List of bibliographic references indexed by 0027-4631
Number of relevant bibliographic references: 306.
[0-50] [
0 - 20][
0 - 50][
50-70]
| Ident. | Authors (with country if any) | Title |
|---|
| 001A45 (2005) |
Maribeth Clark | The Role of Gustave, ou Le bal masqué in Restraining the Bourgeois Body of the July Monarchy |
| 001A51 (2005) |
Michal Grover-Friedlander | The Afterlife of Maria Callas’s Voice |
| 001B12 (2005) |
Ray Allen ; George P. Cunningham | Cultural Uplift and Double-Consciousness: African American Responses to the 1935 Opera Porgy and Bess |
| 001C70 (2004) |
Caryl Clark | Reading and Listening: Viennese Frauenzimmer Journals and the Sociocultural Context of Mozartean Opera Buffa |
| 001C78 (2004) |
Marcia J. Citron | Operatic Style and Structure in Coppola’s Godfather Trilogy |
| 002048 (2002) |
Laura E. Demarco | The Fact of the Castrato and the Myth of the Countertenor |
| 002051 (2002) |
Morten Kristiansen | Richard Strauss, Die Moderne, and the Concept of Stilkunst |
| 002234 (2001) |
Christopher Morris | “Sympathy with Death”: Narcissism and Nostalgia in the Post-Wagnerian Orchestra |
| 002235 (2001) |
Martin Brody | “Haunted by Envisioned Romance”: John Harbison's Gatsby |
| 002236 (2001) |
David J. Levin | “Father Knows Best”: Paternity and Mise-en-Scene in Hans Pfitzner's Palestrina |
| 002240 (2001) |
Emanuele Senici | Verdi's Falstaff at Italy's Fin de Siècle |
| 002245 (2001) |
Gottfried Scholz | The Image of Giovanni Pierluigi da Palestrina in Pfitzner's Palestrina |
| 002248 (2001) |
Karen Painter | Symphonic Ambitions, Operatic Redemption: Mathis der Maler and Palestrina in the Third Reich |
| 002252 (2001) |
Leon Botstein | Pfitzner and Musical Politics |
| 002256 (2001) |
Michael P. Steinberg | Opera and Cultural Analysis: The Case of Hans Pfitzner's Palestrina |
| 002259 (2001) |
Siegfried Mattl | Metapolitics and the Avant-Garde |
| 002285 (2001) |
Suzanne Aspden | Ariadne's Clew: Politics, Allegory, and Opera in London (1734) |
| 002417 (2000) |
Rachel Nussbaum | Wagner's Rienzi and the Creation of a People |
| 002424 (2000) |
Richard G. King | The First Abduction Opera: Lewis Theobald's and John Ernest Galliard's The Happy Captive (1741) |
| 002439 (2000) |
Caroline Potter | Nadia and Lili Boulanger: Sister Composers |
| 002460 (2000) |
Tammy L. Kernodle | Arias, Communists, and Conspiracies: The History of Still's Troubled Island |
| 002461 (2000) |
Jeanne Swack | Anti-Semitism at the Opera: The Portrayal of Jews in the Singspiels of Reinhard Keiser |
| 002788 (1998) |
Thomas Mcgeary | Farinelli in Madrid: Opera, Politics, and the War of Jenkins' Ear |
| 002920 (1997) |
Ellen T. Harris | Twentieth-Century Farinelli |
| 002928 (1997) |
Mark A. Radice | Sites for Music in purcells Dorset Garden Theatre |
| 002929 (1997) |
James Parakilas | Religion and Difference in Verdis Otello |
| 002937 (1997) |
Beth L. Glixon | New Light on the Life and Career of Barbara Strozzi |
| 002945 (1997) |
Todd S. Gilman | Handels Hercules and Its Semiosis |
| 002949 (1997) |
Diane Paige | Does It Still Pay to Study Music? |
| 002958 (1997) |
Michael V. Pisani | A Kapustnik in the American Opera House: Modernism and Prokofievs Love for Three Oranges |
| 002A67 (1996) |
Suzanne R. Stewart | The Theft of the Operatic Voice: Masochistic Seduction in Wagner's Parsifal |
| 002A78 (1996) |
Daniel E. Freeman | La guerriera amante: Representations of Amazons and Warrior Queens in Venetian Baroque Opera |
| 002C34 (1995) |
Elizabeth Wood | Performing Rights: A Sonography of Women's Suffrage |
| 002C37 (1995) |
Theodor W. Adorno | On Some Relationships between Music and Painting |
| 002C41 (1995) |
Matthew Daines | Nixon's Women: Gender Politics and Cultural Representation in Act 2 of Nixon in China |
| 002C44 (1995) |
Daniel Heartz | Mozart and Da Ponte |
| 002D81 (1994) |
Leon Botstein | The Opera Revival |
| 002D82 (1994) |
Neal Zaslaw | The New Grove Dictionary of Opera |
| 002D83 (1994) |
William Weber | The Myth of Mozart, the Revolutionary |
| 002D84 (1994) |
Owen Jander | The Most Meaningful Single Note in Beethoven's “Scene by the Brook” (A Meditation Inspired by a Misprint) |
| 002D86 (1994) |
Daniel Herwitz | The Cook, His Wife, the Philosopher, and the Librettist |
| 002D92 (1994) |
Laura D. Kuhn | Synergetic Dynamics in John Cage's Europeras 1 & 2 |
| 002D98 (1994) |
Scott Burnham | Mozart's felix culpa: Così fan tutte and the Irony of Beauty |
| 002E21 (1994) |
Marcia J. Citron | A Night at the Cinema: Zeffirelli's Otello and the Genre of Film-Opera |
| 002F33 (1993) |
Paul John Frandsen | Philip Glass's Akhnaten |
| 002F41 (1993) |
Ping-Hui Liao | Hope, Recollection, Repetition: Turandot Revisited |
| 003075 (1992) |
Joshua Berrett | Louis Armstrong and Opera |
| 003079 (1992) |
Walter Aaron Clark | Isaac Albéniz's Faustian Pact: A Study in Patronage |
| 003201 (1991) |
Eric Salzman | Whither American Music Theater? |
| 003328 (1990) |
James R. Briscoe | “To Invent New Forms”: Debussy's Diane au bois |
| 003330 (1990) |
Rodney Farnsworth | “Hither, This Way”: A Rhetorical-Musical Analysis of a Scene from Purcell's King Arthur |
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