• List of Illustrations Preface Acknowledgments Introduction: Tableau Theory PART ONE: MUSIC AND LANGUAGE: LA QUERELLE DES BOUFFONS * Diderot and Musical Mimesis * Cazotte and Reader Re-creation * Beaumarchais's Staged Songs PART TWO: MUSIC AND MORALITY: LA QUERELLE DES FEMMES * Charriere's Exercises in Equivocation * Cottin, Krudener, and Musical Mesmerism * Stael's Sweet Revenge Afterward Notes Works Cited Index.
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French authors in the eighteenth century traditionally used music to enhance literary love scenes. Jean-Jacques Rousseau considerably expanded contemporary notions of music's expressive power, yet distinguished between the capacity of different nations and sexes to wield it. Rousseau's controversial statements led his readers to interrogate the relationship between music, meaning, and morality. They depicted their resistance to his claims in musical tableaux, or musical performances staged for a beholder inscribed within the text. Tili Boon Cuille's Narrative Interludes chronicles the emergence of the musical tableau in French literature. Spanning the latter half of the eighteenth century, Cuille brings the cultural discourse on music and musicians to bear on the works of Diderot, Cazotte, Beaumarchais, Charriere, Cottin, Krudener, and Stael. She turns attention from the representation of music to its moral repercussions, from aesthetic innovation to social resistance, and from national to gender politics. Juxtaposing pre-eminent and popular writers, Cuille reads their fictional works in light of their treatises on art and society, exploring the significance of musical tableaux that have previously fallen outside the scope of literary analysis but that revolutionized the form and function of music in the text.
(source: Nielsen Book Data)

A harsh satire of Eighteenth Century London life, John Gay's The Beggar's Opera is a piece well known by students of literature and music. Gay's composition spawned a new genre of musical works called "ballad opera" whose popularity rapidly caused the decline of Italian opera in London. These well-received ballad operas dominated London's musical theatre from 1728 until the middle of the Eighteenth Century. No other author has looked beyond The Beggar's Opera to analyze the plots of any of these imitative works and their music. The book concentrates on these 'children', or descendants. The author describes a number of ballad operas which proliferated on the heels of the success of The Beggar's Opera. Ballad opera gradually matured into a pastoral, bucolic form (comic opera) and eventually into a highly sophisticated type of musical work (burletta). Several samples of each type of work chosen from the performances most frequently given in London are discussed in depth. These analyses include musical examples from the original scores and evaluations of the dramatic and musical aspects of each work. With the exception of The Beggar's Opera, none of these works or similar ones has previously been the subject of detailed analysis and evaluation. "How John Gay Changed the Course of England's Musical Theatre" sheds fresh light on the less familiar ballad operas of the Eighteenth Century. Gay's The Beggar's Opera created such a demand for musical satire that original music began to be composed for English comic works...Edmund Miller, Chairman of the English Department, C. W. Post Campus of Long Island University This is an engaging and unique look at a piece of operatic history out of the mainstream. It invites the reader to explore works that he may not know, along with the milieu in which these musical gems became popular...Kathryn Smith, General Director, Tacoma Opera Dr. Atkins provides an insightful study of Eighteenth Century ballad opera ranging from John Gay's The Beggar's Opera with its political satire and burlesque of Italian opera to the comic operas and burlettas which rounded out the century. This highly readable exposition includes examples of the tuneful airs, and explains the plots of the most popular works of the period. It will delight both musical and literary scholars...Patricia Azar, Associate Editor, Collected Works of G. K. Chesterton Madeline Atkins has given us a thorough and intelligent study of Eighteenth Century popular English musical theater, and the seminal role of The Beggar's Opera in its development. With the inclusion of numerous musical examples, abundant historical details, and deft, clear analyses, this book is an excellent introduction to a delightful musical genre and period. Atkins successfully accomplishes both of her aims: she informs us about an overlooked yet important era of musical history and she convinces us to want to hear it again for ourselves, and she does it artfully and skillfully...Barry Sherman, Associate Professor of Communications, St. John's University.
(source: Nielsen Book Data)

• 1. The grand chant of the trouveres: an Introduction
• 2. The Manuscript Tradition: Sources and Notation
• 3. The Melodic Art of the Trouveres: Orality and the Question of Melodic Variants
• 4. The Lyric Art of the Trouveres: The Counrtly chansons of Gautier de Dargies
• 5. The Later Trouvere Tradition: Continuation and Innovation
• 6. The Interaction of Oral, Written, and Literate Processes.
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This book is the first full-length study of the courtly love songs of the trouvere to address the central musical problems of the repertoire as a whole, embracing source studies, interpretation, historiography, and analysis. The argument of the book revolves around three axes, each of which is essential to the appreciation of the others: problems concerning the extant manuscript tradition; the crucial role of orality; and stylistic changes and plurality in the reperotire. For the first time, a full overview of the sources and notation is undertaken. This reveals the idiosyncrasies of individual manuscripts but, more importantly, it identifies two basic phases in the manuscript tradition. The study of melodic variants reveals the performance art that lies at the heart of the courtly grand chant; processes and techniques of variation are examined, bringing us to a closer understanding of the tenets of the melodic art of the early trouveres. A close study of select trouveres from the different generation reveals stylstic change and plurality, particularly in the melodic art which in some respects was less prescribed than the poetic texts. Consequently the courtly songs of the trouveres truly come alive in this book.
(source: Nielsen Book Data)

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This work situates itself in the intertextual domain of literature and music. It examines how the French homme de lettres, Camille Mauclair (1872-1945) made a significant contribution to the musical education of the Parisian public at the end of the nineteenth century. In French.

• Music: Dualism/unity/control : Ralph Waldo Emerson and Charles Ives ; Nondualism and coexistence : Henry David Thoreau and John Cage
• Poetry and music: The transparent eye/I : positioning the self in Pound-tradition poetics ; Silencing the sounded self : the poetry and music of John Cage.

Christopher Shultis has observed an intriguing contrast between John Cage's affinity for Thoreau and fellow composer Charles Ives's connection with Emerson. Although both Thoreau and Emerson have been called transcendentalists, they held different views about the relationship between nature and humanity and about the artist's role in creativity. Shultis explores the artist's "sounded" or "silenced" selves-the self that takes control of the creative experience versus the one that seeks to coexist with it-and shows how recognizing this distinction allows a better understanding of Cage. He then extends the contrasts between Emerson and Thoreau to distinctions between objective and projective verse. Having placed Cage in this experimental tradition of music, poetry, and literature, Shultis offers provocative interpretations of Cage's aesthetic views, especially as they concern the issue of non-intention, and addresses some of his most path-breaking music as well as several experimentally innovative written works.
(source: Nielsen Book Data)

Presents a rhythmic tribute to Charlie Parker and Dizzy Gillespie, and their creation of bebop.

• Overture : German catastrophe and the rebirth of musical biography
• Thomas Mann : dissonance as a mode of documentation
• Interlude I. Siegfried : atonality and decentralized narrative
• Gèunter Grass : rhythms of a fictitious testimony
• Interlude II. Clown : ironic tune between memory and oblivion
• Ingeborg Bachmann : the resonance of trauma
• Interlude III. Pianist : Austria from a musician's perspective
• Thomas Bernhard : writing, playing, and the compulsion to repeat
• Interlude IV. Composer : sound transfiguration after reunification
• Coda : the end of musical biography?

Since the second half of the twentieth century various routes, including history and literature, are offered in dealing with the catastrophe of World War II and the Holocaust. Historiographies and novels are of course written with words; how can they bear witness to and reverberate with traumatic experience that escapes or resists language? In search for an alternative mode of expression and representation, this volume focuses on postwar German and Austrian writers who made use of music in their exploration of the National Socialist past. Their works invoke, however, new questions: What happens when we cross the line between narration and documentation, and between memory and a musical piece? How does identification and fascination affect our reading of the text? What kind of ethical issues do these testimonies raise? As this volume shows, reading these musical biographies is both troubling and compelling since they `fail' to come to terms with the past. In playing the haunting music that does not let us put the matter to rest, they call into question not only the exclusion of personal stories by official narratives, but also challenge writers' and readers' most intimate perspectives on an unmasterable past.
(source: Nielsen Book Data)
Musical Biographies examines that which bypasses verbal signification and is therefore absent from collective memory. More specifically, it looks at German and Austrian writers, who turned to music in order to develop appropriate modes to respond to the catastrophe of World War II. The book contributes to a new understanding of this past and demonstrates the complexities inherent in any attempt to understand traumatic experience.
(source: Nielsen Book Data)

• Capítulo
• 1. Más ramas que raíces: Intercambios, autogestión y movimientos musicales en la diáspora africana
• Capítulo
• 2. Sobre el gumbé, la palmwine music y sus derivados
• Capítulo
• 3. Las independencias africanas y modernidades alternativas: El son, el bolero y la salsa en África occidental y central
• Capítulo
• 4. Y de vuelta al Caribe.

ʺMás ramas que raíces es un aporte fundamental a los Estudios Culturales y musicales contemporáneos. Es producto de años de entusiasta y minuciosa investigación y apasionado estudio de los diálogos (ires y venires) entre al música africana y la afro-latinoamericana. Muestra contundente las limitaciones de la visión americana predominante de concebir la afro desde la metáfora de la raíz, mientras vamos descubriendo en su lectura la importancia de conocer los desarrollos musicales de ambos continentes desde otra óptica más dialógica. Es además lectura amena, que aprovechará tanto el especialista como un amplio público lector general.ʺ--Back cover.