Bruckner’s symphonies: Analysis, reception and cultural politics

Bruckner's Symphonies: Analysis, Reception and Cultural Politics

Volumn , Issue , 2004, Pages 1-280

  Horton, Julian ^a  

^a UNIVERSITY COLLEGE DUBLIN   (Ireland)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85010417496     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1017/CBO9780511481925     Document Type: Book

References (263)

1. Abbate, Carolyn, Unsung Voices (Princeton, 1991)
2. Abraham, Gerald, A Hundred Years of Music (London, 1938)
3. Adorno, Theodor, Philosophie der neuen Musik (Tübingen, 1949), trans. Anne Mitchell and Wesley Blomster as Philosophy of Modern Music (London, 1973)
4. Adorno, Theodor, Versuchüber Wagner (Frankfurt, 1952), trans. Rodney Livingstone as In Search of Wagner (London, 1981)
5. Adorno, Theodor, Drei Studien zur Hegel (Frankfurt, 1957), trans. Shierry Weber Nicholsen as Hegel: Three Studies (Cambridge, Mass., 1993)
6. Adorno, Theodor, Einleitung in die Musiksociologie: Zwölf theoretische Vorlesungen (Frankfurt, 1962), trans. E. B. Ashton as Introduction to the Sociology of Music (New York, 1976)
7. Adorno, Theodor, Berg: Meister des kleinsten Übergangs (Vienna, 1968), trans. Juliane Brand and Christopher Hailey as Berg: Master of the Smallest Link (Cambridge, 1991)
8. Adorno, Theodor, Ästhetische Theorie, ed. Rolf Tiedemann and Gretel Adorno (Frankfurt, 1970), trans. C. Lenhardt as Aesthetic Theory (London, 1984)
9. Adorno, Theodor, ‘Alienated Masterpiece: The Missa Solemnis’, trans. Duncan Smith, Telos 28 (1976), pp. 113-24
10. Agawu, V. Kofi, Playing with Signs: A Semiotic Interpretation of Classic Music (Princeton, 1991)
11. Althusser, Louis, ‘Ideology and the Ideological State Apparatus’, in Essays on Ideology (London, 1971), pp. 1-60
12. Armbruster, Emil, Erstdruckfassung oder ‘Originalfassung’? Ein Beitrag zur Brucknerfrage am fünfzigsten Todestag des Meister (Leipzig, 1946)
13. Arnold, Denis, ‘Bruckner, Anton’, in The Oxford Companion to Music (Oxford, 1983), p. 278
14. Auer, Max, ‘Anton Bruckner, die Orgel, und Richard Wagner’, Zeitschrift für Musik 104 (1937), pp. 477-81
15. Ayrey, Craig, ‘Debussy’s Significant Connections’, in Anthony Pople, ed., Theory, Analysis and Meaning in Music (Cambridge, 1994), pp. 127-51
16. Bailey, Robert, ‘The Structure of The Ring and Its Evolution’, Nineteenth-Century Music 1 (1977), pp. 48-61
17. Bailey, Robert, ‘An Analysis of the Sketches and Drafts’, in Robert Bailey, ed., Tristan und Isolde: Prelude and Transfiguration (New York, 1985), pp. 113-46
18. Bakhtin, Mikhail, Problems of Dostoevsky’s Poetics, ed. and trans. Caryl Emerson and Michael Holquist (Austin, 1984)
19. Bakhtin, Mikhail, Speech Genres and Other Late Essays, trans. Vern W. McGee, ed. Caryl Emerson and Michael Holquist (Austin, 1986)
20. Barry, Charles, ‘Richter Concerts’, Musical Times 28 (1 June 1887), p. 342
21. Bärsch, Claus-Ekkerhard, Die politische Religion des Nationalsozialismus (Munich, 1998)
22. Beller, Steven, Vienna and the Jews 1867-1938 (Cambridge, 1989)
23. Beller, Steven, Francis Joseph (London, 1996)
24. Benjamin, Walter, Ursprung des deutschen Trauerspiels (Frankfurt, 1955), trans. John Osbourne as The Origins of German Tragic Drama (London, 1977)
25. Benjamin, William, ‘Tonal Dualism in Bruckner’s Eighth Symphony’, in William Kinderman and Harald Krebs, eds., The Second Practice of Nineteenth-Century Tonality (Lincoln, 1996), pp. 237-58
26. Bent, Ian, ed., Music Analysis in the Nineteenth Century, 2 vols. (Cambridge, 1994)
27. Bloch, Ernst, Vom Geist der Utopie (Berlin, 1923)
28. Bloom, Harold, The Anxiety of Influence (Oxford, 1973)
29. Bonds, Mark Evan, After Beethoven: Imperatives of Originality in the Symphony (Cambridge, Mass., 1996)
30. Botstein, Leon, ‘Music and Ideology: Thoughts on Bruckner’, Musical Quarterly 80 (1996), pp. 1-11
31. Bowie, Andrew, Aesthetics and Subjectivity: From Kant to Nietzsche (Manchester, 1990)
32. Boyer, John, Political Radicalism in Late Imperial Vienna (Chicago, 1981)
33. Brenner, Hildegard, Die Kunstpolitik des Nationalsozialismus (Hamburg, 1963)
34. Brett, Philip, ‘Text, Context and the Early Music Editor’, in Nicholas Kenyon, ed., Authenticity and Early Music (Oxford, 1988), pp. 83-114
35. Bruckner, Anton, Anton Bruckner: Gesammelte Briefe, ed. Max Auer (Regensburg, 1924)
36. Bruckner, Anton, Anton Bruckner: Sämtliche Werke, Band 24/ 1. Briefe, Band 1: 1852-1886, eds. Andrea Harrandt and Otto Schneider (Vienna, 1998)
37. Brüstle, Christa, Anton Bruckner und die Nachwelt: Zur Rezeptionsgeschichte der Komponisten in der ersten Hälfte des 20. Jahrhunderts (Stuttgart, 1998)
38. Burleigh, Michael, Death and Deliverance (Cambridge, 1994)
39. Burleigh, Michael, The Third Reich: A New History (London, 2000)
40. Burnham, Scott, ‘The Role of Sonata Form in A. B. Marx’s Theory of Form’, Journal of Music Theory 33 (1989), pp. 247-72
41. Carragan, William, ‘The Early Version of the Second Symphony’, in Crawford Howie, Paul Hawkshaw and Timothy L. Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2001), pp. 69-92
42. Chissel, Joan, concert review in The Times (22 March 1969), p. 19
43. Cohn, Richard, ‘Maximally Smooth Cycles, Hexatonic Systems and the Analysis of Late-Romantic Triadic Progressions’, Music Analysis 15 (1996), pp. 9-40
44. Cook, Nicholas and Everist, Mark, eds., Rethinking Music (Oxford, 1999)
45. Cooke, Deryck, ‘The Bruckner Problem Simplified’, Musical Times 110 (1969), pp. 20-2, 142-4, 362-5, 479-82, 828
46. Cooke, Deryck, ‘Bruckner, Anton’, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London, 1980), vol. iii;, pp. 352-69
47. Cooke, Deryck, Vindications: Essays on Romantic Music (Cambridge, 1982)
48. Cooke, Deryck, Letter to the Editor, Musical Times 98 (1957), p. 266
49. Craig, Gordon, Germany 1866-1945 (Oxford, 1978)
50. Dahlhaus, Carl, ‘Bruckner und die Barock’, in Neue Zeitschrift für Musik 124 (1963), pp. 335-6
51. Dahlhaus, Carl, Between Romanticism and Modernism: Four Studies in the Music of the Late Nineteenth Century, trans. Mary Whittall (Berkeley, 1980)
52. Dahlhaus, Carl, ‘Anton Bruckner und die Programmusik: zum Finale der Achten Symphonie’, in Anton Bruckner: Studien zu Werk und Wirkung, Walter Wiora zum 30. Dezember 1986 (Tutzing, 1988)
53. Dahlhaus, Carl, The Idea of Absolute Music, trans. Roger Lustig (Chicago, 1989)
54. Dahlhaus, Carl, Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley, 1989)
55. Darcy, Warren, ‘Bruckner’s Sonata Deformations’, in Paul Hawkshaw and Timothy L. Jackson, eds., Bruckner Studies (Cambridge, 1997), pp. 256-77
56. Dawson-Bowling, Paul, ‘Thematic and Tonal Unity in Bruckner’s Eighth Symphony’, Music Review 30 (1969), pp. 225-36
57. Decsey, Ernst, Bruckner: Versuch eines Lebens (Berlin, 1919)
58. Derrida, Jacques, Writing and Difference, trans. Alan Bass (London, 1978)
59. Derrida, Jacques, Margins of Philosophy, trans. Alan Bass (Chicago, 1982)
60. Doernberg, Erwin, The Life and Symphonies of Anton Bruckner (London, 1960)
61. Eagleton, Terry, Ideology: An Introduction (London, 1991)
62. Eckstein, Friedrich, Erinnerungen an Anton Bruckner (Vienna, 1923)
63. Eisen, Cliff and Wintle, Christopher, ‘Mozart’s C minor Fantasy, K.475: An Editorial “Problem” and its Analytical and Critical Consequences’, Journal of the Royal Musical Association 124 (1999), pp. 26-52
64. Ehlers, Paul, ‘Das Regensburger Bruckner Erlebnis’, Zeitschrift für Musik 104 (1937), pp. 745-8
65. Ellis, John, Against Deconstruction (Princeton, 1989)
66. Evans, Dylan, ‘From Kantian Ethics to Libidinal Experience: An Exploration of Jouissance’, in Dany Nobus, ed., Key Concepts of Lacanian Psychoanalysis (London, 1998), pp. 1-28
67. Einstein, Alfred, ‘Bruckner, Anton’, in The Grove Dictionary of Music and Musicians, 3rd edn (London, 1927), vol. I, p. 482
68. Fink, Robert, ‘Going Flat: Post-Hierarchical Music Theory and the Musical Surface’, in Nicholas Cook and Mark Everist, eds., Rethinking Music (Oxford, 1999), pp. 102-37
69. Floros, Constantin, Bruckner und Brahms: Studien zur musikalischen Exegetik (Wiesbaden, 1980)
70. Floros, Constantin, ‘Historische Phasen der Bruckner-Rezeption’, in Othmar Wessely, ed., Bruckner-Symposium Bericht. Bruckner Rezeption (Linz, 1983), pp. 93-102
71. Floros, Constantin, ‘On Unity between Bruckner’s Personality and Production’, in Crawford Howie, Paul Hawkshaw and Timothy L. Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2002), pp. 285-98
72. Forte, Allen, ‘Liszt’s Experimental Idiom and the Music of the Early Twentieth Century’, Nineteenth-Century Music 10 (1987), pp. 209-88
73. Forte, Allen, ‘New Approaches to the Linear Analysis of Music’, Journal of the American Musicological Society 41 (1988), pp. 315-48
74. Forte, Allen, ‘Debussy and the Octatonic’, Music Analysis 10 (1991), pp. 125-70
75. Foucault, Michel, Madness and Civilization, trans. Richard Howard (London, 1967)
76. Foucault, Michel, The Order of Things (London, 1970)
77. Foucault, Michel, The Archaeology of Knowledge, trans. A. M. Sheridan Smith (New York, 1972)
78. Freud, Sigmund, ‘Obsessive Actions and Religious Practices’, in Standard Edition of the Complete Works of Sigmund Freud (London, 1907), vol. ix, pp. 117-27
79. Freud, Sigmund, ‘A Case of Obsessive-Compulsive Neurosis (the “Ratman”)’, in The Wolfman and Other Cases, trans. Louise Aday Huish (London, 2002), pp. 125-202
80. Gault, Dermot, ‘For Later Times’, Musical Times 137 (1996), pp. 12-19
81. Gilliam, Bryan, ‘The Two Versions of Bruckner’s Eighth Symphony’, Nineteenth-Century Music 16 (1992), pp. 59-69
82. Gilliam, Bryan, ‘The Annexation of Anton Bruckner: Nazi Revisionism and the Politics of Appropriation’, Musical Quarterly 78 (1994), pp. 605-9
83. Gilliam, Bryan, ‘The Annexation of Anton Bruckner: Nazi Revisionism and the Politics of Appropriation’, in Paul Hawkshaw and Timothy L. Jackson, eds., Bruckner Studies (Cambridge, 1997), pp. 72-90
84. Goebbels, Joseph, ‘Reichsminister Dr Goebbels zur Kunstkritik’, Zeitschrift für Musik 104 (1937), p. 259
85. Goebbels, Joseph, Goebbels Reden, ed. Helmut Heiber (Düsseldorf, 1971)
86. Göllerich, August, ‘Anton Bruckner. Die beim Bruckner-Commers nicht gehaltene Festrede von August Göllerich’, Deutsches Volksblatt 13 and 15 (1891)
87. Göllerich, August and Auer, Max, Anton Bruckner. Ein Lebens- und Schaffensbild, 4 vols. in 9 (Regensburg, 1922-37)
88. Gräflinger, Franz, Anton Bruckner, Bausteine zu seine Lebensgeschichte (Munich, 1911)
89. Grasberger, Franz, ‘Das Bruckner-Bild der Zeitung “Das Vaterland” in den Jahren 1870-1900’, in Rudolf Elvers and Ernst Vogel, eds., Festschrift Hans Schneider zum 60. Geburtstag (Munich, 1981)
90. Grasberger, Franz and Partsch, Erich, Bruckner-skizziert. Ein Porträt in ausgewählten Erinnerungen und Anekdoten (Vienna, 1991)
91. Grier, James, The Critical Editing of Music: History, Method and Practice (Cambridge, 1996)
92. Grier, James, ‘Editing’, in The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Stanley Sadie (London, 2001), vol. VII, pp. 885-95
93. Grout, Donald J., A History of Western Music, 5th edn (New York, 1996)
94. Grunsky, Hans Alfred, ‘Form und Erleben’, in Bayreuther Festspielführer (1934)
95. Grunsky, Hans Alfred, Seele und Staat. Die psychologischen Grundlagen des nationalsozialistischen Sieges über den bürgerlichen und bolschewistischen Menschen (Berlin, 1935)
96. Grunsky, Hans Alfred, ‘Der erste Satz von Bruckners Neunter. Ein Bild höchster Formvollendung’, Die Musik 18 (1925), pp. 21-34 and 104-12
97. Grunsky, Karl, Anton Bruckners Symphonien (Berlin, 1908)
98. Grunsky, Karl, Anton Bruckner (Stuttgart, 1922)
99. Grunsky, Karl, ‘Bruckner als Künder einer neuen Zeit’, Die Musik 24 (1932)
100. Grunsky, Karl, Kampf um deutsche Musik ! (Stuttgart, 1933)
101. Haas, Robert, Anton Bruckner (Potsdam, 1934)
102. Habermas, Jürgen, A Theory of Communicative Action (Boston, 1984)
103. Habermas, Jürgen, The Philosophical Discourse of Modernity, trans. Frederick Lawrence (Cambridge, Mass., 1987)
104. Halm, August, Die Symphonie Anton Bruckners, 2nd edn (Munich, 1923)
105. Halm, August, Von zwei Kulturen der Musik, 3rd edn (Stuttgart, 1947)
106. Hansen, Matthias, ‘Die faschistische Bruckner-rezeption und ihre Quellen’, Beiträge zur Musikwissenschaft 28 (1986), pp. 53-61
107. Hansen, Matthias, Anton Bruckner (Leipzig, 1987)
108. Hansen, Matthias, ‘Persönlichkeit im Werk. Zum Bild Anton Bruckners in der Analyse seiner Musik’, in Bruckner-Symposion Linz 1992 (Linz, 1995), pp. 187-93
109. Harrandt, Andrea, ‘Students and Friends as “Prophets” and “Promoters”: The Reception of Bruckner’s Works in the Wiener Akademische Wagner-Verein‘, in Crawford Howie, Paul Hawkshaw and Timothy L. Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2001), pp. 317-27
110. Harrison, Daniel, Harmonic Function in Chromatic Music (Chicago, 1994)
111. Harrison, Julius, ‘The Orchestra and Orchestral Music’, in D. L. Bacharach, ed., The Musical Companion (London, 1934), pp. 127-284
112. Hatten, Robert, ‘The Expressive Role of Disjunction: A Semiotic Approach to Form and Meaning in the Fourth and Fifth Symphonies’, in Crawford Howie, Paul Hawkshaw and Timothy L. Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2001), pp. 145-84
113. Hawkshaw, Paul, The Manuscript Sources for Anton Bruckner’s Linz Works: A Study of His Working Methods from 1856 to 1868 (Ph.D. dissertation, University of Columbia, 1984)
114. Hawkshaw, Paul, ‘The Bruckner Problem Revisited’, Nineteenth-Century Music 21 (1997), pp. 96-107
115. Hawkshaw, Paul, ‘A Composer Learns his Craft: Bruckner’s Lessons in Form and Orchestration, 1861-3’, in Crawford Howie, Paul Hawkshaw and Timothy L. Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2001), pp. 3-29
116. Hawkshaw, Paul and Jackson, Timothy L., eds., Bruckner Studies (Cambridge, 1997)
117. Hawkshaw, Paul and Jackson, Timothy L., ‘Bruckner, Anton’, in The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Stanley Sadie (London, 2001), vol. IV, pp. 458-87
118. Hegel, Georg Friedrich, Wissenschaft der Logik (Nuremberg, 1812-16)
119. Hegel, Georg Friedrich, Introductory Lectures on Aesthetics, trans. Bernard Bosanquet (London, 1993)
120. Hepokoski, James, ‘Fiery-Pulsed Libertine or Domestic Hero? Strauss’ Don Juan Revisited’, in Bryan Gilliam, ed., Richard Strauss: New Perspectives on the Composer and His Work (Durham, N. C., 1992), pp. 135-75
121. Hepokoski, James, Sibelius: Symphony no. 5 (Cambridge, 1993)
122. Horton, Julian, Towards a Theory of Nineteenth-Century Tonality (Ph.D. dissertation, University of Cambridge, 1998)
123. Horton, Julian, Review of Bruckner Studies, Music Analysis 18 (1999), pp. 155-70
124. Horton, Julian, ‘Bruckner and the Symphony Orchestra’, in John Williamson, ed., The Cambridge Companion to Bruckner (Cambridge, in press)
125. Horton, Julian, ‘Recent Developments in Bruckner Scholarship’, Music and Letters 85 (2004), pp. 83-94
126. Howie, Crawford, Anton Bruckner: A Documentary Biography, 2 vols. (Lampeter, 2002)
127. Howie, Crawford, Hawkshaw, Paul and Jackson, Timothy L., Perspectives on Anton Bruckner (Aldershot, 2001)
128. Hruby, Carl, Meine Erinnerungen an Anton Bruckner (Vienna, 1901)
129. Hsu, Dolores, ‘Ernst Kurth’s Concept of Music as Motion’, Journal of Music Theory 10 (1966), pp. 2-17
130. Hussey, Dyneley, ‘The Musician’s Gramophone’, Musical Times 98 (1957), p. 140
131. Hyer, Brian, ‘Reimag(in)ing Riemann’, Journal of Music Theory 39 (1995), pp. 101-38
132. Jackson, Timothy L., ‘Bruckner’s Metrical Numbers’, Nineteenth-Century Music 14 (1990), pp. 101-31
133. Jackson, Timothy L., ‘The Finale of Bruckner’s Seventh Symphony and the Tragic Reversed Sonata Form’, in Paul Hawkshaw and Timothy L. Jackson, eds., Bruckner Studies (Cambridge, 1997), pp. 140-208
134. Jackson, Timothy L., ‘The Adagio of the Sixth Symphony and the Anticipatory Tonic Recapitulation in Bruckner, Brahms and Dvořák’, in Crawford Howie, Paul Hawkshaw and Timothy L. Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2001), pp. 206-27
135. Johnson, Stephen, ed., ‘Bruckner: Guilty or Not Guilty?’, Independent (10 January 1996), p. 7
136. Johnson, Stephen, Bruckner Remembered (London, 1998)
137. Jonas, Oswald, ‘Heinrich Schenker. Über Anton Bruckner’, Der Dreiklang 7 (1937), pp. 167-77
138. Kantner, Leopold M., ‘Der Frömmigkeit Anton Bruckners’, in Anton Bruckner in Wien: Eine kritsiche Studie zu seiner Persönlichkeit (Graz, 1980)
139. Kinderman, William and Krebs, Harald, eds., The Second Practice of Nineteenth-Century Tonality (Lincoln, 1996)
140. Klose, Friedrich, Meine Lehrjahre bei Anton Bruckner (Regensburg, 1927)
141. Kopp, David, Chromatic Transformations in Nineteenth-Century Music (Cambridge, 2002)
142. Korstvedt, Benjamin, ‘The First Published Edition of Anton Bruckner’s Fourth Symphony: Collaboration and Authenticity’, Nineteenth-Century Music 20 (1996), pp. 3-26
143. Korstvedt, Benjamin, ‘Anton Bruckner in the Third Reich and After: An Essay on Ideology and Bruckner Reception’, Musical Quarterly 80 (1996), pp. 132-60
144. Korstvedt, Benjamin, ‘The Bruckner Problem Revisited (A Reply)’, Nineteenth-Century Music 21 (1997), pp. 108-9
145. Korstvedt, Benjamin, ‘“Return to the Pure Sources”: The Ideology and Text-Critical Legacy of the First Bruckner Gesamtausgabe‘, in Paul Hawkshaw and Timothy L. Jackson, eds., Bruckner Studies (Cambridge, 1997), pp. 91-121
146. Korstvedt, Benjamin, Bruckner: Symphony no. 8 (Cambridge, 2000)
147. Korstvedt, Benjamin, ‘“Harmonic Daring” and Symphonic Design in the Sixth Symphony: An Essay in Historical Musical Analysis’, in Crawford Howie, Paul Hawkshaw and Timothy L. Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2001), pp. 185-205
148. Korsyn, Kevin, ‘Towards a New Poetics of Musical Influence’, Music Analysis 10 (1991), pp. 3-72
149. Korsyn, Kevin, ‘Brahms Research and Aesthetic Ideology’, Music Analysis 12 (1993), pp. 89-103
150. Korsyn, Kevin, ‘Beyond Privileged Contexts: Intertextuality, Influence and Dialogue’, in Nicholas Cook and Mark Everist, eds., Rethinking Music (Oxford, 1999), pp. 55-72
151. Korte, Werner, Bruckner und Brahms: Die spätromantische Lösung der autonomen Konzeption (Tutzing, 1963)
152. Kramer, Lawrence, ‘The Mirror of Tonality: Transitional Features of Nineteenth-Century Harmony’, Nineteenth-Century Music 4 (1981), pp. 191-208
153. Kreczi, Hanns, Das Bruckner-Stift St. Florian und das Linzer Reichs-Bruckner-Orchester (Graz, 1986)
154. Kristeva, Julia, ‘Word, Dialogue and Novel’, in The Kristeva Reader, ed. Toril Moi (Oxford, 1986), pp. 34-61
155. Kulka, O. D. and Mendes-Flohr, p. R., eds., Judaism and Christianity under the Impact of National Socialism 1919-1945 (Jerusalem, 1987)
156. Kurth, Ernst, Bruckner, 2 vols. (Berlin, 1925)
157. Kurth, Ernst, Ernst Kurth: Selected Writings, trans. and ed. Lee Rothfarb (Cambridge, 1991)
158. Lacan, Jacques, Seminar VII: The Ethics of Psychoanalysis (London, 1992)
159. Lacan, Jacques, ‘Subversion of the Subject and Dialectic of Desire in the Freudian Unconscious’, in Ecrits, trans. Alan Sheridan (London, 2001), pp. 323-60
160. Laufer, Edward, ‘Some Aspects of Prolongational Procedures in the Ninth Symphony (Scherzo and Adagio)’, in Paul Hawkshaw and Timothy L. Jackson, eds., Bruckner Studies (Cambridge, 1997), pp. 209-55
161. Laufer, Edward, ‘Continuity in the Fourth Symphony (First Movement)’, in Crawford Howie, Paul Hawkshaw and Timothy Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2001), pp. 114-44
162. Leibnitz, Thomas, Die Brüder Schalk und Anton Bruckner dargestellt an den Nachlaßbeständern der Musiksammlung der Österreichischen Nationalbibliothek (Tutzing, 1988)
163. Leichtentritt, Hugo, Musikalische Formenlehre (Leipzig, 1911), trans. as Musical Form (Cambridge, Mass., 1951)
164. Levi, Erik, Music in the Third Reich (London, 1994)
165. Lewin, David, ‘Amfortas’ Prayer to Titurel and the Role of D in Parsifal: The Tonal Spaces and the Drama of the Enharmonic Cflat/ B’, Nineteenth-Century Music 7 (1984), pp. 336-49
166. Lewis, Christopher, ‘Mirrors and Metaphors: Reflections on Schoenberg and Nineteenth-Century Tonality’, Nineteenth-Century Music 11 (1987), pp. 26-42
167. Lewy, Günter, The Catholic Church and Nazi Germany (New York, 1964)
168. Lorenz, Alfred, ‘Zur Instrumentation von Bruckners Symphonien’, Zeitschrift für Musik 103 (1936), pp. 1318-25
169. Macartney, C. A., The Hapsburg Empire 1790-1918 (London, 1968)
170. Maier, Elisabeth, ‘A Hidden Personality: Access to an “Inner Biography” of Anton Bruckner’, in Paul Hawkshaw and Timothy L. Jackson, eds., Bruckner Studies (Cambridge, 1997), pp. 32-53
171. Mann, William, ‘Bruckner’s Structures in Perspective’, The Times (21 July 1967), p. 6
172. Marx, Adolf Bernhard B., Die Lehre von der musikalischen Komposition, 4 vols (Leipzig, 1837-47)
173. McClatchie, Stephen, ‘Bruckner and the Bayreuthians: Or, Das Geheimnis der Form bei Anton Bruckner‘, in Paul Hawkshaw and Timothy L. Jackson, eds., Bruckner Studies (Cambridge, 1997), pp. 110-21
174. McCreless, Patrick, ‘Ernst Kurth and the Analysis of the Chromatic Music of the Late Nineteenth Century’, Music Theory Spectrum 5 (1983), pp. 56-75
175. McGann, Jerome, A Critique of Modern Textual Criticism (Chicago, 1983)
176. Mellers, Wilfred, Man and His Music (London, 1962)
177. Melman, Charles, ‘On Obsessional Neurosis’, in Slavoj Žižek, ed., Jacques Lacan: Critical Evaluations in Cultural Theory (London, 2003), pp. 117-24
178. Mitchell, Donald, Review of Hans Redlich, Bruckner and Mahler (London, 1955), Musical Times 97 (1956), pp. 303-4
179. Morgan, Robert, ‘Dissonant Prolongation: Theoretical and Compositional Precedents’, Journal of Music Theory 20 (1976), pp. 49-92
180. Narmour, Eugene, Beyond Schenkerism: The Need for Alternatives in Music Theory (Chicago, 1977)
181. Narmour, Eugene, The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model (Chicago 1990)
182. Nattiez, Jean-Jacques, Music and Discourse, trans. Carolyn Abbate (Princeton, 1990)
183. Notley, Margaret, ‘Brahms as Liberal: Genre, Style and Politics in Late Nineteenth-Century Vienna’, Nineteenth-Century Music 17 (1993), pp. 107-23
184. Notley, Margaret, ‘Bruckner and Viennese Wagnerism’, in Paul Hawkshaw and Timothy L. Jackson, eds., Bruckner Studies (Cambridge, 1997), pp. 54-71
185. Nowak, Leopold, Preface to Anton Bruckner: Sämtliche Werke Band VII/2. VII Symphonie C-moll, Fassung von 1890 (Vienna, 1955)
186. Nowak, Leopold, Anton Bruckner. Musik und Leben (Linz, 1973)
187. Nowak, Leopold, Über Anton Bruckner (Vienna, 1985)
188. Nowak, Leopold, Foreword to Anton Bruckner: Sämtliche Werke Band II. II Symphonie C-moll, Fassung von 1877 (Vienna, 1967, repr. 1997)
189. Oberleithner, Max von, Meine Erinnerungen an Anton Bruckner (Regensburg, 1933)
190. Oerley, Wilhelm, ‘Von Bruckners eigener Hand. Revision der Revision’, Der Turm 2 (1946), pp. 138-42
191. Orel, Alfred, ‘Original und Bearbeitung bei Anton Bruckner’, Deutsche Musikkultur 1 (1936-7), pp. 222-5
192. Paddison, Max, Adorno’s Aesthetics of Music (Cambridge, 1993)
193. Parkany, Stephen, ‘Kurth’s Bruckner and the Adagio of the Seventh Symphony’, Nineteenth-Century Music 11 (1988), pp. 262-81
194. Parkany, Stephen, Bruckner and the Vocabulary of Symphonic Formal Process (Ph.D. dissertation, Berkeley, 1989)
195. Pascall, Robert, ‘Major Instrumental Forms: 1850-1890’, in The New Oxford History of Music 1850-1890 (Oxford, 1990), vol. IX, pp. 534-658
196. Philips, John A., review of Korstvedt, Bruckner: Symphony no. 8 (Cambridge, 2000), Music and Letters 82 (2001), pp. 323-8
197. Phipps, Graham H., ‘Bruckner’s Free Application of Strict Sechterian Theory with Stimulation from Wagnerian Sources: An Assessment of the First Movement of the Seventh Symphony’, in Crawford Howie, Paul Hawkshaw and Timothy L. Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2001), pp. 228-58
198. Pike, Lionel, Beethoven, Sibelius and the Profound Logic (London, 1978)
199. Pois, Robert, National Socialism and the Religion of Nature (Beckenham, 1986)
200. Potter, Pamela, ‘The Politicization of Handel and his Oratorios in the Weimar Republic, the Third Reich and the Early Years of the German Democratic Republic’, Musical Quarterly 85 (2001), pp. 311-41
201. Proctor, Gregory, The Technical Basis of Nineteenth-Century Chromatic Tonality (Ph.D. dissertation, Princeton, 1978)
202. Puffett, Derrick, ‘Bruckner’s Way: The Adagio of the Ninth Symphony’, Music Analysis 18 (1999), pp. 5-100
203. Puffett, Derrick, Derrick Puffett on Music, ed. Kathryn Bailey Puffett (Aldershot, 2001)
204. Rachman, Stanley and de Silva, Padmal, Obsessive-Compulsive Disorder: The Facts (Oxford, 1992)
205. Rado, S., ‘Obsessive Behaviour: A. So-called Obsessive-Compulsive Neurosis’, in S. Arieti, ed., American Handbook of Psychiatry (New York, 1974)
206. Ratner, Leonard, Classic Music: Expression, Form and Style (New York, 1980)
207. Redlich, Hans, ‘Bruckner, Anton’, in The Grove Dictionary of Music and Musicians, 5th edn (London, 1954), vol. II, p. 971
208. Redlich, Hans, Bruckner and Mahler (London, 1955)
209. Reed, Graham F., Obsessional Experience and Compulsive Behaviour: A Cognitive- Structural Approach (Orlando, 1985)
210. Richter, Ernst Friedrich, Die Grundzüge der musikalischen Formen und ihre Analyse (Leipzig, 1852)
211. Riethmüller, Albrecht, ed., Bruckner-Probleme (Stuttgart, 2000)
212. Ringel, Erwin, ‘Psychogramm für Anton Bruckner’, in Franz Grasberger, ed., Bruckner Symposion Linz 1977 (Linz, 1978), pp. 19-26
213. Röder, Thomas, Auf dem Weg zur Bruckner Symphonie: Untersuchungen zu den ersten beiden Fassungen von Anton Bruckners Dritte Symphonie (Stuttgart, 1987)
214. Röder, Thomas, ‘Master and Disciple United: the 1889 Finale of the Third Symphony’, in Crawford Howie, Paul Hawkshaw and Timothy L. Jackson, eds., Perspectives on Anton Bruckner (Aldershot, 2001), pp. 93-113
215. Rosen, Charles, Sonata Forms (New York and London, 1980)
216. Rosen, Charles, ‘Influence: Plagiarism and Inspiration’, Nineteenth-Century Music 4 (1980-1), pp. 87-100
217. Rosen, Charles, The Romantic Generation (London, 1996)
218. Rothgeb, John, Review of Eytan Agmon, ‘Functional Harmony Revisited’, Music Theory Online 2 (2002)
219. Salzer, Felix, Structural Hearing (New York, 1952)
220. Salzman, Leon, The Obsessive Personality (New York, 1968)
221. Samson, Jim, Music in Transition (London, 1977)
222. Schmalfeldt, Janet, ‘Beethoven’s “Tempest” Sonata and the Hegelian Tradition’, in Christopher Reynolds, ed., The Beethoven Forum, vol. IV (Lincoln, 1995), pp. 37-71
223. Schoenberg, Arnold, Fundamentals of Musical Composition (London, 1967)
224. Schoenberg, Arnold, Harmonielehre, trans. Roy Carter as Theory of Harmony (London, 1978)
225. Schönzeler, Hans-Hubert, Bruckner (London, 1970)
226. Schorske, Carl, Fin de Siècle Vienna (New York, 1980)
227. Scott, Derek, ‘Bruckner and the Dialectics of Darkness and Light’, Bruckner Journal 2/1 (1998), pp. 12-14; 2/2 (1998), pp. 12-14; 3/1 (1998), pp. 13-15
228. Sharp, Geoffrey, ‘Bruckner: Simpleton or Mystic’, Music Review 3 (1942)
229. Simpson, Robert, The Essence of Bruckner (London, 1967)
230. Sisman, Elaine, ‘Haydn’s Theatre Symphonies’, Journal of the American Musicological Society 44 (1990), pp. 292-352
231. Sked, Alan, The Decline and Fall of the Hapsburg Empire 1815-1918 (London, 1989)
232. Skorzeny, Fritz, ‘Anton Bruckner im Lichte deutscher Auferstehung’, Die Musik 30 (1938), p. 311
233. Solvik, Morten, ‘The International Bruckner Society and the N.S.D.A.P.: A Case Study of Robert Haas and the Critical Edition’, Musical Quarterly 83 (1998), pp. 362-82
234. Straus, Joseph, Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge, Mass., 1990)
235. Straus, Joseph, ‘The Anxiety of Influence in Twentieth-Century Music’, Journal of Musicology 9 (1991), pp. 430-47
236. Street, Alan, ‘The Obbligato Recitative: Narrative and Schoenberg’s Five Orchestral Pieces, Op. 16’, in Anthony Pople, ed., Theory, Analysis and Meaning in Music (Cambridge, 1994), pp. 164-83
237. Subotnik, Rose Rosengard, Developing Variations (Minneapolis, 1991)
238. Swinden, Kevin J., ‘Bruckner’s Perger Prelude: A Dramatic Revue of Wagner?’, Music Analysis 18 (1999), pp. 101-24
239. Talmon, Jacob, The Origins of Totalitarian Democracy (London, 1952)
240. Taruskin, Richard, review of Korsyn, ‘Towards a New Poetics of Musical Influence’ and Straus, Remaking the Past, Journal of the American Musicological Society 46 (1993), pp. 114-38
241. Todd, R. Larry, ‘Joseph Haydn and the Sturm und Drang: A Revaluation’, Music Review 40 (1980), pp. 172-96
242. Todd, R. Larry, ‘Sturm und Drang’, in The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Stanley Sadie (London, 2001), vol. XXIV, pp. 631-3
243. Tovey, Donald Francis, ‘Sonata Form’, in Encyclopaedia Britannica, 11th edn (London, 1911), p. 398
244. Tovey, Donald Francis, Essays in Musical Analysis, vol. II: Symphonies (II), Variations and Orchestral Polyphony (London, 1935)
245. Tovey, Donald Francis, ‘Retrospective and Corrigenda’, in Essays in Musical Analysis, vol. VI: Miscellaneous Notes, Glossary and Index (London, 1939), p. 144
246. Tusa, Michael, ‘Beethoven’s C minor Mood: Some thoughts on the Structural Implications of Key Choice’, in Christopher Reynolds, Lewis Lockwood and James Webster, eds., The Beethoven Forum (Lincoln, 1993), pp. 1-27
247. Van den Toorn, Pieter, Music, Politics and the Academy (Berkeley, 1995)
248. Voegelin, Eric, Die politischen Religionen (Munich, 1996)
249. Wagner, Cosima, Cosima Wagner’s Diaries: An Abridgement, ed. Geoffrey Skelton (London, 1994)
250. Wagner, Manfred, Der Wandel des Konzepts: Zu den verschiedenen Fassungen von Bruckners Dritter, Vierter und Achter Sinfonie (Vienna, 1980)
251. Wagner, Manfred, ‘Bruckner in Wien: Ein Beitrag zur Apperzeption und Rezeption des oberösterreichischen Komponist in der Hauptstadt der K. K. Monarchie’ in Anton Bruckner in Wien. Ein kritische Studie zu seiner Persönlichkeit (Graz, 1980)
252. Wagner, Manfred, Bruckner: ein Monographie (Mainz, 1983)
253. Wagner, Manfred, ‘Response to Bryan Gilliam Regarding Bruckner and National Socialism’, Musical Quarterly 80 (1996), pp. 118-31
254. Wason, Robert, Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg (Ann Arbor, 1985)
255. Watson, Dereck, Bruckner (Oxford, 1975)
256. Webster, James, Haydn’s Farewell Symphony and the Idea of Classical Style (Cambridge, 1991)
257. Wellesz, Egon, ‘Anton Bruckner and the Process of Musical Creativity’, Musical Quarterly 24 (1938), pp. 265-90
258. Williams, Alastair, ‘“Répons”: Phantasmagoria or the Articulation of Space?’, in Anthony Pople, ed., Theory, Analysis and Meaning in Music (Cambridge, 1994), pp. 195-210
259. Wingfield, Paul, Janáček: Glagolitic Mass (Cambridge, 1992)
260. Wintle, Christopher, ‘Kontra Schenker: “Largo e Mesto” from Beethoven’s Op. 10 no. 3’, Music Analysis 4 (1985), pp. 145-82
261. Wintle, Christopher, ‘The Sceptred Pall: Brahms’ Progressive Harmony’, in Brahms 2: Biographical, Documentary and Analytical Studies (Cambridge, 1987), pp. 197-222
262. Zaslaw, Neil, ‘Music and Society in the Classical Era’, in Neil Zaslaw, ed., Man and Music in Society: The Classical Era (London, 1989)
263. Zimmermann, Reinhold, ‘Anton Bruckner: der große Lehrermusiker’, Der Deutsche Erzieher (12 June 1937), p. 370