Bibliography
Total Page:16
File Type:pdf, Size:1020Kb
Bibliography Aalst, Jules A. van. Chinese Music. Shanghai: Inspectorate General of Customs, 1884. Abbate, Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Prince- ton: Princeton University Press, 1991. Abbate, Carolyn. “Music – Drastic or Gnostic?” Critical Inquiry 30, no. 3 (2004): 505–536. Abitor, Daniel. “Metapher als Antwort auf Inkommensurabilität.” PhD dissertation, Ludwig Maximilian University, Munich, 2010. https://edoc.ub.uni-muenchen.de/11466 Ackermann, Peter. “Japan.” In Außereuropäische Musik, Vol. 1, edited by Hans Oesch, 110–145. Laaber: Laaber, 1984. Adami, Giuseppe. Puccini. [1935] Second edition. Milan: Treves, 1938. Adler-Rudel, Salomon. Jüdische Selbsthilfe unter dem Naziregime 1933–1939: Im Spiegel der Reichs- vertretung der Juden in Deutschland. Tübingen: Mohr, 1974. Adorno, Theodor W. “Zur gesellschaftlichen Lage der Musik.” [1932] In Musikalische Schriften V (Gesammelte Schriften, Vol. 18, edited by Rolf Tiedemann), 729–777. Frankfurt: Suhrkamp, 1984. Adorno, Theodor W. “Über den Fetischcharakter in der Musik und die Regression des Hörens.” [1938] In Dissonanzen (Gesammelte Schriften, Vol. 14, edited by Rolf Tiedemann, 7–167), 14–50. Frankfurt: Suhrkamp, 1973. Adorno, Theodor W. “On the Fetish-Character in Music and the Regression of Listening.” [1938] In Essays on Music, edited by Richard Leppert, translated by Susan H. Gillespie, 288–317. Berkeley: University of California Press, 2002. Adorno, Theodor W. Philosophie der neuen Musik. [1949] In Gesammelte Schriften, Vol. 12, edited by Rolf Tiedemann. Frankfurt: Suhrkamp, 1975. Adorno, Theodor W. Philosophy of New Music. [1949] Translated by Robert Hullot-Kentor. Min- neapolis: University of Minnesota Press, 2006. Adorno, Theodor W. “Die gegängelte Musik.” [1953] InDissonanzen (Gesammelte Schriften, Vol. 14, edited by Rolf Tiedemann, 7–167), 51–66. Frankfurt: Suhrkamp, 1973. Adorno, Theodor W. “Anton von Webern.” [1959] In Klangfiguren (Gesammelte Schriften, Vol. 16, edited by Rolf Tiedemann, 7–247), 110–125. Frankfurt: Suhrkamp, 1978. Adorno, Theodor W. “Einleitung in die Musiksoziologie: Zwölf theoretische Vorlesungen.” [1962/1968] In Gesammelte Schriften, Vol. 14, edited by Rolf Tiedemann, 169–433. Frankfurt: Suhrkamp, 1978. Agawu, Kofi. “The Invention of ‘African Rhythm.’” Journal of the American Musicological Society 48, no. 3 (1995): 380–395. 442 Musical Composition in the Context of Globalization Agawu, Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. New York: Rout- ledge, 2003. Almén, Byron. A Theory of Musical Narrative. Bloomington: Indiana University Press, 2008. Altmann, Peter. Sinfonia von Luciano Berio: Eine analytische Studie. Vienna: Universal Edition, 1977. Ambros, August Wilhelm. Geschichte der Musik, Vol. 1. Third edition. Leipzig: Leuckart, 1887. Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. [1983] Second edition. London: Verso, 1991. (Revised, third edition, London: Verso, 2006; tenth edition, London: Verso, 2016.) Anhalt, Istvan. Alternative Voices: Essays on Contemporary Vocal and Choral Composition. Toronto: University of Toronto Press, 1984. Apel, Willi. The Notation of Polyphonic Music, 900–1600. [1942] Fourth edition. Cambridge: Me- dieval Academy of America, 1949. Appadurai, Arjun. “Grassroots Globalization and the Research Imagination.” In Globalization, edited by Arjun Appadurai, 1–21. Durham: Duke University Press, 2001. Aristoxenos. “Elementa Rhythmica, Book II.” In Greek Musical Writings, Vol. 2: Harmonic and Acoustic Theory, edited by Andrew Barker, 185–189. Cambridge: Cambridge University Press, 1989. Armbrüster, Georg, Michael Kohlstruck, and Sonja Mühlberger, editors. Exil Shanghai 1938– 1947: Jüdisches Leben in der Emigration. Teetz: Hentrich & Hentrich, 2000. Arom, Simha. African Polyphony and Polyrhythm: Music Structure and Methodology. Cambridge: Cambridge University Press, 1991. Arom, Simha, Louise Duchesneau, and Wolfgang Marx. “A Kinship Foreseen: Ligeti and Afri- can Music – Simha Arom In Conversation.” [19 November 2008] In György Ligeti: Of Foreign Lands and Strange Sounds, edited by Louise Duchesneau and Wolfgang Marx, 107–122. Woodbridge: Boydell, 2011. Asad, Talal. “The Concept of Cultural Translation in British Social Anthropology.” In Writing Culture: The Poetics and Politics of Ethnography, edited by James Clifford and George E. Mar- cus, 141–164. Berkeley: University of California Press, 1986. Ashbrook, William, and Harold Powers. Puccini’s Turandot: The End of the Great Tradition. Prince- ton: Princeton University Press, 1992. Assmann, Aleida. Cultural Memory and Western Civilization: Functions, Media, Archives. Cam- bridge: Cambridge University Press, 2011. Assmann, Jan. Das kulturelle Gedächtnis: Schrift, Erinnerung und politische Identität in frühen Hochkulturen. Fifth edition. Munich: Beck, 2005. Assmann, Jan. Cultural Memory and Early Civilization: Writing, Remembrance, and Political Imag- ination. Cambridge: Cambridge University Press, 2011. Austin, Larry. “The Realization and First Complete Performances of Ives’ Universe Symphony.” In Ives Studies, edited by Philip Lambert, 179–232. Cambridge: Cambridge University Press, 1997. Avshalomov, Jacob, and Aaron Avshalomov. Avshalomovs’ Winding Way: Composers Out of China – A Chronicle. Bloomington: Xlibris, 2001. Azadovskii, Konstantin, and Boris Egorov. “From Anti-Westernism to Anti-Semitism: Stalin and the Impact of the ‘Anti-Cosmopolitan’ Campaigns on Soviet Culture.” Journal of Cold War Studies 4, no. 1 (2002): 66–80. Bibliography 443 Baatz, Ursula. “Resonanz des ‘weißen Unbewegten:’ Die Asien-Rezeption Scelsis.” In Klang und Quelle: Ästhetische Dimension und kompositorischer Prozess bei Giacinto Scelsi, edited by Fede- rico Celestini and Elfriede Reissig, 31–48. Vienna: LIT, 2014. Badrinathan, Vasumathi. “Interplay of the devadasi and the Composer.” The Asian Age, 14 De- cember 2015. https://www.asianage.com/music/interplay-devadasi-and-composer-890 Baier, Christian. “50 Jahre danach: Julius Schloss, Karl Steiner, Jenö Takács.” Österreichische Mu- sikzeitschrift 43, no. 12 (1988): 677–681. Baier, Karl. “Offenes Kunstwerk versus Kunst der Offenheit: Umberto Ecos abendländische Werk-Ästhetik und John Cages buddhistische Alternative.” Polylog: Zeitschrift für interkultu- relles Philosophieren no. 9 (2003): 38–56. Bakhtin, Mikhail M. Problems of Dostoevsky’s Poetics. [1929] Minneapolis: University of Minne- sota Press, 1984. Bakhtin, Mikhail M. The Dialogic Imagination: Four Essays. [1934–38] Austin: University of Texas Press, 1981. Baltensperger, André. Iannis Xenakis und die stochastische Musik: Komposition im Spannungsfeld von Architektur und Mathematik. Bern: Peter Lang, 1996. Bandur, Markus. “Composition/Komposition.” In Handwörterbuch der musikalischen Termino- logie, edited by Albrecht Riethmüller. Stuttgart: Steiner, 1996. https://www.musiconn.de/ Vta2/bsb00070510f49t82/hmt:hmt2bsb00070510f49t82?page=49 Bandur, Markus. “‘I prefer a wake.’ Berios Sinfonia, Joyces Finnegans Wake und Ecos Poetik des ‘offenen Kunstwerks.’” In Luciano Berio, edited by Ulrich Tadday, 95–110. Munich: edition text + kritik, 2005. Barmé, Geremy. “To Screw Foreigners Is Patriotic: China’s Avantgarde Nationalists.” The China Journal 34 (1995): 209–234. Barrow, John. Travels in China, Containing Descriptions, Observations, and Comparisons, Made and Collected in the Course of a Short Residence at the Imperial Palace of Yuen-Min-Yuen, and on a Sub- sequent Journey Through the Country From Pekin To Canton. London: Strahan, 1804. Barrow, John. Johann Barrow’s Reise durch China von Peking nach Canton im Gefolge der Großbrit- tannischen Gesandtschaft in den Jahren 1793 und 1794. Translated by Johann Christian Hüttner. Weimar: Industrie-Comptoir, 1804. Barthes, Roland. “The Grain of the Voice.” [1972] In The Responsibility of Forms: Critical Essays on Music, Art, and Representation, 267–277. Berkeley: University of California Press, 1991. Bartók, Béla. “Gypsy Music or Hungarian Music?” [1931] In Essays, edited by Benjamin Suchoff, 206–223. Lincoln: University of Nebraska Press, 1976. Bartók, Béla. “The Influence of Peasant Music on Modern Music.” [1931] In Essays, edited by Benjamin Suchoff, 340–344. Lincoln: University of Nebraska Press, 1976. Bartók, Béla. “Race Purity in Music.” [1942] In Essays, edited by Benjamin Suchoff, 29–32. Lin- coln: University of Nebraska Press, 1976. Bartók, Béla. “Harvard Lectures.” [1943] In Essays, edited by Benjamin Suchoff, 354–392. Lin- coln: University of Nebraska Press, 1976. Bartók, Béla. Weg und Werk: Schriften und Briefe, edited by Bence Szabolcsi. Kassel: Bärenreiter, 1972. Beal, Amy. “Negotiating Cultural Allies: American Music in Darmstadt, 1946–1956.” Journal of the American Musicological Society 53, no. 1 (2000): 105–139. Beal, Amy C. New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification. Berkeley: University of California Press, 2006. 444 Musical Composition in the Context of Globalization Beck, Ulrich. Die Erfindung des Politischen: Zu einer Theorie reflexiver Modernisierung. Frankfurt: Suhrkamp, 1993. Beck, Ulrich. “Das Zeitalter der Nebenfolgen und die Politisierung der Moderne.” In Reflexive Modernisierung: Eine Kontroverse, edited by Ulrich Beck, Anthony Giddens and Scott Lash, 19–112. Frankfurt: Suhrkamp, 1996. Beck, Ulrich, and Danilo Zolo. “What Is Globalization? Some Radical Questions.” [1999] Jura Gentium: Rivista di filosofia del diritto internazionale e della