Essays, edited volumes and monographs
“Rendezvous in Mecca: Gründungsfest des „German-Jewish Club“ im Mecca Temple,” Aufbau, 5, 21 (November 15, 1939), 5–6.
Abbate, Carolyn, In Search of Opera (Princeton University Press, 2001).
Adler, Bruno (ed.), Utopia: Dokumente Der Wirklichkeit (Weimar: Utopia-Verlag, 1921).
Adorno, Theodor W., Minima Moralia: Reflections from Damaged Life, trans. E. F. N. Jephcott (London: New Left Books, 1974).
Adorno, Theodor W., “Questions on Intellectual Emigration,” Social Text, 99 (2009), 159–164.
Agamben, Giorgio, Homo Sacer: Sovereign Power and Bare Life (Stanford University Press, 1998).
Albright, Daniel, Modernism and Music: An Anthology of Sources (University of Chicago Press, 2004).
Albright, Daniel, Untwisting the Serpent: Modernism in Music, Literature, and Other Arts (University of Chicago Press, 2000).
Anderson, Benedict R., Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 1991).
Applegate, Celia and Pamela M. Potter (eds.), Music and German National Identity (Chicago and London: University of Chicago Press, 2002).
Apter, Emily, “Global Translatio: The ‘Invention’ of Comparative Literature, Istanbul, 1933,” Critical Inquiry, 29 (2003), 253–281.
Arendt, Hannah, The Human Condition, 1st edn. (University of Chicago Press, 1958).
Arendt, Hannah, Men in Dark Times (New York: Harcourt, Brace & Company, 1983).
Arendt, Hannah, The Origins of Totalitarianism (New York: Schocken Books, 2004).
Ash, Mitchell G., Gestalt Psychology in German Culture 1890–1967: Holism and the Quest for Objectivity (Cambridge University Press, 1998).
Balibar, Etienne, We the People of Europe?: Reflections on Transnational Citizenship (Princeton University Press, 2004).
Barthes, Roland, Mythologies (London: Vintage, 2000).
Beal, Amy C., “Negotiating Culture Allies,” Journal of the American Musicological Society, 53 (2000).
Beal, Amy C., New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification (Berkeley: University of California Press, 2006).
Beling, Eva, Die gesellschaftliche Eingliederung der deutschen Einwanderer in Israel: Eine soziologische Untersuchung der Einwanderung aus Deutschland zwischen 1933 und 1945 (Frankfurt: Europäische Verlagsanstalt, 1967).
Benjamin, Walter, Gesammelte Schriften, ed. Hermann Schweppenhäuser and Rolf Tiedemann (Frankfurt: Suhrkamp, 1972).
Benjamin, Walter, Medienästhetische Schriften, ed. Detlev Schöttker (Frankfurt: Suhrkamp, 2002).
Benjamin, Walter, Selected Writings, ed. Marcus Paul Bullock, Michael William Jennings, Howard Eiland, and Gary Smith, 4 vols. (Cambridge, MA: Harvard University Press, 1996–2003).
Berliner, Paul, Thinking in Jazz: The Infinite Art of Improvisation (University of Chicago Press, 1994).
Bhabha, Homi K., “Aura and Agora: On Negotiating Rapture and Speaking Between” in Richard Francis (ed.), Negotiating Rapture (Chicago: Museum of Contemporary Art, 1996), 8–17.
Bhabha, Homi K., The Location of Culture (London and New York: Routledge, 2004).
Bhabha, Homi K., “Unsatisfied Notes on Vernacular Cosmopolitanism” in Peter C. Pfeiffer and Laura García-Moreno (eds.), Text and Nation: Cross-Disciplinary Essays on Cultural and National Identities (Columbia, SC: Camden House, 1996), 191–207.
Bohlman, Philip Vilas, “The Land Where Two Streams Flow”: Music in the German-Jewish Community of Israel (Champaign: University of Illinois Press, 1989).
Bohlman, Philip Vilas, The World Centre for Jewish Music in Palestine 1936–1940: Jewish Musical Life on the Eve of World War II (Oxford University Press, 1992).
Bothe, Rolf, Peter Hahn, and Hans Christof von Tavel (eds.), Das frühe Bauhaus und Johannes Itten (Ostfildern-Ruit: G. Hatje, 1994).
Brecht, Bertolt, Brecht on Theatre: the Development of an Aesthetic, trans. John Willett (New York: Hill and Wang, 1964).
Brecht, Bertolt and Siegfried Unseld, Schriften Zum Theater: Über eine nicht-Aristotelische Dramatik (Frankfurt: Suhrkamp, 1957).
Breckenridge, Carol Appadurai, Sheldon Pollock and Homi K. Bhabha (eds.), Cosmopolitanism (Durham, NC: Duke University Press, 2002).
Brinkmann, Reinhold, “The Lyric as Paradigm: Poetry and the Foundation of Schoenberg’s New Music” in Claus Reschke and Howard Pollack (eds.), German Literature and Music: An Aesthetic Fusion, 1890–1989 (Munich: W. Fink, 1992), 95–129.
Brinkmann, Reinhold and Christoph Wolff (eds.), Driven into Paradise: The Musical Migration from Nazi Germany to the United States (Berkeley: University of California Press, 1999).
Brody, Martin, “‘Music for the Masses’: Milton Babbitt’s Cold War Music Theory,” The Musical Quarterly, 77 (1993), 161–192.
Brody, Martin, “The Scheme of the Whole: Black Mountain and the Course of American Music” in Black Mountain College: Experiment in Art (Cambridge, MA: MIT Press, 2002).
Brody, Martin, “Sensibility Defined: Set Projection in Stefan Wolpe’s Form for Piano,” Perspectives of New Music, 15 (1977), 3–22.
Brody, Martin, “‘Where to Act, How to Move’: Unruly Action in Late Wolpe,” Contemporary Music Review, 27 (2008), 205–225.
Brody, Martin, “‘The Will to Connect’: Wolpe’s Theater of Action and Memory,” The Open Space Magazine, 5 (2003), 164–171.
Brody, Martin, “Wolpe’s Inner Beauty: A Response to Christopher Hasty with Three Entries for a Wolpe Lexicon,” Perspectives of New Music, 40 (2002), 174–182.
Brown, Bill, “Reification, Reanimation, and the American Uncanny,” Critical Inquiry, 32 (2006), 175–207.
Brün, Herbert, “Ein Werkstattgespräch (1962) / A Workshop Discussion (1962)” in Heinz-Klaus Metzger and Rainer Riehn (eds.), Darmstadt-Dokumente I (Munich: Text + Kritik, 1999), 230–240.
Brün, Herbert, When Music Resists Meaning: The Major Writings of Herbert Brün, ed. Arun Chandra (Middletown, CT: Wesleyan University Press, 2004).
Buber, Martin, A Land of Two Peoples: Martin Buber on Jews and Arabs, ed. Paul R. Mendes-Flohr (University of Chicago Press, 2005).
Canovan, Margaret, Hannah Arendt: A Reinterpretation of Her Political Thought (Cambridge and New York: Cambridge University Press, 1995).
Carter, Elliott, “In Memoriam: Stefan Wolpe, 1902–1972 (1972)” in Jonathan W. Bernard (ed.), Elliott Carter: Collected Essays and Lectures, 1937–1995 (University of Rochester, 1997).
Cavarero, Adriana, Relating Narratives: Storytelling and Selfhood, trans. Paul A. Kottman (London: Routledge, 2000).
Celan, Paul, Selected Poems and Prose of Paul Celan, trans. John Felstiner (New York: W. W. Norton, 2001).
Chakrabarty, Dipesh, Provincializing Europe: Postcolonial Thought and Historical Difference (Princeton University Press, 2000).
Cheah, Pheng, Inhuman Conditions: On Cosmopolitanism and Human Rights (Cambridge, MA: Harvard University Press, 2007).
Cheah, Pheng and Bruce Robbins (eds.), Cosmopolitics: Thinking and Feeling Beyond the Nation (Minneapolis: University of Minnesota Press, 1998).
Clark, T. J., Farewell to an Idea: Episodes from a History of Modernism (New Haven, CT: Yale University Press, 1999).
Clarkson, Austin, “Composing the Performer: David Tudor Remembers Stefan Wolpe,” Musicworks: Explorations in Sound, 73 (1999), 26–32.
Clarkson, Austin, “A Creative Collaboration: Stefan Wolpe’s and David Tudor’s Battle Piece,” Musicworks: Explorations in sound, 73 (2000), 32.
Clarkson, Austin, “‘The Fantasy Can Be Critically Examined’: Composition and Theory in the Thought of Stefan Wolpe” in Christopher Hatch and David W. Bernstein (eds.), Music Theory and the Exploration of the Past (University of Chicago, 1993), 505–524.
Clarkson, Austin (ed.), On the Music of Stefan Wolpe: Essays and Recollections (Hillsdale, NJ: Pendragon, 2003).
Clarkson, Austin (ed.), “Recollections of Stefan Wolpe,”
www.wolpe.org (accessed June 13,
2011).
Clarkson, Austin, “Stefan Wolpe and Abstract Expressionism” in Stephen Johnson (ed.), The New York Schools of Music and the Visual Arts (London: Routledge, 2002), 75–112.
Clarkson, Austin, “Stefan Wolpe’s Berlin Years” in Edmond Strainchamps, Maria Rika Maniates, and Christopher Hatch (eds.), Music and civilization: Essays in Honor of Paul Henry Lang (New York: Norton, 1984), 371–393.
Clifford, James, Routes: Travel and Translation in the Late Twentieth Century (Cambridge, MA: Harvard University Press, 1997).
Cohen, Brigid, “Boundary Situations: Translation and Agency in Wolpe’s Modernism,” Contemporary Music Review, 27 (2008), 323–341.
Cohen, Brigid, “Migrant Cosmopolitan Modern: Cultural Reconstruction in Stefan Wolpe’s Musical Thought, 1902–1972” (unpublished PhD dissertation, Harvard University (2007)).
Cohen, Erik and Amnon Shiloah, “Major Trends of Change in Jewish Oriental Ethnic Music in Jerusalem,” Popular Music, 5 (1985), 199–223.
Cohen, Robin, Global Diasporas: An Introduction (London: Routledge, 2008).
Cook, Susan C., Opera for a New Republic: The Zeitopern of Krenek, Weill, and Hindemith (Ann Arbor: UMI Research Press, 1988).
Craven, David, Abstract Expressionism as Cultural Critique: Dissent During the McCarthy Period (Cambridge and New York: Cambridge University Press, 1999).
Crist, Elizabeth Bergman, Music for the Common Man: Aaron Copland During the Depression and War (Oxford and New York: Oxford University Press, 2005).
Dahlhaus, Carl, Nineteenth Century Music (Berkeley: University of California Press, 1989).
Danuser, Hermann, Hermann Gottschewski, and Humboldt-Universität zu Berlin, Amerikanismus, Americanism, Weill: Die Suche nach kultureller Identität in der Moderne (Schliengen: Edition Argus, 2003).
Davis, Mary E., Classic Chic: Music, Fashion, and Modernism (Berkeley: University of California Press, 2006).
Dawson, Fielding, Black Mountain Book (New York: Croton Press, 1970).
DeVeaux, Scott Knowles, The Birth of Bebop: A Social and Musical History (Berkeley: University of California Press, 1997).
Doherty, Brigid, “The Work of Art and the Problem of Politics in Berlin Dada,” October, 105 (2003), 73–92.
Duberman, Martin B., Black Mountain: An Exploration in Community (New York: Dutton, 1972).
Early, Gerald, “White Noise and White Knights: Some Thoughts on Race, Jazz, and the White Jazz Musician,” in Geofffrey C. Ward (ed.), Jazz: A History of America’s Music (New York: Knopf, 2000), 324–332.
Edgcomb, Gabrielle Simon, From Swastika to Jim Crow: Refugee Scholars at Black Colleges (Malabar, FL: Krieger Pub. Co., 1993).
Edwards, Brent Hayes, The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism (Cambridge, MA: Harvard University Press, 2003).
Eiland, Howard, “Reception in Distraction,” boundary 2, 30 (2003), 51–66.
Elderfield, John, Kurt Schwitters (New York: Thames & Hudson, 1987).
Elias, Norbert, The Civilizing Process: The History of Manners, trans. Edmund Jephcott (New York: Urizen Books, 1978).
Feisst, Sabine, Schoenberg’s New World: The American Years (Oxford University Press, 2011).
Feldman, Morton, Give my Regards to Eighth Street (Cambridge, MA: Exact Exchange, 2000).
Fisher, James Valentine, “Social and Intellectual Origins of Religious Socialism in Germany 1918–1923,” PhD thesis, Harvard University (1978).
Foster, Hal, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh (eds.), Art since 1900: Modernism, Antimodernism, Postmodernism (London and New York: Thames & Hudson, 2004).
Foucault, Michel, Aesthetics, Method, and Epistemology, Essential Works of Michel Foucault, 1954–1984, Vol. II, ed. James D. Faubion (New York: New Press, 1998).
Friedman, Maurice, Martin Buber’s Life and Work: The Middle Years 1925–1945 (New York: E. P. Dutton, 1983).
Gadamer, Hans Georg, Truth and Method, trans. Joel Weinsheimer and Donald G. Marshall (New York: Continuum, 2003).
Galison, Peter, “Aufbau/Bauhaus,” Critical Inquiry, 16 (1990), 709–752.
García-Moreno, Laura and Peter C. Pfeiffer (eds.), Text and Nation: Cross-Disciplinary Essays on Cultural and National Identities (Columbia, SC: Camden House, 1996).
Gerson-Kiwi, Edith, Migrations and Mutations of the Music in East and West: Selected Writings (Tel Aviv–Yafo: Tel Aviv University, 1980).
Gibson, Ann Eden, Abstract Expressionism: Other Politics (New Haven, CT: Yale University Press, 1997).
Goehr, Lydia, “Amerikamüde/Europamüde: The Actuality of American Opera” in Elective Affinities: Musical Essays on the History of Aesthetic Theory (New York: Columbia University Press, 2008), 257–306.
Golding, Alan, “The New American Poetry Revisited, Again,” Contemporary Literature, 39 (1998), 180–211.
Goodman, Paul, “Advance-Guard Writing, 1900–1950,” The Kenyon Review 13 (1951), 357–380.
Gordon, Adi, review of Between Zionism and Judaism: The Radical Circle of Brith Shalom, by Shalom Ratzabi, Jewish Quarterly Review, 94 (2004), 422–427.
Greenbaum, Matthew, “Stefan Wolpe’s Dialectical Logic: A Look at the Second Piece for Violin Alone,” Perspectives of New Music, 40 (2002), 91–114.
Gross, Frederick, Arshile Gorky and Willem de Kooning: Elements of an Artistic Dialogue (New York: Hunter College Department of Art, 1998).
Hansen, Miriam Bratu, “The Mass Production of the Senses: Classical Cinema as Vernacular Modernism,” Modernism/Modernity, 6 (1999), 59–77.
Hanssen, Beatrice, Walter Benjamin’s Other History: Of Stones, Animals, Human Beings, and Angels (Berkeley: University of California Press, 2000).
Harris, Mary Emma, The Arts at Black Mountain College (Cambridge, MA: MIT Press, 1987).
Hasty, Christopher F., “Broken Sequences: Fragmentation, Abundance, Beauty,” Perspectives of New Music, 40 (2002), 155–173.
Heesen, Anke te, “News, Paper, Scissors: Clippings in the Sciences and Arts Around 1920” in Lorraine Daston (ed.), Things That Talk (New York: Zone Books, 2004), 297–328.
Hegel, Georg Wilhelm Friedrich, Phänomenologie Des Geistes, ed. Johannes Hoffmeister (Hamburg: Meiner, 1952).
Hegel, Georg Wilhelm Friedrich, Philosophische Propädeutik, Erster Kursus, § 41–45, Sämtliche Werke (Stuttgart: Frommann, 1958).
Henle, Mary and Rudolf Arnheim, Vision and Artifact (New York: Springer, 1976).
Hirshberg, Jehoash, Music in the Jewish Community of Palestine 1880–1948: A Social History (Oxford and New York: Oxford University Press, 1995).
Hochman, Elaine S., Bauhaus: Crucible of Modernism (New York: Fromm International, 1997).
Itten, Johannes, Design and Form: The Basic Course at the Bauhaus (New York: Reinhold Publishing Corporation, 1964).
Itten, Johannes and Eva Badura-Triska, Tagebücher: Stuttgart 1813–1916, Wien 1916–1919, 2 vols. (Vienna: Löcker, 1990).
Itten, Johannes, Rainer Wick, and Anneliese Itten, Bildanalysen (Ravensburg: Maier, 1988).
Itten, Johannes, Rainer Wick, and Anneliese Itten, Gestaltungs- und Formenlehre: Mein Vorkurs am Bauhaus u. später (Ravensburg: Maier, 1958).
Itten, Johannes, Rainer Wick, and Anneliese Itten, Werke und Schriften, ed. Willy Rotzler and Anneliese Itten (Zurich: Orell Füssli, 1972).
Jay, Martin, “Adorno in America” in Permanent Exiles: Essays on the Intellectual Migration from Europe to America (New York: Columbia University Press, 1986), 120–140.
Jay, Martin, “The German Migration: Is There a Figure in the Carpet?” in Stephanie Barron (ed.), Exiles and Emigrés: The Flight of European Artists from Hitler (Los Angeles County Museum of Art, 1997), 326–340.
John, Eckhard, “Review of Stefan Wolpe and Thomas Phleps, ‘Lieder Mit Klavierbegleitung 1929–1933,’” Jahrbuch für Volksliedforschung, 39 (1994), 166–167.
Jones, Caroline A., “Finishing School: John Cage and the Abstract Expressionist Ego,” Critical Inquiry, 19 (1993), 628–665.
Kaes, Anton, Martin Jay, and Edward Dimendberg (eds.), The Weimar Republic Sourcebook (Berkeley: University of California Press, 1994).
Katz, Ruth, The Lachmann Problem: An Unsung Chapter in Comparative Musicology (Jerusalem: Hebrew University Press, 2003).
Katz, Vincent, Martin Brody, and Museo Nacional Centro de Arte Reina Sofía, Black Mountain College: Experiment in Art (Cambridge, MA: MIT Press, 2003).
Kernfeld, Barry, “Tony Scott” in
L. Macy (ed.),
Grove Music Online,
www.grovemusic.com (accessed June 9,
2007).
Khalidi, Rashid, The Iron Cage: The Story of the Palestinian Struggle for Statehood (Boston: Beacon Press, 2006).
Kim, Rebecca Y., “In No Uncertain Musical Terms: John Cage’s Cultural Politics of Indeterminacy,” unpublished PhD dissertation, Columbia University (2008).
Klee, Paul, Beiträge zur bildnerischen Formlehre (facsimile edition), ed. Jürgen Glaesemer (Stuttgart: Schwabe, 1979).
Klee, Paul, Das bildnerische Denken: Schriften zur Form- und Gestaltungslehre, ed. Jürg Spiller (Basel: Benno Schwabe, 1956).
Klee, Paul, “Creative Credo” in Watercolors, Drawings, and Writings (New York: Abrams, 1969), 4–8.
Klee, Paul, Hand Puppets (Ostfildern, Germany: Hatje Cantz, 2006).
Klee, Paul, Tagebücher 1898–1918 (Stuttgart: Hatje Cantz, 1988).
Klee, Paul, Über Die Moderne Kunst (Bern-Bümpliz: Verlag Benteli, 1945).
Klee, Paul “Wege Des Naturstudiums” in Ernst-Gerhard Guse (ed.), Paul Klee: Wachstum regt sich: Klees Zwiesprache mit der Natur (Munich: Prestel-Verlag, 1990) 9–10.
Kohn, Andrew David, “The Development of Stefan Wolpe’s Compositional Style, 1948–1963 and the Role of Other Arts,” unpublished PhD thesis, University of Pittsburgh (1995).
Kowalke, Kim H., “I’m an American!: Whitman, Weill, and Cultural Identity” in Lawrence Kramer (ed.), Walt Whitman and Modern Music: War, Desire, and the Trials of Nationhood (London: Routledge, 2000), 109–132.
Kramer, Lawrence, Classical Music and Postmodern Knowledge (Berkeley: University of California Press, 1995).
Kramer, Lawrence, Music and Poetry, the Nineteenth Century and After (Berkeley: University of California Press, 1984).
Kristeva, Julia, Hannah Arendt, trans. Ross Guberman (New York: Columbia University Press, 2001).
Lachmann, Robert, Die Musik der Außereuropäischen Natur- und Kulturvölker (Potsdam: Akademische Verlagsgesellschaft Athenaion M.B.H., 1931).
Lachmann, Robert and E. M. von Hornbostel, “Asiatische Parallelen Zur Berbermusik,” Zeitschrift für vergleichende Musikwissenschaft, 1 (1933), 4–11.
Lane, Mervin (ed.), Black Mountain College: Sprouted Seeds: An Anthology of Personal Accounts (Knoxville: University of Tennessee Press, 1990).
Leja, Michael, Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s (New Haven, CT: Yale University Press, 1993).
Lepenies, Wolf, The Seduction of Culture in German History (Princeton University Press, 2006).
Lethen, Helmut, Cool Conduct: The Culture of Distance in Weimar Germany (Berkeley: University of California Press, 2002).
Lewis, George, A Power Stronger than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008).
Lott, Eric, “Double V, Double Time: Bebop’s Politics of Style,” Callaloo, 36 (1988), 597–605.
Ludwig-Körner, Christiane, Wiederentdeckt: Psychoanalytikerinnen in Berlin (Giessen, Germany: Psychosozial Verlag, 1999).
Lühe, Barbara von der, Die Emigration deutschsprachiger Musikschaffender in das britische Mandatsgebiet Palästina: Ihr Beitrag zur Entwicklung des israelischen Rundfunks, der Oper und der Musikpädagogik seit 1933 (Frankfurt: Peter Lang, 1999).
McCarthy, Justin, The Population of Palestine: Population History and Statistics of the Late Ottoman Period and the Mandate (New York: Columbia University Press, 1990).
Makarova, Elena, Friedl Dicker-Brandeis: Ein Leben für Kunst und Lehre (Vienna: Verlag Brandstetter, 2000).
Mann, Thomas, Order of the Day: Political Essays and Speeches of Two Decades (New York: Alfred A. Knopf, 1942).
Marcus, Scott, “The Eastern Arab System of Melodic Modes in Theory and Practice: A Case Study of Maqān Bayyātī” in Virginia Danielson and Stephen Blum (eds.), Garland Encyclopedia of World Music, Vol. VI (New York: Routledge, 2002), 33–47.
Marx, Karl, Capital: A Critique of Political Economy, trans. Ben Fowkes, vol. 1 (London: Penguin, 1990).
Masalha, Nur, The Bible and Zionism: Invented Traditions, Archaeology, and Post-Colonialism in Palestine–Israel (London: Zed Books, 2007).
May, Elaine Tyler, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988).
Mendes-Flohr, Paul R., ‘Introduction’ in Martin Buber, A Land of Two Peoples: Martin Buber on Jews and Arabs, ed. Paul Mendes-Flohr (University of Chicago Press, 2005), 3–33.
Mercer, Kobena (ed.), Cosmopolitan Modernisms (Cambridge, MA: MIT Press, 2005).
Mercer, Kobena (ed.), Discrepant Abstraction (Cambridge, MA: MIT Press, 2006).
Monson, Ingrid T., Freedom Sounds: Civil Rights Call Out to Jazz and Africa (New York: Oxford University Press, 2007).
Monson, Ingrid T., “Oh Freedom: George Russell, John Coltrane, and Modal Jazz” in Bruno Nettl and Melinda Russell (eds.), In the Course of Performance: Studies in the World of Musical Improvisation (University of Chicago Press, 1998), 149–168.
Monson, Ingrid T., Saying Something: Jazz Improvisation and Interaction (University of Chicago Press, 1996).
Morgan, Robert, “Secret Languages: The Roots of Musical Modernism” in Monique Chefdor, Ricardo Quinones and Albert Wachtel (eds.), Modernism: Challenges and Perspectives (Urbana: University of Illinois Press, 1986), 33–50.
Morris, Benny, Righteous Victims: A History of the Zionist–Arab Conflict, 1881–2001, 1st Vintage Books edn. (New York: Knopf, 1999).
Morris, Robert D., “A Footnote to Hasty, Whitehead, and Plato: More Thoughts on Stefan Wolpe’s Music,” Perspectives of New Music, 40 (2002), 183–188.
Morris, Robert D., “Respiration in Stefan Wolpe’s Piece in Two Parts for Six Players,” Open Space, 6 (2004), 154–173.
Nathan, Hans (ed.), Israeli Folk Music: Songs of the Early Pioneers (Madison, WI: A-R Editions, 1994).
Neumann, Eckhard (ed.), Bauhaus and Bauhaus People: Personal Opinions and Recollections of Former Bauhaus Members and Their Contemporaries, rev. edn. (New York: Van Nostrand Reinhold, 1993).
O’Brien, Conor Cruise, The Siege: The Saga of Israel and Zionism (London: Weidenfeld and Nicolson, 1986).
Oja, Carol J., Making Music Modern: New York in the 1920s (Oxford and New York: Oxford University Press, 2000).
Olson, Charles, “Projective Verse and Letter to Elaine Feinstein” in Selected Writings, ed. Robert Creeley (New York: New Directions Books, 1966), 15–30.
Pappé, Ilan, A History of Modern Palestine: One Land, Two Peoples (Cambridge and New York: Cambridge University Press, 2004).
Perloff, Nancy, Art and the Everyday: Popular Entertainment and the Circle of Erik Satie (Oxford University Press, 1991).
Peukert, Detlev J. K., The Weimar Republic: The Crisis of Classical Modernity, 1st American edn. (New York: Hill and Wang, 1992).
Phleps, Thomas, “Stefan Wolpes politische Musik,” paper presented at the “Stefan Wolpe Festival and Symposium” at the Musikhochschule Freiburg, November 15–18,
2000,
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Phleps, Thomas, “Von Dada, Anna & Anderem / On Dada, Anna, and Other Things,” Neue Zeitschrift für Musik, 155 (1994), 22–26.
Piper, Adrian, “Logic of Modernism” in Out of Order, Out of Sight, Vol. II (Cambridge, MA: MIT Press, 1999), 209–214.
Poggi, Christine, In Defiance of Painting: Cubism, Futurism, and the Invention of Collage (New Haven: Yale University Press, 1992).
Porath, Yehoshua, The Palestinian Arab National Movement 1929–1939: From Riots to Rebellion (London and Totowa, NJ: Frank Cass, 1977).
Ramazani, Jahan, “Modernist Bricolage, Postcolonial Hybridity” in Richard Begam and Michael Valdez Moses (eds.), Modernism and Colonialism: British and Irish Literature, 1899–1939 (Durham, NC: Duke University Press, 2007), 288–314.
Ramsey, Guthrie P., Jr., Race Music: Black Cultures from Bebop to Hip-Hop (Berkeley: University of California Press, 2003).
Ratzabi, Shalom, Between Zionism and Judaism: The Radical Circle in Brith Shalom 1925–1933 (Leiden and Boston: Brill, 2002).
Rifkin, Libbie, Career Moves: Olson, Creeley, Zukofsky, Berrigan, and the American Avant-Garde (Madison: University of Wisconsin Press, 2000).
Robbins, Bruce, “Comparative Cosmopolitanism,” Social Text, 31–32 (1992), 169–186.
Robbins, Bruce, “Cosmopolitanism: New and Newer,” boundary 2, 34 (2007), 47–60.
Robbins, Bruce, “Secularism, Elitism, Progress, and Other Transgressions: On Edward Said’s ‘Voyage In,’” Social Text, 40 (1994), 25–37.
Rozenblitt, Marsha, Reconstructing a National Identity: The Jews in Habsburg Austria During World War I (Oxford University Press, 2004).
Rubenstein, Sondra Miller, The Communist Movement in Palestine and Israel 1919–1984 (Boulder, CO and London: Westview Press, 1985).
Rumaker, Michael, Black Mountain Days (Asheville, NC: Black Mountain Press, 2003).
Rushdie, Salman, The Satanic Verses (New York: Picador USA, 1988).
Said, Edward W., Orientalism (New York: Vintage Books, 1979).
Said, Edward W., Reflections on Exile and Other Essays (Cambridge, MA: Harvard University Press, 2000).
Scarry, Elaine, “Among School Children: The Use of Body Damage to Express Physical Pain” in Sarah Coakley and Kay Kaufman Shelemay (eds.), Pain and Its Transformations: The Interface of Biology and Culture (Cambridge, MA: Harvard University Press, 2007), 279–316.
Scherzinger, Martin, “In Memory of a Receding Dialectic: The Political Relevance of Autonomy and Formalism in Modernist Musical Aesthetics” in Arved Mark Ashby (ed.), The Pleasure of Modernist Music (Rochester, NY: University of Rochester Press, 2004), 68–101.
Schoenberg, Arnold, Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein (Berkeley: University of California Press, 1984).
Schwartz, Elliott and Barney Childs (eds.), Contemporary Composers on Contemporary Music (New York: Da Capo, 1998).
Segev, Tom, One Palestine, Complete, tr. Haim Watzman (London: Little, Brown and Company, 2000).
Selby, Martha Ann, “The Poetics of Anaesthesia: Representations of Pain in the Literatures of Classical India” in Sarah Coakley and Kay Kaufman Shelemay (eds.), Pain and Its Transformations: The Interface of Biology and Culture (Cambridge, MA: Harvard University Press, 2007), 317–330.
Sheppard, William Anthony, Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater (Berkeley: University of California Press, 2001).
Shreffler, Anne C., “Ideologies of Serialism: Stravinsky’s Threni and the Congress for Cultural Freedom” in Karol Berger and Anthony Newcomb (eds.), Music and the Aesthetics of Modernity: Essays (Cambridge, MA and London: Harvard University Press, 2005), 217–246.
Shreffler, Anne C., Webern and the Lyric Impulse: Songs and Fragments on Poems of Georg Trakl (Oxford University Press, 1995).
Sprinker, Michael, Edward Said: A Critical Reader (London: Wiley-Blackwell, 1993).
Stein, Kenneth W., The Land Question in Palestine, 1917–1939 (Chapel Hill: University of North Carolina Press, 1984).
Subotnik, Rose Rosengard, Developing Variations: Style and Ideology in Western Music (Minneapolis: University of Minnesota Press, 1991).
Taruskin, Richard, “Optimism Amid the Rubble,” The New York Times (May 22, 1994), Section H.
Taruskin, Richard, The Oxford History of Western Music, 6 vols. (Oxford University Press, 2005).
Teuber, Marianne L., “New Aspects of Paul Klee’s Bauhaus Style” in Paul Klee: Paintings and Watercolors from the Bauhaus Years: 1921–1931 (Des Moines, IA: Des Moines Art Center, 1973), 6–17.
Teveth, Shabtai, Ben-Gurion and the Palestinian Arabs: From Peace to War (Oxford and New York: Oxford University Press, 1985).
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