Member Publications Since 2005
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Indexed by last name.
A
dissertation review of Tina Hartmann: Goethes Musiktheater. Singspiele, Opern, Festspiele, ’Faust’. (Hermaea N.F. 105) Tübingen: Max Niemeyer 2004.
http://iasl.uni-muenchen.de/rezensio/liste/Ammon3484151056_1155.html
dissertation review of Hanna Stegbauer: Die Akustik der Seele. Zum Einfluss der Literatur auf die Entstehung der romantischen Instrumentalmusik und ihrer Semantik. (Palaestra 325) Göttingen: Vandenhoeck & Ruprecht 2006.
http://iasl.uni-muenchen.de/rezensio/liste/Ammon9783525205990_2526.html
B
Literary Music: Writing Music in Contemporary Fiction. Aldershot: Ashgate, 2006.
"’Musikalische Verse’: ’Ich weiß nicht, was soll es bedeuten’". Die Vorstellung von Musik in Malerei und Dichtung. Jahresschrift der österreichischen Gesellschaft für Musikwissenschaft. Barbara Boisits, Cornelia Szabò-Knotik, eds. Musicologica Austriaca 25. Vienna: Praesens Verlag, 2006. 111-121.
"Myth-making Opera: David Malouf and Michael Berkeley’s Jane Eyre". A Breath of Fresh Eyre: Intertextual and Intermedial Reworkings of Jane Eyre. Margarete Rubik, Elke Mettinger-Schartmann, eds. Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft 111. Amsterdam/New York, NY: Rodopi, 2007. 317-329.
“Narrative Framing in Schumann’s Piano Pieces". Framing Borders in Literature and Other Media. Werner Wolf, Walter Bernhart, eds. Studies in Intermediality 1. Amsterdam/New York: Rodopi, 2005. 449-476.
D
“The force of music in Derrida’s writing." Delia da Sousa Correa, ed. Phrase and Subject. Oxford: Legenda, 2006. 45-58.
Music Writing Literature, from Sand via Debussy to Derrida. Aldershot: Ashgate, 2006.
“Nature, Music, and Meaning in Debussy’s Writing.” Nineteenth-Century Music. Vol. XXVIII no. 3 (Spring 2005): 214-229.
G
“Durch Musik zur Erkenntnis kommen? Kierkegaards ironische Musikästhetik.” Kierkegaard Studies Yearbook, 2005. 418-439.
Literatur und Musik in der klassischen Moderne. Mediale Konzeptionen und intermediale Poetologien. Würzburg, 2006
"Atonalität und literarische Avantgarde. Musikalische Moderne bei Elmer Diktonius". Literatur und Musik in der klassischen Moderne. Mediale Konzeptionen und intermediale Poetologien. Joachim Grage. ed. Würzburg, 2006. 307-325.
H
“The Dear Dead Past: The Piano in 19th-Century Poetry.” Phrase and Subject. Delia da Sousa Correa, ed. Oxford: Legenda, 2006.
"The Gaze of the Listener: Shakespeare’s Sonnet 128 and Early Modern Discourses on Instrumental Music.” Music and Letters (forthcoming).
“Tom, Dick and … Jack in the OED and in Sonnet 128.” Shakespeare-Jahrbuch, 2007. 177-179.
Der Zuhörer ist ganz Auge." Uni Nova. 102 (March 2006): 12-13.
K
Beyond the Soundtrack: Representing Music in Cinema. Lawrence Kramer, Daniel Goldmark, Richard Leppert eds. Berkley: University of California Press, 2007.
Opera and Modern Culture: Wagner and Strauss. Berkeley: University of California Press, 2004.
Why Classical Music Still Matters. Berkley: University of California Press, 2007.
Die Oper im italienischen Film. FORA: Studien zu Literatur und Sprache 9. Essen: Die Blaue Eule, 2005.
P
The André Hodeir Jazz Reader. Jean-Louis Pautrot, ed. Ann Arbor: The University of Michigan Press, 2006.
“Ouvertures musicales.” L’Esprit Créateur. Katherine Kolb, Jean-Louis Pautrot, eds. 47.2 (Summer 2007).
Q
“’An Assiduous Frequenter of the Italian Opera’: Shelley’s Prometheus Unbound and the Opera Buffa,” Romantic Circles: Praxis Series. October 2005. http://www.rc.umd.edu/praxis/opera/quillin/quillin.html.
“Shelleyan Lyricism and the Romantic Historicization of Musical Aesthetics.” Keats-Shelley Journal. LIV (2005): 133-147.
S
“Narratives of Masculinity and Femininity: Two Schumann Song Cycles.” Phrase and Subject: Studies in Music and Literature. Delia da Sousa Correa, ed. Legenda: Oxford, 2006.
“Music as Narrative’s Limit and Supplement.” The Dynamics of the Threshold. Ana Mazanas, Jesus Benito eds. Studies in Liminality and Literature 5. Gateway Press: Madrid, 2007.
Wenn mehrere Künste im Spiel sind. Intermedialität bei E.T.A. Hoffmann. Göttingen: Vandenhoeck & Ruprecht, 2006.
W
“Musical and Verbal Counterpoint in Thirty Two Short Films About Glenn Gould”. Word and Music Studies 7, Suzanne M. Lodato and David Francis Urrows, eds. Amsterdam: Rodopi, forthcoming.
“Shedding Light on Jean-Delphin Alard: 19th-Century Violinist, Pedagogue, and Composer.” VSA Papers, forthcoming.
"Biblical and Modern Decadenz in twentieth-century Austrian Oper: Arnold Schönberg’s Moses and Aron in Light of Richard Strauss’ Salome and Alban Berg’s Wozzeck and Lulu". Decadence/Fin de sieclé in Sino-Western Literary Relations. Marian Galik, ed. Bratislava, 2005.
Selected Essays on Opera. Word and Music Studies 8. Walter Bernhart, ed. Amsterdam: Rodopi, 2006
"Instrumental Metamusic as an Analogy to Literary Metafiction? - An Exploration of the Limits of the Transmedial Field Meta-Referentiality". Self-Reference in the Media, Winfried Nöth, Nina Bishara, eds. Approaches to Applied Semiotics. Berlin: De Gruyter, 2007 (forthcoming).
"Leitmotif" The Routledge Encyclopedia of Narrative Theory. David Herman, Manfred Jahn, Marie-Laure Ryan, eds. London: Routledge, 2005. 276.
"Music and narrative". In The Routledge Encyclopedia of Narrative Theory, ed. David Herman, Manfred Jahn and Marie-Laure Ryan, 324-329. London: Routledge, 2005.
Y
"Strauss and Don Quixote: Richard III’s Revolt". Cervantes y su mundo II (Estudios Literatura 91), Kurt Reichenberger and Darío Fernández-Morera, eds. Kassel: Edition Reichenberger, 2005. 437-456.
“Instruments of ambivalence: Dante Gabriel Rossetti and aural anxiety after 1860.” Victorian Soundscapes Revisited. Martin Hewitt, Rachel Cowgill, eds, Leeds: Leeds Trinity and All Saints, 2007. 145-160.