In search of Opera

In Search of Opera

Volumn , Issue , 2014, Pages 1-290

  Abbate, Carolyn ^a  

^a NONE

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References (260)

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2. Charles Rosen has explored one nineteenth-century version of this conceit in The Romantic Generation (Cambridge: Harvard University Press, 1995).
3. Vladimir Jankélévitch, Debussy et le mystère (Neuchâtel: Baconnière, 1949), 9-10.
4. Vladimir Jankélévitch, La musique et l’ineffable (Paris: Seuil, 1982), 5.
5. Theodor W. Adorno, “The Form of the Phonograph Record,” trans. Thomas Y. Levin, October 55 (winter 1990): 59.
6. Theodor W. Adorno, Philosophy of Modern Music, trans. Anne C. Mitchell and Wesley V Blomster (New York: Seabury Press, 1973), 30.
7. The Imaginary Museum of Musical Works (Oxford: Clarendon Press, 1992), chapter 1.
8. Roman Ingarden, The Work of Music and the Problem of Its Identity, ed. Jean G. Harrell, trans. Adam Czerniawski (Berkeley and Los Angeles: University of California Press, 1986), 11-13.
9. Paul Thorn, For an Audience: A Philosophy of the Performing Arts (Philadelphia: Temple University Press, 1993).
10. Peter Kivy, Authenticities: Philosophical Reflections on Musical Performance (Ithaca: Cornell University Press, 1995).
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13. Jonathan Dunsby, Performing Music: Shared Concerns (Oxford: Clarendon Press, 1995).
14. John Rink, ed., The Practice of Performance: Studies in Musical Interpretation (Cambridge: Cambridge University Press, 1995).
15. Janet Knapp, “Beginning-Ending Ambiguity: Consequences of Performance Choices,” in Rink, The Practice of Performance, 150.
16. Lydia Goehr, The Quest for Voice: Politics and the Limits of Philosophy (Berkeley and Los Angeles: University of California Press, 1998).
17. Vladimir Jankélévitch, La Rhapsodie, verve et improvisation musicales (Flammarion: Paris, 1955).
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20. Susan Bernstein’s Virtuosity of the Nineteenth Century: Performing Language in Heine, Liszt, and Baudelaire (Stanford: Stanford University Press, 1998).
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22. Christopher Small’s Musicking: the Meanings of Performing and Listening (Hanover, N.H.: University Press of New England, 1998).
23. John Rosselli, The Singers of Italian Opera: The History of a Profession (Cambridge: Cambridge University Press, 1992).
24. “Opera as a Social Occasion,” in Roger Parker, ed., The Oxford History of Opera (Oxford: Oxford University Press, 1994), 304-21.
25. Mary Ann Smart, “The Lost Voice of Rosine Stolz,” Cambridge Opera Journal 6, no. 1 (March 1994): 31-50.
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27. Karen Henson, “Victor Capoul, Marguerite Olagnier’s Le Sais, and the Arousing of Female Desire,” Journal of the American Musicological Society 52, no. 3 (fall 1999): 419-64.
28. Richard Taruskin, Text and Act: Essays on Music and Performance (Oxford: Oxford University Press, 1995).
29. Salim Kemal and Ivan Gaskell, eds., Performance and Authenticity in the Arts (Cambridge: Cambridge University Press, 1999).
30. Terry Castle, “In Praise of Brigitte Fassbaender,” The Apparitional Lesbian: Female Homosexuality and Modern Culture (New York: Columbia University Press, 1993).
31. Wayne Koestenbaum, The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire (New York: Poseidon, 1993).
32. Rene Leibowitz, Le compositeur et son double: Essais sur l’interprétation musicale (Paris: Gal-limard, 1971).
33. “Conflicting Ideals of Performance,” in Goehr, The Quest for Voice, 132-73; citation, 134.
34. F. W Sternfeld, The Birth of Opera [Oxford: Oxford University Press, 1993], 134.
35. Nino Pirotta and Elena Povoledo, Music and Theater from Poliziano to Monteverdi, trans. Karen Eales (Cambridge: Cambridge University Press, 1981).
36. Tomlinson, “Pastoral and Musical Magic in the Birth of Opera,” in Thomas Bauman and Marita McClymonds, eds., Opera and the Enlightenment (Cambridge: Cambridge University Press, 1995).
37. Klaus Zehn, Die Opern Reinhard Reisers (Munich and Salzburg: Katzbichler, 1975), 44-46.
38. John Whenham, ed., Claudio Monteverdi: Orfeo (Cambridge: Cambridge University Press, 1986), 36-41.
39. Dorothy M. Kosinski, Orpheus in Nineteenth-Century Symbolism (Ann Arbor and London: UMI Research Press, 1989).
40. Ovid, Metamorphoses 11:51-53 (trans. 123, 125).
41. Downing Thomas’s “Sensible Sounds: Music and Theories of the Passions,” in his Music and the Origins of Language (Cambridge: Cambridge University Press, 1995), 143-76.
42. Heather Hadlock, Mad Loves: Women and Music in Offenbach’s uLes Contes d’Hoffmann” (Princeton: Princeton University Press, 2000), 57-64.
43. Giulia Sissa, Greek Virginity, trans. Arthur Goldhammer (Cambridge: Harvard University Press, 1990), 3-4.
44. Giulia Sissa, Greek Virginity, trans. Arthur Goldhammer (Cambridge: Harvard University Press, 1990), 11.
45. Giulia Sissa, Greek Virginity, trans. Arthur Goldhammer (Cambridge: Harvard University Press, 1990), 24.
46. Giulia Sissa, Greek Virginity, trans. Arthur Goldhammer (Cambridge: Harvard University Press, 1990), 27.
47. Susan Rutherford, “The Voices of Freedom: Images of the Prima Donna,” in Vivien Gardner and Susan Rutherford, eds., The New Woman and Her Sisters: Feminism and Theater, 1&50-1914 (Ann Arbor: University of Michigan Press, 1992), 95-114.
48. Leslie C. Dunn and Nancy A. Jones, eds., Embodied Voices (Cambridge and New York: Cambridge University Press, 1994).
49. Jorg Theilacker, Der hohe Ton der Sdngerin: Musik-Erzahlungen des 19. Jahrhunderts (Frankfurt am Main: Luchterhand Literaturverlag, 1989).
50. Heinrich von Kleist, The Marquise of O- and Other Stories, trans. David Luke and Nigel Reeves (Harmondsworth, N.Y.: Penguin, 1978), 220.
51. “Hearing Women’s Voices in Heinrich von Ofter-dingen,” PMLA 107 (October 1992): 1196-1207.
52. Stephen King, “The Breathing Method,” in Different Seasons (New York: Viking Press, 1982), 455-518.
53. Stephen King, “The Breathing Method,” in Different Seasons (New York: Viking Press, 1982), 514.
54. Friedrich Kittler, “The Mother’s Mouth” in his Discourse Networks 1800/1900, trans. Michael Metteer with Chris Cullens (Stanford: Stanford University Press, 1990), 40.
55. Ludwig Finscher, “Che faro senza Euridice? Ein Beitrag zur Ghick-Interpretation,” Festschrift Hans Engel (Kassel and New York: Barenreiter-Verlag, 1964), 96-110.
56. Joseph Kerman’s Opera as Drama (rev. ed., Berkeley: University of California Press, 1988).
57. Leo Schrade, Monteverdi: Creator of Modern Music (London: Gollancz, 1951), 229, 233-35.
58. Denis Arnold, Monteverdi (London: Dent, 1963), 112-13.
59. Eric Chafe, Monteverdi’s Tonal Language (New York: Schirmer, 1992), 148-50.
60. “Monteverdi’s UOrfeo: The Technology of Reconstruction,” in David Levin, ed., Opera Through Other Eyes [Stanford: Stanford University Press, 1993], 156.
61. Mon-teverdi: His Life and Work, trans. Marie Hackie (London: Dent, 1926), 59.
62. Jules Combarieu, La musique et la magie (1909; reprint, Geneva: Minkoff, 1972), 13.
63. Adorno, “Bourgeois Opera,” in Levin, Opera Through Other Eyes, 40.
64. Ellen Rosand, Opera in Seventeenth-Century Venice: The Creation of a Genre (Berkeley: University of California Press, 1991), 387-91.
65. Catherine Kinzler, Poétique de l’opéra français de Corneille à Rameau (Paris: Min-erve, 1991), 368-71.
66. Theodor W. Adorno, In Search of Wagner, trans. Rodney Livingstone (London: Verso, 1991), 86-87.
67. Friedrich Kittler, “World-Breath: On Wagner’s Media Technology,” in Levin, Opera Through Other Eyes, 215-35.
68. Athanasii Kircheri Phonurgia nova sive Conjugium Mechano-physicum Artis & Naturae paranympha phonosophia concinnatum (facsimile, New York: Broude Brothers, 1966).
69. Athanasii Kircher’s Neue Hall- und Thonkunst oder mechanische Geheimverbindung der Kunst und Natur durch Stimm- und Hall-wissen-shaft gestiftet (facsimile, Hannover: Th. Schäfer, 1983).
70. Ulf Scharlau, Athanasius Kircher als Musikschriftsteller (Kassel: Bärenreiter Verlag, 1969).
71. Caroline Walker Bynum, The Resur-rection of the Body in Western Christianity, 200-1336 (New York: Columbia University Press, 1995).
72. Friedrich Kittler, Manfred Schneider, and Samuel Weber, eds., Diskursanalysen I: Medien (Opladen: Westdeutscher Verlag, 1987): 37-54.
73. Hans Heinz Stuckenschmidt, “Die Mechanisierung der Musik,” Pult und Takt-stock 2, no. 1 (1925): 1-8.
74. Stuckenschmidt, “Mechanische Musik,” Der Kreis 3, no. 11 (November 1926): 506-8.
75. “Mechanical Music” in Anton Kaes, Martin Jay, and Edward Dimendberg, eds., The Weimar Republic Sourcebook (Berkeley: University of California Press, 1994), 597.
76. Richard Taruskin, “The Pastness of the Present and the Presence of the Past,” in Text and Act, 114.
77. Arnold Schoenberg, “Mechanical Musical Instruments,” in Style and Idea, 3d. ed. (Berkeley: University of California Press, 1985), 328.
78. Rene Leibowitz, Le compositeur et son double: Essais sur l’interprétation musicale (Paris: Gallimard, 1971), 25-26.
79. Jean-Jacques Nattiez, “The Concept of the Musical Work,” in Music and Discourse, trans. Carolyn Abbate (Princeton: Princeton University Press, 1990), 69-90.
80. "Über Schauspieler und Sänger,” trans. William Ashton Ellis, in Richard Wagner’s Prose Works, vol. 5 (reprint, New York: Broude Brothers, 1966), 157-28.
81. "Über Schauspieler und Sánger,” trans. William Ashton Ellis, in Richard Wagner’s Prose Works, vol. 5 (reprint, New York: Broude Brothers, 1966), 182.
82. "Über Schauspieler und Sánger,” trans. William Ashton Ellis, in Richard Wagner’s Prose Works, vol. 5 (reprint, New York: Broude Brothers, 1966), 201.
83. "Über Schauspieler und Sánger,” trans. William Ashton Ellis, in Richard Wagner’s Prose Works, vol. 5 (reprint, New York: Broude Brothers, 1966), 211.
84. Fabrizio Delia Seta, ed., La traviata. Giuseppe Verdi: Operas, vol. 19 (Chicago: University of Chicago Press, and Milan: Ricordi, 1996), xix-xxii.
85. Opera, or the Undoing of Women, trans. Betsy Wing (Minneapolis: University of Minnesota Press, 1988), 65.
86. “Gender, Musicology, and Feminism,” in Nicholas Cook and Mark Everist, eds., Rethinking Music (Oxford: Oxford University Press, 1999), 491-92.
87. Christine Battersby, The Phenomenal Woman: Feminist Metaphysics and the Patterns of Identity (Cambridge: Polity Press, 1998).
88. “What Do Feminists Want: A Reply to Pieter van den Toorn,” Journal of Musicology 9, no. 4 (fall 1991): 399-410.
89. “The Natural and Literary History of Bodily Sensation,” in Michel Feher, Ramona Nadaff, and Nadia Tazi, eds., Fragmentsfor a History of the Human Body (New York: Urzone, and Cambridge: MIT Press, 1989), 360-70.
90. Carol Clover, Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton: Princeton University Press, 1992.).
91. Melanie Heinz and Rudolf Heinz, Silbergldckchen, Zauberfloten sind zu eurem Schutz vonnóten (Vienna: Passagen Verlag, 1992).
92. Melanie Heinz and Rudolf Heinz, Silbergldckchen, Zauberfloten sind zu eurem Schutz vonnóten (Vienna: Passagen Verlag, 1992), 30.
93. Melanie Heinz and Rudolf Heinz, Silbergldckchen, Zauberfloten sind zu eurem Schutz vonnóten (Vienna: Passagen Verlag, 1992), 77-78.
94. Renée Cox, “A History of Music,” Journal of Aesthetics and Art Criticism 48, no. 2 (1990): 395-409.
95. Igor Stravinsky, Themes and Conclusions (Berkeley: University of California Press, 1982), 148.
96. Daniel Albright, Stravinsky: The Music Box and the Nightingale (New York: Gordon and Breach, 1988), 21-22.
97. Aleksandr Ulybyshev, Nouvelle biographie de Mozart suivie d’un apercu sur Vhistoire genérale de la musique et de Vanalyse des principales oeuvres de Mozart (Moscow: imprimerie A. Semen, 1843).
98. Ernst Bloch, “Magic Rattle, Human Harp,” in Peter Palmer, trans., Essays on the Philosophy of Music (Cambridge: Cambridge University Press, 1985), 140-45.
99. “Zau-berrassel und Menschenharfe,” in Ernst Bloch Gesamtausgabe, vol. 9 (Frankfurt am Main: Suhrkamp Verlag, 1965), 332-38.
100. “Zau-berrassel und Menschenharfe,” in Ernst Bloch Gesamtausgabe, vol. 9 (Frankfurt am Main: Suhrkamp Verlag, 1965), 140.
101. “Zau-berrassel und Menschenharfe,” in Ernst Bloch Gesamtausgabe, vol. 9 (Frankfurt am Main: Suhrkamp Verlag, 1965), 143.
102. Maynard Solomon’s Mozart: A Life (New York: Harper Collins, 1995).
103. Mary Elizabeth Storer, Un épisode littéraire de la fin du XVIIe siècle. La mode des contes de fées 1685-1700 (Paris: Champion, 1928), 160-72.
104. “The Wizard King” in The Yellow Fairy Book, ed. Andrew Lang (London and New York: Longmans-Green, 1894).
105. Lewis C. Seifert, Fairy Tales, Sexuality, and Gender in France 1690-1715: Nostalgic Utopias (Cambridge: Cambridge University Press, 1996), 118-23, 156-65.
106. Thomas Laqueur, Making Sex: Body and Gender from the Greeks to Freud (Cambridge: Harvard University Press, 1990), 61-69.
107. Nicholas Till, in Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart’s Operas (London: Faber and Faber, 1992).
108. Rose Rosengard Subotnik, “Whose Magic Flute,” in Deconstructive Variations: Music and Reason in Western Society (Minneapolis: University of Minnesota Press, 1996), 6-7.
109. Christina Zech, " fEin Mann muss eure Herzen leiten’. Zum Frauenbild in Mozarts ‘Zauberflöte’ auf musikalischer und literarischer Ebene,” Archiv fiir Musikwissenschaft 52, no. 4 (1995): 277-315.
110. Petra Fischer reviews the reception history of this theory in “Die Rehabili-tierung der Sinnlichkeit: Philosophische Implikationen der Figurenkonstella-tion der Zauberflote,” Archiv für Musikwissenschafi 50, no. 1 (1993): 1-25.
111. Dieter Borchmeyer, “Mozarts Opernfiguren: Grosse Herrén, rasende Weiber, gefáhrliche Liebschaften,” Schweizer Theater-Jahrbuch 52 (1991): 270.
112. Mladen Dolar, “The Object Voice” in Gaze and Voice as Love Objects, ed. Renata Salecl and Slavoj ¿tzek (Durham: Duke University Press, 1996), 17.
113. Sylvia Bovenschen, in Die imaginierte Weiblichkeit. Exemplañsche Untersuchungen zu kulturgeschichtlichen und literarischen Prasentationsformen des Weiblichen (Frankfurt am Main: Suhrkamp, 1976), 80-149.
114. Edward Dent, Mozart’s Operas: A Critical Study (London, New York: Oxford University Press, 1947), 225-26.
115. Jean Paul, “Unterthanigste Vorstellung unser, der samtlichen Spieler und redenden Damen in Europa entgegen und wider die Einführung der Kempelischen Spiel- und Sprachmaschinen” (ca. 1788), Samtliche Werke, ed. Norbert Miller and Wilhelm Schmidt-Biggemann, vol. 2 (Munich: Carl Hanser Verlag, 1976), 167-85.
116. Matthew Head, “Birdsong and the Origins of Music,” Journal of the Royal Musical Association 122, no. 1 (spring 1997): 1-23.
117. “Das Frontispiz im Alberti-Libretto von 1791 ais Schlüssel zu Mozarts ‘Zauberflölte’" Mitteilungen der internationalen Stiftung Mozarteum 41, no. 3-4 (November 1993): 49-59, especially 52.
118. Julien Offray de La Mettrie, Machine Man and Other Writings, ed. and trans. Ann Thomson (Cambridge: Cambridge University Press, 1996), 33-34.
119. Denis Diderot, Rameau’s Nephew and D’Alembert’s Dream, trans. L. W. Tannock (London: Penguin, 1966), 160.
120. Denis Diderot, Rameau’s Nephew and D’Alembert’s Dream, trans. L. W. Tannock (London: Penguin, 1966), 158.
121. Denis Diderot, Rameau’s Nephew and D’Alembert’s Dream, trans. L. W. Tannock (London: Penguin, 1966), 158-59.
122. Heartz, Mozart’s Operas, ed. with contributing essays by Thomas Bauman (Berkeley: University of California Press, 1990), 256.
123. Wilhelm Grimm, Deutsches Wbrterbuch, (Leipzig: S. Hirzel, 1897), 2844-45.
124. Wilhelm Grimm, Deutsches Wbrterbuch, (Leipzig: S. Hirzel, 1897), 2845.
125. Friedrich Dieckmann, Die Zauberflöte: Max Slevogts Randzeichnungen zu Mozarts Hand-schrift (Berlin: Der Morgan, 1984), 181, and 341-42.
126. Michel Poizat, La voix du diable: Lajouissance lyrique sacrée (Paris: Métailié, 1991), 219-26.
127. Michel Poizat, La voix du diable: Lajouissance lyrique sacrée (Paris: Métailié, 1991), 220.
128. Michel Poizat, La voix du diable: Lajouissance lyrique sacrée (Paris: Métailié, 1991), 221.
129. Michel Poizat, La voix du diable: Lajouissance lyrique sacrée (Paris: Métailié, 1991), 220-21.
130. Charles Segal, “The Gorgon and the Nightingale,” in Dunn and Jones, Embodied Voices, 17-34.
131. Ulybyshev, Mozarts Leben und Werke, 4:16.
132. Michel Poizat, The Angel’s Cry: Beyond the Pleasure Principle in Opera, trans. Arthur Denner (Ithaca: Cornell University Press, 1992), 65-67.
133. Ulybyshev, Mozarts Leben und Werke, 4:33.
134. Ulybyshev, Mozarts Leben und Werke, 4:46.
135. Reinhard Wiesend, “Regeian-weisung, Werk, Edition-am Beispiel der ‘Zauberflöte’,” in Manfred Hermann Schmid, ed., Mozart Studien 3 (Tutzing: H. Schneider, 1993), 115-36.
136. Annette Richards, “Automatic Genius: Mozart and the Mechanical Sublime,” Music and Letters 80, no. 3 (1999): 366-89.
137. Terry Castle, The Female Thermometer: Eighteenth-Century Culture and the Invention of the Uncanny (New York: Oxford University Press, 1995), 6.
138. Edward Said, Orientalism (New York: Vintage, 1979), 118.
139. Theodor W. Adorno, In Search of Wagner, 88.
140. Adorno, “Zur Partitur des Parsifal,” in Gesammelte Schriften, vol. 17, 47-51, citation 48.
141. Barry Emslie, “Woman as Image and Narrative in Wagner’s Parsifal,” Cambridge Opera Journal 3, no. 2 (1992): 109-24, especially 112-14.
142. Mário Vieira de Carvalho, “Parsifal oder der Gegensatz zwischen Theorie und Praxis als Dilemma der herrschenden Klasse,” Beiträge zur Musikwissenschaji 28, no. 4 (1986): 309-19.
143. Elisabeth Bronfen, “Kundry’s Laughter,” New German Critique 69 (fall 1996): 147-62.
144. Slavoj Žižek, “The Wound Is Healed Only by the Sp ear That Smote You’: The Operatic Subject and Its Vicissitudes,” in Levin, Opera Through Other Eyes, 177-214, especially 204.
145. Slavoj Žižek, “The Wound Is Healed Only by the Sp ear That Smote You’: The Operatic Subject and Its Vicissitudes,” in Levin, Opera Through Other Eyes, 204-5.
146. Jean-Jacques Nattiez, Wagner Androgyne: A Study in Interpretation, trans. Stewart Spencer (Princeton: Princeton University Press, 1993), 163-72.
147. “The Sufferings and Greatness of Richard Wagner,” in Essays of Three Decades, trans. H. T. Lowe-Porter (New York: Knopf, 1947), 336-37.
148. Debussy on Music, ed. Francois Lesure, trans. Richard Langham Smith (New York: Knopf, 1977), 167.
149. Michael Tanner, “The Total Work of Art,” in Peter Burbidge and Richard Sutten, eds., The Wagner Companion (Cambridge: Cambridge University Press, 1979), 206.
150. Michael Tanner, “The Total Work of Art,” in Peter Burbidge and Richard Sutten, eds., The Wagner Companion (Cambridge: Cambridge University Press, 1979), 206, 216-17.
151. Michael Tanner, “The Total Work of Art,” in Peter Burbidge and Richard Sutten, eds., The Wagner Companion (Cambridge: Cambridge University Press, 1979), 217.
152. David Levin, Richard Wagner, Fritz Lang, and the Nibelungen: The Dramaturgy of Disavowal (Princeton: Princeton University Press, 1998), 4.
153. Klaus Umbach, Richard Wagner: Ein deutsches Ärgernis (Hamburg: Rowohlt, 1982), 38-40.
154. Paul Lawrence Rose, Wagner: Race and Revolution (London: Faber and Faber, 1992), 158-69.
155. Saul Friedlander, “Hitler und Wagner,” in Saul Friedlander and Jorn Rüsen, eds., Richard Wagner im dritten Reich (Munich: C. H. Beck, 2000), 165-78, especially 171-73.
156. Nike Wagner, Wagner Theater (Frankfurt: Insel, 1998), 221-34.
157. Reinhold Brinkmann, “Tannhausers Lied,” in Carl Dahlhaus, ed., Das Drama Richard Wagners als musikalisches Kunstwerk (Regensburg: G. Bosse, 1970), 199-211.
158. Das Theater Richard Wagners: Idee, Dichtung, Wirkung (Stuttgart: P. Reclam, 1982), 203-6.
159. Ernest Newman, The Life of Richard Wagner, vol. 1 (New York: Knopf, 1933), 397.
160. Stanley Cavell, Pursuits of Happiness: The Hollywood Comedy of Remarriage (Cambridge: Harvard University Press, 1981), 60-61.
161. Preston Sturges by Preston Sturges, ed. Sandy Sturges (New York: Simon and Schuster, 1990), 30.
162. Carl Dahlhaus, Richard Wagners Musikdramen (Zurich: Orell Füssli, 1985), 142.
163. Marc A. Weiner, “Reading the Ideal,” New German Critique 69 (fall 1996): 53-83.
164. David Levin, “Reading Beckmesser Reading: Antisemitism and Aesthetic Practice in The Mastersingers of Nuremberg,” New German Critique 69 (fall 1996): 127-46.
165. Philippe Lacoue-Labarthe, Música Ficta: Figures of Wagner, trans. Felicia McCarren (Stanford: Stanford University Press, 1994), xxi-xxii.
166. “Dramaturgic der Alteritát,” in Friedlander and Rüsen, Richard Wagner im dritten Reich, 92-108.
167. Slavoj Žižek, “There Is No Sexual Relationship’: Wagner as Lacanian,” New German Critique 69 (fall 1996): 217-18.
168. Thomas S. Grey, Wagner’s Musical Pose: Texts and Contexts (Cambridge: Cambridge University Press, 1995), 257.
169. Robert Bailey, “Visual and Musical Symbolism in German Romantic Opera,” in Report of the Twelfth Congress of the International Musicological Society, ed. Daniel Heartz and Bonnie Wade (Kassel: Bärenreiter; Philadelphia: American Musicological Society, 1981), 436-44.
170. Cosima Wagner: Die Tagebiicher, vol. 2, ed. Martin Gre-gor-Dellin and Dietrich Mack (Munich: Piper Verlag, 1977), 303.
171. Richard Wagner, Dokumente zur Entstehung und ersten Aufflihrung des Bühnenwe-infestspiels Parsifal, ed. Martin Geek and Egon Voss, Samtliche Werke, vol. 30 (Mainz: B. Schott’s Sóhne, 1970), 62.
172. The Genesis of Tristan und Isolde and a Study of Wagner’s Sketches and Drafts for the First Act (Ph.D. diss., Princeton University, 1969), 163-64.
173. Arnold Whittall, “Wagner and Real Life,” Musical Times 137 (June 1996): 8.
174. Jeremy Tambling, Opera and the Culture of Fascism (Oxford: Clarendon Press, 1996), 45-60.
175. Abbate, “Immortal Voices, Mortal Forms,” in Craig Ayrey and Mark Everist, eds., Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-century Music (Cambridge University Press, 1996), 288-300.
176. Debussy: Impressionism and Symbolism, trans. Rollo Myers (London: Eulenberg, 1976), 23, 24.
177. Pierre Schaeffer, Traité des objets musicaux, rev. ed. (Paris: Seuil, 1966), 90-99.
178. Nicholas Wolterstorff, Divine Discourse: Philosophical Reflections on the Way God Speaks (Cambridge: Cambridge University Press, 1995), 56-58.
179. Abbate, “Ventriloquism,” in Irving Lavin, ed., Meaning in the Visual Arts: Views from Outside (Princeton: Institute for Advanced Study, 1995), 305-12.
180. Michel Chion, The Voice in Cinema, trans. Claudia Gorbman (New York: Columbia University Press, 1999), 25-33.
181. Michel Chion, The Voice in Cinema, trans. Claudia Gorbman (New York: Columbia University Press, 1999), 21.
182. Michel Chion, The Voice in Cinema, trans. Claudia Gorbman (New York: Columbia University Press, 1999), 22-23.
183. Chion, Audio Vision: Sound on Screen, ed. and trans. Claudia Gorbman (New York: Columbia University Press, 1994), 129-30.
184. Slavoj Žižek, “The Ideological Sinthome,” in Looking Awry: An Introduction to Jacques Lacan Through Popular Culture (Cambridge: MIT Press, 1991), 124-28.
185. “Before the Beep: A Short History of Voice Mail,” in Annemarie Jonson, ed., Techno-fkobia: Essays in Sound, vol. 2 (Darlinghurst, Australia: Contemporary Sound Arts, 1995), 59-67.
186. Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington: Indiana University Press, 1988), 48.
187. Donna Stanton, “Difference on Trial: A Critique of the Maternal Metaphor in Cixous, Irigaray and Kristeva,” in Nancy Miller, ed., The Poetics of Gender (New York, Columbia University Press, 1986), 142-59.
188. Claire Kahane, “Rethinking the Maternal Voice,” Genders 3 (fall 1988): 82-91.
189. Susan McClary, “Structures of Identity and Difference in Bizet’s Carmen,” in Richard Dellamora and Daniel Fischlin, eds., The Work of Opera: Genre, Nationhood, and Sexual Difference (New York: Columbia University Press, 1996), 115-29.
190. Lawrence Kramer, “Culture and Musical Hermeneu-tics: The Salome Complex, " Cambridge Operajournal 2, no. 3: 269-94, especially 284-94.
191. Abbate, “Opera, or the Envoicing of Women,” in Ruth Solie, ed., Musicology and Difference (Berkeley: University of California Press, 1993), 225-258.
192. Doane, “The Voice in the Cinema: The Articulation of Body and Space,” in Yale French Studies 55, no. 1 (1980): 33-50.
193. Theodor W Adorno and Hanns Eisler, Composing for the Films (London: Athlone Press, 1994), 23-24.
194. Claudia Gorbman’s Unheard Melodies: Narrative Film Music (Bloomington: Indiana University Press, 1987).
195. Novalis, Heinrich von Offerdingen (Stuttgart: Reclam, 1976), 45-46.
196. Robert Orledge, Debussy and the Theater (Cambridge: Cambridge University Press, 1982), 102-27.
197. Edward Lockspeiser, Debussy et Edgar Foe (Monaco: Editions du Rocher, 1961), 95.
198. “Opera in the Light of Technology,” in Beate Allert, ed., Languages of Visuality: Crossings Between Science, Art, Politics, and Literature (Detroit: Wayne State University Press, 1996), 73-85, especially 80-81.
199. Jean-Michel Nectoux, “Le Pelléas de Fauré,” Revue de Musicologie 67, no. 2 (1981): 180.
200. “Nadelkurven,” Musikbldtter des Anbruch 10 (February 1928): 47-50.
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