Lawrence Kramer, Ph.D (1972, Yale), Distinguished Professor of English and Music at Fordham University, has written prolifically on music, most recently in a trilogy on musical understanding: Interpreting Music, Expression and Truth, and The Thought of Music (University of California Press).

• ForewordPrefaceAcknowledgments1 Song [1984]2 The Schubert Lied: Romantic Form and Romantic Consciousness [1986]3 Performance and Social Meaning in the Lied: Schubert’s Erster Verlust [1994]4 “Syringa”: John Ashbery and Elliott Carter [1984; 1980]5 Decadence and Desire: The Wilhelm Meister Songs of Wolf and Schubert [1987]6 Hugo Wolf: Subjectivity in the Fin-de-Siècle Lied [1996/2009]7 Recognizing Schubert: Musical Subjectivity, Cultural Change, and Jane Campion’s The Portrait of a Lady [2002]8 “Little Pearl Teardrops”: Schubert, Schumann, and the Tremulous Body of Romantic Song [2002]9 The Harem Threshold: Turkish Music and Greek Love in Beethoven’s “Ode to Joy” [1998]10 Like Falling Leaves: The Erotics of Mourning in Four Drum-Taps Settings [2002]11 Murderous Women in German Opera [2008]12 “Longindyingcall”: of Music, Modernity, and the Sirens [2006]13 Recalling the Sublime: The Logic of Creation in Haydn’s Creation [2009]14 Wagner’s Gold Standard: Tannhäuser and the General Equivalent [2010]15 The Talking Wound and the Foolish Question: Symbolization in Parsifal [2006]16 The Great American Opera: Klinghoffer, Streetcar, and the Exception [2007]17 Modern Madrigalisms: Elliott Carter and the Aesthetics of Art Song [2014]Appendix: Unsung Words and Music18 The Strange Case of Beethoven’s Coriolan: Romantic Aesthetics, Modern Subjectivity, and the Cult of Shakespeare19 Tolstoy’s Beethoven, Beethoven’s Tolstoy: The Kreutzer Sonata [1997/2006]20 Subjectivity Unbound: Music, Language, Culture [2003/2012]

Lawrence Kramer, Ph.D (1972, Yale), Distinguished Professor of English and Music at Fordham University, has written prolifically on music, most recently in a trilogy on musical understanding: Interpreting Music, Expression and Truth, and The Thought of Music (University of California Press).

• ForewordPrefaceAcknowledgments1 Song [1984]2 The Schubert Lied: Romantic Form and Romantic Consciousness [1986]3 Performance and Social Meaning in the Lied: Schubert’s Erster Verlust [1994]4 “Syringa”: John Ashbery and Elliott Carter [1984; 1980]5 Decadence and Desire: The Wilhelm Meister Songs of Wolf and Schubert [1987]6 Hugo Wolf: Subjectivity in the Fin-de-Siècle Lied [1996/2009]7 Recognizing Schubert: Musical Subjectivity, Cultural Change, and Jane Campion’s The Portrait of a Lady [2002]8 “Little Pearl Teardrops”: Schubert, Schumann, and the Tremulous Body of Romantic Song [2002]9 The Harem Threshold: Turkish Music and Greek Love in Beethoven’s “Ode to Joy” [1998]10 Like Falling Leaves: The Erotics of Mourning in Four Drum-Taps Settings [2002]11 Murderous Women in German Opera [2008]12 “Longindyingcall”: of Music, Modernity, and the Sirens [2006]13 Recalling the Sublime: The Logic of Creation in Haydn’s Creation [2009]14 Wagner’s Gold Standard: Tannhäuser and the General Equivalent [2010]15 The Talking Wound and the Foolish Question: Symbolization in Parsifal [2006]16 The Great American Opera: Klinghoffer, Streetcar, and the Exception [2007]17 Modern Madrigalisms: Elliott Carter and the Aesthetics of Art Song [2014]Appendix: Unsung Words and Music18 The Strange Case of Beethoven’s Coriolan: Romantic Aesthetics, Modern Subjectivity, and the Cult of Shakespeare19 Tolstoy’s Beethoven, Beethoven’s Tolstoy: The Kreutzer Sonata [1997/2006]20 Subjectivity Unbound: Music, Language, Culture [2003/2012]

Lawrence Kramer, Ph.D (1972, Yale), Distinguished Professor of English and Music at Fordham University, has written prolifically on music, most recently in a trilogy on musical understanding: Interpreting Music, Expression and Truth, and The Thought of Music (University of California Press).

• ForewordPrefaceAcknowledgments1 Song [1984]2 The Schubert Lied: Romantic Form and Romantic Consciousness [1986]3 Performance and Social Meaning in the Lied: Schubert’s Erster Verlust [1994]4 “Syringa”: John Ashbery and Elliott Carter [1984; 1980]5 Decadence and Desire: The Wilhelm Meister Songs of Wolf and Schubert [1987]6 Hugo Wolf: Subjectivity in the Fin-de-Siècle Lied [1996/2009]7 Recognizing Schubert: Musical Subjectivity, Cultural Change, and Jane Campion’s The Portrait of a Lady [2002]8 “Little Pearl Teardrops”: Schubert, Schumann, and the Tremulous Body of Romantic Song [2002]9 The Harem Threshold: Turkish Music and Greek Love in Beethoven’s “Ode to Joy” [1998]10 Like Falling Leaves: The Erotics of Mourning in Four Drum-Taps Settings [2002]11 Murderous Women in German Opera [2008]12 “Longindyingcall”: of Music, Modernity, and the Sirens [2006]13 Recalling the Sublime: The Logic of Creation in Haydn’s Creation [2009]14 Wagner’s Gold Standard: Tannhäuser and the General Equivalent [2010]15 The Talking Wound and the Foolish Question: Symbolization in Parsifal [2006]16 The Great American Opera: Klinghoffer, Streetcar, and the Exception [2007]17 Modern Madrigalisms: Elliott Carter and the Aesthetics of Art Song [2014]Appendix: Unsung Words and Music18 The Strange Case of Beethoven’s Coriolan: Romantic Aesthetics, Modern Subjectivity, and the Cult of Shakespeare19 Tolstoy’s Beethoven, Beethoven’s Tolstoy: The Kreutzer Sonata [1997/2006]20 Subjectivity Unbound: Music, Language, Culture [2003/2012]