This volume collects twenty of Lawrence Kramer’s seminal writings on art song (especially Lieder), opera, and word-music relationships. All examine the formative role of culture in musical meaning and performance, and all seek to demonstrate the complexity and nuance that arise when words and music interact. The diverse topics include words and music, music and poetry, subjectivity, the sublime, mourning, sexuality, decadence, orientalism, the body, war, Romanticism, modernity, and cultural change. Several of the earlier essays have been revised for this volume, which also contains a preface by the author and a foreword by Richard Leppert. The volume should be essential reading for scholars, students, performing musicians, and other music-lovers interested in musicology, word-music relationships, cultural studies, aesthetics, and intermediality.

‘Retro’ is not only a pervading phenomenon in today’s Western culture but has informed cultural history for some centuries and thus gives momentousness to the subject of the present volume, namely literary texts and musical compositions which, for various reasons and with multiple functions, ‘make it old’.

In this volume, the first panoramic study of music in the apocalyptic mode, an international and trans-disciplinary array of scholars and composers explore the resonance of the ancient biblical Revelation of John across the centuries in musical works as diverse as El Cant de la Sibil·la, the Dies Irae, cantatas and oratorios by Bach and Telemann, Wagner's Der Ring des Nibelungen, Schoenberg’s Second String Quartet, African American Spirituals, Messiaen’s Quatuor pour la fin du temps, Christian “ApokRock,” Hip-hop, Grimes’s album Miss Anthropocene, and the songs of Bob Marley and Bob Dylan. This innovative volume will engage scholars, students, and all those interested in the intersection of music, religion, history, and popular culture.

How does a Romantic composer approach the poetry he sets: as raw material to be remade, a pretext for self-expression, a sanctified artefact, or a message to be illustrated with music? In my book, I examine Franz Liszt’s songs for voice and piano, which remain little known to scholars, artists, and music lovers alike. The objective is to present Liszt’s songs in all their complexity and diversity as well as identifying the key elements of the composer’s broadly understood song-writing technique – both those that make him unique and those that relate him to the European tradition. This approach also makes it possible to shed light on a major though previously neglected aspect of the composer’s workshop, namely, his work with the poetic text, which to Liszt was just as important as the musical setting.

This collection offers an in-depth study of music’s narrative functions in radio drama, whether original or adapted, alongside speech and sound. It features a range of historical perspectives as well as case studies from Australia, Europe and North America, highlighting broadcasting institutions such as the BBC, RAI, ABC, WDR and SWR, from early radio to the medium’s postwar golden age and contemporary productions. Not limited to classical or popular music, the chapters also pay attention to electronic varieties and musical uses of language, in addition to intermedial exchanges with other art forms such as theatre, opera and film. In doing so, the present volume sits at the crossroads of various disciplines: musicology, narratology, history, literary, media, sound and radio studies.

The twelve essays presented in this volume are drawn from the Fifth International Conference on Word and Music Studies held at Santa Barbara, CA, in 2005. The conference was organized and sponsored by The International Association for Word and Music Studies (WMA) and in its central section explored the theme of “Word/Music Adaptation”. In these wide-ranging papers, a great variety of cases of intermedial transposition between music, literature, drama and film are examined. The music of Berlioz, Biber, Chopin, Carlisle Floyd, Robert Franz, Bernard Herrmann, Liszt, Richard Strauss, Verdi, and pop singer Kate Bush confronts and commingles with the writings of Emily Brontë, Goethe, Nancy Huston, George Sand, and Shakespeare in these cutting-edge adaptation studies. In addition, four films are discussed: Wuthering Heights, Fedora, Otello, and The Notebook. The articles collected will be of interest not only to music and literary scholars, but also to those engaged in the study of adaptation theory, semiotics, literary criticism, narrative theory, art history, feminism or postmodernism.

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA).The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference – including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) – is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies.

The main section of this volume of essays addresses the topic of ‘Performativity in Literature and Music’, a subject of high contemporary relevance since a substantial part of recent reflections in the humanities are concerned with the performance aspect of cultural activities, particularly in the arts. This decisive reorientation of scholarly interests in the arts, trendily called the ‘performative turn’, has yielded significant contributions to an increasingly refined understanding of artistic processes from an up-to-date perspective, and specifically what has been called the ‘crisis of the work concept’ has sharpened our awareness of the need of finding the ‘proper’ object of such scholarly investigations, which, as in most traditional studies, cannot be exclusively the written documents of our cultural heritage, but additionally, and essentially so, their actualizations in performance situations. This volume for the first time offers a set of careful case studies from a wide range of artistic genres (narrative fiction, poetry, opera, instrumental music, songs, jazz) and historical phases (from Elizabethan verse to 21st-century HD opera performances) which give detailed insight into consequences of addressing issues of performativity in the field of word and music studies. Closely examined examples range, in music, from the romantic reception of Bach and the opera singer Maria Malibran through Mahler and Schoenberg to Brigitte Fassbaender, Philip Glass and Charles Mingus, and, in literature, from Sidney through Yeats and Celan to Katherine Mansfield, Alejo Carpentier and Toni Morrison. In addition, the volume contains a smaller section on ‘Surveying the Field’ of word and music studies which includes an essay of general reflection on interart relationships and an attempt at identifying new features of the ‘musicalization of fiction’. This collection of essays will be relevant to students and scholars from a wide variety of fields: performance studies, intermediality studies, art theory, musicology, voice studies, literary criticism, and philosophy.

This volume collects twenty of Lawrence Kramer’s seminal writings on art song (especially Lieder), opera, and word-music relationships. All examine the formative role of culture in musical meaning and performance, and all seek to demonstrate the complexity and nuance that arise when words and music interact. The diverse topics include words and music, music and poetry, subjectivity, the sublime, mourning, sexuality, decadence, orientalism, the body, war, Romanticism, modernity, and cultural change. Several of the earlier essays have been revised for this volume, which also contains a preface by the author and a foreword by Richard Leppert. The volume should be essential reading for scholars, students, performing musicians, and other music-lovers interested in musicology, word-music relationships, cultural studies, aesthetics, and intermediality.

‘Retro’ is not only a pervading phenomenon in today’s Western culture but has informed cultural history for some centuries and thus gives momentousness to the subject of the present volume, namely literary texts and musical compositions which, for various reasons and with multiple functions, ‘make it old’.

In this volume, the first panoramic study of music in the apocalyptic mode, an international and trans-disciplinary array of scholars and composers explore the resonance of the ancient biblical Revelation of John across the centuries in musical works as diverse as El Cant de la Sibil·la, the Dies Irae, cantatas and oratorios by Bach and Telemann, Wagner's Der Ring des Nibelungen, Schoenberg’s Second String Quartet, African American Spirituals, Messiaen’s Quatuor pour la fin du temps, Christian “ApokRock,” Hip-hop, Grimes’s album Miss Anthropocene, and the songs of Bob Marley and Bob Dylan. This innovative volume will engage scholars, students, and all those interested in the intersection of music, religion, history, and popular culture.

How does a Romantic composer approach the poetry he sets: as raw material to be remade, a pretext for self-expression, a sanctified artefact, or a message to be illustrated with music? In my book, I examine Franz Liszt’s songs for voice and piano, which remain little known to scholars, artists, and music lovers alike. The objective is to present Liszt’s songs in all their complexity and diversity as well as identifying the key elements of the composer’s broadly understood song-writing technique – both those that make him unique and those that relate him to the European tradition. This approach also makes it possible to shed light on a major though previously neglected aspect of the composer’s workshop, namely, his work with the poetic text, which to Liszt was just as important as the musical setting.

This collection offers an in-depth study of music’s narrative functions in radio drama, whether original or adapted, alongside speech and sound. It features a range of historical perspectives as well as case studies from Australia, Europe and North America, highlighting broadcasting institutions such as the BBC, RAI, ABC, WDR and SWR, from early radio to the medium’s postwar golden age and contemporary productions. Not limited to classical or popular music, the chapters also pay attention to electronic varieties and musical uses of language, in addition to intermedial exchanges with other art forms such as theatre, opera and film. In doing so, the present volume sits at the crossroads of various disciplines: musicology, narratology, history, literary, media, sound and radio studies.

The twelve essays presented in this volume are drawn from the Fifth International Conference on Word and Music Studies held at Santa Barbara, CA, in 2005. The conference was organized and sponsored by The International Association for Word and Music Studies (WMA) and in its central section explored the theme of “Word/Music Adaptation”. In these wide-ranging papers, a great variety of cases of intermedial transposition between music, literature, drama and film are examined. The music of Berlioz, Biber, Chopin, Carlisle Floyd, Robert Franz, Bernard Herrmann, Liszt, Richard Strauss, Verdi, and pop singer Kate Bush confronts and commingles with the writings of Emily Brontë, Goethe, Nancy Huston, George Sand, and Shakespeare in these cutting-edge adaptation studies. In addition, four films are discussed: Wuthering Heights, Fedora, Otello, and The Notebook. The articles collected will be of interest not only to music and literary scholars, but also to those engaged in the study of adaptation theory, semiotics, literary criticism, narrative theory, art history, feminism or postmodernism.

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA).The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference – including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) – is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies.

The main section of this volume of essays addresses the topic of ‘Performativity in Literature and Music’, a subject of high contemporary relevance since a substantial part of recent reflections in the humanities are concerned with the performance aspect of cultural activities, particularly in the arts. This decisive reorientation of scholarly interests in the arts, trendily called the ‘performative turn’, has yielded significant contributions to an increasingly refined understanding of artistic processes from an up-to-date perspective, and specifically what has been called the ‘crisis of the work concept’ has sharpened our awareness of the need of finding the ‘proper’ object of such scholarly investigations, which, as in most traditional studies, cannot be exclusively the written documents of our cultural heritage, but additionally, and essentially so, their actualizations in performance situations. This volume for the first time offers a set of careful case studies from a wide range of artistic genres (narrative fiction, poetry, opera, instrumental music, songs, jazz) and historical phases (from Elizabethan verse to 21st-century HD opera performances) which give detailed insight into consequences of addressing issues of performativity in the field of word and music studies. Closely examined examples range, in music, from the romantic reception of Bach and the opera singer Maria Malibran through Mahler and Schoenberg to Brigitte Fassbaender, Philip Glass and Charles Mingus, and, in literature, from Sidney through Yeats and Celan to Katherine Mansfield, Alejo Carpentier and Toni Morrison. In addition, the volume contains a smaller section on ‘Surveying the Field’ of word and music studies which includes an essay of general reflection on interart relationships and an attempt at identifying new features of the ‘musicalization of fiction’. This collection of essays will be relevant to students and scholars from a wide variety of fields: performance studies, intermediality studies, art theory, musicology, voice studies, literary criticism, and philosophy.