Eco-Musicology

Journal of the Royal Musical Association

Volumn 127, Issue 2, 2002, Pages 305-320

  Rehding, Alexander ^a,b  

^a UNIVERSITY OF CAMBRIDGE   (United Kingdom)

^b UNIVERSITY OF PENNSYLVANIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85010506556     PISSN: 02690403     EISSN: None     Source Type: Journal    
DOI: 10.1093/jrma/127.2.305     Document Type: Article

References (25)

1. Ulrich Linke, Okopax und Anarchie: Geschichte der ökologischen Bewegungen (Munich, 1986).
2. Colin Riordan, Green Thought in German Culture: Historical and Contemporary Perspectives (Cardiff, 1997).
3. Kate Soper, in her study What is Nature? (Oxford, 1995), makes a very good case for using the quotation marks advisedly.
4. Raymond Williams, Keywords: A Vocabulary of Culture and Society (London, 1976), 219.
5. Terry Eagleton, The Idea of Culture (Oxford, 1999), 92.
6. Williams W., Keywords, 219.
7. Williams W., ‘Ideas of Nature’, Problems in Materialism and Culture (London, 1997), 67-85.
8. Peter Jona Korn, Musikalische Umweltverschmutzung (Munich, 1976);
9. Friedrich Blume, Was ist Musik? (Kassel, 1959).
10. Peter Coates, Nature (Cambridge, 1998), 185.
11. Claus Bockmaier, Entfesselte Natur in der Musik des achtzehnten Jahrhunderts (Tutzing, 1992).
12. Peter le Huray and James Day, eds., Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries (Cambridge, 1981), 17.
13. Kofi Agawu, Playing with Signs: A Semiotic Interpretation of Classic Music (Princeton, 1991);
14. Leonard Ratner, Classic Music: Expression, Form, and Style (New York, 1980).
15. Friedrich Kittler, ed., Die Austreibung des Geistes aus den Geisteswissenschaften: Programme des Poststrukturalismus (Paderborn, 1980).
16. Charles Rosen, The Classical Style (London, 1971), 402.
17. Mary Sue Morrow, German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in German Music (Cambridge, 1997).
18. Mary Sue Morrow, ‘Natur als Stoff der Musik? Ein ästhetisches Problem und seine Folgen für die Musikgeschichte’, Neue Zürcher Zeitung (20-1June 1998), 85.
19. Brian Hyer, ‘Sighing Branches: Prosopopoeia in Rameau’s Pigmalion’, Music Analysis, 13/1 (1994), 7-50.
20. Charles Dill, Monstrous Opera (Princeton, 1997.)
21. Laurence Sterne, Tristram Shandy, IX, chapter 24. I am grateful to Suzanne Aspden for drawing my attention to this point, as well as making a number of other helpful suggestions elsewhere in the text.
22. Simon Schama, Landscape and Memory (London, 1996), 61.
23. Arnold Schering, Das Symbol in der Musik (Leipzig, 1941), 122.
24. Ingolfur Blühdorn, ‘Ecological Thought and Critical Theory’, Green Thought in German Culture, ed. Riordan, 89-106.
25. Christine Pries, ed., Das Erhabene: Zwischen Grenzerfahrung und Größenwahn (Weinheim, 1989).