Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-77c89778f8-cnmwb Total loading time: 0 Render date: 2024-07-16T18:32:45.365Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  25 May 2017

Michael Cherlin
Michael Cherlin
Affiliation:
University of Minnesota
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Varieties of Musical Irony
From Mozart to Mahler
 , pp. 259 - 263
Publisher: Cambridge University Press
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Adorno, Theodor W. Notes to Literature. Vol. 1. Translated by Nicholsen, Sherry Weber. Columbia University Press, 1991.Google Scholar
Berlin, Isaiah. The Sense of Reality: Studies in Ideas and Their History. Edited by Hardy, Henry. Farrar, Straus and Giroux, 1997.Google Scholar
Bloom, Harold. The Anxiety of Influence. Oxford University Press, 1973.Google Scholar
Bloom, Harold. Kabbalah and Criticism. Seabury Press, 1975.Google Scholar
Bloom, Harold. A Map of Misreading. Oxford University Press, 1975.Google Scholar
Bloom, Harold. Poetry and Repression. Yale University Press, 1976.Google Scholar
Bloom, Harold. Ruin the Sacred Truths. Harvard University Press, 1989.CrossRefGoogle Scholar
Booth, Wayne. The Rhetoric of Irony. University of Chicago Press, 1974.Google Scholar
Burke, Kenneth. A Grammar of Motives. University of California Press, 1969.CrossRefGoogle Scholar
Burke, Kenneth. The Philosophy of Literary Form. University of California Press, 1973.CrossRefGoogle Scholar
Cave, Terence. Recognitions: A Study in Poetics. Oxford University Press, 1988.Google Scholar
Colebrook, Claire. Irony. Routledge, 2004.CrossRefGoogle Scholar
Dane, Joseph A. The Critical Mythology of Irony. University of Georgia Press, 1991.Google Scholar
Derrida, Jacques. Sovereignties in Question. Edited by Dutoit, Thomas and Pasanen, Outi. Fordham University Press, 2005.Google Scholar
Grossman, Jeffrey A. The Discourse on Yiddish in Germany: From the Enlightenment to the Second Empire. Camden House, 2000.Google Scholar
Inwood, Michael. A Hegel Dictionary. Blackwell Publishers, 1992.Google Scholar
de Man, Paul. Allegories of Reading. Yale University Press, 1979.Google Scholar
de Man, Paul. Blindness and Insight. University of Minnesota Press, 1983.Google Scholar
Gay, Peter. A Godless Jew: Freud, Atheism, and the Making of Psychoanalysis. Yale University Press, 1987.Google Scholar
Harshav, Benjamin. The Meaning of Yiddish. Stanford University Press, 1990.CrossRefGoogle Scholar
Hartman, Geoffrey H. Saving the Text. John Hopkins University Press, 1981.Google Scholar
Hegel, Georg Wilhelm Friedrich. Aesthetics: Lectures on Fine Arts. Vol. 1. Translated by Knox, T. M.. Oxford University Press, 1975.Google Scholar
Hegel, Georg Wilhelm Friedrich. Hegel’s Philosophy of Right. Translated by Knox, T. M.. Oxford University Press, 1942.Google Scholar
Hutcheon, Linda. Irony’s Edge, Routledge, 1994.Google Scholar
Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. Methuen, 1985 (reprint, University of Illinois Press, 2000).Google Scholar
Kaufmann, Walter. Nietzsche: Philosopher, Psychologist, Antichrist. 4th edition. Princeton University Press, 1974.Google Scholar
Kierkegaard, Søren. The Concept of Irony. Edited by Hong, Howard V. and Hong, Edna H.. Princeton University Press, 1989.Google Scholar
Kierkegaard, Søren. Either/Or. Edited by Hong, Howard V. and Hong, Edna H., Princeton University Press, 1987.Google Scholar
Kierkegaard, Søren. The Sickness unto Death. Edited by Hong, Howard V. and Hong, Edna H., Princeton University Press, 1980.Google Scholar
Knox, Norman D. The Word “Irony” and Its Context, 1500–1755. Duke University Press, 1961.Google Scholar
Muecke, Douglas C. The Compass of Irony. Methuen, 1969.Google Scholar
Nehamas, Alexander. The Art of Living: Socratic Reflections from Plato to Foucault. University of California Press, 1998.CrossRefGoogle Scholar
Plato, . The Symposium. Translated by Allen, R. E.. Yale University Press, 1991.Google Scholar
Rilke, Rainer Maria. Letters to a Young Poet. Translated by Mitchell, Stephen. The Modern Library, 1984.Google Scholar
Robertson, Ritchie. The “Jewish Question” in German Literature 1749–1939: Emancipation and Its Discontents. Oxford University Press, 1999.Google Scholar
Rorty, Richard. Contingency, Irony, and Solidarity. Cambridge University Press, 1989.CrossRefGoogle Scholar
Sammons, Jeffry L. Heinrich Heine: A Modern Biography. Princeton University Press, 1979.Google Scholar
Steinberg, Michael P. Judaism Musical and Unmusical. University of Chicago Press, 2007.Google Scholar
Weinstein, Miriam. Yiddish: A Nation of Words. Ballantine Books, 2001.Google Scholar
White, Hayden. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Johns Hopkins University Press, 1973.Google Scholar
Yerushalmi, Yosef Hayim. Freud’s Moses: Judaism Terminable and Interminable. Yale University Press, 1991.Google Scholar

Secondary Sources

Abbate, Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton University Press, 1991.CrossRefGoogle Scholar
Adorno, Theodor W. Essays on Music. Edited by Leppert, Richard. Translated by Gillespie, Susan H.. University of California Press, 2002.Google Scholar
Adorno, Theodor W.. Mahler: A Musical Physiognomy. Translated by Jephcott, Edmund. Columbia University Press, 1992.CrossRefGoogle Scholar
Allanbrook, Wye Jamison. Rhythmic Gesture in Mozart: Le Nozze di Figaro & Don Giovanni. University of Chicago Press, 1983.Google Scholar
Almén, Byron. A Theory of Musical Narrative. Indiana University Press, 2008.Google Scholar
Berio, Talia Pecker. “Mahler’s Jewish Parable.” In Mahler and His World. Edited by Painter, Karen. Princeton University Press, 2002, 87–110.CrossRefGoogle Scholar
Bonds, Mark Evan. “Haydn, Laurence Sterne, and the Origins of Musical Irony,” Journal of the American Musicological Society 44/1 (1991): 57–91.CrossRefGoogle Scholar
Brauner, Charles S. “Irony in the Heine Lieder of Schubert and Schumann,” The Musical Quarterly 67 (1981): 261–281.CrossRefGoogle Scholar
Burnham, Scott. Beethoven Hero. Princeton University Press, 1995.CrossRefGoogle Scholar
Burnham, Scott. “Mozart’s felix culpa: Così fan Tutte and the Irony of Beauty,” The Musical Quarterly 78/1 (1994): 77–98.CrossRefGoogle Scholar
Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford University Press, 1988.Google Scholar
Carter, Tim. W. A. Mozart: Le nozze di Figaro. Cambridge University Press, 1987.Google Scholar
Castagné, André, Chalon, Michel, and Florençon, Patrick, editors. Gustav Mahler et L’Ironie, Editions Climats et Association des Amis de l“Orchestre de Montpellier-L.-R., 2001.Google Scholar
Cherlin, Michael. Schoenberg’s Musical Imagination. Cambridge University Press, 2007.CrossRefGoogle Scholar
Fischer, Jens Malte. Gustav Mahler. Translated by Spencer, Stewart. Yale University Press, 2011.Google Scholar
Hatten, Robert. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Indiana University Press, 1994.Google Scholar
Heartz, Daniel. Mozart’s Operas. Edited by Bauman, Thomas. University of California Press, 1990.Google Scholar
Hepokoski, James A. Giuseppi Verdi: Otello. Cambridge University Press, 1987.Google Scholar
Hindenlang, Karen A. “Eichendorff’s Auf eine Burg and Schumann’s Liederkreis, Op. 39,” The Journal of Musicology 8/4 (Autumn 1990): 569–587.CrossRefGoogle Scholar
Hoeckner, Berthold. “Paths through Dichterliebe,” 19th-Century Music 30/1 (Summer 2006): 65–80.CrossRefGoogle Scholar
Jankélévitch, Vladimir. Music and the Ineffable. Translated by Abbate, Carolyn. Princeton University Press, 2003.CrossRefGoogle Scholar
Johnson, Julian. “The Breaking of the Voice,” Nineteenth-Century Music Review 8 (2011): 179–195.CrossRefGoogle Scholar
Johnson, Julian. Mahler’s Voices: Expression and Irony in the Songs and Symphonies. Oxford University Press, 2009.CrossRefGoogle Scholar
Karbusicky, Vlaimír. “Gustav Mahler’s Jewishness.” In Perspectives on Gustav Mahler. Edited by Barham, Jeremy. Ashgate Publishing Company, 2005, 195–216Google Scholar
Kinderman, William. Beethoven’s Diabelli Variations. Oxford University Press, 1989.Google Scholar
Kinderman, William. “The Evolution and Structure of Beethoven’s “Diabelli” Variations,” Journal of the American Musicological Society 35/2 (1982): 306–328.CrossRefGoogle Scholar
Kramer, Lawrence. Franz Schubert: Sexuality, Subjectivity, Song. Cambridge University Press, 1998.Google Scholar
Kramer, Richard. Distant Cycles: Schubert and the Conceiving of Song. University of Chicago Press, 1994.CrossRefGoogle Scholar
Kramer, Richard. “Schubert’s Heine,” 19th-Century Music 8/3 (Spring 1985): 213–225.CrossRefGoogle Scholar
Kurth, Richard. “Music and Poetry, a Wilderness of Doubles: Heine-Nietzsche-Schubert-Derrida,” 19th-Century Music 21/1 (1997): 3–37.CrossRefGoogle Scholar
de La Grange, Henry-Louis. Gustav Mahler. Vol. 1. Doubleday, 1973.Google Scholar
de La Grange, Henry-Louis. Gustav Mahler, Vol. 2, The Years of Challenge (1897–1904). Oxford University Press, 1995.Google Scholar
de La Grange, Henry-Louis. Gustav Mahler, Vol. 3, Vienna: Triumph and Disillusion (1904–1907). Oxford University Press, 1999.Google Scholar
de La Grange, Henry-Louis. Gustav Mahler, Vol. 4, A New Life Cut Short (1907–1911). Oxford University Press, 2008.Google Scholar
Lewin, David. Studies in Music with Text. Oxford University Press, 2006.CrossRefGoogle Scholar
Lockwood, Lewis. Beethoven: The Music and Life. W. W. Norton, 2003.Google Scholar
Longyear, Rey M. “Beethoven and Romantic Irony,” The Musical Quarterly 56/4 (1970): 647–664.CrossRefGoogle Scholar
Mitchell, Donald. Gustav Mahler: Songs and Symphonies of Life and Death. University of California Press, 1958.Google Scholar
Mitchell, Donald. Gustav Mahler: The Wunderhorn Years. University of California Press, 1975.Google Scholar
Monahan, Seth. “‘Inescapable’ Coherence and the Failure of the Novel-Symphony in the Finale of Mahler’s Sixth,” 19th-Century Music 31/1 (Summer 2007): 53–95.CrossRefGoogle Scholar
Painter, Karen. “Jewish Identity and the Anti-Semitic Critique in the Austro-German Reception of Mahler, 1900–1945.” In Perspectives on Gustav Mahler. Edited by Barham, Jeremy. Ashgate, 2005, 175–194.Google Scholar
Painter, Karen, editor. Mahler and His World. Princeton University Press, 2002.CrossRefGoogle Scholar
Perrey, Beate Julia. Schumann’s Dichterliebe and Early Romantic Poetics: Fragmentation of Desire. Cambridge University Press, 2002.Google Scholar
Roman, Zoltan. “Connotative Irony in Mahler’s Totenmarsch in ‘Callots Manier,’” The Musical Quarterly 59/2: 207–222.Google Scholar
Rothstein, William. Phrase Rhythm in Tonal Music. Schirmer, 1989.Google Scholar
Sadie, Stanley, editor. Wolfgang Amadè Mozart: Essays in His Life and His Music. Oxford University Press, 1976.Google Scholar
Samuels, Robert. Mahler’s Sixth Symphony: A Study in Musical Semiotics. Cambridge University Press, 1995.CrossRefGoogle Scholar
Sheinberg, Esti. Irony, Parody and the Grotesque in the Music of Shostakovich: A Theory of Musical Incongruities. Asgate, 2000.Google Scholar
Schoenberg, Arnold. Fundamentals of Musical Composition. Edited by Strang, Gerald and Stein, Leonard. St. Martin’s Press, 1967.Google Scholar
Solomon, Maynard. Late Beethoven: Music, Thought, Imagination. University of California Press, 2003.Google Scholar
Stein, Jack M. “Schubert’s Heine Songs,” Journal of Aesthetics and Art Criticism 24 (Summer 1966): 559–566.Google Scholar
Steinberg, Michael P. Judaism Musical and Unmusical. University of Chicago Press, 2007.Google Scholar
Steinberg, Michael P., Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music. Princeton University Press, 2004.Google Scholar
Steptoe, Andrew. The Mozart – Da Ponte Operas: The Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Così fan tutte. Oxford University Press, 1988.Google Scholar
Straus, Joseph. Remaking the Past: Musical Modernism and Influence of Tonal Tradition. Harvard University Press, 1990.CrossRefGoogle Scholar
Taruskin, Richard. Stravinsky and the Russian Traditions. University of California Press, 1996.CrossRefGoogle Scholar
Waldoff, Jessica. Recognition in Mozart’s Operas. Oxford University Press, 2006.CrossRefGoogle Scholar
Wheelock Thayer, Alexander. Thayer’s Life of Beethoven. Revised and edited by Forbes, Elliott. Princeton University Press, 1970.Google Scholar
Youens, Susan. Heinrich Heine and the Lied. Cambridge University Press, 2007.Google Scholar
Zenk, Stephen. Irony and Sound: The Music of Maurice Ravel. University of Rochester Press, 2009.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Michael Cherlin, University of Minnesota
  • Book: Varieties of Musical Irony
  • Online publication: 25 May 2017
  • Chapter DOI: https://doi.org/10.1017/9781316493441.009
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Michael Cherlin, University of Minnesota
  • Book: Varieties of Musical Irony
  • Online publication: 25 May 2017
  • Chapter DOI: https://doi.org/10.1017/9781316493441.009
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Michael Cherlin, University of Minnesota
  • Book: Varieties of Musical Irony
  • Online publication: 25 May 2017
  • Chapter DOI: https://doi.org/10.1017/9781316493441.009
Available formats
×