Guide to further readingIntroductionAlbright, Daniel. Panaesthetics: On the Unity and Diversity of the Arts. New Haven and London: Yale University Press, 2014.
Bonds, Mark Evan. Absolute Music: The History of an Idea. Oxford University Press, 2014.
Brown, A. Peter. The Symphonic Repertoire. 5 vols. Bloomington and Indianapolis: Indiana University Press, 2002–.
Casler, Lawrence. Symphonic Program Music and Its Literary Sources. 2 vols. Lewiston, NY: Edwin Mellen Press, 2001.
Fink, Monika. Musik nach Bildern: Programmbezogenes Komponieren im 19. und 20. Jahrhundert. Innsbruck: Helbling, 1988.
Hepokoski, James, and Darcy, Warren. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Oxford University Press, 2006.
Kivy, Peter. Antithetical Arts: On the Ancient Quarrel Between Literature and Music. Oxford University Press, 2009.
Klauwell, Otto. Geschichte der Programmusik von ihren Anfängen bis zur Gegenwart. Leipzig: Breitkopf & Härtel, 1910; repr. Wiesbaden, 1968.
Petersen, Peter. Programmusik: Studien zu Begriff und Geschichte einer umstrittenen Gattung. Laaber-Verlag, 1983.
Robinson, Jenefer. Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art. Oxford University Press, 2007.
Chapter 1Arnold, Ben. Music and War: A Research and Information Guide. New York: Garland, 1993.
Bonds, Mark Evan. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge, MA: Harvard University Press, 1991.
Dickensheets, Janice. “The Topical Vocabulary of the Nineteenth Century.” Journal of Musicological Research 31, 2–3 (2012): 97–137.
Feldman, Martha. “Music and the Order of the Passions.” In Representing the Passions: Histories, Bodies, Visions, ed. Meyer, Richard, 37–67. Los Angeles: Getty Publications, 2003.
Frigyesi, Judit. Béla Bartók and Turn-of-the-Century Budapest. Berkeley and Los Angeles: University of California Press, 1998.
Hatten, Robert S.Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Bloomington and Indianapolis: Indiana University Press, 2004.
Loughridge, Deirdre. “Magnified Vision, Mediated Listening and the ‘Point of Audition’ of Early Romanticism.” Eighteenth-Century Music 10, 2 (2013): 179–211.
Mathew, Nicholas. Political Beethoven. Cambridge University Press, 2013.
Mirka, Danuta, ed., The Oxford Handbook of Topic Theory. Oxford University Press, 2014.
Mirka, Danuta, and Agawu, Kofi, eds., Communication in Eighteenth-Century Music. Cambridge University Press, 2008.
Monelle, Raymond. The Musical Topic. Hunt, Military and Pastoral. Bloomington and Indianapolis: Indiana University Press, 2006.
Morrow, Mary Sue. German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music. Cambridge University Press, 1997.
Watkins, Glenn. Proof Through the Night: Music and the Great War. Berkeley and Los Angeles: University of California Press, 2003.
Chapter 2Allen, Aaron S. “Symphonic Pastorals.” Green Letters: Studies in Ecocriticism 15, 1 (2011): 22–42.
Bonds, Mark Evan. After Beethoven: Imperatives of Originality in the Symphony. Cambridge, MA: Harvard University Press, 1996.
Bonds, Mark Evan. Music as Thought: Listening to the Symphony in the Age of Beethoven. Princeton University Press, 2006.
Botstiber, Hugo. Geschichte der Ouvertüre und der freien Orchesterformen. Leipzig: Breitkopf & Härtel, 1913.
Grey, Thomas S. “Wagner, the Overture, and the Aesthetics of Musical Form.” 19th-Century Music 12, 1 (1988): 3–22.
Guyer, Paul. “Mendelssohn’s Theory of Mixed Sentiments.” In Moses Mendelssohn’s Metaphysics and Aesthetics, ed. Munk, Reinier, 259–278. Dordrecht: Springer, 2011.
Schmalfeldt, Janet. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. Oxford University Press, 2011.
Steinkämper, Claudia. Melusine – vom Schlangenweib zur “Beauté mit dem Fischschwanz”: Geschichte einer literarischen Aneignung. Göttingen: Vandenhoeck & Ruprecht, 2007.
Chapter 3Brittan, Francesca. “Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography.” 19th-Century Music 29, 3 (2006): 211–239.
Colas, Damien. “Berlioz, Carpani et la question de l’imitation en musique.” In Berlioz: Textes et contextes, ed. Fauquet, Joël-Marie, Massip, Catherine, and Reynaud, Cécile, 221–239. Paris: Société française de musicologie, 2001.
Holoman, D. Kern. Berlioz: A Musical Biography of the Creative Genius of the Romantic Era. Cambridge, MA: Harvard University Press, 1989.
Holoman, D. Kern. The Société des Concerts du Conservatoire, 1828–1967. Berkeley and Los Angeles: University of California Press, 2004. Accompanying website: .
Johnson, James H.Listening in Paris: A Cultural History. Berkeley and Los Angeles: University of California Press, 1995.
Kelley, Thomas Forrest. First Nights: Five Musical Premieres. New Haven and London: Yale University Press, 2000.
Newcomb, Anthony. “Once More Between Absolute and Program Music: Schumann’s Second Symphony.” 19th-Century Music 7, 3 (1984): 233–250.
Newcomb, Anthony. “Schumann and Late Eighteenth-Century Narrative Strategies.” 19th-Century Music 11, 2 (1987): 164–174.
Newcomb, Anthony. “Schumann and the Marketplace: From Butterflies to Hausmusik.” In Nineteenth-Century Piano Music, ed. Todd, R. Larry, 258–315. New York: Schirmer, 1990.
Plantinga, Leon B.Schumann as Critic. New Haven and London: Yale University Press, 1967.
Rosen, Charles. The Romantic Generation. Cambridge, MA: Harvard University Press, 1995.
ThorslevJr., Peter L.The Byronic Hero: Types and Prototypes. Minneapolis: University of Minnesota Press, 1962.
Chapter 4Bertagnolli, Paul A. “Amanuensis or Author: The Liszt-Raff Collaboration Revisited.” 19th-Century Music 26, 1 (2002): 23–51.
Bertagnolli, Paul A.Prometheus in Music: Representations of the Myth in the Romantic Era. Aldershot: Ashgate, 2007.
Bonner, Andrew. “Liszt’s Les Préludes and Les Quatre Élémens: A Reinvestigation.” 19th-Century Music 10, 2 (1986): 95–107.
Gibbs, Christopher H. and Gooley, Dana, eds. Franz Liszt and His World. Princeton University Press, 2006.
Hall-Swadley, Janita R., ed. and trans. The Collected Writings of Franz Liszt. 7 vols. Lanham, MD: Scarecrow Press, 2011–.
Hamilton, Kenneth, ed. The Cambridge Companion to Liszt. Cambridge University Press, 2005.
Hoeckner, Bertold. Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment. Princeton University Press, 2002.
Huschke, Wolfram. Musik im klassischen und nachklassischen Weimar, 1756–1861. Weimar: Böhlau, 1982.
Kirby, F. E. “The German Program Symphony in the Nineteenth Century (to 1914).” In A Compendium of American Musicology: Essays in Honor of John F. Ohl, ed. Arias, Enrique Alberto et al., 195–211. Evanston, IL: Northwestern University Press, 2001.
Micznik, Vera. “The Absolute Limitations of Programme Music: The Case of Liszt’s ‘Die Ideale’.” Music & Letters 80, 2 (1999): 207–240.
Walker, Alan. Franz Liszt: The Weimar Years, 1848–1861. New York: Knopf, 1989.
Chapter 5Altenberg, Detlef, ed. Liszt und die Neudeutsche Schule. Laaber-Verlag, 2006.
Bevier, Carol Sue. “The Program Symphonies of Joseph Joachim Raff.” PhD diss., University of North Texas, 1982.
Dahlhaus, Carl. “Wagner and Program Music.” Studies in Romanticism 9, 1 (1970): 3–20.
Deaville, James. “The Controversy Surrounding Liszt’s Conception of Programme Music.” In Nineteenth-Century Music: Selected Proceedings of the Tenth International Conference, ed. Samson, Jim and Zon, Bennett, 98–124. Aldershot: Ashgate, 2002.
Dömling, Wolfgang. “Reuniting the Arts: Notes on the History of an Idea.” 19th-Century Music 18, 1 (1994): 3–9.
Grey, Thomas S. “Metaphorical Models in Nineteenth-Century Criticism: Image, Narrative, and Idea.” In Music and Text: Critical Inquiries, ed. Scher, Steven Paul, 93–117. Cambridge University Press, 1992.
Grimes, Nicole. “A Critical Inferno? Hoplit, Hanslick and Liszt’s Dante Symphony.” Journal of the Society for Musicology in Ireland 7 (2011–2012): 3–22.
Gur, Golan. “Music and ‘Weltanschauung’: Franz Brendel and the Claims of Universal History.” Music & Letters 93, 3 (2012): 1–24.
Karnes, Kevin. Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna. Oxford University Press, 2008.
Stasov, Vladimir Vasilevich. Selected Essays on Music, trans. Jonas, Florence. London: Barrie & Rockliff, 1968.
Taruskin, Richard. On Russian Music. Berkeley and Los Angeles: University of California Press, 2009.
Trippett, David. “Après une lecture de Liszt: Virtuosity and Werktreue in the ‘Dante’ Sonata.” 19th-Century Music 32, 1 (2008): 52–93.
Chapter 6Butler, Elizabeth M.The Fortunes of Faust. Cambridge University Press, 1952.
Fitzsimmons, Lorna. Lives of Faust: The Faust Theme in Literature and Music. New York: Walter de Gruyter, 2008.
Grim, William E.The Faust Legend in Music and Literature. Lewiston, NY: Edwin Mellen Press, 1988.
Hamilton, Kenneth. Liszt, Sonata in B Minor. Cambridge University Press, 1996.
Hamilton, Kenneth. “Wagner and Liszt: Elective Affinities.” In Richard Wagner and His World, ed. Grey, Thomas S., 27–64. Princeton University Press, 2009.
Larkin, David. “A Tale of Two Fausts: An Examination of Reciprocal Influence in the Responses of Liszt and Wagner to Goethe’s Faust.” In Music and Literature in German Romanticism, ed. Donovan, Siobhán and Elliott, Robin, 87–104. Rochester, NY: Camden House, 2004.
Sand, George. The Seven Strings of the Lyre, trans. and introduced by Kennedy, George A.. Chapel Hill, NC: University of North Carolina Press,1989.
Schulte, Hans, Noyes, John, and Kleber, Pia, eds. Goethe’s “Faust”: Theatre of Modernity. Cambridge University Press, 2011.
Scott, Derek B.From the Erotic to the Demonic: On Critical Musicology. Oxford University Press, 2003.
Chapter 7Brosche, Günter. “Musical Quotation and Allusion in the Works of Richard Strauss.” In The Cambridge Companion to Richard Strauss, ed. Youmans, Charles, 213–225. Cambridge University Press, 2010.
Floros, Constantin. Verschwiegene Programmusik. Vienna: Verlag der Österreichische Akademie der Wissenschaft, 1982.
Johnson, Julian. Mahler’s Voices: Expression and Irony in the Songs and Symphonies. Oxford University Press, 2009.
Mandel, Oscar, ed., The Theatre of Don Juan: A Collection of Plays and Views, 1630–1963. Lincoln and London: University of Nebraska Press, 1963.
Monahan, Seth. “‘I have tried to capture you … ’: Rethinking the ‘Alma’ Theme from Mahler’s Sixth Symphony.” Journal of the American Musicological Society 64, 1 (2011): 119–178.
Schneider, Mathieu. “Kunstkritik and Tonmalerei in the Tone Poems of Richard Strauss.” In Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis, ed. Bruhn, Siglind, 173–202. Hillsdale, NY: Pendragon Press, 2008
Todd, R. Larry. “Strauss before Liszt and Wagner: Some Observations.” In Richard Strauss: New Perspectives on the Composer and His Work, ed. Gilliam, Bryan, 3–40. Durham, NC and London: Duke University Press, 1992.
Tunbridge, Laura. Schumann’s Late Style. Cambridge University Press, 2007.
Youmans, Charles. Richard Strauss’s Orchestral Music and the German Intellectual Tradition: The Philosophical Roots of Musical Modernism. Bloomington and Indianapolis: Indiana University Press, 2005.
Chapter 8Bloom, Harold. A Map of Misreading, 2nd edn. Oxford University Press, 2003.
Faucett, Bill F.George Whitefield Chadwick: The Life and Music of the Pride of New England. Boston: Northeastern University Press, 2012.
Gaskill, Howard, ed. The Reception of Ossian in Europe. London: Thoemmes Continuum, 2004.
Grimley, Daniel M.Grieg: Music, Landscape and Norwegian Identity. Woodbridge: Boydell Press, 2006.
Loya, Shay. Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition. University of Rochester Press, 2011.
MacDonald, Hugh. “Narrative in Janáček’s Symphonic Poems.” In Janáček Studies, ed. Wingfield, Paul, 36–55. Cambridge University Press, 1999.
Macura, Vladimír. “Problems and Paradoxes of the National Revival.” In Bohemia in History, ed. Teich, Mikuláš, 182–197. Cambridge University Press, 1998.
Mikusi, Balasz. “Mendelssohn’s ‘Scottish’ Tonality?” 19th-Century Music 29, 3 (2006): 240–260.
Pisani, Michael. Imagining Native America in Music. New Haven: Yale University Press, 2005.
Tawaststjerna, Erik. Sibelius, trans. Layton, Robert. 3 vols. Berkeley and Los Angeles: University of California Press, 1976.
Tick, Judith, ed. Music in the USA: A Documentary Companion. Oxford University Press, 2008.
Zychowicz, James. “Mieczysław Karłowicz, the New Symphony, and His Innovative Symphonic Style.” In European Fin-de-siècle and Polish Modernism: The Music of Mieczysław Karłowicz, ed. Sala, Luca, 289–308. Bologna: Ut Orpheus Edizioni, 2010.
Chapter 9Abbate, Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton University Press, 1996.
Bellman, Jonathan. Chopin’s Polish Ballade: Op. 38 as Narrative of National Martyrdom. Oxford University Press, 2009.
Deruchie, Andrew. The French Symphony at the Fin de Siècle: Style, Culture, and the Symphonic Tradition. University of Rochester Press, 2013.
Gelbart, Matthew. “Layers of Representation in Nineteenth-Century Genres: The Case of One Brahms Ballade.” In Representation in Western Music, ed. Walden, Joshua S., 13–32. Cambridge University Press, 2013.
Kaminsky, Peter. “Ravel’s Approach to Formal Processes: Comparisons and Contexts.” In Ravel Unmasked: New Perspectives on the Music, ed. Kaminsky, , 85–110. University of Rochester Press, 2011.
Pasler, Jann. Composing the Citizen: Music as Public Utility in Third Republic France. Berkeley and Los Angeles: University of California Press, 2009.
Stove, R. J.César Franck: His Life and Times. Lanham, MD: Scarecrow Press, 2012.
Whitesell, Lloyd. “Erotic Ambiguity in Ravel’s Music.” In Ravel Studies, ed. Mawer, Deborah, 74–91. Cambridge University Press, 2010.
