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-cd9895bd7-gxg78 Total loading time: 0 Render date: 2024-12-26T07:49:19.086Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  03 May 2010

J. P. E. Harper-Scott
J. P. E. Harper-Scott
Affiliation:
Royal Holloway, University of London
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
Edward Elgar, Modernist , pp. 239 - 246
Publisher: Cambridge University Press
Print publication year: 2006

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

Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton, NJ: Princeton University Press, 1991).CrossRefGoogle Scholar
Adams, Byron‘Elgar's later oratorios: Roman Catholicism, decadence and the Wagnerian dialectic of shame and grace’, in The Cambridge Companion to Elgar, ed. Grimley, Daniel M. and Rushton, Julian (Cambridge: Cambridge University Press, 2004), pp. 81–105.Google Scholar
Adams, Byron ‘The “dark saying” of the Enigma: homoeroticism and the Elgarian paradox’, Nineteenth-Century Music 23 (2000), pp. 218–35.CrossRefGoogle Scholar
Adorno, Theodor W., Mahler: a Musical Physiognomy, trans. Edmund Jephcott (Chicago and London: University of Chicago Press, 1992; orig. edn 1960).CrossRefGoogle Scholar
Adorno, Theodor W.Philosophy of Modern Music, trans. Anne G. Mitchell and Wesley V. Bloomster (London: Sheed and Ward, 1973).Google Scholar
Agawu, Kofi‘Extended tonality in Mahler and Strauss’, in Richard Strauss: New Perspectives on the Composer and His Work, ed. Gilliam, Bryan (Durham, NC: Duke University Press, 1992), pp. 55–75.Google Scholar
Agawu, Kofi‘Prolonged counterpoint in Mahler’, in Mahler Studies, ed. Hefling, Stephen E. (Cambridge: Cambridge University Press, 1997), pp. 217–47.Google Scholar
Allis, Michael, ‘Elgar and the art of retrospective narrative’, The Journal of Musicological Research 19 (2000), pp. 289–328.CrossRefGoogle Scholar
Altick, Richard D., ‘Hamlet and the odor of mortality’, Shakespeare Quarterly 5 (1954), pp. 167–76.CrossRefGoogle Scholar
Anderson, Andrew, ‘A phenomenology of music analysis’, Ph.D. thesis, University of North Texas (1996).
Anderson, Robert, Elgar (London: Dent, 1993).Google Scholar
Anderson, RobertElgar in Manuscript (Portland, OR: Amadeus Press, 1990).Google Scholar
Auden, W. H., ‘Dingley Dell & the Fleet’ in The Dyer's Hand and Other Essays (London: Faber and Faber, 1963), pp. 407–28.
Auden, W. H., ‘The quest hero’ in Tolkien and the Critics: Essays on J. R. R. Tolkien's ‘The Lord of the Rings’, ed. Isaacs, Neil D. and Zimbardo, Rose A. (Notre Dame, IN: University of Notre Dame Press, 1968), pp. 40–61.Google Scholar
Bailey, Robert, ‘An analytical study of the sketches and drafts’ in Richard Wagner, Prelude and Transfiguration from ‘Tristan und Isolde’ (New York and London: Norton, 1985), pp. 113–46.
Bailey, Robert, ‘Musical language and structure in the Third Symphony’ in Brahms Studies: Analytical and Historical Perspectives, ed. Bozarth, George S. (Oxford: Clarendon Press, 1990), pp. 405–22.Google Scholar
Bailey, Robert ‘The structure of the Ring and its evolution’, Nineteenth-Century Music 1 (1977), pp. 48–61.CrossRef
Beckett, Lucy, ‘A proposed interpretation’ in Richard Wagner: Parsifal, ed. Beckett, Lucy (Cambridge: Cambridge University Press, 1981), pp. 129–49.Google Scholar
Bloom, Harold, Shakespeare: the Invention of the Human (London: Fourth Estate, 1999).Google Scholar
Philip, Brett, ‘Britten, Benjamin’ in The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Sadie, Stanley and Tyrrell, John (London: Macmillan, 2001).Google Scholar
Brett, Philip, Wood, Elizabeth, and Thomas, Gary (eds.), Queering the Pitch: the New Gay and Lesbian Musicology (New York: Routledge, 1994).Google Scholar
Buckley, Robert J., Sir Edward Elgar (London: The Bodley Head, 1905).Google Scholar
Burnham, Scott, Beethoven Hero (Princeton, NJ: Princeton University Press, 1995).Google Scholar
Caldwell, John, The Oxford History of English Music – Volume II: From c.1715 to the Present Day (Oxford: Clarendon Press, 1999).Google Scholar
Carpenter, Humphrey, Benjamin Britten: a Biography (London: Faber and Faber, 1992).Google Scholar
Child, Francis James (ed.), English and Scottish Ballads (London: Sampson Low, 1861).Google Scholar
Clifton, Thomas, Music as Heard: a Study in Applied Phenomenology (New Haven, CT: Yale University Press, 1983).Google Scholar
Cohn, Richard, ‘Maximally smooth cycles, hexatonic systems, and the analysis of late-romantic triadic progressions’, Music Analysis 15 (1996), pp. 9–40.CrossRef
Dahlhaus, Carl, Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century, trans. Mary Whittall and Arnold Whittall (Berkeley, CA and London: University of California Press, 1980; orig. edn 1974).Google Scholar
Dahlhaus, CarlFoundations of Music History, trans. J. Bradford Robinson (Cambridge: Cambridge University Press, 1983; orig. edn 1967).CrossRefGoogle Scholar
Dahlhaus, CarlNineteenth-Century Music, trans. J. Bradford Robinson (Berkeley, CA and London: University of California Press, 1989; orig. edn 1980).Google Scholar
Dahlhaus, CarlRichard Wagner's Music Dramas, trans. Mary Whittall (Cambridge: Cambridge University Press, 1979; orig. edn 1971).Google Scholar
Dahlhaus, Carl, and Deathridge, John, The New Grove Wagner (London: Macmillan, 1984).Google Scholar
Darcy, Warren, ‘Bruckner's sonata deformations’ in Bruckner Studies, ed. Jackson, Timothy L. and Hawkshaw, Paul (Cambridge: Cambridge University Press, 1997), pp. 256–77.Google Scholar
Darcy, WarrenWagner's ‘Das Rheingold’ (Oxford: Clarendon Press, 1993).Google Scholar
Dipert, Randall R., ‘The composer's intentions: an examination of their relevance for performance’, The Musical Quarterly 66 (1980), pp. 205–18.CrossRefGoogle Scholar
Dowden, Edward, Shakspere: A Critical Study of His Mind and Art (London: Henry S. King, 1875; 20th edn London: Kegan Paul, Trench, Trubner & Co., n.d.).
Dreyfus, Hubert L., Being-in-the-World: a Commentary on Heidegger's Being and Time, Division I (Cambridge, MA: MIT Press, 1991).Google Scholar
Dreyfus, Hubert L.‘Heidegger on the connection between nihilism, art, technology, and politics’, in The Cambridge Companion to Heidegger, ed. Guignon, Charles (Cambridge: Cambridge University Press, 1993), pp. 215–39.CrossRefGoogle Scholar
Dunsby, Jonathan, ‘The multi-piece in Brahms: Fantasien, op. 116’, in Brahms: Biographical, Documentary, and Analytical Studies, ed. Pascall, Robert (Cambridge: Cambridge University Press, 1983), pp. 167–89.Google Scholar
Elgar, Edward, Edward Elgar: Letters of a Lifetime, ed. Jerrold Northrop Moore (Oxford: Clarendon Press, 1990).Google Scholar
Elgar, EdwardElgar and his Publishers: Letters of a Creative Life, 2 vols., ed. Jerrold Northrop Moore (Oxford: Clarendon Press, 1987).Google Scholar
Elgar, Edward ‘Falstaff’, Musical Times 54 (1913), pp. 575–9.CrossRefGoogle Scholar
Elgar, Edward‘A Future For English Music’ and Other Lectures, ed. Percy M. Young (London: D. Dobson, 1968).
Letters to Nimrod: Edward Elgar to August Jaeger, 1897–1908, ed. Percy M. Young (London: D. Dobson, 1965).
Eliot, T. S., The Sacred Wood: Essays on Poetry and Criticism, 2nd edn (London: Faber and Faber, 1997; reset from 1928 edn).Google Scholar
Evans, Peter, The Music of Benjamin Britten (London: Dent, 1979).Google Scholar
Ferguson, Niall, Empire: How Britain Made the Modern World (London: Penguin, 2003).Google Scholar
Ferrara, Lawrence, ‘Phenomenology as a tool for musical analysis’, The Musical Quarterly 70 (1984), pp. 355–73.CrossRefGoogle Scholar
Forster, Michael, ‘Hegel's dialectical method’, in The Cambridge Companion to Hegel, ed. Beiser, Frederick C. (Cambridge: Cambridge University Press, 1993), pp. 130–70.CrossRefGoogle Scholar
Freud, Sigmund, The Interpretation of Dreams, trans. James Strachey (London: Pelican, 1976).Google Scholar
Gadamer, Hans-Georg, ‘The relevance of the beautiful: art as play, symbol and festival’, trans. Nicholas Walker, in The Relevance of the Beautiful and Other Essays, ed. Bernasconi, Robert (Cambridge: Cambridge University Press, 1986), pp. 3–53.Google Scholar
Gadamer, Hans-GeorgPhilosophical Hermeneutics, trans. David E. Linge (London: University of California Press, 1976).Google Scholar
Gadamer, Hans-GeorgTruth and Method, 2nd edn, rev. trans. J. Weinsheimer and D. G. Marshall (London: Sheed & Ward, 1989).Google Scholar
Golding, William, The Hot Gates, and Other Occasional Pieces (London: Faber and Faber, 1965).Google Scholar
Gorner, Paul, Twentieth Century German Philosophy (Oxford: Oxford University Press, 2000).Google Scholar
Gould, Corissa, ‘Edward Elgar, The Crown of India, and the image of empire’, Elgar Society Journal 13 (2003), pp. 25–35.Google Scholar
Greene, David B., Mahler, Consciousness and Temporality (New York: Gordon and Breach, 1984).Google Scholar
Greene, David B.Temporal Processes in Beethoven's Music (New York: Gordon and Breach, 1982).Google Scholar
Grimley, Daniel M., ‘“Falstaff (tragedy)”: narrative and retrospection in Elgar's Symphonic Study’, unpublished paper delivered at the Elgar Conference, University of Surrey, 2002.
Grimley, Daniel M. ‘Modernism and closure: Nielsen's Fifth Symphony’, The Musical Quarterly 86 (2002), pp. 149–73.CrossRefGoogle Scholar
Grondin, Jean, ‘Gadamer's basic understanding of understanding’, in The Cambridge Companion to Gadamer, ed. Dostal, Robert J. (Cambridge: Cambridge University Press, 2002), pp. 36–51.CrossRefGoogle Scholar
Habermas, Jürgen, The Philosophical Discourse of Modernity: Twelve Lectures, trans. Frederick Lawrence (Cambridge, MA: MIT Press, 1987).Google Scholar
Hall, Harrison, ‘Intentionality and world: Division I of Being and Time’, in The Cambridge Companion to Heidegger, ed. Guignon, Charles (Cambridge: Cambridge University Press, 1993), pp. 122–40.CrossRefGoogle Scholar
Harper-Scott, J. P. E., ‘Elgar's deconstruction of the belle époque: interlace structures and the Second Symphony’, in Elgar Studies, ed. Harper-Scott, J. P. E. and Rushton, Julian (Cambridge: Cambridge University Press, forthcoming).
Harper-Scott, J. P. E.‘Elgar's unwumbling: the theatre music’, in The Cambridge Companion to Elgar, ed. Rushton, Julian and Grimley, Daniel M. (Cambridge: Cambridge University Press, 2004), pp. 171–83.Google Scholar
Harper-Scott, J. P. E. ‘Henry and the Gräfin/Grinder: Elgar and The Starlight Express’, Elgar Society Journal 13/4 (2004), pp. 15–23.Google Scholar
Harrison, Daniel, ‘Nonconformist notions of nineteenth-century enharmonicism’, Music Analysis 21 (2002), pp. 115–60.CrossRefGoogle Scholar
Hasty, Christopher, Meter as Rhythm (New York: Oxford University Press, 1997).Google Scholar
Heaney, Seamus, The Haw Lantern (London: Faber and Faber, 1987).Google Scholar
Heidegger, Martin, Being and Time, 7th edn trans. John Macquarrie and Edward Robinson (Oxford: Blackwell, 1962; orig. edn 1927).Google Scholar
Heidegger, MartinAn Introduction to Metaphysics, trans. Ralph Manheim (New Haven and London: Yale University Press, 1959; orig. edn 1935).Google Scholar
Heidegger, MartinNietzsche, vol. I: The Will to Power as Art, trans. David Farrell Krell (London: Routledge and Kegan Paul, 1981; orig. edn 1961).Google Scholar
Heidegger, MartinOntology: the Hermeneutics of Facticity, trans. J. van Buren (Bloomington: University of Indiana Press, 1995; orig. edn 1988).Google Scholar
Heidegger, Martin‘The origin of the work of art’, trans. Albert Hofstadter, in Martin Heidegger: Basic Writings, ed. David Farrell Krell (London: Routledge, 1993; orig. edn 1949), pp. 139–212. Also printed as ‘The origin of the work of art’, trans. Albert Hofstadter, in Poetry, Language, Thought (New York: Harper and Row, 1971; orig. edn 1950, 2nd edn 1960), pp. 15–86.
Heidegger, Martin‘The question concerning technology’, trans. with some editorial changes by William Lovitt, in Martin Heidegger: Basic Writings, ed. Krell, David Farrell (London: Routledge, 1993; orig. edn 1949), pp. 307–41.Google Scholar
Heidegger, Martin‘What are poets for?’, trans. Albert Hofstadter, in Poetry, Language, Thought (New York: Harper and Row, 1977; orig. edn 1946), pp. 89–142.
Hepokoski, James A., ‘Back and forth from Egmont: Beethoven, Mozart, and the nonresolving recapitulation’, Nineteenth-Century Music 25 (2001–2), pp. 127–54.CrossRefGoogle Scholar
Hepokoski, James A.‘Beethoven reception: the symphonic tradition’, in The Cambridge History of Nineteenth-Century Music, ed. Samson, Jim (Cambridge: Cambridge University Press, 2001), pp. 424–59.CrossRefGoogle Scholar
Hepokoski, James ‘Beyond the sonata principle’, Journal of the American Musicological Society 55 (2002), pp. 91–154.CrossRefGoogle Scholar
Hepokoski, James‘Elgar’, in The Nineteenth-Century Symphony, ed. Holoman, D. Kern (New York and London: Schirmer, 1997), pp. 327–44.Google Scholar
Hepokoski, James‘Fiery-pulsed libertine or domestic hero? Strauss's Don Juan reinvestigated’, in Richard Strauss: New Perspectives on the Composer and His Work, ed. Gilliam, Bryan (Durham, NC: Duke University Press, 1992), pp. 135–75.Google Scholar
Hepokoski, James‘Sibelius’, in The Nineteenth-Century Symphony, ed. Holoman, D. Kern (New York and London: Schirmer, 1997), pp. 417–49.Google Scholar
Hepokoski, JamesSibelius: Symphony No. 5 (Cambridge: Cambridge University Press, 1993).CrossRefGoogle Scholar
Hepokoski, James‘Structure and program in Macbeth: a proposed reading of Strauss's first symphonic poem’, in Richard Strauss and His World, ed. Gilliam, Bryan (Princeton, NJ: Princeton University Press, 1992), pp. 67–89.Google Scholar
Hepokoski, James A., and Darcy, Warren, Elements of Sonata Theory – Norms, Types, and Deformations (New York and Oxford: Oxford University Press, forthcoming).
Holloway, Robin, ‘The early choral works’, in The Cambridge Companion to Elgar, ed. Grimley, Daniel M. and Rushton, Julian (Cambridge: Cambridge University Press, 2004), pp. 63–80.Google Scholar
Ingarden, Roman, The Work of Music and the Problem of its Identity, trans. Adam Czerniawski (Basingstoke: Macmillan, 1986; orig. edn 1958).CrossRefGoogle Scholar
Inwood, Michael, A Heidegger Dictionary (Oxford: Blackwell, 1999).CrossRefGoogle Scholar
Johnson, Julian, Who Needs Classical Music? Cultural Choice and Musical Value (New York and Oxford: Oxford University Press, 2002).CrossRefGoogle Scholar
Jung, Carl, Gustav, ‘On the nature of dreams’, in Dreams, trans. R. F. C. Hull (London: Routledge, 1985), pp. 67–83.Google Scholar
Keller, Hans, ‘Elgar the progressive’, The Music Review 43 (1957), pp. 294–7.Google Scholar
Kennedy, Michael, Elgar Orchestral Music (London: BBC, 1970).Google Scholar
Kennedy, MichaelThe Life of Elgar (Cambridge: Cambridge University Press, 2004).Google Scholar
Kennedy, MichaelPortrait of Elgar, 3rd edn (Oxford: Clarendon Press, 1987).Google Scholar
Kent, Christopher, ‘Falstaff: Elgar's symphonic study’, in Edward Elgar: Music and Literature, ed. Monk, Raymond (Aldershot: Scolar, 1993), pp. 83–107.Google Scholar
Kinderman, William, Beethoven (Oxford: Oxford University Press, 1995).Google Scholar
Kinderman, William‘Dramatic recapitulation and tonal pairing in Wagner's Tristan und Isolde and Parsifal’, in The Second Practice of Nineteenth-Century Tonality (Lincoln, NE: University of Nebraska Press, 1996), pp. 178–214.
Kinderman, William and Krebs, Harald (eds.), The Second Practice of Nineteenth-Century Tonality (Lincoln, NE: University of Nebraska Press, 1996).Google Scholar
Kramer, Jonathan D., The Time of Music: New Meanings, New Temporalities, New Listening Strategies (New York: Schirmer, 1988).Google Scholar
Kramer, Lawrence, Music as Cultural Practice, 1800–1900 (Berkeley, CA and London: University of California Press, 1990).Google Scholar
Lerdahl, Fred, and Jackendoff, Ray, A Generative Theory of Tonal Music (Cambridge, MA: MIT Press, 1983).Google Scholar
Lewis, Christopher, ‘The mind's chronology: narrative times and harmonic disruption in post-Romantic music’, in The Second Practice of Nineteenth-Century Tonality, ed. Kinderman, William and Krebs, Harald (Lincoln, NE: University of Nebraska Press, 1996), pp. 114–49.Google Scholar
Lewis, ChristopherTonal Coherence in Mahler's Ninth Symphony (Ann Arbor, MI: UMI Research Press, 1984).Google Scholar
Macquarrie, John, Principles of Christian Theology, 2nd edn (London: SCM, 1977).Google Scholar
McCreless, Patrick, Wagner's ‘Siegfried’: its Drama, History, and Music (Ann Arbor, MI: UMI Research Press, 1982).Google Scholar
McGuire, , Edward, Charles, Elgar's Oratorios: the Creation of an Epic Narrative (Aldershot: Ashgate, 2002).Google Scholar
McGuire, Charles Edward‘Functional music: imperialism, the Great War, and Elgar as popular composer’, in The Cambridge Companion to Elgar, ed. Rushton, Julian and Grimley, Daniel M. (Cambridge: Cambridge University Press, 2004), pp. 214–24.Google Scholar
McVeagh, Diana M., Edward Elgar: His Life and Music (London: Dent, 1955).Google Scholar
Maine, Basil, Edward Elgar: His Life and Works, 2 vols. (London: G. Bell & Sons, 1933).Google Scholar
Marston, Nicholas, Beethoven's Piano Sonata in E, Op. 109 (Oxford: Clarendon Press, 1995).Google Scholar
Marston, Nicholas ‘Schubert's homecoming’, Journal of the Royal Musical Association, 125 (2000), pp. 248–70.CrossRefGoogle Scholar
Marston, Nicholas ‘Trifles or a multitrifle? Beethoven's Bagatelles, Op. 119, Nos. 7–11’, Music Analysis 5 (1986), pp. 192–206.CrossRefGoogle Scholar
Matthews, David, ‘The Sixth Symphony’, in The Mahler Companion, ed. Mitchell, Donald and Nicholson, Andrew (Oxford: Oxford University Press, 1999), pp. 366–75.Google Scholar
Meikle, Robert, ‘The symphonies and concertos’, in William Walton: Music and Literature, ed. Craggs, Stewart R. (Aldershot: Scolar, 1999), pp. 67–108.Google Scholar
‘“The true foundation”: the symphonies’, in Edward Elgar: Music and Literature, ed. Raymond Monk (Aldershot: Scolar, 1993), pp. 45–71.
Mitchell, Donald, ‘Some thoughts on Elgar’, in An Elgar Companion, ed. Christopher Redwood (Ashbourne: Sequoia, 1982), pp. 279–90 (reprinted from Music & Letters 38 (1957), pp. 113–23, and reprinted in Mitchell, Cradles of the New: Writings on Music, 1951–1991, selected Christopher Palmer, ed. Mervyn Cooke (London: Faber and Faber, 1995), pp. 255–68).
Mitchell, Donald ‘Some observations on William Walton, I’, The Chesterian 26 (1952), pp. 35–8.Google Scholar
Moody, A. David, Thomas Stearns Eliot, Poet, 2nd edn (Cambridge: Cambridge University Press, 1994).Google Scholar
Moore, , Northrop, Jerrold, Edward Elgar: a Creative Life (Oxford: Oxford University Press, 1984).Google Scholar
Morgann, Maurice, An Essay on the Dramatic Character of Sir John Falstaff (London: T. Davies, 1777).Google Scholar
Newcomb, Anthony, ‘The birth of music out of the spirit of drama: an essay in Wagnerian formal analysis’, Nineteenth-Century Music 5 (1981), pp. 38–66.CrossRefGoogle Scholar
The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2001).
Nordin, , Gilsenan, Irene, ‘Nihilism in Seamus Heaney’, Philosophy and Literature 26 (2002), pp. 405–14.CrossRefGoogle Scholar
Nuttall, A. D., A New Mimesis: Shakespeare and the Representation of Reality (London: Methuen & Co., 1983).Google Scholar
Nuttall, A. D.‘The argument about Shakespeare's characters’, in Shakespeare's Wide and Universal Stage, ed. Cox, C. B. and Palmer, D. J. (Manchester: Manchester University Press, 1984), pp. 18–31.Google Scholar
Nuttall, A. D.Why Does Tragedy Give Pleasure? (Oxford: Clarendon Press, 1996).Google Scholar
Paddison, Max, Adorno's Aesthetics of Music (Cambridge: Cambridge University Press, 1993).CrossRefGoogle Scholar
Philipse, Herman, Heidegger's Philosophy of Being (Princeton, NJ: Princeton University Press, 1998).Google Scholar
Pike, Alfred, A Phenomenological Analysis of Musical Experience and Other Related Essays (New York: St John's University Press, 1970).Google Scholar
Porter, Bernard, ‘Edward Elgar and empire’, The Journal of Imperial and Commonwealth History 29 (2001), pp. 1–34, reprinted as ‘Elgar and empire: music, nationalism and the war’, in ‘Oh, My Horses!’: Elgar and the Great War (Rickmansworth: Elgar Editions, 2001), pp. 133–73.
Porter, BernardThe Absent-Minded Imperialists: Empire, Society, and Culture in Britain (New York: Oxford University Press, 2004).Google Scholar
Prince, Gerald, A Dictionary of Narratology, rev. edn (Lincoln, NE: University of Nebraska Press, and Chesham: Combined Academic, 2003).Google Scholar
Prior, A. N., Formal Logic (Oxford: Clarendon Press, 1962).Google Scholar
Richards, Jeffrey, Imperialism and Music: Britain 1876–1953 (Manchester and New York: Manchester University Press, 2001).Google Scholar
Rosen, Charles, Sonata Forms, rev. edn (New York: Norton, 1988).Google Scholar
Rupprecht, Philip, Britten's Musical Language (Cambridge: Cambridge University Press, 2002).CrossRefGoogle Scholar
Rushton, Julian, Elgar: ‘Enigma’ Variations (Cambridge: Cambridge University Press, 1999).CrossRefGoogle Scholar
Rushton, JulianThe Musical Language of Berlioz (Cambridge: Cambridge University Press, 1982).Google Scholar
Said, Edward W., Orientalism (London: Routledge and Kegan Paul, 1978).Google Scholar
Schopenhauer, Arthur, The World as Will and Representation, 2 vols., trans. E. F. J. Payne (New York: Dover, 1966).Google Scholar
Scruton, Roger, Death-Devoted Heart: Sex and the Sacred in Wagner's ‘Tristan und Isolde’ (New York: Oxford University Press, 2004).CrossRefGoogle Scholar
Sheldon, A. J., Edward Elgar (London: Office of ‘Musical opinion’, 1932).Google Scholar
Shippey, TomJ. R. R. Tolkien: Author of the Century (London: Harper Collins, 2000).Google Scholar
Solomon, Robert C., Continental Philosophy Since 1750: The Rise and Fall of the Self (Oxford: Oxford University Press, 1988).Google Scholar
Smith, F. Joseph, The Experiencing of Musical Sound: Prelude to a Phenomenology of Music (New York: Gordon and Breach, 1979).Google Scholar
Taruskin, Richard, ‘On letting the music speak for itself: some reflections on musicology and performance’, The Journal of Musicology 1 (1982), pp. 338–49.CrossRefGoogle Scholar
Taruskin, RichardThe Oxford History of Western Music (Oxford: Oxford University Press, 2005).Google Scholar
Thomson, Aidan J., ‘Elgar and chivalry’, Nineteenth-Century Music 28 (2005), pp. 254–75.CrossRefGoogle Scholar
Thomson, Aidan J.‘Re-reading Elgar: hermeneutics, criticism and reception in England and Germany, 1900–1914’, D.Phil. thesis, University of Oxford, 2002.
Tolkien, J. R. R., ‘On fairy-stories’, in The Monsters and the Critics and Other Essays, ed. Tolkien, Christopher (London: Harper Collins, 1983), pp. 109–61.Google Scholar
Tomlinson, Gary, Music in Renaissance Magic: Toward a Historiography of Others (Chicago: University of Chicago Press, 1993).Google Scholar
Tovey, , Francis, Donald, Beethoven (London: Oxford University Press, 1945).Google Scholar
Tovey, , Francis, DonaldEssays in Musical Analysis, 6 vols. (London: Oxford University Press, 1935–9).Google Scholar
Tovey, Donald Francis‘“Falstaff”, symphonic study, Op. 68’, in Essays in Musical Analysis vol. IV, Illustrative Music (London: Oxford University Press, 1936), pp. 3–16.
Trowell, Brian, ‘Elgar's use of literature’, in Edward Elgar: Music and Literature, ed. Raymond Monk (Aldershot: Scolar, 1993), pp. 182–326.
Vendler, Helen, Seamus Heaney (London: Harper Collins, 1998).Google Scholar
Whittall, Arnold, Musical Composition in the Twentieth Century (Oxford: Oxford University Press, 1999).Google Scholar
Whittall, Arnold‘The later symphonies’, in The Cambridge Companion to Sibelius, ed. Grimley, Daniel M. (Cambridge: Cambridge University Press, 2004), pp. 49–65.CrossRefGoogle Scholar
Young, Julian, The Death of God and the Meaning of Life (London: Routledge, 2003).Google Scholar
Young, JulianHeidegger, Philosophy, Nazism (Cambridge: Cambridge University Press, 1997).CrossRefGoogle Scholar
Young, JulianHeidegger's Later Philosophy (Cambridge: Cambridge University Press, 2002).Google Scholar
Young, JulianHeidegger's Philosophy of Art (Cambridge: Cambridge University Press, 2001).Google Scholar
Young, JulianNietzsche's Philosophy of Art (Cambridge: Cambridge University Press, 1992).CrossRefGoogle Scholar
Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton, NJ: Princeton University Press, 1991).CrossRefGoogle Scholar
Adams, Byron‘Elgar's later oratorios: Roman Catholicism, decadence and the Wagnerian dialectic of shame and grace’, in The Cambridge Companion to Elgar, ed. Grimley, Daniel M. and Rushton, Julian (Cambridge: Cambridge University Press, 2004), pp. 81–105.Google Scholar
Adams, Byron ‘The “dark saying” of the Enigma: homoeroticism and the Elgarian paradox’, Nineteenth-Century Music 23 (2000), pp. 218–35.CrossRefGoogle Scholar
Adorno, Theodor W., Mahler: a Musical Physiognomy, trans. Edmund Jephcott (Chicago and London: University of Chicago Press, 1992; orig. edn 1960).CrossRefGoogle Scholar
Adorno, Theodor W.Philosophy of Modern Music, trans. Anne G. Mitchell and Wesley V. Bloomster (London: Sheed and Ward, 1973).Google Scholar
Agawu, Kofi‘Extended tonality in Mahler and Strauss’, in Richard Strauss: New Perspectives on the Composer and His Work, ed. Gilliam, Bryan (Durham, NC: Duke University Press, 1992), pp. 55–75.Google Scholar
Agawu, Kofi‘Prolonged counterpoint in Mahler’, in Mahler Studies, ed. Hefling, Stephen E. (Cambridge: Cambridge University Press, 1997), pp. 217–47.Google Scholar
Allis, Michael, ‘Elgar and the art of retrospective narrative’, The Journal of Musicological Research 19 (2000), pp. 289–328.CrossRefGoogle Scholar
Altick, Richard D., ‘Hamlet and the odor of mortality’, Shakespeare Quarterly 5 (1954), pp. 167–76.CrossRefGoogle Scholar
Anderson, Andrew, ‘A phenomenology of music analysis’, Ph.D. thesis, University of North Texas (1996).
Anderson, Robert, Elgar (London: Dent, 1993).Google Scholar
Anderson, RobertElgar in Manuscript (Portland, OR: Amadeus Press, 1990).Google Scholar
Auden, W. H., ‘Dingley Dell & the Fleet’ in The Dyer's Hand and Other Essays (London: Faber and Faber, 1963), pp. 407–28.
Auden, W. H., ‘The quest hero’ in Tolkien and the Critics: Essays on J. R. R. Tolkien's ‘The Lord of the Rings’, ed. Isaacs, Neil D. and Zimbardo, Rose A. (Notre Dame, IN: University of Notre Dame Press, 1968), pp. 40–61.Google Scholar
Bailey, Robert, ‘An analytical study of the sketches and drafts’ in Richard Wagner, Prelude and Transfiguration from ‘Tristan und Isolde’ (New York and London: Norton, 1985), pp. 113–46.
Bailey, Robert, ‘Musical language and structure in the Third Symphony’ in Brahms Studies: Analytical and Historical Perspectives, ed. Bozarth, George S. (Oxford: Clarendon Press, 1990), pp. 405–22.Google Scholar
Bailey, Robert ‘The structure of the Ring and its evolution’, Nineteenth-Century Music 1 (1977), pp. 48–61.CrossRef
Beckett, Lucy, ‘A proposed interpretation’ in Richard Wagner: Parsifal, ed. Beckett, Lucy (Cambridge: Cambridge University Press, 1981), pp. 129–49.Google Scholar
Bloom, Harold, Shakespeare: the Invention of the Human (London: Fourth Estate, 1999).Google Scholar
Philip, Brett, ‘Britten, Benjamin’ in The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Sadie, Stanley and Tyrrell, John (London: Macmillan, 2001).Google Scholar
Brett, Philip, Wood, Elizabeth, and Thomas, Gary (eds.), Queering the Pitch: the New Gay and Lesbian Musicology (New York: Routledge, 1994).Google Scholar
Buckley, Robert J., Sir Edward Elgar (London: The Bodley Head, 1905).Google Scholar
Burnham, Scott, Beethoven Hero (Princeton, NJ: Princeton University Press, 1995).Google Scholar
Caldwell, John, The Oxford History of English Music – Volume II: From c.1715 to the Present Day (Oxford: Clarendon Press, 1999).Google Scholar
Carpenter, Humphrey, Benjamin Britten: a Biography (London: Faber and Faber, 1992).Google Scholar
Child, Francis James (ed.), English and Scottish Ballads (London: Sampson Low, 1861).Google Scholar
Clifton, Thomas, Music as Heard: a Study in Applied Phenomenology (New Haven, CT: Yale University Press, 1983).Google Scholar
Cohn, Richard, ‘Maximally smooth cycles, hexatonic systems, and the analysis of late-romantic triadic progressions’, Music Analysis 15 (1996), pp. 9–40.CrossRef
Dahlhaus, Carl, Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century, trans. Mary Whittall and Arnold Whittall (Berkeley, CA and London: University of California Press, 1980; orig. edn 1974).Google Scholar
Dahlhaus, CarlFoundations of Music History, trans. J. Bradford Robinson (Cambridge: Cambridge University Press, 1983; orig. edn 1967).CrossRefGoogle Scholar
Dahlhaus, CarlNineteenth-Century Music, trans. J. Bradford Robinson (Berkeley, CA and London: University of California Press, 1989; orig. edn 1980).Google Scholar
Dahlhaus, CarlRichard Wagner's Music Dramas, trans. Mary Whittall (Cambridge: Cambridge University Press, 1979; orig. edn 1971).Google Scholar
Dahlhaus, Carl, and Deathridge, John, The New Grove Wagner (London: Macmillan, 1984).Google Scholar
Darcy, Warren, ‘Bruckner's sonata deformations’ in Bruckner Studies, ed. Jackson, Timothy L. and Hawkshaw, Paul (Cambridge: Cambridge University Press, 1997), pp. 256–77.Google Scholar
Darcy, WarrenWagner's ‘Das Rheingold’ (Oxford: Clarendon Press, 1993).Google Scholar
Dipert, Randall R., ‘The composer's intentions: an examination of their relevance for performance’, The Musical Quarterly 66 (1980), pp. 205–18.CrossRefGoogle Scholar
Dowden, Edward, Shakspere: A Critical Study of His Mind and Art (London: Henry S. King, 1875; 20th edn London: Kegan Paul, Trench, Trubner & Co., n.d.).
Dreyfus, Hubert L., Being-in-the-World: a Commentary on Heidegger's Being and Time, Division I (Cambridge, MA: MIT Press, 1991).Google Scholar
Dreyfus, Hubert L.‘Heidegger on the connection between nihilism, art, technology, and politics’, in The Cambridge Companion to Heidegger, ed. Guignon, Charles (Cambridge: Cambridge University Press, 1993), pp. 215–39.CrossRefGoogle Scholar
Dunsby, Jonathan, ‘The multi-piece in Brahms: Fantasien, op. 116’, in Brahms: Biographical, Documentary, and Analytical Studies, ed. Pascall, Robert (Cambridge: Cambridge University Press, 1983), pp. 167–89.Google Scholar
Elgar, Edward, Edward Elgar: Letters of a Lifetime, ed. Jerrold Northrop Moore (Oxford: Clarendon Press, 1990).Google Scholar
Elgar, EdwardElgar and his Publishers: Letters of a Creative Life, 2 vols., ed. Jerrold Northrop Moore (Oxford: Clarendon Press, 1987).Google Scholar
Elgar, Edward ‘Falstaff’, Musical Times 54 (1913), pp. 575–9.CrossRefGoogle Scholar
Elgar, Edward‘A Future For English Music’ and Other Lectures, ed. Percy M. Young (London: D. Dobson, 1968).
Letters to Nimrod: Edward Elgar to August Jaeger, 1897–1908, ed. Percy M. Young (London: D. Dobson, 1965).
Eliot, T. S., The Sacred Wood: Essays on Poetry and Criticism, 2nd edn (London: Faber and Faber, 1997; reset from 1928 edn).Google Scholar
Evans, Peter, The Music of Benjamin Britten (London: Dent, 1979).Google Scholar
Ferguson, Niall, Empire: How Britain Made the Modern World (London: Penguin, 2003).Google Scholar
Ferrara, Lawrence, ‘Phenomenology as a tool for musical analysis’, The Musical Quarterly 70 (1984), pp. 355–73.CrossRefGoogle Scholar
Forster, Michael, ‘Hegel's dialectical method’, in The Cambridge Companion to Hegel, ed. Beiser, Frederick C. (Cambridge: Cambridge University Press, 1993), pp. 130–70.CrossRefGoogle Scholar
Freud, Sigmund, The Interpretation of Dreams, trans. James Strachey (London: Pelican, 1976).Google Scholar
Gadamer, Hans-Georg, ‘The relevance of the beautiful: art as play, symbol and festival’, trans. Nicholas Walker, in The Relevance of the Beautiful and Other Essays, ed. Bernasconi, Robert (Cambridge: Cambridge University Press, 1986), pp. 3–53.Google Scholar
Gadamer, Hans-GeorgPhilosophical Hermeneutics, trans. David E. Linge (London: University of California Press, 1976).Google Scholar
Gadamer, Hans-GeorgTruth and Method, 2nd edn, rev. trans. J. Weinsheimer and D. G. Marshall (London: Sheed & Ward, 1989).Google Scholar
Golding, William, The Hot Gates, and Other Occasional Pieces (London: Faber and Faber, 1965).Google Scholar
Gorner, Paul, Twentieth Century German Philosophy (Oxford: Oxford University Press, 2000).Google Scholar
Gould, Corissa, ‘Edward Elgar, The Crown of India, and the image of empire’, Elgar Society Journal 13 (2003), pp. 25–35.Google Scholar
Greene, David B., Mahler, Consciousness and Temporality (New York: Gordon and Breach, 1984).Google Scholar
Greene, David B.Temporal Processes in Beethoven's Music (New York: Gordon and Breach, 1982).Google Scholar
Grimley, Daniel M., ‘“Falstaff (tragedy)”: narrative and retrospection in Elgar's Symphonic Study’, unpublished paper delivered at the Elgar Conference, University of Surrey, 2002.
Grimley, Daniel M. ‘Modernism and closure: Nielsen's Fifth Symphony’, The Musical Quarterly 86 (2002), pp. 149–73.CrossRefGoogle Scholar
Grondin, Jean, ‘Gadamer's basic understanding of understanding’, in The Cambridge Companion to Gadamer, ed. Dostal, Robert J. (Cambridge: Cambridge University Press, 2002), pp. 36–51.CrossRefGoogle Scholar
Habermas, Jürgen, The Philosophical Discourse of Modernity: Twelve Lectures, trans. Frederick Lawrence (Cambridge, MA: MIT Press, 1987).Google Scholar
Hall, Harrison, ‘Intentionality and world: Division I of Being and Time’, in The Cambridge Companion to Heidegger, ed. Guignon, Charles (Cambridge: Cambridge University Press, 1993), pp. 122–40.CrossRefGoogle Scholar
Harper-Scott, J. P. E., ‘Elgar's deconstruction of the belle époque: interlace structures and the Second Symphony’, in Elgar Studies, ed. Harper-Scott, J. P. E. and Rushton, Julian (Cambridge: Cambridge University Press, forthcoming).
Harper-Scott, J. P. E.‘Elgar's unwumbling: the theatre music’, in The Cambridge Companion to Elgar, ed. Rushton, Julian and Grimley, Daniel M. (Cambridge: Cambridge University Press, 2004), pp. 171–83.Google Scholar
Harper-Scott, J. P. E. ‘Henry and the Gräfin/Grinder: Elgar and The Starlight Express’, Elgar Society Journal 13/4 (2004), pp. 15–23.Google Scholar
Harrison, Daniel, ‘Nonconformist notions of nineteenth-century enharmonicism’, Music Analysis 21 (2002), pp. 115–60.CrossRefGoogle Scholar
Hasty, Christopher, Meter as Rhythm (New York: Oxford University Press, 1997).Google Scholar
Heaney, Seamus, The Haw Lantern (London: Faber and Faber, 1987).Google Scholar
Heidegger, Martin, Being and Time, 7th edn trans. John Macquarrie and Edward Robinson (Oxford: Blackwell, 1962; orig. edn 1927).Google Scholar
Heidegger, MartinAn Introduction to Metaphysics, trans. Ralph Manheim (New Haven and London: Yale University Press, 1959; orig. edn 1935).Google Scholar
Heidegger, MartinNietzsche, vol. I: The Will to Power as Art, trans. David Farrell Krell (London: Routledge and Kegan Paul, 1981; orig. edn 1961).Google Scholar
Heidegger, MartinOntology: the Hermeneutics of Facticity, trans. J. van Buren (Bloomington: University of Indiana Press, 1995; orig. edn 1988).Google Scholar
Heidegger, Martin‘The origin of the work of art’, trans. Albert Hofstadter, in Martin Heidegger: Basic Writings, ed. David Farrell Krell (London: Routledge, 1993; orig. edn 1949), pp. 139–212. Also printed as ‘The origin of the work of art’, trans. Albert Hofstadter, in Poetry, Language, Thought (New York: Harper and Row, 1971; orig. edn 1950, 2nd edn 1960), pp. 15–86.
Heidegger, Martin‘The question concerning technology’, trans. with some editorial changes by William Lovitt, in Martin Heidegger: Basic Writings, ed. Krell, David Farrell (London: Routledge, 1993; orig. edn 1949), pp. 307–41.Google Scholar
Heidegger, Martin‘What are poets for?’, trans. Albert Hofstadter, in Poetry, Language, Thought (New York: Harper and Row, 1977; orig. edn 1946), pp. 89–142.
Hepokoski, James A., ‘Back and forth from Egmont: Beethoven, Mozart, and the nonresolving recapitulation’, Nineteenth-Century Music 25 (2001–2), pp. 127–54.CrossRefGoogle Scholar
Hepokoski, James A.‘Beethoven reception: the symphonic tradition’, in The Cambridge History of Nineteenth-Century Music, ed. Samson, Jim (Cambridge: Cambridge University Press, 2001), pp. 424–59.CrossRefGoogle Scholar
Hepokoski, James ‘Beyond the sonata principle’, Journal of the American Musicological Society 55 (2002), pp. 91–154.CrossRefGoogle Scholar
Hepokoski, James‘Elgar’, in The Nineteenth-Century Symphony, ed. Holoman, D. Kern (New York and London: Schirmer, 1997), pp. 327–44.Google Scholar
Hepokoski, James‘Fiery-pulsed libertine or domestic hero? Strauss's Don Juan reinvestigated’, in Richard Strauss: New Perspectives on the Composer and His Work, ed. Gilliam, Bryan (Durham, NC: Duke University Press, 1992), pp. 135–75.Google Scholar
Hepokoski, James‘Sibelius’, in The Nineteenth-Century Symphony, ed. Holoman, D. Kern (New York and London: Schirmer, 1997), pp. 417–49.Google Scholar
Hepokoski, JamesSibelius: Symphony No. 5 (Cambridge: Cambridge University Press, 1993).CrossRefGoogle Scholar
Hepokoski, James‘Structure and program in Macbeth: a proposed reading of Strauss's first symphonic poem’, in Richard Strauss and His World, ed. Gilliam, Bryan (Princeton, NJ: Princeton University Press, 1992), pp. 67–89.Google Scholar
Hepokoski, James A., and Darcy, Warren, Elements of Sonata Theory – Norms, Types, and Deformations (New York and Oxford: Oxford University Press, forthcoming).
Holloway, Robin, ‘The early choral works’, in The Cambridge Companion to Elgar, ed. Grimley, Daniel M. and Rushton, Julian (Cambridge: Cambridge University Press, 2004), pp. 63–80.Google Scholar
Ingarden, Roman, The Work of Music and the Problem of its Identity, trans. Adam Czerniawski (Basingstoke: Macmillan, 1986; orig. edn 1958).CrossRefGoogle Scholar
Inwood, Michael, A Heidegger Dictionary (Oxford: Blackwell, 1999).CrossRefGoogle Scholar
Johnson, Julian, Who Needs Classical Music? Cultural Choice and Musical Value (New York and Oxford: Oxford University Press, 2002).CrossRefGoogle Scholar
Jung, Carl, Gustav, ‘On the nature of dreams’, in Dreams, trans. R. F. C. Hull (London: Routledge, 1985), pp. 67–83.Google Scholar
Keller, Hans, ‘Elgar the progressive’, The Music Review 43 (1957), pp. 294–7.Google Scholar
Kennedy, Michael, Elgar Orchestral Music (London: BBC, 1970).Google Scholar
Kennedy, MichaelThe Life of Elgar (Cambridge: Cambridge University Press, 2004).Google Scholar
Kennedy, MichaelPortrait of Elgar, 3rd edn (Oxford: Clarendon Press, 1987).Google Scholar
Kent, Christopher, ‘Falstaff: Elgar's symphonic study’, in Edward Elgar: Music and Literature, ed. Monk, Raymond (Aldershot: Scolar, 1993), pp. 83–107.Google Scholar
Kinderman, William, Beethoven (Oxford: Oxford University Press, 1995).Google Scholar
Kinderman, William‘Dramatic recapitulation and tonal pairing in Wagner's Tristan und Isolde and Parsifal’, in The Second Practice of Nineteenth-Century Tonality (Lincoln, NE: University of Nebraska Press, 1996), pp. 178–214.
Kinderman, William and Krebs, Harald (eds.), The Second Practice of Nineteenth-Century Tonality (Lincoln, NE: University of Nebraska Press, 1996).Google Scholar
Kramer, Jonathan D., The Time of Music: New Meanings, New Temporalities, New Listening Strategies (New York: Schirmer, 1988).Google Scholar
Kramer, Lawrence, Music as Cultural Practice, 1800–1900 (Berkeley, CA and London: University of California Press, 1990).Google Scholar
Lerdahl, Fred, and Jackendoff, Ray, A Generative Theory of Tonal Music (Cambridge, MA: MIT Press, 1983).Google Scholar
Lewis, Christopher, ‘The mind's chronology: narrative times and harmonic disruption in post-Romantic music’, in The Second Practice of Nineteenth-Century Tonality, ed. Kinderman, William and Krebs, Harald (Lincoln, NE: University of Nebraska Press, 1996), pp. 114–49.Google Scholar
Lewis, ChristopherTonal Coherence in Mahler's Ninth Symphony (Ann Arbor, MI: UMI Research Press, 1984).Google Scholar
Macquarrie, John, Principles of Christian Theology, 2nd edn (London: SCM, 1977).Google Scholar
McCreless, Patrick, Wagner's ‘Siegfried’: its Drama, History, and Music (Ann Arbor, MI: UMI Research Press, 1982).Google Scholar
McGuire, , Edward, Charles, Elgar's Oratorios: the Creation of an Epic Narrative (Aldershot: Ashgate, 2002).Google Scholar
McGuire, Charles Edward‘Functional music: imperialism, the Great War, and Elgar as popular composer’, in The Cambridge Companion to Elgar, ed. Rushton, Julian and Grimley, Daniel M. (Cambridge: Cambridge University Press, 2004), pp. 214–24.Google Scholar
McVeagh, Diana M., Edward Elgar: His Life and Music (London: Dent, 1955).Google Scholar
Maine, Basil, Edward Elgar: His Life and Works, 2 vols. (London: G. Bell & Sons, 1933).Google Scholar
Marston, Nicholas, Beethoven's Piano Sonata in E, Op. 109 (Oxford: Clarendon Press, 1995).Google Scholar
Marston, Nicholas ‘Schubert's homecoming’, Journal of the Royal Musical Association, 125 (2000), pp. 248–70.CrossRefGoogle Scholar
Marston, Nicholas ‘Trifles or a multitrifle? Beethoven's Bagatelles, Op. 119, Nos. 7–11’, Music Analysis 5 (1986), pp. 192–206.CrossRefGoogle Scholar
Matthews, David, ‘The Sixth Symphony’, in The Mahler Companion, ed. Mitchell, Donald and Nicholson, Andrew (Oxford: Oxford University Press, 1999), pp. 366–75.Google Scholar
Meikle, Robert, ‘The symphonies and concertos’, in William Walton: Music and Literature, ed. Craggs, Stewart R. (Aldershot: Scolar, 1999), pp. 67–108.Google Scholar
‘“The true foundation”: the symphonies’, in Edward Elgar: Music and Literature, ed. Raymond Monk (Aldershot: Scolar, 1993), pp. 45–71.
Mitchell, Donald, ‘Some thoughts on Elgar’, in An Elgar Companion, ed. Christopher Redwood (Ashbourne: Sequoia, 1982), pp. 279–90 (reprinted from Music & Letters 38 (1957), pp. 113–23, and reprinted in Mitchell, Cradles of the New: Writings on Music, 1951–1991, selected Christopher Palmer, ed. Mervyn Cooke (London: Faber and Faber, 1995), pp. 255–68).
Mitchell, Donald ‘Some observations on William Walton, I’, The Chesterian 26 (1952), pp. 35–8.Google Scholar
Moody, A. David, Thomas Stearns Eliot, Poet, 2nd edn (Cambridge: Cambridge University Press, 1994).Google Scholar
Moore, , Northrop, Jerrold, Edward Elgar: a Creative Life (Oxford: Oxford University Press, 1984).Google Scholar
Morgann, Maurice, An Essay on the Dramatic Character of Sir John Falstaff (London: T. Davies, 1777).Google Scholar
Newcomb, Anthony, ‘The birth of music out of the spirit of drama: an essay in Wagnerian formal analysis’, Nineteenth-Century Music 5 (1981), pp. 38–66.CrossRefGoogle Scholar
The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2001).
Nordin, , Gilsenan, Irene, ‘Nihilism in Seamus Heaney’, Philosophy and Literature 26 (2002), pp. 405–14.CrossRefGoogle Scholar
Nuttall, A. D., A New Mimesis: Shakespeare and the Representation of Reality (London: Methuen & Co., 1983).Google Scholar
Nuttall, A. D.‘The argument about Shakespeare's characters’, in Shakespeare's Wide and Universal Stage, ed. Cox, C. B. and Palmer, D. J. (Manchester: Manchester University Press, 1984), pp. 18–31.Google Scholar
Nuttall, A. D.Why Does Tragedy Give Pleasure? (Oxford: Clarendon Press, 1996).Google Scholar
Paddison, Max, Adorno's Aesthetics of Music (Cambridge: Cambridge University Press, 1993).CrossRefGoogle Scholar
Philipse, Herman, Heidegger's Philosophy of Being (Princeton, NJ: Princeton University Press, 1998).Google Scholar
Pike, Alfred, A Phenomenological Analysis of Musical Experience and Other Related Essays (New York: St John's University Press, 1970).Google Scholar
Porter, Bernard, ‘Edward Elgar and empire’, The Journal of Imperial and Commonwealth History 29 (2001), pp. 1–34, reprinted as ‘Elgar and empire: music, nationalism and the war’, in ‘Oh, My Horses!’: Elgar and the Great War (Rickmansworth: Elgar Editions, 2001), pp. 133–73.
Porter, BernardThe Absent-Minded Imperialists: Empire, Society, and Culture in Britain (New York: Oxford University Press, 2004).Google Scholar
Prince, Gerald, A Dictionary of Narratology, rev. edn (Lincoln, NE: University of Nebraska Press, and Chesham: Combined Academic, 2003).Google Scholar
Prior, A. N., Formal Logic (Oxford: Clarendon Press, 1962).Google Scholar
Richards, Jeffrey, Imperialism and Music: Britain 1876–1953 (Manchester and New York: Manchester University Press, 2001).Google Scholar
Rosen, Charles, Sonata Forms, rev. edn (New York: Norton, 1988).Google Scholar
Rupprecht, Philip, Britten's Musical Language (Cambridge: Cambridge University Press, 2002).CrossRefGoogle Scholar
Rushton, Julian, Elgar: ‘Enigma’ Variations (Cambridge: Cambridge University Press, 1999).CrossRefGoogle Scholar
Rushton, JulianThe Musical Language of Berlioz (Cambridge: Cambridge University Press, 1982).Google Scholar
Said, Edward W., Orientalism (London: Routledge and Kegan Paul, 1978).Google Scholar
Schopenhauer, Arthur, The World as Will and Representation, 2 vols., trans. E. F. J. Payne (New York: Dover, 1966).Google Scholar
Scruton, Roger, Death-Devoted Heart: Sex and the Sacred in Wagner's ‘Tristan und Isolde’ (New York: Oxford University Press, 2004).CrossRefGoogle Scholar
Sheldon, A. J., Edward Elgar (London: Office of ‘Musical opinion’, 1932).Google Scholar
Shippey, TomJ. R. R. Tolkien: Author of the Century (London: Harper Collins, 2000).Google Scholar
Solomon, Robert C., Continental Philosophy Since 1750: The Rise and Fall of the Self (Oxford: Oxford University Press, 1988).Google Scholar
Smith, F. Joseph, The Experiencing of Musical Sound: Prelude to a Phenomenology of Music (New York: Gordon and Breach, 1979).Google Scholar
Taruskin, Richard, ‘On letting the music speak for itself: some reflections on musicology and performance’, The Journal of Musicology 1 (1982), pp. 338–49.CrossRefGoogle Scholar
Taruskin, RichardThe Oxford History of Western Music (Oxford: Oxford University Press, 2005).Google Scholar
Thomson, Aidan J., ‘Elgar and chivalry’, Nineteenth-Century Music 28 (2005), pp. 254–75.CrossRefGoogle Scholar
Thomson, Aidan J.‘Re-reading Elgar: hermeneutics, criticism and reception in England and Germany, 1900–1914’, D.Phil. thesis, University of Oxford, 2002.
Tolkien, J. R. R., ‘On fairy-stories’, in The Monsters and the Critics and Other Essays, ed. Tolkien, Christopher (London: Harper Collins, 1983), pp. 109–61.Google Scholar
Tomlinson, Gary, Music in Renaissance Magic: Toward a Historiography of Others (Chicago: University of Chicago Press, 1993).Google Scholar
Tovey, , Francis, Donald, Beethoven (London: Oxford University Press, 1945).Google Scholar
Tovey, , Francis, DonaldEssays in Musical Analysis, 6 vols. (London: Oxford University Press, 1935–9).Google Scholar
Tovey, Donald Francis‘“Falstaff”, symphonic study, Op. 68’, in Essays in Musical Analysis vol. IV, Illustrative Music (London: Oxford University Press, 1936), pp. 3–16.
Trowell, Brian, ‘Elgar's use of literature’, in Edward Elgar: Music and Literature, ed. Raymond Monk (Aldershot: Scolar, 1993), pp. 182–326.
Vendler, Helen, Seamus Heaney (London: Harper Collins, 1998).Google Scholar
Whittall, Arnold, Musical Composition in the Twentieth Century (Oxford: Oxford University Press, 1999).Google Scholar
Whittall, Arnold‘The later symphonies’, in The Cambridge Companion to Sibelius, ed. Grimley, Daniel M. (Cambridge: Cambridge University Press, 2004), pp. 49–65.CrossRefGoogle Scholar
Young, Julian, The Death of God and the Meaning of Life (London: Routledge, 2003).Google Scholar
Young, JulianHeidegger, Philosophy, Nazism (Cambridge: Cambridge University Press, 1997).CrossRefGoogle Scholar
Young, JulianHeidegger's Later Philosophy (Cambridge: Cambridge University Press, 2002).Google Scholar
Young, JulianHeidegger's Philosophy of Art (Cambridge: Cambridge University Press, 2001).Google Scholar
Young, JulianNietzsche's Philosophy of Art (Cambridge: Cambridge University Press, 1992).CrossRefGoogle Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@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
  • J. P. E. Harper-Scott, Royal Holloway, University of London
  • Book: Edward Elgar, Modernist
  • Online publication: 03 May 2010
  • Chapter DOI: https://doi.org/10.1017/CBO9780511719974.010
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
  • J. P. E. Harper-Scott, Royal Holloway, University of London
  • Book: Edward Elgar, Modernist
  • Online publication: 03 May 2010
  • Chapter DOI: https://doi.org/10.1017/CBO9780511719974.010
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
  • J. P. E. Harper-Scott, Royal Holloway, University of London
  • Book: Edward Elgar, Modernist
  • Online publication: 03 May 2010
  • Chapter DOI: https://doi.org/10.1017/CBO9780511719974.010
Available formats
×