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MUSICURATUM: THE COMPENDIUM PART III Amsterdam, The Netherlands 2012-2017


Original texts Š Musicuratum 2012–2017. Amsterdam, The Netherlands. All rights reserved.


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Table of Contents For Further Reading

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Acknowledgements A Note on the Text (And on the Type)

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For Further Reading

T

he listing which follows, being yet tentative, is compiled first and foremost as a set of notes to myself – it serves as a mnemonic aide (the title is meant quite literally). Rather idiosyncratic, no doubt, and extensive it may be, but in offering this bibliography here for consultation I should like to hope that those who do peruse it would find a number of suggestions amongst this array of signposts. Be assured that music as a subject stands behind the choice of these entries, even when the reasons for their inclusion might seem less than obvious; any appearance of haphazardness in the selection notwithstanding, there is some connection, or at least there seems to be one, to me, albeit only incipiently. – In their content the items assembled here are variegated, and though the central focus, as in the Musicuratum project as a whole, is circumscribed by our present moment, in the following a considerable number of much older works can be found as well. As regards their kind, the entries run the gamut – including periodical literature of several sorts, poems, and letters, in addition to various types of books and, in a few instances, materials published on the Internet. And, concerning the various elements of bibliographic information in what follows, they are as complete and as accurate as I’ve been able to render them, all of it compiled with an eye towards the readers’ ease of reference, and hence the extant entries may well be emended occasionally. – Although I cannot vouch now in detail for the quality of each single title listed, and nor ought their inclusion here be taken as an endorsement, nonetheless I should like to state that all of them have been chosen with deliberation and care.

603


ABBING, Hans. Why Are Artists Poor? The Exceptional Economy of the Arts. Amsterdam: Amsterdam University Press, 2002. ABERT, Hermann. Goethe und die Musik. Stuttgart: J. Engelhorns Nachfolger, 1922. –––––. Die Lehre vom Ethos in der griechischen Musik. Leipzig: Verlag von Breitkopf & Härtel, 1899. –––––. Die Musikanschauung des Mittelalters und ihre Grundlagen. Halle an der Saale: Verlag von Max Niemeyer, 1905. ACCETTO, Torquato. Della dissimulatione honesta. Naples: Egidio Longo, 1641. ADDISON, Joseph and Richard STEELE, et al. The Spectator, ed. Gregory Smith. Four volumes. London: J. M. Dent & Sons, and New York: E. P. Dutton & Company, 1958-73. (Published in London from March 1, 1711 to December 6, 1712, and in 1714.) AFTERMAN, Adam. “And They Shall Be One Flesh”: On the Language of Mystical Union in Judaism. Leiden: E. J. Brill, 2016. AGEE, James. Film Writing and Selected Journalism, ed. Michael Sragow. New York: The Library of America, 2005. ALBUS, Anita. Im Licht der Finsternis: Über Proust. Frankfurt am Main:S. Fischer Verlag, 2011. –––––. Käuze und Kathedralen: Geschichten, Essays und Marginalien. Frankfurt am Main: S. Fischer Verlag, 2014. –––––. Die Kunst der Künste: Erinnerungen an die Malerei. Frankfurt am Main: Eichborn Verlag, 1997.

604


–––––. Paradies und Paradox: Wunderwerke aus fünf Jahrhunderten. Frankfurt am Main: Eichborn Verlag, 2002. –––––. Von seltenen Vögeln. Frankfurt am Main: S. Fischer Verlag, 2005. ALEICHEM, Sholem (Solomon Naumovich RABINOVICH). Stempenyu, translated from the Yiddish by Hannah Berman under Aleichem’s supervision. The novel was published in his periodical Di yidishe folksbibliotek: A bukh fir literatur, kritik, un vissenshaft (Odessa), vol. 1 (1888); later it was included in the eleventh volume of his collected works, published in New York in 1919. London: Methuen & Company, 1913. ALLEN, James Turney. Stage Antiquities of the Greeks and Romans and Their Influence. New York: Longmans, Green and Co., 1927. ALTENBERG, Peter (Richard ENGLÄNDER). Das Buch der Bücher, ed. Rainer Gerlach. A collected edition first planned by Karl Kraus after the author’s death. Three volumes. Zweite Auflage. Göttingen: Wallstein Verlag, 2009. AMIOT (AMYOT), Joseph-Marie (S.J.). Mémoires concernant l’histoire, les sciences, les arts, les mœurs, les usages, &c. des Chinois, vol. VI: Mémoire sur la musique des Chinois, tant anciens que modernes, ed. Pierre-Joseph Roussier. Paris: chez Nyon, l’aîné, 1779. ANDERS, Günther (Günther STERN). Die Antiquiertheit des Menschen, vol. I: Über die Seele im Zeitalter der zweiten industriellen Revolution. Siebte Auflage. Munich: Verlag C. H. Beck, 1987. ANDERSON, Jack. Art Without Boundaries: The World of Modern Dance. Iowa City: University of Iowa Press, 1997. –––––. Ballet & Modern Dance: A Concise History. Second edition. Hightstown: Princeton Book Company, 1993. 605


ANDERSON, Warren D. Ethos and Education in Greek Music: The Evidence of Poetry and Philosophy. Cambridge, Massachusetts: Harvard University Press, 1966. –––––. Music and Musicians in Ancient Greece. Ithaca and London: Cornell University Press, 1994. ANDREWS, Edward Deming. “The Dance in Shaker Ritual.” Dance Index: A New Magazine Devoted to Dancing (New York: Dance Index - Ballet Caravan Incorporated), vol. I, no. 4 (April 1942), pp. 56-67. –––––. The Gift to Be Simple: Songs, Dances and Rituals of the American Shakers. New York: J. J. Augustin, 1940. ANDRIESSEN, Louis, and Elmer Schönberger. Het apollinisch uurwerk:Over Stravinsky. Amsterdam: De Bezige Bij, 1983. ANGELUS SILESIUS (Johannes SCHEFFLER). Cherubinischer Wandersmann oder Geist-Reiche Sinn- und Schluß-Reime zur Göttlichen beschauligkeit anleitende. Glatz: Ignatz Schubarth, 1675. (Previously the work had appeared as Geistreiche Sinn- und Schlussrime. Vienna: n.p., 1657.) (Sämtliche poetische Werke, ed. Hans Ludwig Held, vol. 3. Dritte erweiterte Auflage. Munich: Carl Hanser Verlag, 1952.) ANSERMET, Ernest. Écrits sur la musique, ed. Jean-Claude Piguet. Nouvelle édition. Neuchâtel: Éditions de la Baconnière, 1983. –––––. Les Fondements de la musique dans la conscience humaine, ed.Jean-Claude Piguet. Nouvelle édition. Neuchâtel: Éditions de la Baconnière, 1987. ANTHEIL, George. Bad Boy of Music. Garden City: Doubleday, Doran and Company, 1945.

606


–––––. “Paris und Wien.” Pult und Taktstock: Fachzeitschrift für Dirigenten (Vienna and New York: Universal-Edition), vol. V, no. 3 (May-June 1928), pp. 49-51. APEL, Willi. Gregorian Chant. Bloomington and Indianapolis: Indiana University Press, 1958. APOLLINAIRE, Guillaume (Wilhelm Albert Włodzimierz Apolinary KOSTROWICKI). “L’Antitradition futuriste: Manifeste-synthèse.” Dated June 29, 1913. Milan: Direction du mouvement futuriste, 1913. (Œuvres en prose complètes, vol. II, ed. Pierre Caizergues and Michel Décaudin, pp. 937-39. Paris: Éditions Gallimard, Bibliothèque de la Pléiade, 1991.) –––––. Caligrammes: Poèmes de la paix et de la guerre (1913-1916). Paris: Mercure de France, 1917. –––––. “L’Esprit nouveau et les poètes.” Mercure de France (Paris), vol. CXXX, no. 491 (December 1, 1918), pp. 385-96. (Œuvres en prose complètes, vol. II, pp. 941-54.) –––––. Le Flâneur des deux rives. Paris: Éditions de la Sirène, 1918. (Œuvres en prose complètes, vol. III, ed. Pierre Caizergues and Michel Décaudin. Paris: Éditions Gallimard, Bibliothèque de la Pléiade, 1993.) –––––. “Nos Amis les futuristes.” Les Soirées de Paris (Paris), vol. 3, no. 21 (February 15, 1914), pp. 78-79. (Œuvres en prose complètes, vol. II, pp. 970-72.) –––––. Les Peintres cubistes. Deuxième édition. Paris: Eugène Figuière et Cie, 1913. (Œuvres en prose complètes, vol. II.) –––––. Le Poète assassiné. Paris: L’Édition, Bibliothèque des curieux, 1916. (Œuvres en prose complètes, vol. I, ed. Michel Décaudin. Paris: Éditions Gallimard, Bibliothèque de la Pléiade, 1977.)

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ARAGON, Louis. Le Paysan de Paris. Chapters first serialized in the Revue européenne (Paris: Éditions du Sagittaire), no. 16 (June 1924), no. 17 (July 1924), no. 18 (August 1924), no. 19 (September 1924), no. 25 (March 1925), no. 26 (April 1925), no. 27 (May 1925), and no. 28 (June 1925). Issued as a book by Gallimard in 1926. (Œuvres poétiques complètes, vol. I, ed. Olivier Barbarant, with the assistance of Daniel Bougnoux, François Eychart, Marie-Thérèse Eychart, Nathalie LimatLetellier, and Jean-Baptiste Para. Paris: Éditions Gallimard, Bibliothèque de la Pléiade, 2007.) –––––. Traité du style. Paris: Éditions Gallimard, 1928. ARBUTHNOT, John. “Proposals For Printing a Very Curious Discourse, in Two Volumes in Quarto, Intitled, Ψευδολογία Πολιτική; or, A Treatise of the Art of Political Lying.” This essay, often though mistakenly attributed to Jonathan Swift, was first published as a pamphlet. London: John Morphew, 1712. (The Life and Works of John Arbuthnot, ed. George Atherton Aitken, pp. 291-303. Oxford: at the Clarendon Press, 1892.) ARENDT, Hannah. Denktagebuch, ed. Ursula Ludz and Ingeborg Nordmann. Two volumes. Zweite Auflage. Munich and Zürich: Piper Verlag, 2003. –––––. The Human Condition. The book originated from the Charles R. Walgreen Foundation Lectures delivered in April 1956. Chicago: The University of Chicago Press, 1958. –––––. Lectures on Kant’s Political Philosophy, ed. Ronald Beiner. Chicago: The University of Chicago Press, 1982. –––––. The Life of the Mind, ed. Mary McCarthy. Two volumes. New York: Harcourt Brace Jovanovich, 1978.

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–––––. The Origins of Totalitarianism. New edition with added prefaces. New York: Harcourt Brace Jovanovich, 1973. –––––. On Revolution. Second edition. New York: Penguin Books, 1990. –––––. Über die Revolution. Vierte Auflage. Munich and Zürich: Piper Verlag, 2000. ––––– and Walter BENJAMIN. Texte, Briefe, Dokumente, ed. Detlev Schöttker and Erdmut Wizisla. Frankfurt am Main: Suhrkamp Verlag, 2006. ARFOUILLOUX, Sébastien. Que la nuit tombe sur l’orchestre: Surréalisme et Musique. Paris: Librairie Arthème Fayard, 2009. ARNOLD, Matthew. Culture and Anarchy: An Essay in Political and Social Criticism. London: Smith, Elder and Company, 1869. (The Complete Prose Works, ed. Robert Henry Super, vol. V: Culture and Anarchy, with Friendship’s Garland and Some Literary Essays. Ann Arbor: The University of Michigan Press, 1965.) –––––. “Dover Beach.” In New Poems, pp. 112-14. London: Macmillan and Co., 1867. (The Poetical Works, ed. Chauncey Brewster Tinker and Howard Foster Lowry, pp. 210-12. London and New York: Oxford University Press, 1950.) –––––. A French Eton: or, Middle Class Education and the State. London and Cambridge: Macmillan and Co., 1867. (The Complete Prose Works, vol. II: Democratic Education. Ann Arbor: The University of Michigan Press, 1962.) –––––. Higher Schools & Universities in Germany. Second edition. London: Macmillan and Co., 1882. (The Complete Prose Works, vol. IV: Schools and Universities on the Continent. Ann Arbor: The University of Michigan Press, 1964.) 609


–––––. The Popular Education of France, with Notices of That of Holland and Switzerland. London: Longman, Green, Longman, and Roberts, 1861.(The Complete Prose Works, vol. II.) –––––. Schools and Universities on the Continent. London: Macmillan and Co., 1868. (The Complete Prose Works, vol. IV.) ARNOULD, Dominique. Le Rire et les larmes dans la littérature grecque: D’Homère à Platon. Deuxième tirage. Paris: Les Belles Lettres, 2009. (Études anciennes, no. 138.) AROM, Simha. La Boîte à outils d’un ethnomusicologue, ed. Nathalie Fernando. Montréal: Les Presses de l’Université de Montréal, 2008. –––––. La Fanfare de Bangui. Paris: Éditions La Découverte, 2009. –––––. Polyphonies instrumentales d’Afrique centrale: Structure et Méthodologie. Two volumes. Paris: Société d’Études Linguistiques et Anthropologiques de France, 1985. ASÍN PALACIOS, Miguel. La escatología musulmana en la Divina Comedia, seguida de la Historia y crítica de una polémica. Segunda edición. Madrid and Granada: Escuelas de Estudios Árabes de Madrid y Granada, 1943. ASSELINEAU, Charles. Charles Baudelaire: Sa Vie et son Œuvre. Paris: Alphonse Lemerre, 1869. ATTALI, Jacques. Bruits: Essai sur l’économie politique de la musique. Nouvelle édition revue et augmentée. Paris: Librairie Arthème Fayard and the Presses universitaires de France, 2001. ATTINGER, Gustave. L’Esprit de la commedia dell’arte dans le théâtre français. Paris: Librairie Théâtrale, and Neuchâtel: Éditions de la Baconnière, 1950. 610


AUDEN, Wystan Hugh. Lectures on Shakespeare, ed. Arthur Kirsch. This lecture series was delivered at the New School for Social Research, New York, in 1946. Princeton: Princeton University Press, 2000. –––––. “Music in Shakespeare: Its Dramatic Use in His Plays.” Encounter (London: Congress for Cultural Freedom), vol. 9, no. 6 (December 1957), pp. 31-44. (The Complete Works, ed. Edward Mendelson: Prose, vol. IV, pp. 807-26. Princeton: Princeton University Press, 2011.) AUERBACH, Erich. Dante als Dichter der irdischen Welt. Berlin and Leipzig: Walter de Gruyter & Co., 1929. –––––. “Figura.” Archivum Romanicum: Nuova rivista di filologia romanza (Geneva: Leo S. Olschki), vol. 22 (1938), pp. 436-89. –––––. Mimesis: Dargestellte Wirklichkeit in der abendländischen Literatur. Elfte Auflage. Tübingen: A. Francke Verlag, 2015. AUSTEN, Jane. Mansfield Park. Three volumes. London: Thomas Egerton, 1814. AVENARY, Hanoch (Herbert LOEWENSTEIN). Encounters of East and West in Music: Selected Writings. Tel Aviv: Faculty of Visual and Performing Arts, Department of Musicology, Tel-Aviv University, 1979. –––––. “Magic, Symbolism and Allegory of the Old-Hebrew SoundInstruments.” Collectanea historiae musicae (Florence: Leo S. Olschki), vol. II (1956), pp. 21-31. AVERILL, Gage. Four Parts, No Waiting: A Social History of American Barbershop Harmony. Oxford: Oxford University Press, 2003. AZOULAY, Hélios. Scandales ! Scandales ! Scandales ! Histoires de chefsd’œuvre que l’on siffle. Paris: Éditions Jean-Claude Lattès, 2008. 611


–––––. Tout est musique. Paris: La Librairie Vuibert, 2012. ––––– and Pierre-Emmanuel DAUZAT. L’Enfer aussi a son orchestre:La Musique dans les camps. Paris: La Librairie Vuibert, 2015. BACHOFEN, Johann Jakob. Versuch über die Gräbersymbolik der Alten. Basel: Bahnmaier’s Buchhandlung (G. Detloff), 1859. (Gesammelte Werke, ed. Karl Meuli, with the assistance of Max Burckhardt, José Dörig, and Johannes Dörmann, vol. IV, ed. Ernst Howald. Basel: Schwabe Verlag, 1954.) BADER, Günter. Psalterium affectuum palaestra: Prolegomena zu einer Theologie des Psalters. Tübingen: J. C. B. Mohr (Paul Siebeck), 1996. BAJU, Anatole. L’École décadente. Paris: Léon Vanier, 1887. BAKHTIN, Mikhail Mikhailovich. Rabelais and His World, translated by Hélène Iswolsky. Completed in 1940 in Moscow, and first published there in 1965. Bloomington: Indiana University Press, 1984. BAKUNIN, Mikhail Alexandrovich. God and the State, translated by Benjamin Ricketson Tucker, revised by Max Nettlau. Written in February and March 1871 as part of his Knouto-Germanic Empire and the Social Revolution, never completed by him, and first published by Carlo Cafiero and Elisée Reclus in French translation in Geneva by the Imprimerie Jurassienne in 1882. New edition. London: Freedom Press, 1910. –––––. Statism and Anarchy, ed. and translated by Marshall S. Shatz. First published anonymously in 1873, in Switzerland. Cambridge: Cambridge University Press, 1990.

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BALANCHINE, George. “The Dance Element in Strawinsky’s Music.” Dance Index: A New Magazine Devoted to Dancing (New York: Dance Index - Ballet Caravan Incorporated), vol. VI, nos. 10, 11, 12 (1947), pp. 250-56. BALANDIER, Georges. Carnaval des apparences, ou nouveaux commencements ? Paris: Librairie Arthème Fayard, 2012. –––––. Le Désordre: Éloge du mouvement. Paris: Librairie Arthème Fayard, 1988. BALL, Hugo. Zur Kritik der deutschen Intelligenz. Berne: Der freie Verlag, 1919. (Sämtliche Werke und Briefe, vol. 5, ed. Hans Dieter Zimmermann. Göttingen: Wallstein Verlag, 2005.) BALLANCHE, Pierre-Simon. Essai sur les institutions sociales dans leur rapport avec les idées nouvelles. Paris: de l’Imprimerie de P. Didot, l’aîné, 1818. (Œuvres, vol. II, pp. 13-381. Paris and Geneva: Librairie de J. Barbezat, 1830.) BALZAC, Honoré de. “Gambara: Étude philosophique.” First serialized in the Revue et gazette musicale de Paris, vol. 4, no. 30 (July 23, 1837), pp. 347-51, no. 31 (July 30), pp. 355-62, no. 32 (August 6), pp. 363-69, no. 33 (August 13), pp. 371-77, and no. 34 (August 20), pp. 380-82. Published in Le Cabinet des antiques: Scène de la vie de province, suivie de Gambara, vol. II, pp. 85-267. Paris: Hippolyte Souverain, 1839. (La Comédie humaine, ed. Pierre-Georges Castex with Thierry Bodin, Pierre Citron, Madeleine Fargeaud, Henri Gauthier, René Guise, and Moïse Le Yaouanc, vol. X: Études philosophiques. Paris: Éditions Gallimard, Bibliothèque de la Pléiade, 1979.) BANCQUART, Alain. Musique: Habiter le temps. Preface by Franck Christoph Yeznikian. Lyon: Symétrie, 2003.

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BANDY, William Thomas, and Claude PICHOIS (eds.). Baudelaire devant ses contemporains. Paris: Union Générale d’Édition, 1967. BANON, David. L’Attente messianique: Une Infinie Patience. Paris: Éditions du Cerf, 2012. –––––. La Lecture infinie: Les Voies de l’interprétation midrachique. Preface by Emmanuel Lévinas. Paris: Éditions du Seuil, 1987. BANVILLE, Théodore de. L’Âme de Paris: Nouveaux Souvenirs. Paris: Georges Charpentier et Cie, 1890. –––––. Esquisses parisiennes: Scènes de la vie. Paris: Charpentier et Cie, 1876. –––––. Idylles prussiennes. Paris: Alphonse Lemerre, 1871. –––––. La Lanterne magique. Paris: Georges Charpentier, 1883. –––––. Mes Souvenirs. Paris: Bibliothèque-Charpentier, 1882. –––––. Paris vécu: Feuilles volantes. Paris: Georges Charpentier et Cie, 1883. BARBEY D’AUREVILLY, Jules-Amédée. “Charles Baudelaire.” In Poésie et Poètes, pp. 97-123. Paris: Alphonse Lemerre, 1906. –––––. Du Dandysme et de Georges Brummell. Troisième édition. Paris: Alphonse Lemerre, 1879. BARDET, Bernard. Les Violons de la musique de la chambre du roi sous Louis XIV. Paris: Société Française de Musicologie, 2016. BARISH, Jonas. The Antitheatrical Prejudice. Berkeley and Los Angeles: University of California Press, 1981. 614


BARRA-SALZÉDO, Edoarda. En soufflant la grâce: Âmes, souffles et humeurs en Grèce ancienne. Grenoble: Éditions Jérôme Millon, 2007. BARRÈS, Maurice. Amori et dolori sacrum. Paris: Félix Juven, 1903. (L’Œuvre, ed. Philippe Barrès, vol. VII. Preface by Gérard Bauër. Paris: au Club de l’Honnête Homme, 1967.) –––––. “L’Esthétique de demain: L’Art suggestif.” De Nieuwe Gids (Amsterdam: Willem Versluys), vol. 1, no. 1 (October 1, 1885), pp. 140-49. –––––. “La Musique de perdition.” La Revue hebdomadaire (Paris: Librairie Plon), vol. XXX, no. 5 (May 1921), pp. 125-39. Included after Barrès’ death in Le Mystère en pleine lumière, ed. François Duhourcau. Preface by Philippe Barrès. Paris: Librairie Plon, 1926. (L’Œuvre, vol. XII. Preface by Jean Dutourd. Paris: au Club de l’Honnête Homme, 1967.) –––––. Du Sang, de la volupté et de la mort. Paris: BibliothèqueCharpentier, 1894. (L’Œuvre, vol. II. Preface by Louis Aragon. Paris: au Club de l’Honnête Homme, 1966.) –––––. Scènes et doctrines du nationalisme. Paris: Félix Juven, 1902. (L’Œuvre, vol. V. Preface by Thierry Maulnier. Paris: au Club de l’Honnête Homme, 1966.) –––––. “La Sensation en littérature: La Folie de Charles Baudelaire (Baudelaire, Verlaine, Mallarmé, Rollinat, des Esseintes).” Les Taches d’encre: Gazette mensuelle (Paris: Maurice Barrès), no. 1 (November 5, 1884), pp. 3-26, and no. 2 (December 5, 1884), pp. 21-43. Republished posthumously in La Folie de Charles Baudelaire. Paris: Les Écrivains réunis, 1926. (L’Œuvre, vol. I. Preface by François Mauriac. Paris: au Club de l’Honnête Homme, 1965.)

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BARRY, William. Heralds of Revolt: Studies in Modern Literature and Dogma. New edition, revised and enlarged. London: Hodder and Stoughton, 1909. BARSACQ, Stéphane. Johannes Brahms. Preface by Hélène Grimaud. Arles: Actes Sud, 2008. BARTÓK, Béla. Essays, ed. Benjamin Suchoff. London: Faber & Faber, 1976. –––––. “Gypsy Music or Hungarian Music?” The Musical Quarterly(New York: G. Schirmer), vol. XXXIII, no. 2 (April 1947), pp. 240-57. –––––. The Hungarian Folk Song, ed. Benjamin Suchoff. Albany: State University of New York Press, 1981. (An edition revised from the manuscript was issued in 2002 by Bartók Records & Publications, Homosassa, Florida.) –––––. Pourquoi et comment recueille-t-on la musique populaire ?, translated by Étienne Lajti. Geneva: Imprimerie Albert Kundif, 1948. –––––. Turkish Folk Music from Asia Minor, ed. Benjamin Suchoff. Princeton: Princeton University Press, 1976. (A revised edition is likewise available from Bartók Records & Publications.) –––––. Weg und Werk: Schriften und Briefe, ed. Bence Szabolcsi. Budapest: Corvina Verlag, 1957. BATAILLE, Georges. L’Érotisme. Paris: Les Éditions de Minuit, 1957. (Œuvres complètes, vol. X, pp. 7-270, 629-39. Paris: Éditions Gallimard, 1987.) –––––. Les Larmes d’Eros. Paris: Jean-Jacques Pauvert, 1961. (Œuvres complètes, vol. X, pp. 573-627, 641-86.) 616


BAUDELAIRE, Charles. “Edgar Allan Poe: Sa Vie et ses Ouvrages.” First published in 1852 in the March and April numbers of the Revue de Paris, newly relaunched by Théophile Gautier, pp. 138-56 and pp. 90-110, respectively; later revised as the preface to his translation of Poe’s Histoires extraordinaires, pp. viii-xxxi. Paris: Michel Lévy frères, 1856. (Œuvres complètes, ed. Claude Pichois, vol. II. Nouvelle édition. Paris: Éditions Gallimard, Bibliothèque de la Pléiade, 1976.) –––––. “Fusées.” Complete text in Journaux intimes, ed. Adolphe van Bever, pp. 1-42. Paris: Les Éditions Georges Crès et Cie, 1920. (Œuvres complètes, vol. I. Paris: Éditions Gallimard, Bibliothèque de la Pléiade, 1975.) –––––. Richard Wagner et Tannhäuser à Paris. Paris: Édouard Dentu, 1861. (Œuvres complètes, vol. II, pp. 779-815.) BAUMONT, Olivier. « À l’Opéra, monsieur !»: La Musique dans les Mémoires de Saint-Simon. Paris: Éditions Gallimard, 2015. BAYLE, Pierre. Pensées diverses, Écrites à un Docteur de Sorbonne, À l’occasion de la Cométe qui parut au mois de Decembre 1680. Two volumes. Rotterdam: chez Reinier Leers, 1683. BEARE, William. The Roman Stage: A Short History of Latin Drama in the Time of the Republic. Third edition. London: Methuen & Co., 1964. BEATON, Cecil. Cecil Beaton’s New York. Philadelphia and New York:J. B. Lippincott, 1938. –––––. Cecil Beaton’s Scrapbook. London: B. T. Batsford, 1937. –––––. Portraits & Profiles, ed. Hugo Vickers. London: Frances Lincoln, 2014.

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BECK, Evelyn Torton. Kafka and the Yiddish Theater: Its Impact on His Work. Madison: University of Wisconsin Press, 1971. BECK, Guy Leon. Sonic Liturgy: Ritual and Music in Hindu Tradition. Columbia: University of South Carolina Press, 2012. –––––. Sonic Theology: Hinduism and Sacred Sound. Columbia: University of South Carolina Press, 1993. BECKETT, Samuel. Letter to Axel Kaun, July 9, 1937. In Disjecta: Miscellaneous Writings and a Dramatic Fragment, ed. Ruby Cohn, pp. 51-54, under the title “German Letter of 1937.” London: John Calder, 1983. (The Letters of Samuel Beckett, ed. Martha Dow Fehsenfeld and Lois More Overbeck, vol. 1: 1929-1940, pp. 512-16. Cambridge: Cambridge University Press, 2009.) –––––. Proust. London: Chatto & Windus, 1931. (The Grove Centenary Edition, ed. Paul Auster, vol. IV: Poems, Short Fiction, Criticism, pp. 511-54. New York: Grove Press, 2006.) –––––. “Schwabenstreich.” The Spectator (London), no. 5517 (March 23, 1934), p. 472. In Disjecta, pp. 61-62. –––––. Words and Music. Published initially in the Evergreen Review(New York: Grove Press), vol. 6, no. 27 (NovemberDecember 1962), pp. 34-43. (The Grove Centenary Edition, vol. III: Dramatic Works, pp. 331-40.) BECKFORD, William. Vathek, conte arabe. Although an earlier version had been published the same year in Lausanne, this revision was favored by the author and hence reprinted later, for example in 1876 (Paris: Adolphe Labitte) with a preface by Stéphane Mallarmé. Paris: chez Poinçot, 1787.

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BLÜCHER, Heinrich. “Fundamentals of a Philosophy of Art – On the Understanding of Artistic Experience.” The lecture was held early in 1951 at the New School for Social Research, New York. A transcript is available via the Blücher Archive on the Bard College website: www.bard.edu/bluecher/lectures/phil_art/philart.htm. –––––. Letter to Hannah Arendt, July 9 or 10, 1946. Published in Briefe, 1936-1968, ed. Lotte Köhler, pp. 142-44. Munich and Zürich: Piper Verlag, 1996. BOCCIONI, Umberto. Scritti sull’arte. Sesto San Giovanni: Mimesis Edizioni, 2011. BÖRNE, Ludwig (Juda Löb BARUCH). Briefe aus Paris. Six volumes. Hamburg: Bei Hoffmann und Campe, 1832, for the first two, and Paris: Bei L. Brunet, 1833-34, for the latter four. (Sämtliche Schriften, ed. Inge and Peter Rippmann, vol. 3, pp. 1-867. Darmstadt: Joseph Melzer Verlag, 1977.) BOHLMAN, Philip Vilas. Jewish Music and Modernity. Oxford: Oxford University Press, 2008. –––––. “The Land Where Two Streams Flow”: Music in the GermanJewish Community of Israel. Urbana and Chicago: University of Illinois Press, 1989. –––––. World Music: A Very Short Introduction. Oxford: Oxford University Press, 2002. BONDS, Mark Evans. Absolute Music: The History of an Idea. Oxford: Oxford University Press, 2014. –––––. Music as Thought: Listening to the Symphony in the Age of Beethoven. Princeton: Princeton University Press, 2006.

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BORCHARDT, Rudolf. Das Buch Joram. Leipzig: im Insel-Verlag, 1907. –––––. “Einleitung in das Verständnis der Pindarischen Poesie.” The afterword to the translations in his private volume of Pindarische Gedichte. Munich: J. Deschler, 1930. (Gesammelte Werke, Prosa II, ed. Marie L. Borchardt, with the assistance of Ernst Zinn, pp. 131-234. Dritte Auflage. Stuttgart: Klett-Cotta Verlag, 2004.) BORGES, Jorge Luis. “Deutsches Requiem.” Sur (Buenos Aires), vol. XV, no. 136 (February 1946), pp. 7-14. In El Aleph, pp. 75-83. Buenos Aires: Editorial Losada, 1949. (Obras completas, ed. Carlos V. Frías, pp. 576-81. Decimocuarta edición. Buenos Aires: Emecé Editores, 1984.) BOUCOURECHLIEV, André. À l’écoute. Paris: Librairie Arthème Fayard, 2006. –––––. Debussy: La Révolution subtile. Paris: Librairie Arthème Fayard, 1998. –––––. Le Langage musical. Paris: Librairie Arthème Fayard, 1993. BOURGET, Paul. Essais de psychologie contemporaine. Paris: Alphonse Lemerre, 1883. (Republished in a definitive form together with its sequel (see below) in his Œuvres complètes, Critique, vol. I. Paris: E. Plon, Nourrit et Cie, 1899.) –––––. Nouveaux Essais de psychologie contemporaine. Paris: Alphonse Lemerre, 1885. BRANDES, Georg Morris Cohen. “Aristokratisk Radikalisme: En Afhandling om Friedrich Nietzsche.” Tilskueren: Maanedsskrift for Literatur, Samfundsspørgsmaal og almenfattelige videnskabelige Skildringer (Copenhagen: P. G. Philipsens Forlag), vol. 6, no. 7 (August 1889), pp. 565-613. (Samlede Skrifter, vol. 7, pp. 596-664. Copenhagen: Gyldendalske Boghandels Forlag (F. Hegel & Søn), 1901.) 627


BRECH, Martha. Der hörbare Raum: Entdeckung, Erforschung und musikalische Gestaltung mit analoger Technologie. Bielefeld: Transcript Verlag, 2015. BRECHT, Bertolt. “An R.” Composed in March 1950, in response to a poem by Ruth Berlau, entitled “Die Kälte.” Printed in Werke: Große kommentierte Berliner und Frankfurter Ausgabe, ed. Werner Hecht, Jan Knopf, Werner Mittenzwei, and Klaus-Detlef Müller, vol. 15: Gedichte 5: Gedichte und Gedichtfragmente, 1940-1956, ed. Jan Knopf and Brigitte Bergheim, with the assistance of Annette Ahlborn, Günter Berg, and Michael Duchardt, p. 223. Berlin and Weimar: Aufbau-Verlag, and Frankfurt am Main: Suhrkamp Verlag, 1993. –––––. “Aus dem Lesebuch für Städtebewohner.” In Versuche 4-7, no. 6, pp. 116-22. (Versuche, vol. 2.) Berlin: Gustav Kiepenheuer Verlag, 1930. (Werke, vol. 11: Gedichte 1: Sammlungen, 1918-1938, ed. Jan Knopf and Gabriele Knopf, pp. 155-76. Berlin and Weimar: Aufbau-Verlag, and Frankfurt am Main: Suhrkamp Verlag, 1988.) –––––. “Bemerkungen zu »Der aufhaltsame Aufstieg des Arturo Ui«.” Written ca. 1953. First published in Stücke, vol. 9: Stücke aus dem Exil, vol. 4, pp. 369 ff. Frankfurt am Main: Suhrkamp Verlag, 1957. (Werke, vol. 24: Schriften 4: Texte zu Stücken, ed. Peter Kraft, with the assistance of Marianne Conrad, Sigmar Gerund, and Benno Slupianek, pp. 315-18. Berlin and Weimar: Aufbau-Verlag, and Frankfurt am Main: Suhrkamp Verlag, 1991.) –––––. Flüchtlingsgespräche. Composed between 1940 and 1942. Published posthumously in German, although previously in a French translation by Gilbert Badia and Jean Baudrillard (Paris: L’Arche, 1956). Frankfurt am Main: Suhrkamp Verlag, 1961. (Werke, vol. 18: Prosa 3: Sammlungen und Dialoge, ed. Jan Knopf, with the assistance of Michael Duchardt, Ute Liebig, and Brigitte Bergheim, pp. 195-327. Berlin and Weimar: Aufbau-Verlag, and Frankfurt am Main: Suhrkamp Verlag, 1995.) 628


–––––. Der gute Mensch von Sezuan. The piece was first performed on February 4, 1943, in Zürich, directed by Leonard Steckel, with music by Paul Dessau. Text in Versuche 27/32, no. 27, pp. 3-106. (Versuche, vol. 12.) Berlin: Suhrkamp Verlag, 1953. (Werke, vol. 6: Stücke 6, ed. Klaus-Detlef Müller, pp. 175-281. Berlin and Weimar: Aufbau-Verlag, and Frankfurt am Main: Suhrkamp Verlag, 1989.) –––––. Der kaukasische Kreidekreis. The second version of the play was premiered on May 4, 1948, at Carlton College (Northfield, Minnesota), in a translation by Eric Bentley, directed by Henry Goodman; the original text was published in a special issue on Brecht put out by Sinn und Form: Beiträge zur Literatur (Potsdam: Rütten & Loening) in 1949, pp. 52-164. Subsequently the play was revised again, the new version premiering on October 7, 1954, at the Theater am Schiffbauerdamm, with music by Paul Dessau; this revision was printed in Versuche 31, pp. 5-95. (Versuche, vol. 13.) Berlin: Suhrkamp Verlag, 1954. (Werke, vol. 8: Stücke 8, ed. Klaus-Detlef Müller, pp. 7-191. Berlin and Weimar: Aufbau-Verlag, and Frankfurt am Main: Suhrkamp Verlag, 1992.) –––––. Svendborger Gedichte. London: Malik-Verlag, 1939. (Werke, vol. 12: Gedichte 2: Sammlungen, 1938-1956, ed. Jan Knopf, pp. 7-92. Berlin and Weimar: Aufbau-Verlag, and Frankfurt am Main: Suhrkamp Verlag, 1988.) BRENTANO, Clemens (anonymously). Der Philister vor, in und nach der Geschichte: Scherzhafte Abhandlung. Berlin: n.p., 1811. (Werke, ed. Wolfgang Frühwald and Friedhelm Kemp, vol. 2, pp. 959-1016. Dritte, durchgesehene Auflage. Munich: Carl Hanser Verlag, 1980.) BRETON, André. Manifeste du surréalisme. Paris: Éditions du Sagittaire, 1924. (Œuvres complètes, vol. I, ed. Marguerite Bonnet, with the assistance of Philippe Bernier, Étienne-Alain Hubert, and José Pierre. Paris: Éditions Gallimard, Bibliothèque de la Pléiade, 1988.)

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SPANGENBERG, Cyriacus. “Von der edlen unnd hochberüembten Kunst der Musica, unnd deren Ankunfft, Lob, Nutz, unnd Wirckung, auch wie die Meistersenger auffkhommenn vollkhommener Bericht: Zu Dienst unnd Ehren der löblichen unnd ehrsamen Gesellschafft der Meistersinger, in der löblichen freyen Reichstatt Straszburg.” This manuscript was dated 1598, and remained unpublished during his lifetime. (It no longer is extant, having been destroyed in the fire of August 24-25, 1870 which ravaged the Bibliothèque municipale, during the Prussian bombardment of the city.) One portion of it appeared in Enoch Hannman’s notes to his revision of a treatise by Martin Opitz, under the title Prosodia germanica, Oder Buch von der Deudschen Poeterey, pp. 126-66. Frankfurt am Main: bey Christian Klein, 1658. The text has been published in its entirety in Von der Musica und den Meistersängern, ed. Adelbert von Keller. Stuttgart: Litterarischer Verein, 1861. SPENCER, Herbert. The Man Versus the State. Second edition. London: Williams & Norgate, 1892. SPITZER, John, and Neal ZASLAW. The Birth of the Orchestra: History of an Institution, 1650-1815. Oxford: Oxford University Press, 2004. SPRONCK, Maurice. L’An 330 de la République (XXIIe siècle de l’ère chrétienne). Paris: Léon Chailley, 1894. –––––. “Charles Baudelaire.” In Les Artistes littéraires: Études sur le XIXe siècle, pp. 83-135. Paris: Calmann Lévy, 1889. STAËL, Anne Louise Germaine de. De l’Influence des passions sur le bonheur des individus et des nations. Two volumes. Seconde édition revue et corrigée. Paris: chez Dufart, chez Dessenne, An 5 - 1797. (Œuvres complètes, série I: Œuvres critiques, vol. I: Lettres sur Rousseau, De l’Influence des passions et autres essais moraux, ed. Florence Lotterie. Paris: Honoré Champion, 2008.)

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STERNFELD, Frederick William. The Birth of Opera. Oxford: Clarendon Press, 1993. –––––. Music in Shakespearean Tragedy. London: Routledge & Kegan Paul; and New York: Dover Publications, 1963. STEVENSON, Robert Louis. Virginibus Puerisque, and Other Papers. London:C. Kegan Paul & Co., 1881. (The Works, Edinburgh Edition, ed. Sidney Colvin, vol. XI: Miscellanies, vol. III, pp. 1-195. Edinburgh: T. and A. Constable, 1895.) STIRNER, Max (Johann Kaspar SCHMIDT). Der Einzige und sein Eigenthum. Leipzig: Verlag von Otto Wigand, 1845. STOCKHAUSEN, Karlheinz. “Momentform.” In Texte zur Musik, vol. 1: Texte zur elektronischen und instrumentalen Musik, pp. 189-210. Cologne: VerlagM. DuMont Schauberg, 1963. STRAVINSKY, Igor Fyodorovich. Poétique musicale. Delivered at Harvard University as the Charles Eliot Norton Lectures in 1939-40. Nouvelle édition revue et complétée. Paris: Librairie Plon, 1952. STRINDBERG, Johan August. “Des Arts Nouveaux! ou Le hasard dans la production artistique.” The original manuscript was revised by Georges Loiseau, and appeared under the title “Du Hasard dans la production artistique” in the Revue des revues, et revue d’Europe et d’Amérique (Paris), vol. XI, no. 22 (November 15, 1894), pp. 265-70. Strindberg’s own text has been published in the Samlade Verk, ed. Lars Dahlbäck, vol. 34: Vivisektioner II, ed. Gunnel Engwall and Per Stam, pp. 165-70. Stockholm: Norstedts Förlag, 2011. –––––. “Le Barbare à Paris.” Gil Blas (Paris), vol. XVII, no. 5742 (August 8, 1895), p. 1. (Samlade Verk, vol. 34, pp. 260-64.)

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–––––. “L’Amitié de Frédéric Nietzsche et de Richard Wagner.” Revue des Deux Mondes, vol. CXLI, no. 10 (May 15, 1897), pp. 457-68. Included in Beethoven et Wagner, pp. 174-97 (see the following entry). –––––. Beethoven et Wagner: Essais d’histoire et de critique musicales. Paris: Librairie académique Didier - Perrin et Cie, 1898. –––––. “Frédéric Nietsche, le dernier métaphysicien.” Revue bleue: Revue politique et littéraire (Paris: Bureau des Revues), vol. XLVIII, no. 19 (November 7, 1891), pp. 586-92. Reprinted (with the proper spelling of his subject’s surname) in Écrivains étrangers, first series, pp. 3-28. Paris: Librairie académique Didier - Perrin et Cie, 1896. –––––. “La Jeunesse de Frédéric Nietzsche.” Revue des Deux Mondes, vol. CXXXIII, no. 3 (February 1, 1896), pp. 688-99. In Écrivains étrangers, first series, pp. 29-51. –––––. “Les Livres.” La Revue indépendante de littérature et d’art (Paris), vol. II, no. 4 (February 1887), pp. 145-64. Republished in part, with modifications, as “Le Symbolisme de M. Mallarmé,” in Nos Maitres, pp. 115-22 (see below). –––––. “M. Mallarmé: Notes.” La Vogue (Paris: Librairie J. Barbou), vol. I, no. 11 (July 5-12, 1886), pp. 361-75, and no. 12 (July 12-19), pp. 414-24. Republished in Nos Maitres, pp. 91-114 (see below), under the title “Notes sur l’œuvre poétique de M. Mallarmé.” –––––. “M. Oscar Wilde et les jeunes littérateurs anglais.” Revue bleue, vol. XLIX, no. 14 (April 2, 1892), pp. 423-29. –––––. “Nietsche.” Le Figaro (Paris), third series, vol. 38, no. 101 (April 10, 1892), p. 1. –––––. Nos Maitres: Études & portraits littéraires. Paris: Librairie académique Didier - Perrin et Cie, 1895. 812


–––––. “Notes sur la peinture wagnérienne et le Salon de 1886.” La Revue wagnérienne (Paris), vol. II, no. IV (May 8, 1886), pp. 100-13. Republished, under the title “L’Art wagnérien: La Peinture,” in Nos Maitres, pp. 11-26. –––––. “Le Poète Novalis.” Revue des Deux Mondes, vol. CLXII, no. 2 (November 15, 1900), pp. 400-23. –––––. “Richard Wagner: D’après les souvenirs de M. de Wolzogen.” Revue bleue, vol. XLIX, no. 4 (January 23, 1892), pp. 119-22. Included in Beethoven et Wagner, pp. 154-67, under the title “Les Propos de table de Wagner.” ––––– and Georges de SAINT-FOIX. W.-A. Mozart: Sa Vie musicale et son œuvre de l’enfance à la pleine maturité. Two volumes. Paris: Librairie académique Perrin et Cie, 1912. YATES, Frances Amelia. The Art of Memory. London: Routledge & Kegan Paul, 1966. –––––. The French Academies of the Sixteenth Century. London: The Warburg Institute, 1947. (Studies of the Warburg Institute, vol. 15.) YEATS, William Butler. Ideas of Good and Evil. Second edition. London: A. H. Bullen, 1903. (The Collected Works in Verse and Prose, vol. VI. London: Chapman & Hall, 1908.) (The Collected Works, ed. Richard J. Finneran and George Mills Harper, vol. IV: Early Essays, ed. Richard J. Finneran and George Bornstein. New York: Scribner, 2007.) YERUSHALMI, Yosef Hayim. Zakhor: Jewish History and Jewish Memory. Second edition. Seattle: University of Washington Press, 1996. YOUMANS, Charles Dowell. Mahler & Strauss: In Dialogue. Bloomington and Indianapolis: Indiana University Press, 2016.

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–––––. Richard Strauss’s Orchestral Music and the German Intellectual Tradition: The Philosophical Roots of Musical Modernism. Bloomington and Indianapolis: Indiana University Press, 2005. YOUNG, Edward. Conjectures on Original Composition: In a Letter to the Author of Sir Charles Grandison. Second edition. London: A. Millar, and R. and J. Dodsley, 1759. –––––. “On Lyrick Poetry.” Included in Ocean: An Ode, Occasion’d By His Majesty’s late Royal Encouragement of the Sea-Service, pp. 14-30. London: Thomas Worrall, 1728. YOUNG, James O. Critique of Pure Music. Oxford: Oxford University Press, 2014. YOUNG, Karl. The Drama of the Medieval Church. Two volumes. Oxford: at the Clarendon Press, 1933. ZAMYATIN, Yevgeny Ivanovich. We, translated by Mirra Ginsburg. Completed in 1921 but soon thereafter banned in the Soviet Union. New York: Eos, 1999. ZANGWILL, Nick. Music and Aesthetic Reality: Formalism and the Limits of Description. London and New York: Routledge, 2015. ZANK, Stephen. Irony and Sound: The Music of Maurice Ravel. Rochester: University of Rochester Press, 2009. ZARADER, Marlène. La Dette impensée: Heidegger et l’héritage hébraïque. Nouvelle édition. Paris: Librairie Philosophique J. Vrin, 2014. ZINGEL, Hans Joachim. Harfe und Harfenspiel: vom Beginn des 16. bis in zweite Drittel des 18. Jahrhunderts. Halle an der Saale: Verlag von Max Niemeyer, 1932.

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–––––. Harfenmusik im 19. Jahrhundert: Versuch einer historischen Darstellung. Wilhelmshaven: Heinrichshofen’s Verlag, 1976. ZOLA, Émile. Mes Haines: Causeries littéraires et artistiques. Nouvelle édition. Paris: Bibliothèque-Charpentier, 1893. (Included in Œuvres complètes, ed. Henri Mitterand, vol. X: Œuvres critiques I, and vol. XII: Œuvres critiques III. Paris: Cercle du livre précieux, 1968 and 1969, respectively.) ZUCKERKANDL, Victor. Vom musikalischen Denken: Begegnung von Ton und Wort. Zürich: Rhein-Verlag, 1964. –––––. Die Wirklichkeit der Musik: Der musikalische Begriff der Außenwelt. Zürich: Rhein-Verlag, 1963. ZWERIN, Mike. Swing Under the Nazis: Jazz as a Metaphor for Freedom. New edition. New York: Cooper Square Press, 2000.

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Acknowledgements

T

here are many individuals to be thanked here, in quite a few different locales around the globe, though of course none bears any responsibility for the Musicuratum project in general, nor for anything I have written or shall write under these auspices. Four in particular deserve special mention. In the first part of 2012, the singer Landon Gadoci, in Austin, kindly answered my long–distance inquiries during a period which then turned out to be that of the website’s gestation, and even in some manner helped catalyze my interest in undertaking such an endeavor to begin with. It is not by chance that his work was first written about at the outset, nor that I have devoted some longer and I hope more informative texts to it subsequently. Some weeks prior to launching the website, during a couple of long and very good conversations here in Amsterdam, Mattijs van Bergen listened with a sympathetic and sharp ear to my plans as they were developing, and offered several pieces of well–considered advice, while a few weeks after I had set it up, in a further talk he tendered some additional suggestions which also proved particularly fruitful. Quite a bit before I had even thought seriously about establishing the website, Mariah Blue, also in Amsterdam, graciously heard me expatiate on my ideas in several of their iterations and was forthcoming with numerous recommendations and tips concerning several of the musical scenes in this city. Likewise in Amsterdam, Tsead Bruinja, for his part, also signalized his interest in the project some time before the website took shape, providing

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some much–needed encouragement as well as several pieces of practical information. Numerous others in Amsterdam have at different points in time shared their interest, encouragement, and – a lovely Dutch word – ondersteuning. The composers René Baptist Huysmans, Luiz Henrique Yudo, and Michael Bonaventure (all of whom just recently initiated a new musical collective called Muiz Manz, which seems promising indeed) have been supporters of my endeavors from early on, and I consider myself fortunate to have been able to actually meet them, while Alexandra Duvekot, of the duo Saelors and the band Light Light, has shared her enthusiasm in numerous personal communications. And, as regards those who are not professional musicians, though some are professionally involved in musical life in other ways, I should like to acknowledge how pleasant, instructive, and timely the conversations I’ve held with Arthur Olof concerning classical music in the Soviet Union and its successor states during the twentieth century, with José ten Berge on some contemporary classical music and contemporary dance, with Helena Spanjaard on Bach and also on the fine arts, with Gregor Langfeld (who has also on occasion corrected my German) on painting, aesthetic theory, and poetry, with Hans Abbing on the institutional conditions of music performance, with Maya Gordon on American and Israeli music as well as on American, English, and Hebrew poetry, with Jack Faber on some topics in contemporary music and film, with both Merel Schrama and Joshua Bevers on present–day pop music and on graphic design, and with Gert Jonkers on a number of matters relating to the music scenes in Amsterdam and in London, have all in their various ways been. In New York, too, there are quite a few individuals to whom thanks are due. The singer and songwriter Andi Kristins has been a supporter from quite early on, and towards the end of 2012 the composer Adam Cuthbért introduced himself to me and has followed my work with great enthusiasm since then, also introducing me to his frequent long–distance collaborator Daniel Rhode as well as to two other composers in the city, Brian Petuch and Rosalie Burrell, both of whom have evinced a similar interest in it and with whom I’ve had some illuminating discussions, as well as to Steven Swartz and Sarah Baird Knight, the impresarios at Dot Dot Dot 818


Music, who have been very encouraging indeed and willing to talk with me about topics ranging from the band Telephone Tel Aviv to the works of Simeon ten Holt and Morton Feldman; while more recently, also amongst musicians, it was a pleasure some months ago to make the acquaintance of Mikkel Hess, the Danish singer, songwriter, and multi–instrumentalist who, dividing his time between New York and Copenhagen, is the driving force behind the band Hess Is More, whose enthusiastic response to my project was very welcome. Further, of those who are not musicians but who nonetheless are interested in music or in my project or in both, there are several other New Yorkers whom I wish to thank, including Sharon Girard for many conversations concerning the website in general and a number of contemporary classical composers in particular, Cameron McDonald for several talks about the literary aspect of publishing texts in such a medium as the Internet and about American literature, Steve Schiff and Ana Busto for their enthusiastic response to the project as well as many conversations about their city’s present music scene, especially in Brooklyn, and also about contemporary art, Tad Hershorn for sharing on occasion some of his great knowledge of jazz, Gregg Horowitz and Ellen Levy for their considerable interest and also for many longer exchanges about an expanse of topics especially in the arts, literature and especially poetry, and philosophy, Patrick Doherty for his friendly encouragement of the project generally, and Sean Bray for some spirited free–wheeling discourse on personages diverging as widely from one another as Hegel and Lady Gaga. Elsewhere in the United States, variously located, there are several other musical professionals whose interest – communicated in each case through the various portals of the Internet – is deserving of recognition. The composer Dan Tramte, currently pursuing an advanced degree in Denton, Texas, has been from early on an enthusiastic supporter and a participant in interesting long–distance exchanges about philosophy and phenomenology; also during the summer months in 2012, the singer and songwriter Alyn Mearns, resident in Hickory, North Carolina, who performs solo as Yes the Raven and collaborates in the duo The Belfast Boys, has shared his enthusiasm, his work, and also his love of Auden’s poetry; somewhat later in 2012, the singer and songwriter Maxwell Demon, who di819


vides his time between Bellport on Long Island and New York City, introduced himself to me and has followed my project avidly since then; more recently, during the last few months, I have had the pleasure of making the acquaintance of the composer Nomi Epstein (in Chicago), the sound artist Jeremy Henry (in Dallas), also known as the Haus of Glitch, and the musician Jan Hendrich (in San Francisco), whose moniker as a solo artist is Qepe, each of these three having responded with interest to the project; and not long ago, the singer and songwriter Ben Sevier, who (in Phoenix) records under the name Wyly, penned a quite fine piece of encouragement for my efforts on his own website. Also in the United States, amongst those whose interest is not, or is not mainly, professional, David Wurtzel and Martha Weintraub in New Jersey have offered an enthusiastic response to my project in its sheer unexpectedness; in Los Angeles, over the past several years, conversations with Albert Maghbouleh and Eric Gordon concerning a number of topics relating to music, served later on as a source of more general encouragement, while, more recently, Harry Haese, Lisa Singer Haese, and Julianne Singer have also expressed their curiosity about and support of the project; and from the San Francisco area, Bryan Girard by his own musicianship, Rosemarie DeWeese Girard through her interest, and Karen Voets with her pointers, have all communicated some impetus and enthusiasm to it. In Canada, the musicians Valerie Giroux and James Lemay of the duo You and Me, in MontrÊal, approached me with some lovely words of encouragement and have remained interested in the project since then, much as a non–professional based in the same city, Valerie Fedorowicz, also has; from Ottawa, the sound artist Christopher Bartman, active musically under the monikers Beaucrat and now also Momentary Awareness, has followed its development by means of the Internet and also in personal communications; and from Toronto the composer Joel Garten has also taken an encouraging interest. Closer to home, in the hub that is London, are several individuals whom I also should like to thank. Early on the composer Matthew Shlomowitz conveyed his approbation of the text written about his work in a quite encouraging manner, while a bit later the singer and songwriter Jack Stan820


ton, at the time still a student at Oxford but since graduated and then relocated to the capital, approached me via Soundcloud, and has continued to follow the project since then; and more recently, the impresario David Metcalfe of the agency Forma Arts and Media, the mash–up artist Jonas C., who operates – despite spurious measures taken against him in the name of copyright – under the moniker Daft Beatles, the musician and producer Chris Garland, whose current musical project is The Psychedelic Manifesto, and the theoretician Inigo Wilkins, who maintains an interesting blog under the title Irreversible Noise, have all conveyed their interest in actual conversation, through personal communications, via Twitter, and by means of a blog link. Elsewhere in England, the composer Rory Smith, currently living in Leeds, responded with appreciation and enthusiasm to my first text about his work, and has continued to follow the project since then, and, somewhat later, the singer and songwriter in Salisbury, Jonnie Allen, has done likewise. In Paris, Marieke Wiegel graciously offered a number of pertinent recommendations, while it was also a great pleasure to meet the quite musical film–maker Xavier Baert, whose lively conversation and interest in my project have been encouraging indeed. And in the same city, the man behind the main fansite for the singer Eli Lieb, Michael Berthe, has also offered some choice words of encouragement in personal communications. I should like to thank Jacques Joseph Roux, a sound artist in Givors, for his enthusiastic response to my project; similarly, The Sandman’s Orchestra, a French duo in Lille comprising Léonie Gabriel and Pierre Laplace, replied very kindly to my text about them and has remained in communication subsequently, as has, several months before, the composer Franck Christoph Yeznikian in Lyon; while, earlier still, the poet Pierre Auriol, now living in Montpellier, has conversed amiably in person and by personal communications about French poetry, including his own, Greek and Latin literature, and Debussy and Puccini; and most recently the sound artist Edouard Trolliet, a resident of Tarnos, greeted the text occasioned by his work with an encouraging enthusiasm.

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In Berlin, another sound artist, Christoph de Babalon, responded kindly to my interest in his work, as did the singer and film–maker André Schneider, with a gracious reference to mine on his own website. Lisa–Gwendolin Eichberger, in Cologne, a singer who participates in the experimental ensemble Turm der Liebe, has shown a like interest, commencing with my discussion of one of its numbers in a longer text. The Milanese composer Giovanni Dettori has followed my project with an uncommon degree of care and understanding, and I am very pleased to have had the opportunity to make his acquaintance by means of personal communications. In Brussels, the musician and radio programmer Salvatore Créme, formerly of the Venezuelan band Electrometro, responded enthusiastically to my project and has taken the time to answer some queries at length, while personal communications with the electronic musician known as Analog 80 have also been encouraging. Residing in Budapest, Dee Rüsche of the London–based band Női Kabát took an interest in the project early on, as did, at the beginning of this year, Ferenc Fehér of the bands Tripes and Industrial Wave Studio, in Kaposvár. In Oslo, the singer and songwriter Jonas McDonnell, and in Bergen, the film–maker and fashionisto T–Michael, both of whom I’ve written about, have responded encouragingly. Finally, further afield, for their enthusiasm and kind words, and often their readiness to share their music with me, I should also like to thank the singer and songwriter Stephen Carmichael, in Brisbane; the multi– instrumentalist and singer Samm Bennett, in Tokyo; the composer Mithatcan Öcal, in Istanbul; the DJ and producer Michael Dee, better known by his nom d’artiste as Mobidextrous, in Singapore; Michael Day, who works under the moniker of the West Coast Fruit Co., in Auckland; the artist, singer, and songwriter Givan Lötz, in Johannesburg; and the band Tangocrisis, in Buenos Aires.

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A Note on the Text (And on the Type)

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he text used in this book follows nearly verbatim that which appears on the website, yet in view of the infeasibility of including the embedded video and audio players which constitute such an important feature in the presentation there, some slight adjustments have been made to the phrasing of passages where those devices are introduced or referred to, and the same holds elsewhere from time to time, for instance with the self–referential words and phrases which do indeed make perfect sense in their original setting, and with the bibliographic or other details given in the footnotes. As regards typographical and other errors, much as on the website, here too they will be corrected silently whenever I happen to notice them: hence, for the most authoritative version of this document, for those readers who prefer it in the form of a PDF, especially if one has leafed through or printed it out some time before, the file currently available on the website ought to be consulted directly. As regards the typefaces utilized here, I began with the idea of arranging these pages as a battleground of Bodonis – a family which is a personal favorite and whose members are seemingly able to lend a proper shape to words about music. After several graphic iterations I have returned to this idea, and indeed throughout these pages a few select varieties have been juxtaposed.

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Musicuratum: The Compendium (Part III)  

Devoted to music

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