

The ability to relate such repertories to political/social/ contexts and ideas, in a competentand well-informed manner;

The ability to write about these repertories subtly,but also to give clear and well-considered oral presentations on them;

The ability to undertake academic research, both alone and as part of a team.

Methods of Assessment 40% Written Examination in Semester 1

Unseen exam 60% Essay in Semester 2

2500 words

Notes on the ExaminationThe written examination (unseen) will be sat at the end of semester 1 during assessment week. Details to follow

Notes on the EssayThe topic of the essay will be determined by you, with the approval of the module leader

Deadline for Hand in of Essay:

The date will be confirmed in the first few weeks of the module, but the hand in date will fall after Easter vacation, in week 10 of semester 2

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Permission to submit work after the formal deadline will be considered only in the following circumstances: you are ill (and have a medical certificate) you have a genuinely extenuating personal reason

Permission ultimately rests with the Degree Programme Directorfor your programme, but you may need first to discuss the matter with the Module Leader.

If you believe you have grounds for an extension you must complete an Extension Application Form (download from <Blackboard\Community\ICMus\Extension Application Form>) and email it to your module leader. Your Degree Programme Directorwill send you an email to tell you if the application has beenapproved or not. If it has, you must submit your work by the new specified date and attach a ‘late submission’ receipt formto your work when you hand it in at the School Office.

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Lecture scheduleSemester oneWeek 1. Introduction: what is romanticism? (IB)Week 2. The origins of musical romanticism: the mature

Viennese classical style, Beethoven and the romantic conception of the composer (IB)

Week 3. The romantic Lied: Schumann’s Dichterliebe (DC)Week 4. French and German romantic symphonies: Berlioz

and Schumann (BL)Week 5. The rise of the virtuoso: romantic conceptions

of musical performance (IB)______________________Week 6: Reading week

Week 7. New German opera: Wagner’s Tristan und Isolde (IB)Week 8. Issues in composition: Brahms’ clarinet quintet

(DC)Week 9. Gustav Mahler and the end of the symphony (IB)Week 10. German and French opera after Wagner: Debussy’s

Pelléas et Mélisande and Strauß’s Salome (IB)Week 11. From romanticism to modernism: Schoenberg’s

Erwartung (JdS)Week 12: Preparing for the exam

Semester twoWeek 1 Reading week [Prepare for seminars]Week 2 Seminar groups 1 and

2Brahms, Clarinet Quintet, i

IB

Week 3 Seminar groups 2 and 4

Schumann, Dichterliebe BL

Week 4 Seminar groups 5 and 6

Liszt, Piano Sonatain B minor.

IB

Week 5 Seminar groups 7 and 8[Project brief issued this week]

Mahler Symphony No 1, finale

BL

Week 6 [No class] [Individual study for project]

Week 7 Project ‘clinic’ [Individual study for IB &

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project] BLWeek 8 [No class] [Individual study for

project]Week 9 TUTORIALSEASTER VACATIONWeek10 Submit project

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SEMESTER ONEWeek 1. Introduction: what is romanticism? (IB)

This lecture willintroduce students to thewider intellectual,social and culturalcontexts in whichEuropean Romanticismemerged. Dealing withquestions of terminologyand periodisation, thisintroductory session isdesigned to orientatestudents around key

historical trajectories and concepts. As an introduction,the lecture will also briefly look at romanticism in thevisual arts and literature, and will introduce studentsto some of the key musical landmarks of Europeanromanticism.

Keywords: philosophy, painting, Idealism, organicism, Bildung, work concept, romantic genius, public concerts, urban music making

Reading: Kravitt, Edward F., 'Romanticism Today', The Musical Quarterly, Vol. 76, No. 1 (Spring, 1992), 93-109.

(available on blackboard via JSTOR).

Listening: None set for this week

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Week 2. The origins of musical romanticism: the mature Viennese classical style, Beethoven and the romantic conception of the composer (IB)

This lecture looksat what we mightmean by the term‘musicalromanticism’. Whatare the musical(formal, textural,harmonic, etc.)features we ascribeto romantic music,and to what extentare these featuresa departure fromearlier musics suchas the so-calledmature Vienneseclassical style? Wewill also look inthis lecture at the

romantic reception of Beethoven, a key figure in theconstruction of what has since come to be known as the‘romantic hero’ or the ‘romantic genius’.

Keywords: composer concept, Beethoven, romantic theories of form, Viennese mature classical style, elaborated (extended) sonata form, lyrical forms, miniatures

Reading: Webster, James, 'Between Enlightenment and Romanticism in Music History: "First Viennese Modernism" and the Delayed Nineteenth Century',19th-Century Music, Vol. 25, No. 2/3, The Long Century, 1780-1920 (Autumn, 2001 - Spring, 2002), 108-126.

(available on blackboard via JSTOR).

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Listening: See the range of materials on Blackboard

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Week 3. The romantic Lied: Schumann’s Dichterliebe (DC)

The Lied transformed intoa new genre under Germanromanticism, withSchumann as one of itsprincipal mid-nineteenthcentury exponents. Inthis session we’ll lookat some of thecharactertics of theLied, from both an

aesthetic and an anlytical standpoint, taking Schumann’sDichterliebe as a case study. Over and above the individualsongs in this work there looms the question of its statusas a song-cycle. How does Schumann create a whole that isgreater than the sum of its parts? Is this symptomatic ofan increasing tendency towards unity in the nineteenthcentury?

Keywords: Gesang, Lied, song-cycle, tone, lyric ego, organicism, unity.

Reading: Carl Dahlhaus, Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley: University of California Press, 1989), 96–105 (‘Lied traditions’).

Score: Arthur Komar, ‘From Heine’s poems into Schumann’s songs’, in Komar ed., Schumann, Dichterliebe: An Authoritative Score, Norton Critical Scores (New York and London: W.W. Norton, 1971), 3–12.

(text available on blackboard via JSTOR, score(s) available in school office).

Listening: Schumann, Dichterliebe.(see blackboard)

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Week 4. French and German romantic symphonies: Berlioz and Schumann (BL)

How did composers feel able towrite symphonies in thenineteenth century when itseemed that Beethoven hadalready said everything thereis to say? In this lecture wewill look at how composersresponded differently to thelegacy of Beethoven’ssymphonies, taking Schumann’sevocative Rhenish Symphony andBerlioz’s radical Symphonie

fantastique as case studies. Within the framework of ideassuch as the ‘anxiety of influence’ and ‘disinhibition’,we will look closely at the musical materials to see howthese pieces balance being symphonic against beingromantic: are concepts such as motives, modulation, andsonata form still useful for understanding these pieces,or have orchestration, programme, and spontaneousexpressivity taken over the genre?

Keywords: symphony, anxiety of influence, disinhibition, idée fixe, sonata form, orchestration, programme music, Ländler

Reading: ‘The Symphony after Beethoven’, pp. 152-160, from Carl Dahlhaus, Nineteenth-Century Music (Berkeley, Los Angeles: University of California Press, 1989)

(to be available on Blackboard)

Listening: Schumann, Symphony No. 3 (Rhenish)Berlioz, Symphonie Fantastique

(with scores, to be available on Blackboard)

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Week 5. The rise of the virtuoso: romantic conceptions of musical performance (IB)

What it means to perform in thefirst half of the nineteenthcentury was a complex matter:on the one hand, as we willhave seen by this lecture, theconcept of Bildung meant thatovert display was somethingthat had to be avoided and, onthe other, the musical formsthat attached themselves to thenotion of Bildung werenonetheless all about holding theattention. Hence, around theidea of performance, andespecially the virtuoso, thereraged a conflicted set ofdiscourses about propriety,musical ‘depth’ and musical‘surface’. In this lecture, wewill examine some examples ofvirtuosic practice and discussdome of the issues that attendpublic music making in he firsthalf of the nineteenth century.

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Keywords: virtuoso and virtuosity, performance, spontaneity, public/private divide, concert life, musicalinstitutions

Reading: Ferris, David, 'Public Performance and Private Understanding: Clara Wieck's Concerts in Berlin', Journal of the American Musicological Society, Vol. 56, No. 2 (Summer, 2003), 351-408.

(available on blackboard via JSTOR).

Listening: A selection of items on the CD(s) in the School Office, including Paganini, Wienawski, Chopin, Liszt and Brahms

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Week 7. New German opera: Wagner’s Tristan und Isolde (IB)

Perhaps the mostcontroversial figure of theEuropean operatic tradition(not least because of hisopenly racist views),Richard Wagner is a keyfigure in what has come tobe known as ‘musicalromanticism’. By thislecture, we will alreadyhave discussed some of theproblems in using this termto cover so wide a field ofmusical practice and thislecture will look atprecisely where thoseproblems are rehearsed

musically in Wagner’s works. We will look in some detailat the 1856 opera, Tristan und Isolde and this is one of theset texts of this course. In addition to the musicalfeatures, this lecture will also introduce some of thehistorically-specific issues relating to love, sex andsexuality in his work.

Keywords: opera, Gesamtkunstwerk, sexuality, desire, Erlösung, Liebestod

Reading: Lawrence Kramer, ‘Musical form and fin-de-siècle sexuality’, Music as Cultural Practice, 1800-1900(Berkeley, Los Angeles and London: University of California Press, 1990), 135-175.

(available on blackboard via JSTOR).

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Listening: Richard Wagner, Tristan und Isolde

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Week 8. Issues in composition: Brahms’ clarinet quintet (DC)

Composers in the nineteenth-century Austro-Germantradition faced signficantchallenges as they sought toarticulate theirindividualistic aestheticstances and musical styles.Not the least of theseissues was a polemic around‘progressiveness’,crytallising in an perceivedopposition between Wagner’s‘Music of the Future’ andthe apparent conservatism ofBrahms. Here we will studyDahlhaus’s take on thesequestions, and will considerhow Brahms’s approach to

composition was seen as no less progressive than Wagner’sin the eyes (and ears) of Schoenberg.

Keywords: Progresssiveness, musical idea, thematicism, developing variation

Reading: Carl Dahlhaus, ‘Issues in Composition’, in Between Romanticism and Modernism: Four Studies in the Musicof the Later Nineteenth Century, trans. Mary Whittall (Berkeley and London: University of California Press, 1980), 40–78.

(available on blackboard).

Listening: Brahms, Clarinet Quintet in B minor.

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Week 9. Gustav Mahler and the end of the symphony (IB)

Mahler’s symphonic style was,for many, the end of theAustro-German symphonic style.For his critics, his was astyle that was overwrought,fragmented, without any roots,speaking in a hybridisingaccent. The rather thinlyveiled anti-Semitism of thereception of Mahler’s music iseasy for us to spot now. This

lecture looks at several of Mahler’s major symphonicworks and tries to understand the cultural, aesthetic andpolitical background to the reception of these works. Inparticular, we will try to understand how we might thinkof Mahler that composer as both a conservative and aradical, as deliberately holding both those positionstogether in his work.

Keywords: Symphonism, anti-Semitism, modernism, hybridity, reception theory, twilight of the empire, fin-de-siècle Vienna

Reading: EITHER Knittel K. M. ‘ “Ein hypomoderner Dirigent”: Mahler and anti-Semitism in fin-de-siècle Vienna’ 19th-Century Music, vol. 18 no. 3 (1995), 257–276.

OR Johnson, Julian, ‘The status of the subject in Mahler’s Ninth Symphony’, 19thCentury Music, vol. 18 no. 2 (1994), 108–120.

(available on blackboard via JSTOR).

Listening: Gustav Mahler, ‘Scherzo’ from Symphony No.1

Gustav Mahler, ‘Nachtmusik II’ from symphony No. 7

Gustav Mahler, Opening of Das Lied von der Erde

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Week 10. German and French opera after Wagner: Debussy’s Pelléas et Mélisande and Strauß’s Salome (IB)

In this lecture we willlook in somedetail atDebussy’s Pelléaset Mélisande(1902) andStrauß’s Salome(1905). Theyare bothremarkableoperas fortheir refusalof standardnineteenth-centuryoperaticconvention.Debussy’s workis complex one,both in termsof itsnarrative andin terms of itsmusical form,structuredaround highlyindividuated

moments of musical ‘scenes’ and stretching theconcept of leitmotiv almost to breaking point.Similarly, like its operatic pair Elektra (1909),Strauß’s Salome is remarkable for itsexperimental breaking with operatic conventionand its musical and thematic daring. Bothoperas deal in very ‘modern’ ways with love andsexual desire and both represent interestinghistorical essays in late nineteenth- and earlytwentieth-century attitudes to gender,sexuality and form.

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Keywords: opera, scenic form, gender, sexuality, psychoanalysis, the unconscious, symbolism, expressionism, modernism, chromaticism, “new” modality

Reading: choose ONE of the following

Lawrence Kramer ‘Culture and Musical Hermeneutics: The Salome Complex, Cambridge Opera Journal, Vol. 2, No. 3 (November, 1990), 269-294.

Sander L. Gilman, ‘Strauss, the Pervert, and Avant Garde Opera of the Fin de Siècle’, New German Critique, No. 43, Special Issue on Austria (Winter, 1988), 35-68.

Goehr, Lydia, 'Radical Modernism and the Failure of Style: Philosophical Reflections on Maeterlinck-Debussy's "Pelléas et Mélisande"', Representations, No. 74, Philosophies in Time (Spring, 2001), 55-82.

(available on blackboard via JSTOR).

Listening: Claude Debussy, Pelleas et MelisandeRichard Strauß, Salome

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Week 11. From romanticism to modernism: Schoenberg’s Erwartung (IB)

Schoenberg’s 1911 complexmonodrama for soprano andorchestra, based on a libretto byMarie Pappenheim, is perhaps thebest known example of what hassince come to be known as musicalexpressionism. In this lecture, wewill look at the nature of musicalexpressionism, looking also atother musical examples (Bartók,Berg, Webern, Zemlinsky), andexamine its roots in musicalromanticism, exploring some its

key formal characteristics. We will briefly also look atother cultural forms from this period that have beencalled ‘expressionist’ such as the visual arts andpoetry.

Keywords: Expressionism, Innerlichkeit, pointillism, the unconscious, Angst, bourgeois pessimism

Reading: David Fanning, ‘Expressionism’, Grove Music Online,ed. L. Macy, http://www.grovemusic.com (19September 2008).

Listening: Schoenberg’s Erwartung

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Week 12: No session

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SEMESTER TWO

ScheduleWeek 2 Seminar groups 1 and 2

Seminar groups a and 2 will present on different aspects of the first movement of Brahms’s Clarinet Quintet (briefwill be announced before Christmas)

Week 3 Seminar groups 2 and 4

Seminar groups 3 and 4 will present on different aspects of the first movement of Brahms’s Clarinet Quintet (briefwill be announced before Christmas)

Week 4 Seminar groups 5 and 6Seminar groups 5 and 6 will present on different aspectsof Liszt’s Piano Sonata in B minor (brief will be announced before Christmas)

Week 5 Seminar groups 7 and 8Two groups will present on different aspects of the finale of Mahler’s Symphony No 1 (brief will be announcedbefore Christmas)

Week 6 [No class] [Individual study for project]

Week 7 Project ‘clinic’ [Individual study for project] IB & BL

Week 8 [No class] [Individual study for project]

Week 9 TUTORIALS

EASTER VACATION

Week10 Submit project

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Learning culture

The spirit of the second semester’s teaching and learningis this:

The emphasis is on student-led activity: this is to help you improve your skills in managing your own learning, presenting your ideas to others, and participating knowledgably in discussion.

The focus is on individual pieces: this is to help you develop your skills in analysing what is going on in a piece of music, and in relating this to wider historical and aesthetic issues.

There will be four seminars (schedule below), which will help you build up your skills and knowledge, giving you time to make mistakes and to improve fromweek to week.

The experience you gain through this process will prepare you for the final assessed project. The brief for this will be issued after the last seminar, and the project is due in some time in week10 (date to be confirmed).

You work on your project independently. However there will be a ‘clinic’ in week 7, so that you can bring questions to, and ask for advice from, the module tutors.

Here’s how the seminars will work week by week: You will be assigned to a tutor group of 5 or 6

students Everyone prepares for every seminar (all the topics

are formative for the final project), but one group will be given particular responsibility for leading part of each session

An assignment sheet for each seminar topic will be posted in advance on Blackboard; There will be two tutor groups allocated to each set work and each group will complete a different assignment

the onus is now largely on you to decide how best to go about getting to grips with the music being considered

To this end you should refer back to the corresponding lecture(s) from semester 1, reminding

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yourself of issues relevant to each piece, applying and extending analytical approaches taken (or finding alternative ones), re-visiting readings thatwere set, and/or finding additional supporting literature

Each seminar will be led by a different group of students (details in schedule below). The role of the lead group is to prepare a short presentation (20 minutes), and to devise points for further discussion by the full group. Again, this assumes that every class member will have prepared: the presentation forms only part of the session; everyone else will be expected to contribute to the wider discussion.

It is up to each lead group to arrange their own time and place to meet to prepare their presentationfor the class. You may want to use the Communicationfacility on Blackboard to help enable this.

The lead group may wish to use suitable audio-visualsupport. You can ask the office staff to photocopy handouts, provided you pass material to them 48 hours before the class. If using technology be sure to have a backup plan (e.g. if you want to use PowerPoint slides, have them on your network drive and on pen drive).

The following table shows who is in which lead groupfor each week. It is not permitted to change group unilaterally. However if you and a person in anothergroup wish to swap weeks, you may email the module leader (IB: i.d.biddle@ncl.ac.uk) to request approval for the change, by no later than one week before the earlier seminar date.

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Study Groups

yiota.agathagelou@newcastle.ac.uk Yiota

Agathagelou 1

a.j.dawson@newcastle.ac.uk Alexander John Dawson 1thomas.macmillan@newcastle.ac.uk Thomas George MacMillan 1l.i.oram@newcastle.ac.uk Lily Isobel Oram 1adam.trendall@newcastle.ac.uk Adam Trendall 1frances.andrews@newcastle.ac.uk Frances Claire Andrews 2a.m.entwistle@newcastle.ac.uk Amber Maisie Entwistle 2georgina.mathew@newcastle.ac.uk Georgina Kate Mathew 2fiona.preston@newcastle.ac.uk Fiona Preston 2sarah.wainman@newcastle.ac.uk Sarah Wainman 2billy.armstrong1@newcastle.ac.uk Billy Armstrong 3hugo.everard@newcastle.ac.uk Hugo Simon Everard 3thomas.meadows@newcastle.ac.uk Thomas Jordan Meadows 3jonathan.ridley@newcastle.ac.uk Jonathan Stuart Ridley 3b.j.wheeler@newcastle.ac.uk Benjamin James Wheeler 3hilary.campbell@newcastle.ac.uk Hilary Alice Campbell 4s.gordon@newcastle.ac.uk Scott Adam Gordon 4g.f.montagu@newcastle.ac.uk George Ferdinand Montagu 4c.robinson3@newcastle.ac.uk Christopher Robinson 4d.h.williams1@newcastle.ac.uk Dafydd Hywel Williams 4

c.chadwick@newcastle.ac.ukChristopher Matthew Chadwick 5

c.j.harker@newcastle.ac.uk Charlotte Jane Harker 5michael.moore1@newcastle.ac.uk Michael James Moore 5t.k.samra@newcastle.ac.uk Tamana Kaur Samra 5jonathon.winter@newcastle.ac.uk Jonathon Graham Winter 5katherine.crane@newcastle.ac.uk Katherine Alice Crane 6r.a.herald@newcastle.ac.uk Robert Anthony Herald 6h.kilhamn@newcastle.ac.uk Henrik Mattias Kilhamn 6thomas.moore1@newcastle.ac.uk Thomas David Moore 6laura.steele@newcastle.ac.uk Laura Ann Steele 6e.e.curry@newcastle.ac.uk Emma Elizabeth Curry 7lucy.hyde@newcastle.ac.uk Lucy Janet Hyde 7e.g.t.edlund-soderstrom@newcastle.ac.uk Gustaf Edland 7l.g.muddiman@newcastle.ac.uk Lydia Grace Muddiman 7andrew.taylor2@newcastle.ac.uk Andrew Thomas Taylor 7

j.a.davidson1@newcastle.ac.ukJacqueline Antonia Davidson 8

t.p.lovatt@newcastle.ac.uk Thomas Paul Lovatt 8carol- Carol-Ann O'Hagan 8

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ann.o'hagan@newcastle.ac.ukjohn-henry.till@newcastle.ac.uk John-Henry Till 8

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Reading list

These sources are listed here for reference purposes. Obviously, you are not expected to read them all. You areexpected to keep up with the weekly reading, however (listed above).

Abbate, Carolyn and Parker, Roger (eds.) Analyzing Opera: Verdi and Wagner (Berkeley and Los Angeles: University of California Press, 1989).

Abbate, Carolyn, Unsung Voices (Oxford and Princeton: Princeton University Press, 1991).

Attali, Jacques, Noise: The Political Economy of Music (Minneapolis: University of Minnesota Press, 1985).

Bann, Stephen (ed.), Frankenstein: Creation and Modernity (London: Reaktion Books, 1994).

Bent, Ian (ed.), Music Theory in the Age of Romanticism (Cambridge, Cambridge University press, 1996).

Bent, Ian, Music Analysis in the Nineteenth Century ii: Hermeneutic Approaches (Cambridge, Cambridge University Press,1994).

Biddle, Ian, ‘F. W. J. Schelling’s Philosophie der Kunst: an emergent semiology of music’, in Ian Bent (ed.), Music Theory in the Age of Romanticism (Cambridge, Cambridge University press, 1996), 25–36.

Biddle, Ian, ‘Of mice and dogs: music, gender and sexuality at the long fin-de-siècle’ in Richard Middleton, Trevor Herbert and Martin Clayton (eds.),The Cultural Study of Music: A Critical Introduction (London and New York: Routledge, 2003), 215-226.

Blackmer, Corinne E. & Smith, Patricia J. (eds.) En Travesti:Women, Gender Subversion, Opera (New York: Columbia University Press, 1995).

Blasius, Leslie David, Schenker’s Argument and the Claims of Music Theory (Cambridge: Cambridge University Press, 1996).

Bloom, Peter (ed.), Berlioz Studies, (Cambridge: Cambridge University Press, 1992)

Botstein, Leon, ‘Toward a History of Listening’, The Musical Quarterly volume 82, number 3/4 (special double edition: “Music as Heard”) (1998), 428.

Botting, Fred, Gothic (London : Routledge, 1996).

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Cacciari, Massimo, Posthumous People: Vienna at the Turning Point, trans. Rodger Friedman (Stanford CA.: Stanford University Press, 1996).

Chartier, Roger, Cultural History (Ithaca, New York: Polity Press, 1988).

Chua, Daniel K. L., ‘Vincenzo Galilei, modernity and the division of nature’, Suzannah Clark and Alexander Rehding (eds.) Music Theory and Natural Order: From the Renaissance to the Early Twentieth Century (Cambridge: Cambridge University Press, 2001), 17–29.

Chua, Daniel, Absolute Music and the Construction of Meaning (Cambridge: Cambridge University Press, 1999).

Citron, Marcia, Gender & the Musical Canon (Cambridge University Press, 1993).

Clarke, David, ‘Musical autonomy revisited’, in Clayton, Martin, Trevor Herbert and Richard Middleton (eds.),The Cultural Study of Music: A Critical Introduction (London and New York: Routledge, 2003), 159–170.

Clément, Catherine, Opera or the Undoing of Women trans. by Betsy Wing (London; New York: Tauris Publishers, 1997).

Dahlhaus, Carl, Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley, Los Angeles and London: University of California Press, 1989).

Daverio, John, Robert Schumann: Herald of a ‘New Poetic Age’ (New York and Oxford: Oxford University Press, 1997).

de la Grange, Henry, Gustav Mahler: Vienna: The Year of Challenge (1897-1904) (Oxford and New York: Oxford University Press).

Dijkstra, Bram, Idols of Perversity: Fantasies of Feminine Evil in fin-de-siècle Culture (New York: Oxford University Press, 1986).

Ericson, Margaret, Women and Music: A Selected Annotated Bibliography on Women & Gender Issues in Music, 1987-1992 (New York: G. K. Hall & Co., 1996).

Favret, Mary A. & Watson, Nicola J., At the Limits of Romanticism: Essays in Cultural, Feminist and Materialist Culture (Bloomington; Indianopolis: Indiana University Press, 1994).

Franklin, Peter, The Life of Mahler (Cambridge: Cambridge University Press, 1997).

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Gilman, Sander L., ‘Strauss, the pervert, and avant-gardeopera of the fin de siècle’ New German Critique, vol. 43 (Winter 1988), 35–68.

Gilman, Sander L., Seeing the Insane (New York: John Wiley & Sons, New York 1982).

Goodwin, Sarah Webster, ‘Wordsworth and Romantic voice: the poet’s song and the prostitute’s cry’, in LeslieC. Dunn and Nancy A. Jones (eds.), Embodied Voices: Representing Female Vocality in Western Culture, Cambridge, 1994, 65–79.

Gramit, David Cultivating Music: The Aspirations, Interests and Limits of German Musical Culture, 1770-1848 (Berkeley, Los Angeles and London: University of California Press, 2002).

Gramit, David, ‘Between Tauschung and Seeligkeit: Situating Schubert's dances’ Musical Quarterly vol. 84, no.2 (summer 2000) 221–237.

Greenblatt, Stephen, 'Capitalist culture and the circulatory system', in Murray Krieger (ed.), The Aimsof Representation (New York: Columbia University Press, 1987).

Greenblatt, Stephen, 'Culture' in Frank Lentricchia and Thomas McLaughlin (eds.), Critical Terms for Literary Study (Chicago and London: University of Chicago Press, 1990), 225-32.

Greenblatt, Stephen, 'Resonance and Wonder', in Peter Collier and Helga Geyer-Ryan (eds.), Literary Theory Today (Cambridge: Polity Press, 1990), 74-90.

Groos, Arthur and Parker, Roger (eds.), Reading Opera (Princeton, New Jersey: Princeton University Press, 1988).

Hamburger, Michael (ed.), Hölderlin: Collected Poems (London: Routledge, 1966).

Hefling, Stephen E., Mahler: Das Lied von der Erde (Cambridge: Cambridge University Press, 2000).

Henderson, Andrea K., Romantic Identities: Varieties of Subjectivity, 1774-1830 (Cambridge, Cambridge University Press, 1996).

Hodson, Daren Ivan, ‘The institutionalisation of literature in eighteenth-century France and Germany:the functions of reading in Rousseau, Novalis, Fichte and the Ecole Normale’ (PhD Dissertation, University of Utah, 1995).

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Holbrook, David, Gustav Mahler and the Courage to Be (London: Vision Press 1975).

Johnson, James H., Listening in Paris (Berkeley, Los Angeles and London: University of California Press, 1995).

Johnson, Julian, ‘The status of the subject in Mahler’s Ninth Symphony’, 19thCentury Music, vol. 18 no. 2 (1994), 108–120.

Johnston, William M., The Austrian Mind: An Intellectual and Social History, 1848–1938 (Berkeley,

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