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    Program Music
    • Online ISBN: 9781139506397
    • Book DOI: https://doi.org/10.1017/CBO9781139506397
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Book description

Program music was one of the most flexible and contentious novelties of the long nineteenth century, covering a diverse range that included the overtures of Beethoven and Mendelssohn, the literary music of Berlioz and Schumann, Liszt's symphonic poems, the tone poems of Strauss and Sibelius, and compositions by groups of composers in Russia, Bohemia, the United States, and France. In this accessible Introduction, Jonathan Kregor explores program music's ideas and repertoire, discussing both well-known and less familiar pieces by an array of nineteenth- and twentieth-century composers. Setting program music in the context of the intellectual debates of the period, Kregor presents the criticism of writers like A. B. Marx and Hanslick to reveal program music's growth, dissemination, and reception. This comprehensive overview features numerous illustrations and music examples and provides detailed case studies of battle music, Shakespeare settings, and Goethe's Faust.

Reviews

'Jonathan Kregor’s Program Music is easy to read, comprehend, and adjust to any educationallevel. The Cambridge Introductions to Music series boasts that the books are formulated to appeal to a wide range of students and interested readers; I would agree that this book meets those standards.'

Patricia Josette Moss Source: Notes: Quarterly Journal of the Music Library Association

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Guide to further reading
Introduction
Albright Daniel. Panaesthetics: On the Unity and Diversity of the Arts. New Haven and London: Yale University Press, 2014.
Bonds Mark Evan. Absolute Music: The History of an Idea. Oxford University Press, 2014.
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Klauwell Otto. Geschichte der Programmusik von ihren Anfängen bis zur Gegenwart. Leipzig: Breitkopf & Härtel, 1910; repr. Wiesbaden, 1968.
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Robinson Jenefer. Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art. Oxford University Press, 2007.
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Mirka Danuta, and Agawu Kofi, eds., Communication in Eighteenth-Century Music. Cambridge University Press, 2008.
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Chapter 2
Allen Aaron S.Symphonic Pastorals.” Green Letters: Studies in Ecocriticism 15, 1 (2011): 22–42.
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Chapter 3
Brittan Francesca. “Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography.” 19th-Century Music 29, 3 (2006): 211–239.
Colas Damien. “Berlioz, Carpani et la question de l’imitation en musique.” In Berlioz: Textes et contextes, ed. Fauquet Joël-Marie, Massip Catherine, and Reynaud Cécile, 221–239. Paris: Société française de musicologie, 2001.
Holoman D. Kern. Berlioz: A Musical Biography of the Creative Genius of the Romantic Era. Cambridge, MA: Harvard University Press, 1989.
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Kelley Thomas Forrest. First Nights: Five Musical Premieres. New Haven and London: Yale University Press, 2000.
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Chapter 4
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Bonner Andrew. “Liszt’s Les Préludes and Les Quatre Élémens: A Reinvestigation.” 19th-Century Music 10, 2 (1986): 95–107.
Gibbs Christopher H. and Gooley Dana, eds. Franz Liszt and His World. Princeton University Press, 2006.
Hall-Swadley Janita R., ed. and trans. The Collected Writings of Franz Liszt. 7 vols. Lanham, MD: Scarecrow Press, 2011–.
Hamilton Kenneth, ed. The Cambridge Companion to Liszt. Cambridge University Press, 2005.
Hoeckner Bertold. Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment. Princeton University Press, 2002.
Huschke Wolfram. Musik im klassischen und nachklassischen Weimar, 1756–1861. Weimar: Böhlau, 1982.
Kirby F. E. “The German Program Symphony in the Nineteenth Century (to 1914).” In A Compendium of American Musicology: Essays in Honor of John F. Ohl, ed. Arias Enrique Alberto et al., 195–211. Evanston, IL: Northwestern University Press, 2001.
Micznik Vera. “The Absolute Limitations of Programme Music: The Case of Liszt’s ‘Die Ideale’.” Music & Letters 80, 2 (1999): 207–240.
Walker Alan. Franz Liszt: The Weimar Years, 1848–1861. New York: Knopf, 1989.
Chapter 5
Altenberg Detlef, ed. Liszt und die Neudeutsche Schule. Laaber-Verlag, 2006.
Bevier Carol Sue. “The Program Symphonies of Joseph Joachim Raff.” PhD diss., University of North Texas, 1982.
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Deaville James. “The Controversy Surrounding Liszt’s Conception of Programme Music.” In Nineteenth-Century Music: Selected Proceedings of the Tenth International Conference, ed. Samson Jim and Zon Bennett, 98–124. Aldershot: Ashgate, 2002.
Dömling Wolfgang. “Reuniting the Arts: Notes on the History of an Idea.” 19th-Century Music 18, 1 (1994): 3–9.
Grey Thomas S. “Metaphorical Models in Nineteenth-Century Criticism: Image, Narrative, and Idea.” In Music and Text: Critical Inquiries, ed. Scher Steven Paul, 93–117. Cambridge University Press, 1992.
Grimes Nicole. “A Critical Inferno? Hoplit, Hanslick and Liszt’s Dante Symphony.” Journal of the Society for Musicology in Ireland 7 (2011–2012): 3–22.
Gur Golan. “Music and ‘Weltanschauung’: Franz Brendel and the Claims of Universal History.” Music & Letters 93, 3 (2012): 1–24.
Karnes Kevin. Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna. Oxford University Press, 2008.
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Trippett David. “Après une lecture de Liszt: Virtuosity and Werktreue in the ‘Dante’ Sonata.” 19th-Century Music 32, 1 (2008): 52–93.
Chapter 6
Butler Elizabeth M.The Fortunes of Faust. Cambridge University Press, 1952.
Fitzsimmons Lorna. Lives of Faust: The Faust Theme in Literature and Music. New York: Walter de Gruyter, 2008.
Grim William E.The Faust Legend in Music and Literature. Lewiston, NY: Edwin Mellen Press, 1988.
Hamilton Kenneth. Liszt, Sonata in B Minor. Cambridge University Press, 1996.
Hamilton Kenneth. “Wagner and Liszt: Elective Affinities.” In Richard Wagner and His World, ed. Grey Thomas S., 27–64. Princeton University Press, 2009.
Larkin David. “A Tale of Two Fausts: An Examination of Reciprocal Influence in the Responses of Liszt and Wagner to Goethe’s Faust.” In Music and Literature in German Romanticism, ed. Donovan Siobhán and Elliott Robin, 87–104. Rochester, NY: Camden House, 2004.
Sand George. The Seven Strings of the Lyre, trans. and introduced by Kennedy George A.. Chapel Hill, NC: University of North Carolina Press,1989.
Schulte Hans, Noyes John, and Kleber Pia, eds. Goethe’s “Faust”: Theatre of Modernity. Cambridge University Press, 2011.
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Chapter 7
Brosche Günter. “Musical Quotation and Allusion in the Works of Richard Strauss.” In The Cambridge Companion to Richard Strauss, ed. Youmans Charles, 213–225. Cambridge University Press, 2010.
Floros Constantin. Verschwiegene Programmusik. Vienna: Verlag der Österreichische Akademie der Wissenschaft, 1982.
Johnson Julian. Mahler’s Voices: Expression and Irony in the Songs and Symphonies. Oxford University Press, 2009.
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Monahan Seth. “‘I have tried to capture you … ’: Rethinking the ‘Alma’ Theme from Mahler’s Sixth Symphony.” Journal of the American Musicological Society 64, 1 (2011): 119–178.
Schneider Mathieu. “Kunstkritik and Tonmalerei in the Tone Poems of Richard Strauss.” In Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis, ed. Bruhn Siglind, 173–202. Hillsdale, NY: Pendragon Press, 2008
Todd R. Larry. “Strauss before Liszt and Wagner: Some Observations.” In Richard Strauss: New Perspectives on the Composer and His Work, ed. Gilliam Bryan, 3–40. Durham, NC and London: Duke University Press, 1992.
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Youmans Charles. Richard Strauss’s Orchestral Music and the German Intellectual Tradition: The Philosophical Roots of Musical Modernism. Bloomington and Indianapolis: Indiana University Press, 2005.
Chapter 8
Bloom Harold. A Map of Misreading, 2nd edn. Oxford University Press, 2003.
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Loya Shay. Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition. University of Rochester Press, 2011.
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Mikusi Balasz. “Mendelssohn’s ‘Scottish’ Tonality?19th-Century Music 29, 3 (2006): 240–260.
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Chapter 9
Abbate Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton University Press, 1996.
Bellman Jonathan. Chopin’s Polish Ballade: Op. 38 as Narrative of National Martyrdom. Oxford University Press, 2009.
Deruchie Andrew. The French Symphony at the Fin de Siècle: Style, Culture, and the Symphonic Tradition. University of Rochester Press, 2013.
Gelbart Matthew. “Layers of Representation in Nineteenth-Century Genres: The Case of One Brahms Ballade.” In Representation in Western Music, ed. Walden Joshua S., 13–32. Cambridge University Press, 2013.
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Whitesell Lloyd. “Erotic Ambiguity in Ravel’s Music.” In Ravel Studies, ed. Mawer Deborah, 74–91. Cambridge University Press, 2010.

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