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-fscjk Total loading time: 0 Render date: 2024-12-26T18:44:49.316Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  25 November 2021

Erica Buurman
Erica Buurman
Affiliation:
San José State University, California
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
The Viennese Ballroom in the Age of Beethoven , pp. 177 - 188
Publisher: Cambridge University Press
Print publication year: 2021

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

Secondary Sources

Bemerkungen oder Briefe über Wien eines jungen Bayern auf einer Reise durch Deutschland an eine Dame von Stande (Leipzig: Baumgärtner, c. 1804).Google Scholar
Bertuch, Carl, Carl Bertuchs Tagebuch vom Wiener Kongress ed. von Egloffstein, Hermann Freiherr (Berlin: Gebrüder Paetel, 1916).Google Scholar
Brandenburg, Sieghard, ed., Ludwig van Beethoven. Briefwechsel: Gesamtausgabe, 7 vols. (Munich: G. Henle, 1996–8).Google Scholar
Bundschue, Johann von Gott, Reise auf der Donau von Ulm nach Wien, und von da über Salzburg und durch das nördliche Tirol nach Kempten, gemacht im September und Oktober 1814 (Kempten: Dannheimer, 1815).Google Scholar
Burghersh, , Priscilla Anne Fane, Lady, The Letters of Lady Burghersh (afterwards Countess of Westmorland) from Germany and France during the Campaign of 1813–14, ed. Lady Weigall, Rose (London: John Murray, 1893).Google Scholar
Casorti, Louis, Der instructive Tanzmeister für Herren und Damen (Ilmenau: Bernhard Friedrich Voigt, 1826).Google Scholar
Chimani, Leopold, Die beweglichen Bilder (Vienna: Müller, 1830).Google Scholar
De Luca, Ignaz, Topographie von Wien (Vienna: Schmidbauer, 1794).Google Scholar
Deutsch, Otto Erich, Mozart, die Dokumente seines Lebens (Kassel: Barenreiter, 1961).Google Scholar
Dezais, Jacques, XIIIIe Recueil de danses pour l’année 1716 (Paris: Dezais, 1716).Google Scholar
Dubois, , Principes d’allemandes (Paris: Dubois (1769?)).Google Scholar
Engel, Johann Jakob, Ideen zu einer Mimik, 2 vols. (Berlin: Mylius, 1785–6).Google Scholar
Feldtenstein, Carl Joseph von, Die Kunst nach der Choreographie zu tanzen and Tänze zu schreiben (Braunschweig: Schröder, 1767).Google Scholar
Feldtenstein, Carl Joseph von, Erweiterung der Kunst nach der Chorographie zu tanzen, Tänze zu erfinden, und aufzusetzen; wie auch Anweisung zu verschiedenen National-Tänzen; Als zu Englischen, Deutschen, Schwäbischen, Pohlnischen, Hannak- Masur- Kosak und Hungarischen; mit Kupfern; nebst einer Anzahl Englischer Tänze (Braunschweig: n.p., 1772).Google Scholar
Fêtes et souvenirs du Congrès de Vienne, tableaux des salons, scènes anecdotiques et portraits, 1814–15, 2 vols. (Paris: A. Appert, 1843).Google Scholar
Förster, Friedrich Christoph, Geschichte der Befreiungs-Kriege: 1813, 1814, 1815, 3 vols. (Berlin: Gustav Hempel, 1861).Google Scholar
Guillaume, Simon, Almanach dansant, ou Positions et attitudes de l’allemande, avec un discours préliminaire sur l’origine et l’utilité de la danse (Paris: Guillaume, 1769).Google Scholar
Helmke, E. D., Neue Tanz- und Bildungsschule (Leipzig: Christian Ernst Kollmann, 1829).Google Scholar
Kattfuss, Johann Heinrich, Taschenbuch für Freunde und Freundinnen des Tanzes, 2 vols. (Leipzig: Heinrich Graff, 1800–2).Google Scholar
Kelly, Michael, Reminiscences of Michael Kelly, 2 vols. (London: Henry Colburn, 1826).Google Scholar
La Cuisse, , Le répertoire des bals, ou Theorie-pratique des contredanses, décrites d’une maniere aisée avec des figures démonstratives pour les pouvoir danser facilement, auxquelles on a ajouté les airs nótes, vol. 2 (Paris: Cailleau, 1762–5).Google Scholar
Länger, Christian, Terpsichore: Ein Taschenbuch der neuesten gesellschaftlichen Tänze, worin zugleich Anweisung gegeben wird, wie man 40 Touren und 76 Tänze ohne orchesigraphische Zeichnungen und ohne Lehrer erlernen kann (Würzburg: Etlinger, 1824).Google Scholar
Link, Georg, Vollkommene Tanzschule aller in Kompanien und Bällen vorkommenden Tänzen, nebst zwölf ganz neu komponirten englischen Contre-Tänzen, deren Touren und Figuren durch 17 Kupfertafeln dargestellt, und mit allen nöthigen Erklärungen zum Leichtfaßlichen Unterricht der Lehrer und Lehrlinge versehen sind (Celje: Franz Joseph Jenko, 1796).Google Scholar
Neuestes Sittengemählde von Wien, 2 vols. (Vienna: Anton Pichler, 1801).Google Scholar
Pezzl, Johann, Beschreibung der Haupt- und Residenz-stadt Wien (Vienna: Chr. Kaulfuß and C. Armbruster, 1816).Google Scholar
Pichler, Karoline, Zeitbilder, 2 vols. (Vienna: Anton Pichler, 1839–41).Google Scholar
Playford, John, The English Dancing Master (London: Thomas Harper, 1651).Google Scholar
[Powis, Edward Herbert], Lord Clive’s Journal, 1814–1815 (London: Harrison, 1858).Google Scholar
Rameau, Pierre, Le maître à danser (Paris: Jean Villette, 1725).Google Scholar
Reise der Göttinn der Tanzkunst in den Apollo-Saal und zu den übrigen Faschingslustbarkeiten in Wien (Vienna: Schrämbl, 1808).Google Scholar
Richter, Joseph, Gewey, Franz Xaver and Bäuerle, Adolf, Briefe eines Eipeldauers an seinen Herrn Vetter in Kakran über d’Wienstadt (Vienna: Rehm, 1785–1821).Google Scholar
Schönfeld, Johann Ferdinand Ritter von, Jahrbuch der Tonkunst von Wien und Prag (Vienna: Schönfeld, 1796).Google Scholar
Schulz, Friedrich, Reise eines Liefländers von Riga nach Warschau, durch Südpreußen, über Breslau, Dresden, Karlsbad, Bayreuth, Nürnberg, Regensburg, München, Salzburg, Linz, Wien und Klagenfurt, nach Botzen in Tyrol, vol. 6 (Berlin: Friedrich Vieweg, 1796).Google Scholar
Sealsfield, Charles [Karl Anton Postl], Austria As It Is, or Sketches of Continental Courts by an Eyewitness (London: Hurst, Chance & Company, 1828).Google Scholar
Spaethling, Robert, ed. and trans., Mozart’s Letters, Mozart’s Life (London: Faber and Faber, 2000).Google Scholar
Statuten der Gesellschaft der Musikfreunde des österreichischen Kaiserstaates (Vienna: Anton Strauss, 1814).Google Scholar
Sulzer, Johann Georg, Allgemeine Theorie der schönen Künste, 2 vols. (Leipzig: Weidmann, 1773–5).Google Scholar
Über Anstand, Schönheit und Grazie im Tanz (Prague: J. J. Diesbach, 1789).Google Scholar
Viertes Toiletten-Geschenk für Damen (Leipzig: Georg Voss, 1808).Google Scholar
Wilson, Thomas, A Description of the Correct Method of Waltzing (London: Wilson, 1816).Google Scholar
Wolfsohn, Sigmund, Der Apollo-Saal in seiner neuesten Umstaltung (Vienna: Schrambl, 1809).Google Scholar
Beethoven, Ludwig van, Gratulationsmenuett und Tänze für Orchester, Beethoven Werke, II/3, ed. Kojima, Shin Augustinus (Munich: G. Henle, 1980).Google Scholar
Haas, Robert, ed., Deutsche Komödienarien 1754–1758. Erster Teil. Denkmäler der Tonkünst in Österreich, 64 (Vienna: Universal Edition, 1926).Google Scholar
Haydn, Joseph, Tänze und Märsche, Joseph Haydns Werke, Series 5, ed. Thomas, Günter (Munich: G. Henle, 1995).Google Scholar
Kotzwara, Franz, The Battle of Prague (London: G. Walker & Son, c. 1813).Google Scholar
Martín y Soler, Vincente, Una cosa rara ossia Bellezza ed onestà. Die Oper, vol. 5, ed. Allroggen, Gerhard (Munich: G. Henle, 1990).Google Scholar
Mozart, Wolfgang Amadeus, Tänze, vol. 2. Neue Mozart Ausgabe, IV/13, ed. Flothuis, Marius (Kassel: Bärenreiter, 1988).Google Scholar
Aldrich, Elizabeth, ‘Social Dancing in Schubert’s World’, in Erickson, Raymond, ed., Schubert’s Vienna (New Haven, CT: Yale University Press, 1997), pp. 119–40.Google Scholar
Allanbrook, Wye J., Rhythmic Gesture in Mozart: Le nozze di Figaro and Don Giovanni (Chicago: University of Chicago Press, 1983).Google Scholar
Allanbrook, Wye, and Hilton, Wendy, ‘Dance Rhythms in Mozart’s Arias’, Early Music, 20, no. 1 (1992), 142–9.Google Scholar
Anderson, Benedict, Imagined Communities: Reflections on the Origins and Spread of Nationalism, 2nd rev. ed. (London: Verso, 1991).Google Scholar
Anderson, Emily, ed., The Letters of Mozart and His Family, 2 vols., second edition (London: Macmillan, 1966).Google Scholar
Anzenberger, Friedrich, ‘Tanz- und Militärkapellmeister um Joseph Lanner’, in Grieshofer, Franz, ed., Flüchtige Lust: Joseph Lanner 1801–1843 (Vienna: Österreichisches Museum für Volkskunde, 2001), pp. 53–66.Google Scholar
Bakhtin, Mikhail, Problems of Dostoevsky’s Poetics, ed. and trans. Emerson, Caryl (Minneapolis: University of Minnesota Press, 1984).CrossRefGoogle Scholar
Bakhtin, Mikhail, Rabelais and His World, trans. Hélène Iswolsky (Bloomington: Indiana University Press, 1984).Google Scholar
Bellman, Jonathan D., ‘Ongherese, Fandango, and Polonaise: National Dance As Classical-Era Topic’, Journal of Musicological Research, 31, nos. 2–3 (2013), 606–24.Google Scholar
Biba, Otto, ‘Die Wiener Kirchenmusik um 1783’, in Heller, Friedrich C., ed., Beiträge zur Musikgeschichte des 18. Jahrhunderts (Eisenstadt: Institut für Österreichische Kulturgeschichte, 1971), pp. 7–79.Google Scholar
Blanning, Timothy, The Culture of Power and the Power of Culture: Old Regime Europe 1660–1789 (Oxford: Oxford University Press, 2002).CrossRefGoogle Scholar
Bohlman, Philip V., ‘Musicology As a Political Act’, Journal of Musicology, 11, no. 4 (1993), 411–36.Google Scholar
Bonds, Mark Evan, Absolute Music: The History of an Idea (New York: Oxford University Press, 2014).Google Scholar
Bonds, Mark Evan, Beethoven: Variations on a Life (New York: Oxford University Press, 2020).Google Scholar
Bonds, Mark Evan, The Beethoven Syndrome: Hearing Music as Autobiography (New York: Oxford University Press, 2019).Google Scholar
Bonds, Mark Evan, Music As Thought: Listening to the Symphony in the Age of Beethoven (Princeton: Princeton University Press, 2009).CrossRefGoogle Scholar
Braun, Rudolf, and Gugerli, David, Macht des Tanzes, Tanz der Mächtigen: Hoffeste und Herrschaftzeremoniell 1550–1914 (Munich: C. H. Beck, 1993).Google Scholar
Brusatti, Otto, and Sommer, Isabella, Joseph Lanner: Compositeur, Entertainer & Musikgenie (Vienna, Cologne and Weimar: Boehlau Verlag, 2001).Google Scholar
Burnham, Scott, Beethoven Hero (Princeton: Princeton University Press, 1995).CrossRefGoogle Scholar
Buurman, Erica, ‘The Annual Balls of the Pensionsgesellschaft bildender Künstler, 1792–1832: Music in the Viennese Imperial Ballrooms from Haydn to Lanner’, in Lodes, Birgit, Reisinger, Elisabeth and Wilson, John D., eds., Beethoven und andere Hofmusiker seiner Generation: Bericht über den internationalen musikwissenschaftlichen Kongress Bonn, 3. bis 6. Dezember 2015 (Bonn: Beethoven-Haus, 2018), pp. 221–35.Google Scholar
Buurman, Erica, ‘Beethoven’s Waltzes in Contemporary British Keyboard Publications’, Bonner Beethoven Studien, 13 (forthcoming).Google Scholar
Buurman, Erica, and Jensen, Oskar Cox, ‘Dancing the “Waterloo Waltz”. Commemorations of the Hundred Days – Parallels in British Social Dance and Song’, in Astbury, Kate and Philp, Mark, eds., Napoleon’s 100 Days: The Contestation of Political Legitimacy (Basingstoke: Palgrave Macmillan, 2018), pp. 209–31.Google Scholar
Caddy, Davinia, and Clark, Maribeth, eds., Musicology and Dance: Historical and Critical Perspectives (Cambridge: Cambridge University Press, 2020).CrossRefGoogle Scholar
Castle, Terry, Masquerade and Civilization: The Carnivalesque in Eighteenth-Century English Culture and Fiction (Palo Alto, CA: Stanford University Press, 1986).Google Scholar
Charlton, David, ed., E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism, trans. Martyn Clarke (Cambridge: Cambridge University Press, 1989).Google Scholar
Chusid, Martin, Schubert’s Dances: For Family, Friends and Posterity (Hillsdale, NY: Pendragon Press, 2013).Google Scholar
Clark, Caryl, ‘Reading and Listening: Viennese Frauenzimmer Journals and the Sociocultural Context of Mozartean Opera Buffa’, Musical Quarterly, 87, no. 1 (2004), 140–75.CrossRefGoogle Scholar
Clark, Maribeth, ‘The Quadrille As Embodied Musical Experience in 19th-Century Paris’, Journal of Musicology, 19, no. 3 (2002), 503–26.CrossRefGoogle Scholar
Connerton, Paul, How Societies Remember (Cambridge: Cambridge University Press, 1989).Google Scholar
Czerwinski, Albert, Geschichte der Tanzkunst (Leipzig: Weber, 1862).Google Scholar
Dahms, Sibylle, ‘Neue choreographische Aufzeichnungen zum Kontretanz der Mozartzeit’, Musicologica Austriaca, 21 (2002), 113–29.Google Scholar
De La Garde de Chambonas, Auguste, Anecdotal Recollections of the Congress of Vienna (London: Chapman and Hall, 1902).Google Scholar
DeNora, Tia, Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803 (Berkeley: University of California Press, 1997).Google Scholar
Dent, Edward J., Mozart’s Operas: A Critical Study, second edition (Oxford: Oxford University Press, 1947).Google Scholar
Derschmidt, Volker, Deutsch, Walter and Blöchl, Arnold, Der Landler (Vienna: Böhlau, 1998).Google Scholar
Deutsch, Walter, and Gschwantler, Annemarie, Steiermark: ‘Steyerische Tänze’. Corpus Musicae Popularis Austriaca 2 (Vienna: Böhlau, 1994).Google Scholar
Deutsch, Walter, and Weber, Ernst, Weana Tanz (Wiener Tänze), Teil 1: Geschichte und Typologie. Corpus Musicae Popularis Austriaca 20/1 (Vienna: Böhlau, 2010).Google Scholar
Dorfmüller, Kurt, Gertsch, Norbert and Ronge, Julia, eds., Ludwig van Beethoven: Thematisch-bibliographische Werkverzeichnis (Munich: G. Henle, 2014).Google Scholar
Edge, Dexter, ‘Mozart’s Viennese Orchestras’, Early Music, 20, no. 1 (1992), 63–88.Google Scholar
Everist, Mark, Mozart’s Ghosts: Haunting the Halls of Musical Culture (Oxford: Oxford University Press, 2012).Google Scholar
Fink, Monica, Der Ball: Eine Kulturgeschichte des Gesellschaftstanzes im 18. und 19. Jahrhundert (Innsbruck: Studien Verlag, 1996).Google Scholar
Flothuis, Marius, Tänze: Kritischer Bericht. Neue Mozart-Ausgabe, Serie IV, Werkgruppe 13, Abteilung 1, Band 2 (Kassel: Bärenreiter, 1995).Google Scholar
Fort, Joseph Giovanni, ‘Incorporating Haydn’s Minuets: Towards a Somatic Theory of Music’ (PhD. diss., Harvard University, 2015).Google Scholar
Fort, Joseph Giovanni, (2020). Thinking on Our Feet: A Somatic Enquiry into a Haydn Minuet. In D. Caddy & M. Clark (Eds.), Musicology and Dance: Historical and Critical Perspectives (pp. 71–90). Cambridge: Cambridge University Press.Google Scholar
Fournier, August, Die Geheimpolizei auf dem Wiener Kongress: Eine Auswahl aus ihren Papieren (Vienna: F. Tempsky, and Leipzig: G. Freytag, 1913).Google Scholar
Frankenbach, Chantal, ‘Waltzing around the Musically Beautiful: Listening and Dancing in Hanslick’s Hierarchy of Musical Perception’, in Grimes, Nicole, Donovan, Siobhán and Marx, Wolfgang, eds., Rethinking Hanslick: Music, Formalism, and Expression (Rochester: Boydell & Brewer, Rochester University Press, 2013), pp. 108–31.Google Scholar
Gramit, David, ‘Between Täuschung and Seligkeit: Situating Schubert’s Dances’, Musical Quarterly, 84 (2000), 221–37.Google Scholar
Grout, Donald Jay, and Williams, Hermine Weigel, A Short History of Opera, fourth edition (New York: Columbia University Press, 2003).Google Scholar
Habermas, Jürgen, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger (Cambridge, MA: MIT Press, 1991).Google Scholar
Hanslick, Eduard, Vom Musikalisch-Schönen (Leipzig: R. Weigl, 1854).Google Scholar
Hanson, Alice M., Musical Life in Biedermeier Vienna (Cambridge: Cambridge University Press, 1985).Google Scholar
Hibberd, Sarah, ‘Cherubini and the Revolutionary Sublime’, Cambridge Opera Journal, 24, no. 3 (2012), 293–318.CrossRefGoogle Scholar
Historisch Museum der Stadt Wien, Fasching in Wien: Der Wiener Walzer 1750–1850. Sonderausstellung des Historischen Museums der Stadt Wien. Karlsplatz 14. Dezember 1978 bis 25. Februar 1979 (Vienna: Historisches Museum der Stadt Wien, 1979).Google Scholar
Horton, Julian, ‘Listening to Topics in the Nineteenth Century’, in Mirka, Danuta, ed., The Oxford Handbook of Topic Theory (New York: Oxford University Press, 2014), pp. 642–64.Google Scholar
Jacob, Heinrich Eduard, A Century of Light Music (New York: Greystone Press, 1940).Google Scholar
Jesson, Roy, ‘Una Cosa Rara’, Musical Times, 109, no. 1505 (1968), 619–21.Google Scholar
Johnson, James H., Listening in Paris: A Cultural History (Berkeley: University of California Press, 1995).Google Scholar
Katz, Ruth, ‘The Egalitarian Waltz’, Comparative Studies in Society and History, 15, no. 3 (1973), 368–77.Google Scholar
Kidd, Ronald R., ‘Kocžwara, František [Franz; Kotzwara, Francis]’, Grove Music Online, www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000015244 (accessed 15 September 2020).Google Scholar
Kinderman, William, Beethoven, second edition (New York: Oxford University Press, 2009).Google Scholar
Knowles, Mark, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (Jefferson, NC: McFarland, 2009).Google Scholar
Korhonen, Joonas, Social Choreography of the Viennese Waltz: The Transfer and Reception of the Dance in Vienna and Europe, 1780–1825 (Helsinki: Academia Scientiarum Fennica, 2014).Google Scholar
Korhonen, Joonas, ‘Urban Social Space and the Development of Public Dance Hall Culture in Vienna, 1780–1814’, Urban History, 40, no. 4 (2013), 606–24.Google Scholar
Kroll, Mark, Johann Nepomuk Hummel: A Musician’s Life and World (Lanham, MD, Toronto, and Plymouth, UK: Scarecrow Press, 2007).Google Scholar
Lager, Herbert, and Seidl, Hilde, Kontratanz in Wien: Geschichtliches und Nachvollziehbares aus der theresianisch-josephinischen Zeit (Vienna: Österreichischer Bundesverlag, 1983).Google Scholar
Landon, H. C. Robbins, Haydn: Chronicle and Works. III: Haydn in England, 1791–1795 (London: Thames and Hudson, 1976).Google Scholar
Link, Dorothea, ‘Cosa rara, Una’, Grove Music Online, www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-5000004993 (accessed 22 July 2020).Google Scholar
Link, Dorothea, ‘The Fandango Scene in Mozart’s Le nozze di Figaro’, Journal of the Royal Musical Association, 133, no. 1 (2008), 69–92.Google Scholar
Link, Dorothea, ‘Mozart’s Appointment to the Viennese Court’, in Link, Dorothea and Nagley, Judith, eds., Words about Mozart: Essays in Honour of Stanley Sadie (Woodbridge: Boydell, 2005), pp. 153–78.Google Scholar
Litschauer, Walburga, ‘Introduction: Dance Culture in the Biedermeier Era’, in Chusid, Martin, Schubert’s Dances: For Family, Friends and Posterity (Hillsdale, NY: Pendragon Press, 2013), pp. xi–xxxiv.Google Scholar
Litschauer, Walburga, ‘Unbekannte Dokumente zum Tanz in Schuberts Freundkreis’, Studien zur Musikwissenschaft, 42 (1993), 243–9.Google Scholar
Litschauer, Walburga, and Deutsch, Walter, Schubert und das Tanzvergnügen (Vienna: Holzhausen, 1997).Google Scholar
Locke, Ralph P., Music and the Exotic from the Renaissance to Mozart (Cambridge: Cambridge University Press, 2015).Google Scholar
Locke, Ralph P., ‘Music, Horses, and Exotic Others: Early-Modern Processions, Tournaments, and Pageants’, Music and Politics 11, no. 1 (2017), 1–25.Google Scholar
Lodes, Birgit, ‘Le congrès danse’: Set Form and Improvisation in Beethoven’s Polonaise for Piano, Op. 89’, Musical Quarterly, 93 (2010), 414–49.Google Scholar
Lowe, Melanie, ‘Amateur Topical Competencies’, in Mirka, Danuta, ed., The Oxford Handbook of Topic Theory (New York: Oxford University Press, 2014), pp. 601–28.Google Scholar
Lowe, Melanie, ‘Falling from Grace: Irony and Expressive Enrichment in Haydn’s Symphonic Minuets’, Journal of Musicology, 19, no. 1 (2002), 171–221.Google Scholar
Lowe, Melanie, Pleasure and Meaning in the Classical Symphony (Bloomington: Indiana University Press, 2007).Google Scholar
Marx, Adolf Bernhard, Die Lehre von der musikalischen Komposition, 2 vols. (Leipzig: Breitkopf and Härtel, 1837–8).Google Scholar
Mathew, Nicholas, Political Beethoven (Cambridge: Cambridge University Press, 2013).Google Scholar
Mathew, Nicholas, ‘Vienna, 18 October 1814: Urban Space and Public Memory in the Napoleonic “Occasional Melodrama”’, in Hambridge, Katherine G. and Hicks, Jonathan, eds., The Melodramatic Moment: Music and Theatrical Culture, 1790–1820 (Chicago: University of Chicago Press, 2018), pp. 171–89.Google Scholar
Mayes, Catherine, ‘“In Vienna Only Waltzes Get Printed”: The Decline and Transformation of the Contredanse Hongroise in the Early Nineteenth Century’, in Green, Emily H. and Mayes, Catherine, eds., Consuming Music: Individuals, Institutions, Communities: 1730–1830 (Rochester: University of Rochester Press, 2017), pp. 154–75.Google Scholar
Mayes, Catherine, ‘Reconsidering an Early Exoticism: Viennese Adaptations of Hungarian-Gypsy Music around 1800’, Eighteenth-Century Music, 6, no. 2 (2009), 161–81.CrossRefGoogle Scholar
Mayes, Catherine, ‘Turkish and Hungarian-Gypsy Styles’, in Mirka, Danuta, ed., The Oxford Handbook of Topic Theory (New York: Oxford University Press, 2014), pp. 214–37.Google Scholar
McKee, Eric, ‘Ballroom Dances of the Late Eighteenth Century’, in Mirka, Danuta, ed., The Oxford Handbook of Topic Theory (New York: Oxford University Press, 2014), pp. 164–93.Google Scholar
McKee, Eric, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Bloomington: University of Indiana Press, 2012).Google Scholar
McKee, Eric, ‘Joseph Lanner, Johann Strauss Sr and “The Future of Rhythm”’, Music Analysis, 32, no. 3 (2013), 291–331.Google Scholar
Mirka, Danuta, ed., The Oxford Handbook of Topic Theory (New York: Oxford University Press, 2014).Google Scholar
Monelle, Raymond, The Musical Topic: Hunt, Military and Pastoral (Bloomington: Indiana University Press, 2006), pp. 117–19.Google Scholar
Mössmer, Günter, ‘Kontretänze’, in Salmen, Walter, ed., Mozart in der Tanzkultur seiner Zeit (Innsbruck: Helbling, 1990), pp. 97–115.Google Scholar
Nettl, Paul, The Story of Dance Music (New York: Philosophical Library, 1947).Google Scholar
November, Nancy, Cultivating String Quartets in Beethoven’s Vienna (Woodbridge and Rochester: Boydell Press, 2017).Google Scholar
Platoff, John, ‘Review: A New History for Martín’s “Una cosa rara”’, Journal of Musicology, 12, no. 1 (1994), 85–115.Google Scholar
Pohl, Carl Ferdinand, Die Gesellschaft der Musikfreunde des österreichischen Kaiserstaates und ihr Conservatorium (Vienna: Wilhelm Braumüller, 1871).Google Scholar
Prokop, Peter, ‘Die Tagebücher des Joseph Carl Rosenbaum (ÖNB SN 194–204) – eine Arbeitstranskription’, website of the Adler Heraldisch-Genealogische Gesellschaft Wien, https://adler-wien.at/ (accessed 20 September 2020).Google Scholar
Punderlitschek, Stephan, ‘Das Freyhaus-Theater auf der Wieden: Das Tagebuch von Ignaz Ritter von Seyfried 1795 bis 12. Juni 1801’ (Master’s diss., University of Vienna, 1997).Google Scholar
Ratner, Leonard G., Classic Music (New York: Schirmer, 1980).Google Scholar
Reeser, Eduard, The History of the Waltz, trans. W. A. G. Doyle-Davidson (Stockholm: Continental Book Company, 1955).Google Scholar
Reichart, Sarah Bennett, The Influence of Eighteenth-Century Social Dance on the Viennese Classical Style (PhD diss., City University of New York, 1984).Google Scholar
Rice, John A., Empress Marie Therese and Music at the Viennese Court, 1792–1807 (Cambridge: Cambridge University Press, 2003).Google Scholar
Rice, John A., ‘Review of The Oxford Handbook of Topic Theory, ed. Danuta Mirka’, Journal of the American Musicological Society, 68, no. 2 (2015), 446–53.Google Scholar
Rice, John A., ‘Vienna under Joseph II and Leopold II’, in Neal Zaslaw, ed., The Classical Era: From the 1740s to the End of the 18th Century (London: Macmillan, 1989), pp. 126–65.Google Scholar
Rogers, Ellis, The Quadrille: A Practical Guide to Its Origin, Development and Performance (N.p., C & E Rogers, 2003).Google Scholar
Rushton, Julian, ‘Zauberflöte, die (“The Magic Flute”)’, Grove Music Online, www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-5000907810 (accessed 17 July 2021)Google Scholar
Russell, Tilden A., ‘The Unconventional Dance Minuet: Choreographies of the Menuet d’Exaudet’, Acta Musicologica, vol. 64 no. 2 (1992), pp. 118–38.Google Scholar
Russell, Tilden A., and Bourassa, Dominique, The Menuet de la Cour (Hildesheim: Georg Olms, 2007).Google Scholar
Sachs, Curt, World History of the Dance, trans. Bessie Schönberg (New York: Norton, 1937).Google Scholar
Salmen, Walter, ed., Mozart in der Tanzkultur seiner Zeit (Innsbruck: Helbling, 1990).Google Scholar
Schedtler, Susanne, ed., Wienerlied und Weana Tanz. Beiträge zur Wiener Musik (Vienna: Löcker Verlag, 2004).Google Scholar
Schenk, Erich, ‘Der Langaus’, Studia Musicologica Academiae Scientiarum Hungaricae, 3, no. 1/4 (1962): 301–16.Google Scholar
Schiller, Friedrich, On the Aesthetic Education of Man in a Series of Letters, ed. and trans. with an introduction, commentary, and glossary of terms by Elizabeth M. Wilkinson and L. A. Willoughby (Oxford: Clarendon, 1982).Google Scholar
Schlottermüller, Uwe, Weiner, Howard and Richter, Maria, eds., All’ungaresca – al español. Die Vielfalt der europäischen Tanzkultur 1420–1820. 3. Rothenfelser Tanzsymposion vom 6.–10. Juni 1012 (Freiburg: Fa-gisgis Musik- und Tanzedition, 2012).Google Scholar
Schulin, Karin, Musikalische Schlachtengemälde in der Zeit von 1756 bis 1815 (Tutzing: Schneider, 1986).Google Scholar
Scott, Derek, Sounds of the Metropolis: The 19th Century Popular Music Revolution in London, New York, Paris, and Vienna (New York: Oxford University Press, 2008).Google Scholar
Sipe, Thomas, Beethoven: Eroica Symphony (Cambridge: Cambridge University Press, 1998).Google Scholar
Sisman, Elaine, ‘After Invention: Traces and Materials in the Eroica Finale’, in November, Nancy, ed., The Cambridge Companion to the Eroica Symphony (Cambridge: Cambridge University Press, 2020), pp. 157–79.Google Scholar
Smart, Mary Ann, Mimomania: Music and Gesture in Nineteenth-Century Opera (Berkeley: University of California Press, 2004).Google Scholar
Smith, Marian, Ballet and Opera in the Age of Giselle (Princeton: Princeton University Press, 2000).Google Scholar
Steblin, Rita, ‘Beethoven in Unpublished Viennese Court Documents from 1814’, in Appel, Bernhard R., Biermann, Joanna Cobb, Kinderman, William and Ronge, Julia, eds., Beethoven und der Wiener Kongress (1814/15): Bericht über die vierte New Beethoven Research Conference, Bonn, 10. bis 12. September 2014 (Bonn: Verlag Beethoven-Haus, 2016), pp. 119–38.Google Scholar
Steblin, Rita, ‘The Court Careers of Paul and Anton Wranitzky in Vienna’, in Lodes, Birgit, Reisinger, Elisabeth and Wilson, John D., eds., Beethoven und andere Hofmusiker seiner Generation: Bericht über den internationalen musikwissenschaftlichen Kongress Bonn, 3. Bis 6. Dezember 2015 (Bonn: Beethoven-Haus, 2018), pp. 69–93.Google Scholar
Thayer, Alexander Wheelock, Thayer’s Life of Beethoven, ed. Forbes, Elliot (Princeton: Princeton University Press, 1967).Google Scholar
Thorp, Jennifer, ‘Pecour’s L’Allemande, 1702–1765: How “German” Was It?’, Eighteenth-Century Music, 1 (2004), 183–204.Google Scholar
Ullreich, Rainer, ‘Wiener Tanzgeiger im frühen 19. Jahrhundert’, Musicologica austriaca: Jahresschrift der Österreichischen Gesellschaft für Musikwissenschaft, 21 (2002), 153–71.Google Scholar
Unfried, Hannelore, ‘Der Cotillon – das Schleusentor zwischen Tanzboden und Bühne’, in Nussbaumer, Thomas and Gratl, Franz, eds., Zur Frühgeschichte des Walzers (Innsbruck: Wagner, 2014), pp. 124–42.Google Scholar
Van Orden, Kate, Music, Discipline, and Arms in Early Modern France (Chicago: University of Chicago Press, 2004).Google Scholar
Vick, Brian E., The Congress of Vienna: Power and Politics after Napoleon (Cambridge, MA: University of Harvard Press, 2014).Google Scholar
Weber, William, The Great Transformation of Musical Taste (Cambridge: Cambridge University Press, 2008).Google Scholar
Weinmann, Alexander, Verzeichnis der Musikalien des Verlages Maisch – Sprenger – Artaria (Vienna: Universal Edition, 1970).Google Scholar
Weinmann, Alexander, Vollständiges Verlagsverzeichnis Artaria & Comp (Vienna: Ludwig Krenn, 1952).Google Scholar
Will, Richard, The Characteristic Symphony in the Age of Haydn and Beethoven (Cambridge: Cambridge University Press, 2002).Google Scholar
Witzmann, Reingard, Der Ländler in Wien: Ein Beitrag zur Entwicklungsgeschichte des Wiener Walzers bis in die Zeit des Wiener Kongresses (Vienna: Arbeitsstelle für den Volkskundeatlas in Österreich, 1976).Google Scholar
Witzmann, Reingard, ‘Magie der Drehung – Zum Phänomen des Wiener Walzers von der Aufklärung zum Biedermeier’, in Nussbaumer, Thomas and Gratl, Franz, eds., Zur Frühgeschichte des Walzers (Innsbruck: Wagner, 2014), pp. 9–31.Google Scholar
Woodfield, Ian, Cabals and Satires: Mozart’s Comic Operas in Vienna (New York: Oxford University Press, 2019).Google Scholar
Wyn Jones, David, Music in Vienna: 1700, 1800, 1900 (Woodbridge: Boydell, 2016).Google Scholar
Wyn Jones, David, The Symphony in Beethoven’s Vienna (Cambridge: Cambridge University Press, 2006).Google Scholar
Yaraman, Sevin H., Revolving Embrace: The Waltz As Sex, Steps, and Sound (Hillsdale, NY: Pendragon Press, 2002).Google Scholar
Zbikowski, Lawrence M., Foundations of Musical Grammar (New York: Oxford University Press, 2017).Google Scholar
Zbikowski, Lawrence M., ‘Music and Dance in the Ancien Régime’, in Mirka, Danuta, ed., The Oxford Handbook of Topic Theory (New York: Oxford University Press, 2014), pp. 143–63.Google 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
  • Erica Buurman, San José State University, California
  • Book: The Viennese Ballroom in the Age of Beethoven
  • Online publication: 25 November 2021
  • Chapter DOI: https://doi.org/10.1017/9781108863278.011
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
  • Erica Buurman, San José State University, California
  • Book: The Viennese Ballroom in the Age of Beethoven
  • Online publication: 25 November 2021
  • Chapter DOI: https://doi.org/10.1017/9781108863278.011
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
  • Erica Buurman, San José State University, California
  • Book: The Viennese Ballroom in the Age of Beethoven
  • Online publication: 25 November 2021
  • Chapter DOI: https://doi.org/10.1017/9781108863278.011
Available formats
×