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Index

2001: A Space Odyssey, 123 Barthes, Roland, 87, 112, 302 Baskin, Wade, 317 A.I., 155 Bass, Richard, 148, 302 Abbate, Carolyn, 23, 26, 29, 73, 79, 98, 101, Batman films, 147, 151, 282, 290, 295, 309 108, 113, 118, 121, 129, 164, 167, 180, 195, Bauer, Hans Joachim, 218, 302 198, 208–9, 212, 223, 267, 276, 281–82, Beach, David, 317 301, 304, 314–15 Beckett, Lucy, 320 Adorno, Theodor, 26, 28, 56, 86, 141, 160, 259, Beethoven, Ludwig van, 10, 28, 33, 35, 37, 43, 263, 267, 271, 283, 301, 307 49–50, 61, 94, 98–99, 117, 130–32, 160, Agawu, Kofi, 3, 50, 92, 301 162, 169, 182, 189, 222, 265, 304–5, Agmon, Eytan, 205, 301 308–9, 317 Aldritch, Richard, 24, 301 An die ferne Geliebte,98–99 Allen, Graham, 124, 301 “Auf dem Hügel sitz ich, spähend”,98 Allusion, 60, 114, 124–25, 179, 220, 226, 235, Bagatelle in G Minor, Op. 119, No. 1, 49 242, 246–48, 250, 299 Fidelio, 222 Almén, Byron, 276, 301, 304 “Nimm sie hin denn, diese Lieder”,98 Altman, Rick, 141, 257, 301 String Quartet in F Major, Op. 81, 94 Ambros, August Wilhelm, 22 Symphony No. 3 in E-flat Major (“Eroica”), Anderson, Lyle John, 61, 301 182 Anson-Cartwright, Mark, 46, 68, 70, 121, 301 Symphony No. 5 in C Minor, 130–31 Associative theme. See “Theme, associative” Symphony No. 9 in D Minor (“Choral”), 160 Associative tonality. See “Tonality, associative” Beetlejuice, 152 Associative Transposition, 195–200, 207, 222, Beggs, John M., 133, 302 226, 228, 291–93 Bent, Ian, 317 Associativity, 79–155 Berg, Alban, 100, 228, 231, 316–17 Atlas, Raphael, 312 Wozzeck, 100, 228, 231, 313, 317 Atmospheric film score. See “Film score, Berg, Charles Merrell, 262, 264, 302 atmospheric” Berg, S.M., 257 Attinello, Paul, 309 Berger, Anna Maria Busse, 107, 302 Berlin Alexanderplatz, 265 Babbitt, Milton, 133, 302 Berlioz, Hector, 15–16, 81, 98, 104, 118–19, Bach, Carl Philipp Emanuel, 302 139, 144, 153, 233, 253 Bach, Johann Christian, 21 Harold in Italy, 98, 144, 153 Bach, Johann Sebastian, 37, 46, 94, 109–10, La Damnation de Faust, 118–19, 139, 304–5 153, 233 “Erbarme dich”,94 Symphonie Fantastique,15–16, 104, 253 Fugue #2 in C Minor from Das Bernadoni, Virgilio, 310 Wohltemperierte Klavier, Book I, 48 Bernhart, Walter, 315 Bailbé, J.M., 15 Bernstein, Fred, 98, 302 Bailey, Robert, 52–53, 114, 170, 195–97, 214, Bernstein, Leonard, 87, 107, 311 302 West Side Story, 107 Bakhtin, Mikhail, 124 Berry, Wallace, 34, 302 Ballet, 238, 241, 243–45, 254, 258–59 Blasius, Leslie, 195, 302 322

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09839-8 - Understanding the Leitmotif: From Wagner to Hollywood Film Music Matthew Bribitzer-Stull Index More information

index 323

Bloom, Harold, 107, 302 Charpentier, Gustave, 233 Bolen, Jean Shinoda, 120, 302 Chausson, Ernest, 160, 233, 308 Boltz, Marilyn G., 278, 302 Roi Arthus, Le, 233 Boretz, Benjamin, 44, 303 Cherlin, Michael, xxiv, 93, 230, 248, 253, 305, Boulanger, Lili, 153, 235 312 Faust et Hélène, 153, 235 Cherubini, Luigi, 20–21 Boult, Adrian, 243, 303 Chion, Michel, xx, 305 Brahms, Johannes, 61, 109, 144–45, 154, 160, Chomsky, Noam, 87, 305 167, 200, 243, 250, 259, 270, 312, 318 Christmann, Johann Friedrich, 116 “Wie Melodien”, 144–45 CIN. See Conceptual Integration Network Breig, Werner, 169, 303 Close Encounters of the Third Kind,33 Bribitzer-Stull, Matthew, xx, xxii, xxiv, 2, 15, Cognition and perception, 18, 34, 42, 44, 54, 24, 27, 29, 46, 63, 68, 132, 142, 161, 193, 66, 70, 80, 106, 120, 257, 276 197, 200, 205, 220, 226, 295, 303, Cohen, Anabel J., 100, 132, 141–42, 256–57, 306, 313 276, 278, 305, 313 Britten, Benjamin, 128, 236 Cohn, Richard, 136, 305 Albert Herring, 128, 236 Complexes, thematic. See “Thematic Death in Venice, 237 Complexes” Brooks, Mel, 129, 281 Comuzio, Ermanno, 275, 306 High Anxiety, 129, 281 Conceptual Integration Network, 11 Brown, Hilda Meldrum, 28, 168, 303 Cone, Edward, 245, 306, 318 Brown, Kristi, 110, 304 Contextual Reinterpretation, 194–212, 217, Brown, Matthew, xxiii, 66, 70, 136, 237, 304 285 Brown, Royal, 132, 141, 261, 268, 304 Contour, 34, 39, 44–45, 48, 51, 59, 114–15, 177, Brown, Stephen, 121, 304 179, 235 Bruneau, Alfred, 233 Cook, Nicholas, 141, 276, 306 Buck, Pearl S., 269 Cooke, Deryck, 22, 24, 28, 64, 68, 86, 117, 168, Good Earth, The, 269 188–89, 192, 194, 306 Buhler, James, 5, 12, 54, 142, 149, 267, 273–74, Cooke, Mervyn, 272, 306 295, 304, 313, 315 Copland, Aaron, 271 Buller, Jeffrey L., 207, 209, 304 Cord, William O., 8, 306 Burke, Kenneth, 107, 110, 304 Corruption, harmonic. See “Harmonic Burkhart, Charles, 46, 134, 304 Corruption” Burkholder, J. Peter, 101, 110, 123, 304 Corse, Sandra, 108, 113–14, 123, 306 Burnham, Scott, 37, 304 Counterpoint, 14, 35, 43, 46, 51, 68, 131, 134, Burton, Tim, 4, 147, 284 189, 200, 284. See also “Polyphony” Busoni, Ferruccio, 45, 304 Cowboys, The, 272 Butler, David, 106, 257, 304 Craggs, Stewart R., 313 Byrd, Craig L., 273, 305 Cumming, Naomi, 94, 306

Cadwallader, Allen, 50, 54, 189, 305 Dahlhaus, Carl, 9, 19, 27–28, 54, 62, 67, Campbell, Brian, 248, 305 113–14, 117, 141, 162, 164–65, 167, 169, Caplin, William, 34, 38, 40, 305 176, 189, 192, 207, 216, 218, 302, Carpenter, Patricia, 36, 305, 317, 319 306–7 Carr, Maureen, 254, 305 Danuser, Hermann, 309 Casablanca, 281, 309 Darby, William, 267, 272, 306 Categories, 18, 64–66 Darcy, Warren, xxiii, 2, 7, 10, 24, 26, 37–38, 40, Cenciarelli, Carlo, 110, 305 53, 68, 72, 113, 182, 188, 193–95, 200, 205, Change of Mode, 170, 172–73, 175–76, 192, 207–9, 212, 218, 306, 309 224–26, 228, 243, 245, 284–86 Darrow, A., 106, 307 Change of Texture, 184–87, 223–24, 245–46, Daverio, John Joseph, 83, 182, 307 253–54, 274, 293, 300 Deathridge, John, xxiv, 27, 54, 67, 105, 113–14, Chansons. See Lieder 117, 167, 189, 303, 306–7

324 index

Debussy, Claude, 26, 123, 159–60, 220, 233–36, E.T., 60, 127, 149–50, 274 242, 259, 307–8, 312 Edgerton, Gary R., 304 Pelléas et Melisande, 233–35, 308 Eisler, Hanns, 141, 258–59, 263, 268, 271, 283, Definitive thematic statements, 64, 67, 72, 74 301, 307 Deliège, Irene, 70, 307 Elders, Willem, 192, 307 Delius, Frederick, 236 Elfman, Danny, xxii, 6, 27, 56, 60, 105, 124, Village Romeo and Juliet, A, 236 141–42, 147, 152, 154, 268, 283–84, Dempster, Douglas, 304 305, 309 Dennison, Peter, 35, 61, 113–14, 307 Elgar, Edward, 10, 153, 160, 242–44, 251, 303, Development, thematic xxiii, 3, 10–12, 17–20, 314 25, 27–28, 37, 43, 46, 51, 55–56, 58, 61–62, Apostles, The, 243–44, 303 71–72, 100, 106, 129, 160, 164–65, Caractacus, 242 167–69, 171–72, 183, 185, 188, 192, 203, Dream of Gerontius, The, 242–43 212, 218, 220, 224, 228, 234–37, 239, 243, Kingdom, The, 243, 303 245, 248, 256, 262–64, 268, 271–72, 274, Light of Life, The, 242–43 279–80, 284, 293. See also “Entwicklung” Scenes from the Saga of King Olav, 153, 242 and “Variation” Ellinwood, Leonard, 84, 307 Diegetic, 60, 280, 300 Ellis, William Ashton, 101, 319–20 Diegetic music, 60, 95, 128–29, 280–81, 293 Emotion, 8–9, 12, 15, 26, 72–73, 82–83, 90, “Dixieland”, 126 94–95, 97, 101–3, 105–6, 110, 116, 118, Dixon, Graham, 307 132, 164, 168, 234–36, 266, 278, 289 Djawadi, Ramin, 112 Empfindsamer stile,85 Donington, Robert, 22, 24, 120, 187, 307 Empire Strikes Back, The. See “Star Wars films” Donnelly, K.J., 295, 305, 307 Endless melody, 42, 167, 264 Douglas, Craig, 307 Entwicklung, 62, 169. See also “Development, Douthett, Jack, 310 thematic” and “Variation” Drabkin, William, 38, 307, 317 Erben, Karel Jaromír, 253 Drake, Warren, 72, 307 Evensen, Kristian, 273, 307 Drama, xxii, 2–3, 6–10, 14–15, 18, 20, 23, Evolution, thematic. See “Thematic Evolution” 27–28, 37, 53, 64, 70, 72–73, 82–83, 86, Expression, xxi, 9, 14, 26, 37, 52, 64, 81, 83–86, 89–92, 95, 100–2, 104–6, 113–14, 117, 90, 119, 176, 186, 211, 234, 237, 266–67, 123, 128, 131–32, 140, 142–43, 152, 271, 298 159–61, 163–64, 167–70, 176, 181, 186–87, 191, 194, 196–97, 207–8, 212–14, Fantasy (films and literature), 134, 142, 154, 216, 218, 222, 230, 234–35, 241, 245, 248, 266, 280–81, 283, 293, 315 250, 252–56, 258–59, 261–62, 265–66, Feisst, Sabine, 270, 308 270–73, 276, 278–79, 283, 288–89, 295, Film score 299–300 Atmospheric, 141, 258, 271 “Dresden Amen”, 161–62, 164, 226 Leitmotivic, 141, 256–58, 275 Dreyfus, Laurence, 262, 307 Monothematic, 141, 258, 264, 271 Du Bois, Jack, 272, 306 Film, silent, 12, 256–57, 267 Dvořák, Antonin, 79–82, 98, 239, 241, Flinn, Caryl, 259, 264–65, 271, 304, 308, 253–54 313, 315 Holoubek (The Wild Dove), 253–54 Floros, Constantine, 89, 100, 108, 182, 308 Polednice (The Noon Witch), 148, Fly, The, 258 253–54 Foreshadowing, 72–73, 163, 208, 218, 239, 278, Rusalka, 239 295, 299. See also “Presentiment” and Serenade for Winds in D Minor, 98 “Thematic foreshadowing” Vodník (The Water Goblin), 153, Form, sonata. See “Sonata form” 253–54 Forster, E.M., 131 Zlatý Kolovrat (The Golden Spinning Wheel), Howards End, 131 79–81 Fortspinnung, 20, 25, 200, 216, 223 Dyson, J. Peter, 208, 212, 307 Fox, Malcolm, 194, 308

index 325

Fragmentation, thematic. See “Thematic Hatten, Robert, 3, 50, 92, 115, 132, 195, 208–9, Fragmentation” and “Liquidation” 211, 309 Frescobaldi, Girolamo, 37 Haydn, Franz Joseph, 37, 49, 305 Frolova-Walker, Marina, 238, 308 String Quartet in D Minor, Op. 76, No. 2 (“Quinten”), 50 Gallois, Jean, 233, 308 Headlam, David, 304 Game of Thrones, 112 Heath, Stephen, 302 Gauldin, Robert, xxiii, 24, 46–47, 62, 70, Hegel, Georg Wilhelm Friedrich, 42, 108 113–14, 117, 144, 161, 163–64, 172, Heim, Michael Henry, 312 176–77, 182, 187, 189, 192, 196–97, 215, Helmholtz, Hermann von, 42 218, 220, 222, 226, 303, 308 Henning, Cosmo, 309 German Cinema, New. See “New German Henzel, Christoph, 266, 268, 296, 309 Cinema” Hepokoski, James, 37–38, 40, 309 Gesamtkunstwerk, 30, 141, 168, 207, 256, Herder, Johann Gottfried, 83, 309 263–64, 266, 315 Hill, Benny, 81 Gestalt psychology. See “Psychology, Gestalt” Hindemith, Paul, 213, 309 Gesualdo, Carlo, 137 Hoeckner, Bertold, 35, 94, 97, 101–2, 105–6, Gilman, Sander, 125, 303–4, 308, 310, 108, 309 315–16 Holloway, Robin, 28, 170, 310 Giselle, 243, 318, 320 Hollywood film music. See “Film music” Gjerdingen, Robert, 66, 308 Holman, J.K., 24, 310 Gleaves, Ian, 184, 308 Holst, Gustav, 151 Goldmark, Daniel, 301, 308, 313 Planets, The, 151 Goldsmith, Jerry, 127, 141, 154 Hook, Julian, 235, 310 Goldwasser, Dan, 280, 308 Hooper, Jason, 51, 310 Gone with the Wind, 126 Horner, James, 141, 154, 284, 292 Goonies, The, 127, 154 Horror, 110, 134, 137, 142, 261, 266–67, Gopinath, Sumanth, xxiv, 110, 308 280–81, 283, 293 Gorbman, Claudia, 35, 38, 45, 53, 85, 116, 123, Huckvale, David, 141–42, 262, 264, 266, 310 129, 142, 305, 308 Huebner, Steven, 233, 310 Goslich, Siegfried, 20, 308 Hulk, The, 154 Graduate, The, 281 Hunt, Graham, 175, 310 Grayson, David, 234–35, 308 Hutcheon, Linda, 208–9, 310 Gregson-Williams, Harry, 293 Hutcheson, Ernest, 24, 310 Grey, Thomas, 8, 10, 22–23, 30, 68, 90, 100, Hyde, Martha, 310 160, 165, 168, 308 Hyer, Brian, 84, 136, 310 Grieg, Edvard, 251–52, 260 Hypermeter, 114 Peer Gynt, 251–52, 260 Grundgestalt, 36, 46, 169, 305 Ibert, Jacques, 264 Grundmotive, 189, 192 Idée fixe,16 Indiana Jones films, 12, 14, 102, 127, 155, Hacohen, Ruth, 70, 72, 107, 113, 309 286–87, 289–90, 295 Halfyard, Janet, xxii, 42, 124, 142, 282–83, Intertextuality, 108, 111, 124–25, 127–29, 217 290, 309 Inversion, thematic. See “Thematic Inversion” Hanslick, Eduard, 160 Irony. See “Thematic Irony” Harmonic Corruption, 175–80, 186, 192, 218, Iwamiya, Shinichiro, 102–3, 310 226, 228, 230, 239, 241, 245–46, 248, 251, 253–54, 274, 285, 287, 292 Jackson, Peter, 1, 4, 105, 150, 280, 294, 296–97, Harrison, Daniel, 5, 136, 170, 176, 215, 309 304. See also “Lord of the Rings” Harry Potter films, 60, 137, 142, 262, 281–82, Jackson, Roland, 200, 310 285, 289, 291, 295, 314 Jacobs, Robert L., 316 Hartshorne, Charles, 315 Jakobson, Roman, 87, 112 Haskins, Rob, 280, 309 Jarre, Maurice, 258, 271–72

326 index

Jaws, 121, 266, 272, 281 Lerdahl, Fred, 113, 312 Jenkins, Edward, 310 Lévi-Strauss, Claude, 87, 112, 312 Jenkins, John Edward, 67 Lewin, David, 68, 133, 192, 310, 312 Joe, Jeongwon, 125, 303–4, 308, 310, 315–16 Ley, Rosamund, 304 John, Nicholas, 301, 309–10, 320 Leydon, Rebecca, 123, 259, 312 Jungian psychology. See “Psychology, Jungian” Lidov, David, 34, 87, 312 Juslin, E.N., 308 Lieder, 22, 93, 97–98, 112, 118, 121, 127, 133, Juslin, Patrick, 83, 305 138, 141, 144, 150, 153, 171, 198, 223, 231, 233, 241, 245–50, 280–81, 284, 298–300 Kalinak, Kathryn, 149, 259, 267, 271–72, 274, Linkage, 20, 46, 62 293, 310 Lion, the Witch, and the Wardrobe, The, 293 Kantra, Suzanne, 303 Lipscomb, Scott D., xxiv, 103, 106–8, 276, Karlin, Fred, 33–34, 38, 45, 106, 141, 261, 266, 311–12 268, 272, 275, 279, 292, 310 Liquidation, 46, 162, 183. See also “Thematic Kassabian, Anahid, 129, 311 Fragmentation” Katz, Adele, 28, 311 Liszt, Franz, 17, 22, 61–62, 168, 301, 319 Kaufman, J.B., 141, 311 Faust-Symphonie, 17, 168 Keiler, Allan, 87, 311 Orpheus, 168 Kelkel, Manfred, 15, 20, 233–34, 311 Livingstone, Rodney, 301 Kendall, Roger A., 106–8, 276, 311, 313 Lloyd, Steven, 264, 313 Kinderman, William, 218, 259, 307, 311 London, Justin, 66, 275, 284, 313 Kirby, F.E., xxi, 8, 10, 15, 21–22, 27, 35, 51, 85, Lord of The Rings, The,1.See also “Jackson, 95, 161, 168, 311 Peter;”“Shore, Howard;” and “Tolkien, Kivy, Peter, 80, 83–84, 92, 116, 131, 152, 311 J.R.R.” Klein, Michael, 92, 115, 125, 245, 311 Lorenz, Alfred, 10, 35, 54, 167, 195, 314 Knights, Vanessa, 172, 218, 309 Geheimnis der Form bei Richard Wagner, Kobbé, Gustav, 24, 311 Das, 195 Kopp, David, 134, 311 Lubet, Alex, 303, 313 Korngold, Erich, 141, 258, 271–72 Lucas, George, 127, 141, 149, 272–73 Korsyn, Kevin, 35, 311 Kramer, Lawrence, 82, 94, 301, 308, 312–13 MacDonald, Laurence, 141, 256, 272–74, 313 Krebs, Harald, 114, 259, 311–12 Madrigalisms, 73, 121, 123 Krims, Adam, xix, 312 Mahler, Gustav, 130, 160, 226, 258–59, 265, Kristeva, Julia, 124 270 Krull, 154, 292 Maisel, Arthur, 231, 313 Kulezik, Daniela, 142, 273, 312 Margulis, Elizabeth, 34, 313 Kundera, Milan, 98, 312 Marschner, Heinrich, 160 Unbearable Lightness of Being, The, 98, 312 Marshall, Sandra K., 141, 276, 313 Kurth, Ernst, 42, 214, 312, 314 Marvin, William, 46, 160, 313 Mascagni, Pietro, 237 Lasso, Orlando di, 130 Massenet, Jules, 153, 233–34, 237 Laufer, Edward, 144, 312 Esclarmonde, 153, 233 Laura, 258, 264, 271 Werther, 233, 237 Lavignac, Albert, 24, 312 Matessino, Michael, 282–83 Lawrence of Arabia, 258, 271–72 Mathijs, Ernest, 304, 307 LeGuin, Ursula K., 79, 85, 101, 312 Mature thematic statements. See “Deﬁnitive Leinberger, Charles, 142, 270, 312 thematic statements” Leitfaden, xxi, 22, 309, 320 Maus, Fred, 37, 79, 83, 276, 313 Leitmotivic ﬁlm score. See “Film score, McCarty, Clifford, 316, 321 leitmotivic” McClary, Susan, 102, 259, 313 Lemoyne, Jean-Baptiste, 21, 317 McClatchie, Stephen, 9, 35, 54, 167, 189, 314 Leoncavallo, Ruggiero, 237 McClelland, Clive, 137, 313 Leppert, Richard, xxiv, 301, 308, 313 McCredie, Andrew, 15, 20–22, 47, 71, 119, 313

index 327

McCreless, Patrick, 46, 87, 100, 112, 171, 195, Mummy, The, 154 197, 207, 214, 313 Murphy, Scott, 6, 124, 137, 140, 154, 314 McGuire, Charles, 103, 314 Murray, David, 114 McVeagh, Diana, 242, 314 Musical prose, 54, 114, 264 Meadows, Laura, 10, 242, 314 Musical quotation, 28, 39, 55, 124–25, 127–28, Méhul, Étienne, 10, 20–21, 137, 222 217, 220, 226 Melodrama, 20, 259–60 Mutation, thematic. See “Thematic Mutation” Melody, 33, 42–45, 286, 316, 318 Myth, 93, 97, 130, 168, 263, 266–67, 273 Endless. See “Endless melody” Memory, xxii, 8, 35, 42, 82, 84, 95, 97–99, Naming themes, xxii, 6, 63–64, 220 101–3, 105–6, 108, 110, 124, 126, 132, 143, Narrative, xx, 12, 27, 43, 50, 54, 56, 79, 81, 83, 236, 248, 257, 273, 276, 283. See also 105–6, 118, 128–29, 140, 142–43, 147, “Recollection” 150, 152, 164, 167, 209, 238, 252, 254, 256, Men in Black II, 154 259–63, 267, 272–74, 276, 281, 293–96, Mendel, Arthur, 309 298, 304 Mendelssohn, Felix, 234, 242, 260 Narum, Jessica, 123, 314 Elijah, 242 Nasta, Dominique, 141, 275, 281, 314 Midsummer Night’s Dream, A, 260 Nattiez, Jean-Jacques, 86–87, 264, 279, 314 Messiaen, Olivier, 94 Naumann, Emil, 265, 315 Metz, Walter C., 263, 314 Neider, Charles, 319 Meyerbeer, Giacomo, 160 Nelson, Robert, 315 “Mickey Mousing”, 103, 107, 151, 264, 266 Neumeyer, David, xxiv, 128, 265, 304, 313, 315 Millington, Barry, 10–11, 104, 114, 161–62, New German Cinema, 265, 308 168, 196–97, 218, 265, 308, 314, 318 Newcomb, Anthony, 61, 315 Mitchell, William J., 302 Newman, Ernest, 24–25, 315 Mode, change of. See “Change of Mode” Newmarch, Rosa, 319 Monelle, Raymond, xxii, 79, 83, 86, 89, 92–93, Nightmare Before Christmas, The, 60, 152, 284 134, 279, 314 Non-diegetic music, 60, 128–29, 281, 293, Monothematic ﬁlm score. See “Film score, 299–300 monothematic” Noske, Frits, 111, 113–15, 179, 211, 315 Monteverdi, Claudio, 20, 90 Now, Voyager, 270, 312 Combattimento di Tancredi et Clorinda, Il, Nusbaum, Howard C., 35, 94, 97, 101–2, 90 105–6, 108, 309 Lamento della Ninfa,90 Orfeo,20 Obrecht, Jacob, 125 Moore, Gregory, 309 Missa ‘Sicut spina rosam’, 125 Morgan, Catherine, 142, 314 Ockeghem, Johannes, 37, 125 Morgan, Robert, 70, 314 Missa ‘Mi-mi’, 125 Morris, Charles W., 87, 111–12, 314 Opera, xxi, xxi, 1–2, 6, 20, 30, 56, 89–90, 93, Motive, 33, 45, 51–52, 150, 288, 301, 314, 318, 103–5, 116, 118, 128, 132, 140–41, 145, 320 159, 161, 163–64, 167–68, 177, 181, 186, Motivic linkage. See “Linkage” 197, 214–15, 218, 221–23, 226, 228, 231, Moussorgsky, Modest, 153–54 233–36, 238, 240, 242–43, 255, 258–63, Boris Godunov, 153 266, 268–69, 282, 292, 294, 310 Mozart, Wolfgang Amadeus, 21, 33, 37, 43, 54, Orosz, Jeremy, 125, 315 116, 128, 130, 170–71, 265, 305, 309, 320 Osborne, Charles, 48, 161, 315 Concerto for Horn and Orchestra in E♭ Oster, Ernst 317 Major, K. 447, 171 Don Giovanni, 128, 309 Paddison, Max, 301 Mass in C Minor, K. 427, 43 Pan’s Labyrinth, 154 Nozze di Figaro, Le, 128 Parker, Roger, 24, 237, 301, 304, 315, 320 Symphony in E♭ Major, K. 543, 116 Parry, Sir C. Hubert H., 8, 315 Mummy Returns, The, 155 Pastille, William, 189, 305

328 index

Patterson, Franklin, 24, 113, 315 Raskin, David, xxii, 258, 264, 271, 279, 316 Paulin, Scott, 141, 266, 315 Ratner, Leonard, 3, 92, 115, 132, 134, 316 Paynter, John, 320 Ravel, Maurice, 33, 52, 99, 316, 318 Peirce, Charles S., xxi, 87–92, 94, 103–4, Trio, 33 111–12, 115–16, 118–21, 132, 169, 213, Reale, Paul, 39, 61, 316 275, 315, 319 Recall, thematic. See “Thematic recall” Penderecki, Krzysztof, 154 Recollection, 28, 98, 100, 107, 119, 173. See also Paradise Lost, 153 “Memory” and “Thematic recall” Perception. See “Cognition and” Referentiality, 81, 83, 86–92, 107, 128 Perle, George, 100, 228, 231, 316 Reger, Max, 153 Phrase, 7–8, 34, 39–41, 43–45, 51, 54, 66, 114, Todeninsel, Die, 153 127–28, 142, 181, 281 Reinterpretation, contextual. See “Contextual Phrase rhythm, 40, 54 Reinterpretation” Pinker, Steven, 65, 316 Reminiscence, 7, 10, 20–21, 27–28, 51, 72, 74, Plato, 84 101, 161, 168, 233, 280–81, 295 Plebuch, Tobias, 309 Reminiscence theme. See “Theme, Plenz, Dietmar, 133, 302 reminiscence” Poe, Edgar Allen, 137 Repetition, 9, 34–38, 42–44, 46, 50, 54, 61, 79, Polyphony, 107, 214. See also “Counterpoint” 101, 141, 168, 171–72, 200, 268, 275, 298 Pomerance, Murray, 304 Representation, 3, 14, 64, 81, 92, 104, 121 Pool, Jeannie Gayle, 316 Reti, Rudolph, 33, 36, 44, 61, 316 Porges, Heinrich, 74, 194, 200, 203, 316 Return of the Jedi, The. See “Star Wars films” Powers, Harold, 302 Rieger, Eva, 123, 316 Powrie, Phil, 316 Rimsky-Korsakov, Nicolai, 56–57, 153, 238–39, Prendergast, Roy M., 140–42, 256, 258, 316 252, 308 Presentiment, 27, 72, 101, 102. See also Golden Cockerel, The, 238–39 “Foreshadowing” and “Thematic Scheherazade,56–57, 252 foreshadowing” Symphony No. 2, “Antar”, 153 Proctor, Gregory, 178, 316 Ringer, Alexander, 42–43, 316 Prokofiev, Sergei, 81, 258, 264 Robinson, Jenefer, 281, 319–20 Peter and the Wolf, 81, 107 Rodman, Ronald, 111, 121, 262, 281, 316 Propp, Vladimir, 87, 112, 316 Root, Deana, 307 Prose, musical. See “Musical prose” Rosar, William H., 266, 316 Prototype, 56, 64, 73, 282, 287, 290, 294, 301 Rose, Paul Lawrence, xx, 106, 316 Proust, Marcel, 99 Rosen, Charles, 38, 316 Psycho, 266 Rosenbaum, Samuel R., 318 Psychology Ross, Alex, 6, 205, 317 Gestalt, 44, 48, 278 Rossini, Giacomo, 118, 265 Jungian, 22, 119, 142, 266, 302 Cenerentola, La, 118 Puccini, Giacomo, 143, 237, 261, 310 Rothapfel, Samuel L., 257 Bohème, La, 237 Rothgeb, John, 35, 39, 317 Turandot, 237 Rothstein, William, 40, 51, 161, 317 Puri, Michael, 99, 316 Rousseau, Jean-Jacques, 42–43 Rózsa, Miklós, 264 Quotation. See “Musical quotation” Rushton, Julian, 21, 317 Russo, Frank A., 319 Raben, 265 Rachmaninov, Sergei, 153–54, 234, 265 Sadie, Stanley, 306, 308, 314 Francesca da Rimini, 153 Saint-Saëns, Camille, 233, 259 Raiders of the Lost Ark. See “Indiana Jones films” Ascanio, 233 Rameau, Jean-Philippe, 42 Santa, Matthew, 178, 284–85, 317 Randolph, Boots, 81 Sarti, Giuseppe, 128 “Yakety Sax”,81–82 Fra i due litiganti il terzo gode, 128

index 329

Satie, Erik, 264 Simpsons, The, 127 Saussure, Ferdinand de, 87, 112, 317 Sinclair, Dan, 319 Sayrs, Elizabeth, 195, 317 Singleton, Esther, 312 Schachter, Carl, 313 Singspiel, 260 Schelle, Michael, 141, 258, 261, 266, 275, 317 Sinn, Clarence, 54, 267, 318 Schenker, Heinrich, xxi, 35, 39, 44, 46, 51, 54, Skelton, Geoffrey, 22, 318–19 63, 160, 197, 304–5, 310–11, 313, 317 Sleepy Hollow, 283 Scheurer, Timothy, 141, 272, 317 Sloboda, John A., 305 Schindler’s List,82 Smith, Charles, 136, 310, 318 Schmalfeldt, Janet, 230, 317 Smith, Marian, 243, 318 Schoenberg, Arnold, 34, 36, 43, 45–46, 51, 61, Smith, Richard Langham, 307 113, 151, 153, 160, 169–70, 183, 230, 246, Sobaskie, James, 133, 318 249, 252, 269–71, 305, 308, 314, 317 Soler, Martín y, 128 Gurrelieder, 153, 246, 248–49, 305 Una cosa rara, 128 “Nacht”, 137, 151 Solie, Ruth, 43–44, 318, 320 Pelleas und Melisande, 252–53 Sonata form, 10, 15, 28, 37–38, 102, 117, 183 Pierrot Lunaire, 137, 151, 305 Songs. See “Lieder” Verklärte Nacht, 153, 252, 317 Spencer, Stewart, 11, 24, 104, 306, 318 Schopenhauer, Artur, 160, 194, 266, 306 Spiderman, 56, 60, 105, 128, 154, 269 Schubert, Franz, 21, 49, 98, 121–22, 138, 141, Spielberg, Steven, 12, 149 143, 153, 171–72, 222, 245, 259–60, Staiger, Janet, 303 309, 318–19 Star Trek films, 123, 127, 154, 284, 295 “Der Müller und der Bach”, 122 Star Wars films, 101, 123, 127, 129, 142, 147, “Der Wegweiser”, 138, 143 149, 155, 271–74, 282, 284–85, 289–90, “Die liebe Farbe”, 171 292–95, 304, 307 Die Schöne Müllerin, 121–22, 171, 245 Steblin, Ruth, 197, 318 Die Zauberharfe, 260 Stein, Deborah, 50, 195, 318 “Erlkönig”,49–50, 222, 318 Stein, Jack, 28, 40, 44, 72, 207, 318 Schwanengesang, 153 Steiner, Max, 126, 141, 255, 258, 265, 270–73, “Wohin?”, 122 284, 311–13, 315 Schubert, Linda, 276, 317 Stephan, Rudolph, 302 Schulkind, Matthew, 303 Stewart, Justice Potter, 33, 39 Science fiction, 134, 142, 154, 266, 280–81, 283, Stilwell, Robyn, 316 293, 304, 314 Stokes, Jeffrey, 28, 51–52, 72, 318 Scott, Anna Besser, 62, 200, 318 Stothart, Herbert, 269 Scriabin, Alexander, 259 Strauss, Richard, 28, 112, 123, 128, 144, 146, Sebeok, Thomas, 310 153, 160, 220–21, 224, 226–28, 246, 252, Semiotics, 20, 22, 87, 91, 111–17, 152 259, 262, 303, 317, 321 Sessions, Roger, 56, 318 Also sprach Zarathustra, 123–24 Shaw, George Bernard, 176, 318 Der Rosenkavalier, 226, 228 Shaw, Leroy R., 306 Die Frau ohne Schatten, 154 Shelley, Mary Wollstonecraft, 137 Don Juan, 252 Frankenstein, 137 Elektra, 153 Shore, Howard, 1, 4–6, 27, 53, 60, 67, 106, 136, “Frühling”, 144, 146 141, 150–51, 154, 255, 258, 261, 266, 268, Guntram, 224, 226–27, 321 275, 279–80, 284, 287–88, 291–98, 300 Salome, 145, 228 Shostakovich, Dmitri, 121, 304 Till Eulenspiegels lustige Streiche, 252, 303 Sibelius, Jean, 153, 319 Vier letzte Lieder, 146 The Swan of Tuonela, 153 Stravinsky, Igor, 26, 42–44, 200, 254, 305, 315, Siegel, Hedi, 313 318 Signification, 35, 83, 85–92, 111–12 Stuckenschmidt, H.H., 33, 52, 318 Silence of the Lambs, The, 261 Subjectivity, 81, 83, 93–95, 97–98, 110, 278, 281 Silent film. See “Film, silent” Superman, 127, 291–92

330 index

Swinden, Kevin, 136, 318 Thompson, Kristin, 303 Syer, Katherine R., 307, 311 Thompson, William Forde, 319 Symbolism, 118–21 Thorau, Christian, xxii, 22, 64, 319 Symphonic poem, 79, 148, 241, 252–54 Tolkien, J.R.R., 1, 296, 299, 319. See also “Lord Symphony, 1, 52, 130, 140, 162, 167, 258–61, of the Rings” 265, 281, 294 Tonality, 3, 5, 26, 29, 39, 46, 54, 59, 61, 127, 136, 139, 164, 172, 178, 195–98, 209, 214, “Talkies”, 257 222, 259, 261, 263, 267, 282, 292 Tallis, Thomas, 84, 307 Associative, 132, 164, 196–98, 222, 228, 234, Tammet, Daniel, 97–98 263–64, 270, 282 Tan, Siu-Lan, 305, 309–12 Tone poem. See “Symphonic poem” Tanner, Michael, 211, 318 Topics, 3, 20, 22, 28, 73, 79, 92–93, 100, 102, Tarasti, Eero, 22, 119, 319 106, 112–15, 121, 123, 132, 134, 140 Taruskin, Richard, 52, 84, 93, 130, 319–20 Tovey, Donald Francis, 44, 136, 319 Tchaikovsky, Modeste, 319 Transposition, associative. See “Associative Tchaikovsky, Piotr, 49–50, 52–53, 124, 148, transposition” 238, 242, 245, 264–65, 319 Treitler, Leo, 82, 319 Eugene Onegin, 53, 238, 264 Trichotomy, Piercian, 87–90 Sleeping Beauty, 245–46 Truncation, thematic. See “Thematic Swan Lake, 148, 245 truncation” Symphony No. 4 in F Minor, 49 Turino, Thomas, 87, 319 Text painting. See “Madrigalisms” Twain, Mark, 159, 319 Texture change. See “Change of Texture” Twilight Zone, The, 266 Thematic analysis. See “Analysis, motivic/ thematic” Uhlig, Theodor, 11, 23, 104 Thematic Complexes, 200–5, 253, 288 Urmotiv, 60, 117, 217, 274 Thematic development. See “Development, thematic” Van Helsing, 155 Thematic Evolution, 187–89, 191–93, 218, 223, Variation, 35, 38, 46, 51–52, 60–62, 70, 74, 169, 290–91 195, 270, 275. See also “Development, Thematic foreshadowing. See “Foreshadowing” thematic” and “Entwicklung” and “Presentiment” Vengeance of Egypt, The,54 Thematic Fragmentation, 182–83, 228, 235–36, Verdi, Giuseppe, 154, 198, 237, 301, 304, 315 254, 271, 289. See also “Liquidation” Falstaff, 237 Thematic function. See “Function, thematic” Macbeth, 154 Thematic Inversion, 192–94, 237, 239, 248, 299 Otello, 179, 237, 304 Thematic Irony, 205–10, 217, 235, 293, 303 Verismo, 237–38 Thematic linkage. See “Linkage, thematic” Vivaldi, Antonio, 37 Thematic Mutation, 4, 170, 182, 184, 188, 192, 203, 231 Wagner, Cosima, 26, 37, 63, 83–84, 95, 105, Thematic recall, 9–10, 20, 62, 108, 159, 233, 107, 319 237, 248, 257, 260 Wagner, Gottfried, xx, xx, 303, 313, 319 Thematic Truncation, 181–82, 192, 279, 289 Wagner, Naphtali, 309 Theme, 33–75 Wagner, Richard Associative, 7, 10, 21, 27–28, 54, 62, 64, 68, “A Communication to My Friends”, 90, 70, 72, 89, 93, 95, 102, 108, 114, 118, 132, 163–64, 319 165, 167, 169, 183–84, 200, 208, 217, 223, Das Liebesverbot, 161–62 230, 233–34, 236, 248, 251–52, 254–55, Das Rheingold,2–3, 22, 25, 49, 90, 103, 258, 262, 269, 271–72, 275–76, 283 106–7, 117, 120, 132, 134, 137, 139, Names. See “Naming themes” 143–44, 172–74, 183, 187–88, 195, 199, Reminiscence, 7, 10, 21, 161, 233 208–9, 242, 265, 285, 295–96, 303, 306–7, Titles. See “Naming themes” 312 “There’s No Place Like Home”, 126, 128 Der ﬂiegende Höllander, 233, 266, 313

index 331

Der junge Siegfried, 52. See also “Siegfried” Walton, Kendall, 104, 320 Der Ring des Nibelungen, xx, xxi, xxiii, xxiv, Walton, William, 258, 264, 313 1–2, 5–6, 8, 14, 22, 24–25, 27–30, 35, Wapnewski, Peter, 161, 189, 200, 303, 306 50–51, 53, 56, 60, 62–63, 67–70, 72–74, Ward, Edward, 269 89, 93, 95, 97–99, 101, 105, 108, 113–15, Warrack, John, 10, 20, 137, 168, 222, 320 117, 121, 123, 133–34, 137, 142, 149, Waxman, Franz, 141, 258, 268 159–61, 163–65, 167–69, 172, 174, Weber, Carl Maria von, 10, 20–22, 139, 160, 176–77, 179, 181–89, 191–92, 194–201, 197, 221–22, 224, 262–63, 320 205, 207–9, 211–14, 218–22, 224, 233, Der Freischütz, 21, 139, 197, 222, 263 235, 238–39, 242, 245, 248, 261, 263–66, Euryanthe, 21, 197, 222, 224–25 271, 273–74, 282, 289, 294–95, 301–4, Oberon, 21, 139, 222–23 306–12, 315–18, 320 Weiner, Marc, 121, 320 Die Feen, 132, 161, 303 Weisel, Eilat Meir, 54, 59, 320 Die Meistersinger von Nürnberg, 20, 128, Weiss, Piero, 52, 84, 315, 320 186, 196, 213, 216–17, 219, 242, 313, 318 Wheelock, Gretchen, 197, 320 Die Walküre, xxiii, 2, 41, 54, 93, 95–96, 105, White, David, 120, 320 174, 177, 181, 185, 194, 199, 201, 203, 205, Whittall, Arnold, 218, 320 209, 242, 245, 248, 263, 281, 296, 298, 310 Whittall, Mary, 306 Götterdämmerung, 2, 54, 64, 95–96, 103, Williams, John, 12, 60, 82, 101, 129, 141–43, 105, 133, 143, 179–80, 182–83, 191, 209, 256, 262, 272, 274, 281–82, 284–87, 211, 214, 233, 238, 264, 268, 298, 307, 310, 289–91, 294, 305, 317 320. See also “Siegfrieds Tod” Willow, 154 Lohengrin, xxiii, 23, 104, 164–66, 196, 222, Windsperger, Lothar, 25, 320 266, 302, 309 Wintle, Christopher, 119, 133, 197, 208–9, 320 Opera and Drama, 8, 22, 72, 101, 264–65, 319 Wizard of Oz, The, 81, 126, 128 Parsifal, 46, 70, 84, 113, 154, 161–62, 167, Wolzogen, Ernst von, 320 172, 176, 192, 196, 213, 217–19, 235, Wolzogen, Hans von, 22, 24–26, 64, 107, 168, 242–43, 302, 307, 311–12, 314, 320 320 Rienzi, 161, 177 Word painting. See “Madrigalisms” Siegfried,2–3, 19, 52, 73, 89, 93, 95, 114, 121, Wörner, Karl, 20, 119, 321 177, 181–82, 186, 191, 196, 205, 214, 248, Wright, Rayburn, 141, 261, 272, 275, 279, 292, 267, 296, 308, 313. See also “Der junge 311 Siegfried” Wright, Stephen, 257, 279, 316, 321 Siegfried Idyll, 70, 301 Siegfrieds Tod, 53, 167, 188, 196, 302. X-Men, The Last Stand, 154 See also “Götterdämmerung” Tannhaüser, 129, 162, 164–65 Youmans, Charles, 226, 321 Tristan und Isolde, 18, 46, 117, 128–29, 167, 186, 196, 200, 213–17, 219, 226, 233, Zarlino, Gioseffo, 38 235–36, 238, 242, 248, 253, 262, 301–2, Le istitutione harmoniche,38 310, 312, 318 Zbikowski, Lawrence, 11, 18, 66, 313, 321