Music and Text: Critical Inquiries

doi:10.1017/CBO9780511518355

Melopoetics, the study of the multifarious relations between music and literature, has emerged in recent years as an increasingly popular field of interdisciplinary inquiry. In this volume, noted musicologists and literary critics explore diverse topics of shared concern such as literary theory as a model for musical criticism, genre theories in literature and music, the criticism and analysis of texted music and the role of aesthetic, historical and cultural understanding in concepts of text/music convergence. These fourteen essays - united here not by a common ideology but by common subject matter - demonstrate how musical and literary scholarship can combine forces effectively on the common ground of contemporary critical theory and interpretive practice. The concluding essay by interdisciplinary historian Hayden White locates this ambitious enterprise of contemplating 'music and text' in the larger context of intellectual history.

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Contents

Frontmatter
pp i-vi
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Contents
pp vii-viii
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List of figures
pp ix-x
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List of contributors
pp xi-xii
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Preface
pp xiii-xvi
- By Steven Paul Scher, Dartmouth College
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Acknowledgments
pp xvii-xviii
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Part I - Institutional dimensions and the contexts of listening
pp 1-2
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1 - Music and literature: the institutional dimensions
pp 3-20
- By John Neubauer, University of Amsterdam
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2 - Privileging the moment of reception: music and radio in South Africa
pp 21-37
- By Charles Hamm, Dartmouth College
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3 - Chord and discourse: listening through the written word
pp 38-56
- By Peter J. Rabinowitz, Hamilton College
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Part II - Literary models for musical understanding: music, lyric, narrative, and metaphor
pp 57-58
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4 - Lyrical modes
pp 59-74
- By Paul Alpers, University of California, Berkeley
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5 - Origins of modernism: musical structures and narrative forms
pp 75-92
- By Marshall Brown, University of Washington
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6 - Metaphorical modes in nineteenth-century music criticism: image, narrative, and idea
pp 93-117
- By Thomas Grey, Stanford University
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7 - Narrative archetypes and Mahler's Ninth Symphony
pp 118-136
- By Anthony Newcomb, University of California, Berkeley
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Part III - Representation, analysis, and semiotics
pp 137-138
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8 - Music and representation: the instance of Haydn's Creation
pp 139-162
- By Lawrence Kramer, Fordham University
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9 - Musical analysis as stage direction
pp 163-176
- By David Lewin, Harvard University
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10 - Poet's love or composer's love?
pp 177-192
- By Edward T. Cone, Princeton University
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11 - The semiotic elements of a multiplanar discourse: John Harbison's setting of Michael Fried's “Depths”
pp 193-216
- By Claudia Stanger, Berklee School of Music
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Part IV - Gender and convention
pp 217-218
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12 - Whose life? The gendered self in Schumann's Frauenliebe songs
pp 219-240
- By Ruth A. Solie, Smith College
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13 - Operatic madness: a challenge to convention
pp 241-287
- By Ellen Rosand, Rutgers University
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14 - Commentary: form, reference, and ideology in musical discourse
pp 288-319
- By Hayden White, University of California, Santa Cruz
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Index
pp 320-327
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Music and Text

Critical Inquiries

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Contents

Frontmatter
pp i-vi

Contents
pp vii-viii

List of figures
pp ix-x

List of contributors
pp xi-xii

Preface
pp xiii-xvi

Acknowledgments
pp xvii-xviii

Part I - Institutional dimensions and the contexts of listening
pp 1-2

1 - Music and literature: the institutional dimensions
pp 3-20

2 - Privileging the moment of reception: music and radio in South Africa
pp 21-37

3 - Chord and discourse: listening through the written word
pp 38-56

Part II - Literary models for musical understanding: music, lyric, narrative, and metaphor
pp 57-58

4 - Lyrical modes
pp 59-74

5 - Origins of modernism: musical structures and narrative forms
pp 75-92

6 - Metaphorical modes in nineteenth-century music criticism: image, narrative, and idea
pp 93-117

7 - Narrative archetypes and Mahler's Ninth Symphony
pp 118-136

Part III - Representation, analysis, and semiotics
pp 137-138

8 - Music and representation: the instance of Haydn's Creation
pp 139-162

9 - Musical analysis as stage direction
pp 163-176

10 - Poet's love or composer's love?
pp 177-192

11 - The semiotic elements of a multiplanar discourse: John Harbison's setting of Michael Fried's “Depths”
pp 193-216

Part IV - Gender and convention
pp 217-218

12 - Whose life? The gendered self in Schumann's Frauenliebe songs
pp 219-240

13 - Operatic madness: a challenge to convention
pp 241-287

14 - Commentary: form, reference, and ideology in musical discourse
pp 288-319

Index
pp 320-327

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Music and Text

Critical Inquiries

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