<<

SELECTED BIBLIOGRAPHY

Primary Sources

Anon. Explanation of the ocular harpsichord, upon shew to the public (London: S. Hooper and A. Morley, and Gay’s Head, 1757).

Anon. “Kritische Bemerkungen über verschiedene Theile der Tonkunst,” Allgemeine musikalische Zeitung 1 (1799), col. 193- 197

Anon. “Der Symphonien-Komponist,” Allgemeine musikalische Zeitung 1 (18 December 1799), col. 224.

Anon. “Neues Instrument von Mälzl,” Allgemeine musikalische Zeitung 2 (March 5, 1800) cols. 414- 416.

Anon. “Effekt! Effekt!” Allgemeine musikalische Zeitung 10 (1808), col.417-422

Anon. “The Panharmonicon,” The Times [London], Nov. 28 1811, p. 4.

Johann Albrechtsberger, Gründliche Anweisung zur Composition: mit deutlichen und ausführlichen Exempeln, zum Selbstunterrichte, erläutert, und mit einem Anhange, von der Beschaffenheit und Anwendung aller jetzt üblichen musikalischen Instrumente, (1790).

Jean-Le Rond d’Alembert, Elemens de musique, theorique et pratique, (New York: Broude Brothers, 1966).

Ancelet, Observations sur la musique, les musiciens, et les instruments (Amsterdman, 1757; reprint, Geneve : Minkoff Reprint, 1984).

August Apel, “Ton und Farbe,” Allgemeine musikalische Zeiting 2 (1800), col. 753- 762, & 769- 774.

Aristotle, De Sensu et Sensibili, trans. W. D. Ross (Oxford: Clarendon Press, 1928).

George Astor, Manufacturer of Musical Instruments and Music-seller to their Majesties and their Royal Highnesses the Prince of Wales and Dukes of York and Clarence [Advertising pamphlet], (1799).

239 240

Charles Avison, Essay on Musical Expression, (London 1752).

C.P.E. Bach, Versuch über die wahre Art das Clavier zu spielen (Berlin 1753-62; English translation William J. Mitchell, Essay on the True Art of Playing Keyboard Instruments (London: Cassel: 1951)..

Charles Batteux, Les Beaux- arts réduits à un meme princip, (, Durand, 1746).

Hector Berlioz, “De l’imitation musicale,” Revue et Gazette musicale de Paris, Jan. 1 & 8, 1837, reprinted in Edward Cone, ed. Hector Berlioz: Fantastic Symphony: An Authoritative Score, (New York: W. W. Norton & Co., 1971).

______, Grand traité d’instrumentation et d’orchestration moderne (Paris, 1844). Hugh McDonald, Berlioz’s Orchestration Treatise: A Translation and Commentary (Cambridge: Cambridge University Press, 2002).

Heinrich Philipp Bossler, ed., Musikalische Real-Zeitung (1788-1790), reprint, (Hildesheim, Olms, 1996).

Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, (London, 1757), edited by James T. Boulton, (London: Routledge and Kegan Paul, 1958).

Louis Bertrand Castel, “Clavecin pour les yeux, avec Part de Peindre les sons, & toutes sorts de Pieces de Musique,” Mercure de November 1725, pp. 2552- 2577.

François Hénri Joseoph Castil-Blaze, Dictionnaire de musique moderne (Paris 1821).

E. F. F. Chladni, Entdeckungen über die Theorie des Klanges (Leipzig: Weidmanns Erben und Reich, 1787).

______, “Nachricht von dem Clavicylinder, einem neuerfundenen Instrumente, von E. F. F. Chladni, enthaltend Bemerkungen über einige etwas damit verwandte Tastaturinstrumente,” AMZ 18 (January 29, 1800), cols. 305- 313.

______, “Zweyte Nachricht von dem Clavicylinder,” AMZ 22 (February 25th, 1801), cols. 386-387. 241

______, Die Akustik (Leipzig: Breitkopf und Härtel, 1802).

______, Beyträge zur praktischen Akustik und zue Lehre vom Instrumentbau, enthaltend die Theorie und Anleitung zum Bau des Clavicylinders und damit verwandter Instrumente, (Leipzig: Breitkopf und Härtel in Leipzig, 1821).

Alexander Choron, Traité Général des Vois et des Instruments d’Orchestre, Principaliement des Instruments à Vent, à l’Usage des Compositeurs, par L. J. Francoeur, Nourvelle Édition, revue et augmentée des Instruments modernes (Paris: Des Lauriers, 1813).

Christmann, “Nachtricht von dem Schnellschen Animo-Corde,” Allgemeine musikalische Zeitung 3 (1798), col. 39-44.

Étienne Bonnet de Condillac, Traité des sensations (1754).

Karl Friedrich Cramer, ed., Magazin der Musik (1783-86), reprint, (Hildesheim: Olms, 1971).

Johann Friedrich Daube, Der Musikalische Dilettant: eine Abhandlung der Komposition (1770-1773), translated Susan P. Snook-Luther, The Musical Dilettante: A Treatise on Composition by J.F. Daube (Cambridge: Cambridge University Press, 1992).

Descazeaux, “Stances sur le merveilleux Clavecin Oculaire,” Mercure de France April 1739, pp. 768-9.

D. J. Doppelmair, “Strassers Mechanisches Orchester in St. Petersburg,” Allgemeine musikalische Zeitung 44 (1801), cols. 736- 739.

Jean Baptiste Dubos, Réflexions critiques sur la poesie et sur la peinture (Paris, 1719), trans. Thomas Nugent, Critical Reflections on Poetry, Painting, and Music (London, 1748).

Denis Diderot, Jean Le Rond D’Alembert, ed., Encyclopédie: ou Dictionnaire raisonné des sciences, des artes et des métiers (Paris, 1751-65).

Johann Jakob Engel, Über die musikalische Malerey (1780), translated in Source Readings in Music History, edited Oliver Struck, revised edition edited by Wye Jameson Allanbrook (New York: W. W. Norton & Co., 1998), pp. 220-231. 242

F.J. Fétis, “Des revolutions de l’orchestre,” Revue musicale, 1 (1827), translated in Harmonicon 6 (1828).

Ann Ford, Instructions for Playing on the Musical Glasses, L. Public Advertiser, 2 (Nov. 1761).

Johann Nicholaus Forkel, ed. Musikalisch-kritische Bibliothek (1778- 1779), reprint, (Hildesheim: Olms, 1964).

Louis Joseph Francoeur, Diapason general de tous les instruments à vents avec des observations sur chacun d’eux… (Paris: Des Lauriers, 1772).

Franz Joseph Froehlich, Vollständige theoretisch-pracktische Musikschile für alle beyn Orchester gebräuchliche wichtigere Instrumente zum Gebrauch für Musikdirectoren, Lehrer und Liebhaber, Systematisch mit Benutzing der Besten bisher erschienen Anweisungen beartbeitet von J. Froehlich, Professor und Director des Musik: Instituts an der grosberzoglichen Universität zu Würzburg (Bonn: Simrock, 1810)

Johann Christian Gottsched, Auszug aus des Herrn batteux schönen Künsten aus dem einzigen Grundsatze der Nachahmung hergeleitet. Zum Gebrauch seiner Vorlesungen mit vershiedenen Zusätzen und Anmerkungen erläutert

William Hayes, The Art of Composing Music by a Method entirely New, suited to the meanest Capacity. Whereby all Difficulties are removed, and a Person who has made never so little Progress before, may, with some small Application, be enabled to excel. (London, 1751)

Johann Gottfried Herder, Kalligone [1800], (Weimar: Hermann Böhlaus Nachfolger, 1955).

______, Sämtliche Werke, edited Bernhard Suphan, (Hildesheim: Olms Verlagsbuchhandlung, 1967-68).

______, Werke: Band II: Herder und die Anthropologie der Aufklärung, ed. Wolfgang Pross, (Munich: Carl Hanser Verlag, 1987). 243

______, Philosophical Writings, translated and edited by Michael N. Forster, (Cambridge: Cambridge University Press, 2002).

Johann Adam Hiller, ed., Wöchentliche Nachrichten und Anmerkungen die Musik betreffend, (1766-69).

Friedrich Hillmer, “Beschreibung des von mir erfunden Instruments Polychord,” AMZ 30 (April 24th, 1799), col.s. 478- 479.

E. T. A. Hoffmann, The Best Tales of Hoffmann, edited by E.F. Bleiler, (New York: Dover Publications, 1967).

______, Sämtliche Werke in sechs Bänden, edited by Wulf Segebrecht and Hartmut Steinecke, (Frankfurt: Deutscher Klassiker Verlag, 1985-2004).

______, E.T.A. Hoffmann’’s Musical Writings: ‘Kriesleriana, The Poet and the Composer,’ Music Criticism, trans. By Martyn Clarke and ed. By David Charlton, (Cambridge: Cambridge University Press, 1989).

Johann Leopold Hoffmann, Farbenharmonie (1786).

Anthanasius Kircher, Musurgia universalis sive ars magna consoni et dissoni, (Rome, 1650, reprint, Hildeshein: Georg Olms, 1970).

Heinrich Christoph Koch, Musikalisches Lexicon (Frankfurt am Main, 1802, reprint, Hildesheim: Olms, 1964).

A.F.C. Kollmann, An Essay on Practical Composition, (1799).

Thomas Kunz, “Beschreibung des Orchestrions,” Allgemeine musikalische Zeitung 1 (1798), col. 88-90.

Jean-Jacques Dortous de Marain, “Discours sur la propagation du son dans les différents tons qui le modifent,”Mémoires de Mathématique et de Physique, tires des régistres de l’Académie Royale des Sciences 1737 [pub. 1740].

John Marsh, “A Comparison between the Ancient and Modern Styles of Music,” supplement to The Monthly Magazine 2 (1796), introduced and edited by Charles Cudworth, “An Essay by John Marsh,” Music and Letters 36 (1955), pp. 155-64. 244

______, Hints to Young Composers of Instrumental Music, Illustrated with 2 Movements for a Grand Orchestra, in Score, to which is prefixed A description of the Scales and Peculiarities of Every Instrument used in Modern Orchestras (London: Clementi, Banger, Hyde, Collard & Davis, 1802)

A.B. Marx, Die ale Musiklehre im Streit mit unserer Zeit, (Leipzig: Breitkopf und Härtel, 1841), trans. in Scott Burnham, ed. Musical Form in the Age of Beethoven: Selected Writings on Theory and Method, A.B. Marx, (Cambridge: Cambridge University Press, 1997)

Moses Mendelssohn, Breife über die Empfindungen (Berlin, 1755).

C. F. Michaelis, “Einige Bemerkungen über den ästhetischen Charakter, Werth und Gebrauch verschiedener musikalischer Instrumente, Allgemeine musikalische Zeitung 9 (1807), col. 241-50, 257-63.

Sir Isaac Newton, Opticks or a Treatise of the Reflections, Refractions, Inflections & Colors of Light (New York: Dover, 1953 [based on 4th ed. of 1730)].

Michael Praetorious, Syntagma Musicum (Wittenberg, 1614-15), reprint with introdution by Arno Forschert (Kassel: Bärenreiter, 2001); volume 2 translated by Harold Blumenfeld, The Syntagma Musicum of Michael Praetorius, Volume two, De Organographia, First and Second Parts. (New York: Da Capo Press., 1980); volume three translated by Jeffrey Kite-Powell, Syntagma Musicum III, (New York: Oxford University Press, 2004).

Jean-Philippe Rameau, Treatise on Harmony (1722), trans. Philip Gossett (New York: Dover Publications, 1971).

Johann Friedrich Reichardt, “Von der Stärke und Schwäche und ihren verschiedenen Nuancierungen,” in Über die Pflichten des Ripien- Violinisten (Berlin, 1774), pp. 59-70.

______, ed., Berlinische musikalische Zeitung (1805-1806), reprint, (Hildesheim: Olms, 1969).

Jean-Jacques Rousseau, Essai sur l’origine des langues, trans. by John H. Moran (Chicago: University of Chicago Press, 1966). 245

______, Dictionnaire de Musique, (Paris, 1768), translated by William Waring as A Complete Dictionary of Music, (London, 1770) reprint, (New York: AMS, 1975).

______, Émile ou de l’éducation (Paris, 1762), (Paris: Classiques Garnier Multimédia, 1999), translated Alan Bloom (New York: Basic Books, 1979).

Johann Ferdinand Schönfeld, Jahrbuch der Tonkunst von Wien und Prag (Vienna, 1796), reprint, with preface by Otto Biba, (Munich: E. Katzbichler, 1976).

Christian Friedrich Daniel Schubart, Ideen zu einer Ästhetik der Tonkunst (Vienna, 1806), ed. Fritz and Margrit Kaiser, (reprint, Hildesheim: G Olms, 1969).

Johann Georg Sulzer, Allgemeine Theorie der schönen Künste (Berlin 1771-1774).

Georg Philipp Telemann, Beschreibung der Augenorgel, oder des Augenclavicimbels, so der berühmte Mathematicus und Jesuit zu Paris, Herr Pater Castel, erfunden und ins Werck gerichtet hat. (1739).

Johann Gottlob Töpfer, Erster Nachtrag zur Orgel-bau Kunst, (Weimar, 1834).

Othon Vandenbroeck, Traité general de tous les instruments à vent à l’usage des compositeurs, (Paris: Boyer, 1793).

Guillaume André Villoteau, Recherches sur l’analogie de la musique avec les arts qui ont pour objet l’imitation du language (Paris 1809).

W. “Über den Gebrauch der Blasinstrumente, für angehende Komponisten.” Studien für Tonkünstler und Musikfreunde, Musikalisches Wochenblatt, ed. Friedrich Ludwig Aemilius Kunzen, Johann Friedrich Reichhardt, X (1792), pp. 77-78.

Wilhelm Heinrich Wackenroder, Sämtliche Werke und Briefe: Historisch- kritische Ausgabe, ed. Silvio Vietta and Richard Littlejohns, 2 vols. (Heidelberg: Cark Winter Universitätverlag, 1991). 246

______,Wilhelm Heinrich Wackenroder’s Confessions and Fantasies, trans. Mary Hurst Schubert (University Park: Pennsylvania State University Press, 1971).

Gottfried Weber, “Erneuerter Versuch einer Begriffsbestimmung von Ton, Tonkunst, und Tonsetz-Kunst.” Allgemeine musikalsche Zeitung 17 (1815), col. X-X

Giorgio Vasari, Vite de più eccellenti architetti, pittori et scultori italiani (1550, 1568); The Lives of the Painters, Sculptors, and Architects, translated by Gaston du. C. de Vere, (New York: Alfred A. Knopf, Random House, 1996).

Voltaire, Elémens de la philosophie de Neuton (1744).

______, Correspondence, Theodor Besterman, ed. 107 vols. (Genève: Institut & Musée , 1953-1965).

Matthew Young, An Enquiry into the Principal Phaenomena of Sounds and Musical Strings (Dublin: Josepth hill, College Printing House, 1786)

Secondary Sources

M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition, (Oxford: Oxford University Press, 1953).

Nancy Kovaleff Baker, Thomas Christensen, ed., and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch, (Cambridge: Cambridge University Press, 1995).

Hans Bartenstein, “Die fruhen Instrumentationslehren bis zu Berlioz,” Archiv für Musikwissenschaft, 28 n. 2 (1971), pp. 97-118.

Heinz Becker, Geschichte der Instrumentation (Cologne: A. Volk Verlag, H. Gerig, 1964), translated by Robert Kolben, History of Instrumentation (Cologne, A. Volk. Verlag, H. Gerig, 1964). Jonathan W. Bernard, “The Principle and the Elements: Rameau’s Controversy with d’Alembert,” Journal of Music Theory 24 (1980), pp. 37-62. 247

Philip Blom, Enlightening the World: Encyclopédie, The Book That Changed the Course of History, (New York: Palgrave Macmillan, 2004).

Rudolf Bockholdt, “”Von unten herauf,” nicht “von oben herab”: Zu Herders Betrachtungen über Kunst und Musik,” Musiktheorie, Vol. 15, n. 3 (2000), pp. 247-54.

Mark Evan Bonds, Wordless Rhetoric: Musical Form and the Metaphor of the Oration, (Cambridge and London: Harvard University Press, 1991).

______, “Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century,” Journal of the American Musicological Society, vol. 50, n. 2-3 (199 pp. 387-420.

Donald R. Boomgartden, Musical Thought in Britain and Germany During the Early Eighteenth Century, American University Studies, series 4, vol. 26, (New York: Peter Lang, 1987).

Jane Bowers, “Mozart and the Flute,” Early Music 20 (1992), pp. 31-42.

Nathan Broder, “The Wind-Instruments in Mozart’s Symphonies,” Musical Quarterly, 19 (1933), pp. 238-259.

A. Peter Brown, “Haydn’s Chaos: Genesis and Genre,” The Musical Quarterly vol. 73. N. 1 (1989), pp. 18-59.

Paul R. Bryan, “The Horn in the Works of Mozart and Haydn: Some Observations and Comparisons,” in Haydn yearbook, 9 (1975)

Michael Broyles, Beethoven: The Emergence and Evolution of Beethoven’s Heroic Style (New York: Excelsior Music Publishing Co., 1987).

Peter Cahn, “Zur-Funktion der Hörner und Trompeten im klassischen Orchestersatz,” in Helmuth Osthoff zu seinem siebzigsten Geburtstag (Tutzing: H. Schneider, 1969).

Adam Carse, The Orchestra in the Eighteenth Century (Cambridge: W. Heffer & Sons, 1950).

______, The Orchestra from Beethoven to Berlioz: A History of the Orchestra in the First Half of the 19th Century, and the 248

Development of Orchestral Baton-Conducting, (New York: Broude Brothers, 1949).

______, History of Orchestration (New York: Dover, 1964).

Terry Castle, The Female Thermometer: 18th Century Culture and the Invention of the Uncanny, (Oxford: Oxford University Press, 1995).

David Charlton, “Orchestra and Image in the Late Eighteenth Century,” Proceedings of the Royal Music Association, 102 (1975-1976).

______, “’Envoicing’ the Orchestra: Enlightenment Metaphors in Theory and Practice,” in id. French Opera 1730-1830: Meaning and Media (Aldershot, 2000), V, pp. 1-31.

Anne-Marie Chouillet-Rouche, “Le clavecin oculaire du Père Castel,” Dix-huitième Siecle 8 (1976), pp. 141-66.

Thomas Christensen, “Eighteenth-Century Science and The Corps Sonore: The Scientific Background to Rameau’s Principle of Harmony,” Journal of Music Theory 31 (1987), pp. 23-50.

______, Rameau and Musical Thought in the Enlightenment, (Cambridge: Cambridge University, 1993).

Daniel Chua, “Haydn as Romantic: a Chemical Experiment with Instrumental Music,” Haydn Studies, (New York: Cambridge University Press, 1998), pp. 120-151.

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

Bathia Churgin, “The Symphony as Described by J. A. P. Schulz (1774): A Commentary and a Translation,” Current Musicology, 29 (1980), pp. 7-16.

Carl Dahlhaus, “Zur Theorie der Instrumentation,” Die Musikforschung 28 (1985), pp. 161-169.

______, The Idea of Absolute Music, translated by Roger Lustig, (Chicago: University of Chicago Press, 1989).

______, Nineteenth Century Music, translated J. Bradford Robinson (Berkeley: University of California Press, 1989). 249

Winton Dean, “French Opera,” in The New Oxford History of Music, (London: Oxford University Press, 1982).

Otto Erich Deutsch, “Ink-Pot and Squirt Gun, or ‘The Art of Composing Music in the New Style,” The Musical Times 93 (1952), pp. 401-3.

Sigalia Dostrovsky, “Early Vibrational Theory: Physics and Music in the Seventeenth Century,” Archive for History of Exact Sciences 14 (1975), pp. 169-218.

John W. Draper, “Aristotelian Mimesis in Eighteenth Century England,” Publications of the Modern Language Association, XXXVI (1921), pp. 372-400.

Siegfried Drescher, ed., Wer war Kant? Drei zeitgenössischen Biographien von Ludwig Ernst Borowski, Reinhold Bernhard Jackmann, and E. A. Ch. Wasianski. (Pfullingen: Neske, 1974).

Dexter Edge, “Mozart’s Viennese Orchestras,” Early Music 20 (1992), pp. 64-88.

Irving Eisley, “Mozart’s Concertato Orchestra,” Mozart-Jarhbuch (1976), pp. 9-20.

Goerg Feder, “Gedanken und Beobachten zum Wandel der Orchester und des Orchesterinstruments in der Zeit der musikalischen Klassik,” in Joseph Haydn 1731-1809. Musik und Gesellschaft im Wandel. Arbeitstagung vom Jun ibis Juli 1982 in Eisenstadt, ed. Gerda Mraz and Otto Biba, Jahrbuch für öosterrichische Kulturgeschchte 13 (1983).

Marius Flothius, “Die Instrumentation der ‘Londoner’ Sinfonien,” in Joseph Haydn: Proceedings of the International Joseph Haydn Congress in Vienna, edited by Eva Badura-Skoda, (Munich: Henle, 1986), pp. 183-189.

Maarten Franssen, Castel’s Ocular Harpsichord: the Science and Aesthetics of an Eighteenth-century Cause Célèbre, Tractrix 3 (1991), pp. 15-77.

Enrico Fubino, Music and Culture in Eighteenth-Century Europe: A Source Book, translated Wolfgang Freis, Lisa Gasboarrone, 250

Michael Louis Leone; Bonnie J. Blackburn, ed. (Chicago: University of Chicago Press, 1994).

John Gage, Color and Culture: Practice and Meaning from Antiquity to Abstraction (Boston: Little, Brown, and Company, 1993).

______, Color and Meaning: Art, Science and Symbolism, (London, 1999).

Karl Geiringer, “Haydn’s Sketches for The Creation,” in Musical Quarterly 18 (1932), pp. 299-308.

Sonja Gerlach, “Haydn’s Works for Musical Clock (Flotenuhr): Problems of Authenticity, Grouping, and Chronology,” in Haydn Studies: Proceedings of the International Haydn Conference, Washington D.C. 1975, (New York: Norton, 1981), pp. 126-29.

Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, (Oxford: Oxford University Press, 1992).

Chris Goertzen, “Compromises in Orchestration in Mozart’s Coronation Concerto,” Musical Quarterly 75 (1991), pp. 148-73.

Penelope Gouk, “The Harmonic Roots of Newtonian Science,” Let Newton Be! A New Perspective on His Life and Works, ed. John Fauvel (Oxford: Oxford University Press, 1988).

Heather Hadlock, "Sonorous Bodies: Women and the Glass Harmonica." Journal of the American Musicological Society 53, no. n. 3 (2000): pp. 507- 40.

Thomas L. Hankins and Robert J. Silverman, Instruments and the Imagination, (Princeton: Princeton University Press, 1995).

Janos Harich, “Das Haydn-Orchester im Jahre 1780,” Haydn Yearbook 8 (1971), pp. 43-63.

Nikolaus Haroncourt, “Mozarts chiaro-oscuro Orchesterbesetzungen,” Die Klangwelts Mozarts (Vienna: Kunsthistorisches Museum, 1991), pp. 27-31.

Jan Jaap Haspels, Automatic Musical Instruments: Their Mechanics and Their Music, 1580-1820, (Koedijk: Nirota, Muziekdruk C.V., 1987). 251

Bruce Haynes, “Mozart and the Oboe,” Early Music 20 (1992), pp. 43- 63.

Roger Hellyer, “Harmoniemusik”: Music for Small Wind Band in the Late 18th and early 19h Centuries (Ph.D. Dissertation, Oxford University, 1973).

Bellamy Hosler, Changing Views of Instrumental Music: Instrumental Music in 18th- Century Germany (Ann Arbor: UMI Research Press, 1981).

Mary Hunter, “The Alla Turca Style in the late Eighteenth Century: Race and Gender in the Symphony and Seraglio” in The Exotic in Western Music, ed. Jonathan Bellman (Boston: Northeastern University Press, 1998), pp. 43-73.

Roberto Illiano, Luca Sala, and Massimiliano Sala, eds., Muzio Clementi: Studies and Propects, (Bologna: UT Orpheus Edizioni, 2002).

Friedrich Jakob, Die Orgel und die Farbe, (Männedorf:: Thomas Kuhn, 1995).

Jörg Jewansky, Ist C = Rot? Eine Kulture- und Wissenschaftgeschichte zum Problem der wechselseitigen Beziehung zwischen Ton und Farbe von Aristotles bis Goethe, (Berlin: Sinzig, 1999).

Herbert Jüttemann, Mechanische Musikinstrumente: Einführung in Technik und Geschiche (Frankfurt am Main: Erwin Bochinsky, 1987).

Jamie Coy Kassler, The Science of Music in Britain, 1714-1830: A Catalogue of Writings, Lectures, and Inventions, 2 vol., Garland Reference Library of the Humanities, (New York: Garland, 1979).

Simon B. Keefe, “The Orchestral Music,” in The Cambridge Companion to Mozart, (Cambridge: Cambridge University Press, 2003), pp. 92- 104.

Andrew Hyatt King, “The Musical Glasses and Glass Harmonica,” Proceedings of the Royal Musical Association, 72nd session (London, 1945- 1946), pp. 97- 122.

Peter Kivy, Sound and Semblance: Reflections of Musical Representation, (Princeton: Princeton University Press, 1984). 252

Wulf Koepke, Johann Gottfried Herder, (Boston: Twayne Publishers, 1987).

______, ed., Johann Gottfried Herder: Academic Disciplines and the Pursuit of Knowledge, (Columbia: Camden House, 1996).

______, ed., Johann Gottfried Herder: Language, History, and the Enlightenment, (Columbia: Camden House, 1990)

Lawrence Kramer, “Music and Representation: The Instance of Haydn’s Creation,” in Music and Text: Critical Inquiries (Cambridge: Cambridge University Press, 1992), pp. 136-162.

______, “Haydn’s Chaos, Schenker’s Order; Or Hermeneutics and Musical Analysis: Can They Mix?” 19th-Century Music, vol. 16, n. 1. (1992), pp. 3-17.

H. C. Robbins Landon, Haydn: Chronicle and Works, 5 vols. (Bloomington: Indiana University Press, 1976-80).

Peter Le Huray and James Day, Music and Aesthetics in the Eighteenth and Early Nineteenth Centuries, (Cambridge: Cambridge University Press., 1981).

Ulrich Leisinger, Leibnitz-Reflexe in der deutschen Musiktheorie des 18. Jahrhunderts, (Würzburg, Verlag Könighausen & Neumann, 1994).

Richard Leppert, Music and Image: Domesticity, Ideology and Socio- Cultural Formation in Eighteenth-Century England (Cambridge: Cambridge University Press, 1988).

______, The Sight of Sound: Music, Representation, and the History of the Body (Berkeley: University of California Press, 1993).

Alan Lessem, “’Imitation' and 'expression': opposing French and British views on music in the eighteenth century.” Journal of the American Musicological Society; Vol. XXVII/2 (summer 1974) pp. 325-30.

Joel Lester, Compositional Theory in the Eighteenth Century, (Cambridge: Harvard University Press, 1992). 253

Janet M. Levy, “Texture as a Sign in Classic and Early Romantic Music,” Journal of the American Musicological Society 35 (1982), pp. 482- 531.

Maria Rika Maniates, “Sonate, que me veux tu?': The enigma of French musical aesthetics in the 18th century,” Current Musicology; Vol. 9 (1969), pp. 117-40.

Hugh McDonald, “Berlioz’s Orchestration: Human or Divine?,” Musical Times, 110 (1969).

Eve. R. Meyer, “Turquerie and Eighteenth-Century Music,” Eighteenth- Century Studies, vii (1974)

Mary Sue Morrow, “Of Unity and Passion: The Aesthetics of Concert Criticism in Early Nineteenth Century Vienna,” 19th-Century Music 13 (1990), pp. 193- 206.

______, German Criticism in the late eighteenth Century: Aesthetic Issues in Instrumental Music, (Cambridge: Cambridge University Press, 1997).

Kurt Mueller-Vollmer, ed., Herder Today: Contributions from the International Herder Conference, Nov. 5-8, 1987(Stanford, California), (Berlin: Walter de Gruyter, 1990).

Daniel Muzzulini, “Timbre vs Klangfarbe: Zu Rudolf Bockholdts Herder- Kommentar,” Musiktheorie, vol. 16, n. 1 (2001), pp. 81-84.

John Neubauer, The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics, (New Haven: Yale University Press, 1986).

Robert E. Norton, Herder’s Aesthetics and the European Enlightenment, (Ithaca: Cornell University Press, 1991).

Frits Noske, “Zue Semantik der Orchestration in Mozarts Opern,” Mozart Jahr-Buch (1978), pp. 88- 94.

______, The signifier and the signified: studies in the operas of Mozart and Verdi, (Oxford: Clarendon Press, 1990).

Michael O’Dea, Jean-Jacques Rousseau: Music Illusion, and Desire, (New York: St. Martin’s Press, 1995). 254

Arthur W.J.G. Ord Hume, Clockwork music; an Illustrated History of Mechanical Musical Instruments from the Musical Box to the Pianola, from the Automaton Lady Virginal Players to the Orchestrion, (New York: Crown Publishers, 1973)

______, Barrel Organ: The Story of the Mechanical Organ and its Repair, (London: George Allen & Unwin 1978).

______, Music box: a History and Collector’s Guide, (London: George Allen & Unwin, 1980).

______, Joseph Haydn and the Mechanical Organ, (New York: Crown Publishers, 1982)

Janet Kathleen Page, Wind Instruments in the Music of Joseph Haydn, 1785-1798: Studies in Orchestration, Compositional Process, and Musical Structure, (PhD Dissertation: Duke University, 1993).

Herman Parret, “Kant on Music and the Hierarchy of the Arts,” Journal of Aesthetics and Art Criticism Vol. 56, n. 3, (1998), pp. 251-264.

Benjamin Perl, “Von der Symphonie zur Sinfonia: Zu Mozarts früher Instrumentierungskunst,” Mozart-Jahrbuch (1996), pp. 53-64.

Joan Peyser, ed., The Orchestra: Origins and Transformations, (New York: Charles Schribner’s Sons, 1986).

Annette Richards, “Automatic Genius: Mozart and the Mechanical Sublime,” Music and Letters 80 (1999), pp. 366-89.

______, Musical Picturesque and the Free Fantasia (Cambridge: Cambridge University Press, 2001).

Robert J. Richards, “Rhapsodies on a Cat-Piano, or Johann Christian Reil and the Foundations of Romantic History,” Critical Inquiry, 24 (Spring 1998), pp. 700-736.

Ora Frishberg Saloman, “Chabanon and Chastellux on Music and Language, 1764- 1773,” International Review of Aesthetics and Sociology of Music, xx/2 (Dec. 1989), pp. 109-20.

Heinrich Schenker, “The Representation of Chaos from Haydn’s Creation,” in The Masterwork in Music, vol. 2 (1926), edited and 255

translated William Drabkin, (Cambridge: Cambridge University Press, 1996), pp. 97-105.

David Schroeder, Haydn and the Enlightenment: the Late Symphonies and their Audience, (Clarendon Press: Oxford, 1990).

Gesine Schröder, “Über das ‘klassiche Orchester’ und Haydns späte symphonische Instrumentation,” Musik-Konzepte, 41 (1985), pp. 79-97.

Herbert M. Schueller, “Imitation and Expression in British Music Criticism in the 18th Century,” The Musical Quarterly, 34, (1948), pp, 544-66.

Karin Schulin, Musikalische Schlachtengemälde in der Zeit von 1756 bis 1815 (Tutzing: Hans Schneider 1986).

Benjamin Simkin, “Dr. Mesmer and Mozart: When medicine and music converged,” Journal of the Conductor’s Guild, vol. 12, issue 1-2 (1991), pp. 44-49.

Davis Sloane, “Beethoven and Malzel: A Re-evaluation of Malzerl’s Character and the History of Wellington’s Victory,” The Beethoven Journal 12 (1997), pp. 54-64.

John Spitzer, “Metaphors of the Orchestra—the Orchestra as a Metaphor,” Musical Quarterly 80 (1996): 234-64.

______and Neal Zaslaw, The Birth of the Orchestra (Oxford: Oxford University Press, 2004).

George B. Stauffer, “The Modern Orchestra: A Creation of the Late Eighteenth Century, “ in Joan Peyser, ed., The Orchestra: Origins and Transformations, (New York: Charles Schribner’s Sons, 1986), pp. 37- 68.

Peter Sterki, Klingende Gläser (Bern: Peter Lang, 2000).

Charles Taylor, “The Importance of Herder,” Philosophical Arguments (Cambridge: Harvard University Press, 1995), pp. 79-99.

Downing A. Thomas, Music and the Origins of Language: Theories from the French Enlightenment (Cambridge: Cambridge University Press, 1995). 256

R. Larry Todd, “Orchestral Texture and the Art of Orchestration,” in Joan Peyser, ed., The Orchestra: Origins and Transformations, (New York: Charles Schribner’s Sons, 1986), pp. 191- 226.

Uri Toeplitz, Die Holzbläser in der Musik Mozarts und ihr Verhâltniss zur Tonartwahl, Sammlung Musikwissenschaftlicher Abhandlung 82 (Baden-Baden” Koerner, 1978).

Thomas Tolley, Painting the Cannon’s Roar: Music, the Visual Arts and the Rise of an Attentive Public in the Age of Haydn, c. 1750 to 1810, (Aldershot: Ashgate, 2001).

John Henry van der Meer, “Die Verwendung der Blasinstrumente im Orchester bei Haydn und seine Zeitgenossen,” in Der junge Haydn: Wandel von Musikaufführung in der österreichischen Musik zwischen Barock und Klassik. Bericht der internationalen Arbeitstag des Instituts für Aufführungspraxis der Hochschule für Musik und darstellende Kunst in Graz, 29.6.-2.7.1970, ed. Vera Schwarz (Graz: akademische Druck, 1972), pp. 202-20.

Nicholas Henri Waldfolgel, The Eighteenth-Century Esthetics of the Sublime and the Valuation of the Symphony, (PhD Dissertation, Yale University, 1992).

James Webster, Haydn’s Farewell Symphony and the Idea of Classical Style: Through Composition and Cyclic Integration in his Instrumental Music (Cambridge: Cambridge University Press, 1991).

______, “The Creation, Haydn’s Late Vocal Music, and the Musical Sublime,” Haydn and His World, (Princeton: Princeton University Press, 1997), pp. 57-102.

______, “Between Enlightenment and Romanticism in music history: "First Viennese modernism" and the delayed nineteenth century,” in 19th-Century Music vol. 25, n. 2-3 (2001-2), pp. 108- 126.

Heinrich Weiss-Stauffacher, Rudolf Bruhin, ed., Mechanische Musikinstrumente und Musikautomaten, (Pratteln: Interbook Productions, G. Kloos, 1975). 257

Gretchen A. Wheelock, Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and Humor (New York: Schirmer Books, 1992).

Richard Will, The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge: Cambridge University Press, 2001).

Christoph Wolff, “Aspects of Instrumentation in Mozart’s Orchestral Music,” in L’interpretation de la musique classique (Paris: Minkoff, 1980), pp. 37- 44.

Neal Zaslaw, “Mozart’s Modular Minuet Machine,” in Essays in Honor of László Somfai on his 70th Birthday: Studies in the Sources and the Interpretation of Music (Lanham: The Scarecrow press, Inc., 2005), pp. 219-235.

______, “Mozart’s Orchestral Flutes and Oboes,” Mozart Studies (Oxford: Clarendon Press, 1991), pp. 201-11.

______, Mozart’s Symphonies: Context, Performance Practice, Reception, (Oxford: Clarendon Press, 1989).