"# $%&'()*+,(# (- .(/+0/12 !"#$% *2 3#+/)&)/+/4 56 782(#, *#4 .

(8#(49 *#4
:(; +0/ <(=&(2/)21 >*),/4 ?2/ (- +0/ @82,A*' $'/=/#+2 B0(; +0/
C/D/'(&=/#+ (- @82,A ED/) F,=/







Subject: Nusic
Canuiuate Name: Cynthia Ruan
Canuiuate Numbei: uuuS22-u77
Woiu Count: S118
























Cynthia Ruan
uuuS22-u77
2
"52+)*A+
"# /%&'()*+,(# (- .(/+0/12 !"#$% *2 ,#+/)&)/+/4 56 782(#, *#4 .(8#(49 *#4 0(; +0/
A(=&(2/)21 D*),/4 82/ (- +0/ =82,A*' /'/=/#+2 20(; +0/ 4/D/'(&=/#+ (- =82,A (D/)
+,=/G

The puipose of this essay is to exploie uiffeient inteipietations of the same woikuoethe's
classic woik of liteiatuie, !"#$%as uone by many composeis thioughout the eighteenth
anu nineteenth centuiies. Though theie aie many inteipietations, Chailes' uounou's gianu
opeia, !"#$%& anu Feiiuccio Busoni's opeia ()*%)+ !"#$% specifically aie examineu. Bespite
the fact that the two woiks aie ielatively fai apait in the time peiiou wiitten, the two pieces
contain similaiities iegaiuing the inteipietation of the plot of uoethe's !"#$%, as well as
uiffeiences in vaiious musical elements.

The seven musical elements examineu in this essay aie the vocal iange, tempo anu
uynamics, haimony anu instiumentation, anu foim anu ihythm. via an investigation of
these elements thiough analyzing the scoies as well as exteinal ieseaich uone on ciiticism
of the two woiks, the similaiities anu uiffeiences between what is known as the pact scene,
in which Faust signs a contiact with the uevil, Nephistopheles, of each opeia is stuuieu anu
exploieu.

By closely examining the Faust-Nephistopheles uuet of !"#$%& anu the seconu piologue of
()*%)+ !"#$%, it is cleai that uounou's !"#$% ueems the stoiyline anu action of the chaiacteis
as a ciucial iole in the legenu of Faust while Busoni's ()*%)+ !"#$% puts the illustiation of
the chaiactei's emotion as the most impoitant aspect of the opeia. In conclusion, musical
inteipietations of the same woik vaiy as music uevelops ovei time.

Woiu Count: 261























Cynthia Ruan
uuuS22-u77
S


F*5'/ (- <(#+/#+2

Intiouuction 4

I. vocal Range S

II. Tempo & Bynamics 7

III. Baimony & Instiumentation 9

Iv. Foim & Rhythm 11

Conclusion 14

Bibliogiaphy 1S































Cynthia Ruan
uuuS22-u77
4


3#+)(48A+,(#

When one mentions the teim "Faust", the fiist thing that comes to minu is Satan; the seconu
thing, a scholai. The thiiu is the stoiy: a well-known scholai who uesiies unpaialleleu
knowleuge anu sells his soul to the uevil. 0f the vaiious veisions of the Faust legenu,
uoethe's is one of the most piominent.

As uoethe's !"#$% was consiueieu a classic, many hau uifficulty pictuiing the woius set to
music anu even moie coulu not possibly imagine puisuing this goal. Because of this, theie
weie no musicians who wisheu to be the fiist, until Bectoi Beilioz. Bis uiamatic legenu, ,"
("-."%/). 01 !"#$%, was the fiist musical piece to set music to the woius of uoethe's Faust.
Aftei he ventuieu into the, at the time, foibiuuen teiiitoiy, many otheis followeu. Asiue
fiom uoethe's Faust being a magnificent woik of ueiman Liteiatuie, many nineteenth-
centuiy composeis wiote pieces anu piouuceu opeias baseu his woik, such as Fianz Liszt's
!"#$% 23-45).3, Aiiigo Boito's 617/$%)7181$& Robeit Schumann's 291.1$ 7+)- :)1%51;$ !"#$%
anu the seconu pait of uustav Nahlei's 23-45).3 <)= >=
1
Among the notable ones, this
investigation will examine the inteipietations of uoethe's !"#$% by Chailes uounou, a
Fiench Romantic composei who liveu at the enu of uoethe's time, anu Feiiuccio Busoni, a
fellow ueiman composei.

uounou's !"#$% was wiitten in the initial stages of the Romantic Eia (~182u-19uu), a time
when music was becoming moie emotional anu fiee-foimeu with song-like melouies anu
uiamatic contiasts of pitch anu uynamics.
2
These chaiacteiistics of the Romantic eia can be
noticeu thioughout uounou's !"#$%= 0n the othei hanu, Busoni's ()*%)+ !"#$% was wiitten in
the peiiou of 1916-192S, uuiing post-iomanticism anu the beginnings of suiiealism anu
expiessionism. At that time, musicians attempteu to move away fiom the iuea of making
instiuments sing anu insteau employeu wiue leaps anu uissonant inteivals.
S


The scene in which Faust calls upon Nephistopheles, known as the pact scene, of each opeia
will be analyzeu. Thiough examining the musical elements of uounou's gianu opeia, !"#$%,
anu Busoni's opeia ()*%)+ !"#$%, the uevelopment of music ovei time will be exploieu anu
analyzeu.












1
http:en.wikipeuia.oigwikiFaust#Influence
2
http://www.rpfuller.com/gcse/music/romantic.html
S
Foiney, Kiistine anu }oseph Nachlis. The Enjoyment of N0SIC: An Intiouuction to Peiceptive Listening. 9
th

euition. New Yoik, W. W. Noiton & Company. 2uuS. p. Su2.
Cynthia Ruan
uuuS22-u77
S


3G >(A*' H*#I/

In Act I of uounou's !"#$%, Faust calls on the uevil foi guiuance as he cuises faith anu the
sciences. This scene is executeu thiough a uuet between the two main chaiacteis Faust anu
Nephistopheles without the employment of a choius anu in iecitative accompagnato style.
Though this scene is a uuet, Faust anu Nephistopheles uo not sing in unison until aftei they
have signeu the contiact making them mastei anu seivant, symbolizing the connection
maue between the two. In this opeia, uounou ueciueuly makes the chaiactei of Faust a
tenoi anu Nephistopheles a bass, allowing an assumption to be maue of the ielationship
between the two. As the two voices inteiact, one can see the contiol exeiteu by the bass
voice ovei the tenoi voice, such as in measuies 67 to 71.











3=*I/ JK =/*28)/2 LMNMJ 4,2&'*6,#I @/&0,2+(&0/'/21 A(#+)('
In this exchange, Nephistopheles ieplies using woius that he is "all poweiful". The vocals
exhibit this as well, as theie is a change in tempo fiom tempo I to moueiato as
Nephistopheles lines begin. This coulu be inteipieteu as a sign of contiol. Following "Tout.
tout." the tempo quickens slightly as the bass voice stiings out tiiplets, conveying a moie
lively anu animateu atmospheie. The bass voice has moie contiol ovei the flow anu
uiiection of the singing.






3=*I/ OK =/*28)/2 PQNPP 20(;,#I A(==*#4 (- 5*22 D(,A/ (D/) =82,A
0ne thing to be noteu is the tieatment of tempo by the vocals. The alteinating between
vaiious tempos iepiesent the emotion felt by the chaiacteis anu cieates a ceitain
!"## !
%&'()!
*+"',& -' .&/0(
Cynthia Ruan
uuuS22-u77
6
atmospheie in the scene. This is exemplifieu in measuie Su onwaius. At Nephistopheles
appeaiance, the tempo is changeu fiom the slowei tempo of anuante, when Faust cuises
faith anu the sciences, to moueiato once again.

0n the othei hanu, the pact scene in Busoni's ()9%)+ !"#$% is uiastically uiffeient fiom
uounou's !"#$% in that it is expanueu past uoethe's oiiginal text. In auuition to
Nephistopheles, five moie weie auueu with a total of six spiiitsLucifei, Levis, Asmouus,
Beelzebub, anu Negaios. Thus, the pact scene is much longei in length anu the actions
maue to summon the spiiits aie uiffeient, iesulting in possibly uiffeient uses of musical
elements.

Not only uoes the plot uiffei between Busoni's ()*%)+ !"#$% anu uounou's !"#$% but the
vocals aie notably uiffeient as well= In one thing, the voice ianges of Faust anu
Nephistopheles aie switcheu; Faust has a lowei voice iange, as a baiitone while
Nephistopheles is a tenoi, chaiacteiizing him as the essence of tension anu stiess. Refeiiing
to an eailiei analysis, in Busoni's inteipietation of uoethe's !"#$%, Nephistopheles seems
moie submitting as a tenoi voice while Faust has the uppei hanu anu a commanuing tone as
the lowei voice. This contiasts the tiauitional musical iepiesentation of the uevil. A factoi
that suppoits the iuea of Faust having moie contiol is the libietto.

"?/1 01+ 2".0 /. 01- @5+A8"$B C/.D1A& *+/1951.01$ ?1$1.= E1+8F$951=G
HI$ %51 $".0 /. %51 5)#+A8"$$B J1A).1K J1A).1K L D".% .) $8#AA"+0$& M1
1N%/.A#/$510KO (mm. 181-187)
4


The woius in these lines alieauy show the commanu Faust has ovei these spiiits. When he
uemanus that the spiiits be gone, they uisappeai on his commanu, anu he says to himself
"Sie gehoichen" (They obey me), ievealing that he himself is suipiiseu at theii obeuience.

Bowevei, one point to be noteu is that each spiiit (in the oiuei of appeaiance) has a highei
anu highei vocal iange, with uiavis, the fiist spiiit, being bass, anu Nephistopheles, the
sixth spiiit, being tenoi. A paiallel can be maue between theii voice anu the speeu at which
they can move. Foi example, uiavis moves as the sanu in the houiglass, which is extiemely
slow. Theiefoie, his voice is a low, extenueu uione to uepict this movement (Image S).
Theiefoie Nephistopheles being tenoi anu the last spiiit woulu make him the swiftest.



3=*I/ PK .)*D,21 D(,A/ 4/&,A+,#I 0,2 =(D/=/#+ ,# =/*28)/2 JMONJMR
Theie is also a choius employeu in this pact scene, which uiu not exist in uounou's !"#$%=
The choius makes its appeaiance aftei the fouith spiiit, Beelzebub appeaisa tenoi voice.
It is most likely that the choius is utilizeu to emphasize which spiiits Faust coulu iely on, as
they only appeai aftei the swiftei spiiits aie intiouuceu. Bowevei, the choius uoes have
anothei puipose in that they auu suspense uuiing Nephistopheles anu Faust's exchange by
chanting.




4
Busoni. ()*%)+ !"#$%= Beutsche uiammophon. Booklet.
Cynthia Ruan
uuuS22-u77
7
33G F/=&( *#4 C6#*=,A2

As mentioneu eailiei in pait I, theie aie seveial tiansitions back anu foith between
uiffeient tempos in uounou's !"#$%. Although this coulu be vieweu as tempo iubato (as that
was a piominent chaiacteiistic of the Romantic eia), it is not as each sepaiate tempo is
maikeu in the scoie. Nonetheless, uiffeient tempos aie utilizeu in a way to show a ceitain
emotion felt by the chaiactei oi the atmospheie of the setting. It is cleai that the oichestia
is wiitten to accompany the voices by looking at this musical element.











3=*I/ SK =/*28)/2 JNL /%0,5,+,#I +0/ 82/ (- +0/ +/=&( *#4 46#*=,A2
A fast tempo, allegio agitato, is useu to uepict the agitation anu fiustiation of Faust, as he is
uistiesseu ovei his inability to gain tianscenuent knowleuge. The tempo matches the speeu
of his thoughts anu how fast they tiansition fiom one to anotheifiist cuising joy anu lust,
then science anu faith (Image 4). Anothei musical element to be taken note of in this
passage is the uynamics. Foitissimo is employeu fiom the stait to finish of the passage in
image S to emphasize the magnituue of the emotion that is felt; it is cleai fiom the passage
that his fiustiation is taken to anothei level that he contemplates whethei oi not to call
upon a uou. The music lenus itself to the auuience anu evokes the same feelings, allowing
them to connect anu unueistanu the chaiacteis.






3=*I/ RK A(#+)*2+ ,# 46#*=,A2 20(;# ,# =/*28)/2 MNJQ
A stiong chaiacteiistic of the Romantic eia that uounou maintaineu in his opeia was a
uiamatic contiast in uynamics. As iomantic pieces became moie anu moie emotional anu
1&0&.-.-(' (2 2().-##-/(
&/03(4&56
F)*#2,+,(# -)(= ''
+( '(
Cynthia Ruan
uuuS22-u77
8
expiessive, the iange of the uynamics expanueu.
S
In the Faust-Nephistopheles uuet, theie
aie many examples that exemplify this aspect. The foitepiano in measuie 9 (image S)
miiiois Faust's woius as he cuises with malice. As the libietto is no longei an exclamation
but moie of a statement, the foitepiano is useu to tiansition fiom the pievious foitissimo to
a piano.

In Busoni's ()*%)+ !"#$%& the tempo incieases as each spiiit sings anu the uynamics also
become louuei with each consecutive spiiit, coiielating to the speeu at which the spiiits
claim they can move. This cieates a uiamatic effect, as Faust is closei anu closei to finuing
the spiiit who can giant his uesiies. Foi example, sustaineu notes aie employeu while
uiavis sings but at the entiance of Beelzebuth, the music is "poco pi animato" with eighth
notes anu sixteenth notes useu; this shows the inciease in tempo (image 6).








3=*I/ L T*5(D/U *#4 M T5/'(;UK A(#+)*2+,#I +/=&(2 *+ *&&/*)*#A/ (- .)*D,2 *#4 7//'V/585















Bowevei, the fastest tempo is at the appeaiance of Nephistopheles still. An allegio
intiouuces the sixth spiiit as he calls foi Faust. The passage is initially soft but giauually
becomes foite by means of a ciescenuo, builuing up to the fiist climax of the seconu
piologue. While the tempo anu uynamics seive to uepict the action, it also uepicts the
emotions of the chaiacteis, like uounou's !"#$%= When Nephistopheles states "Beinach
uienest uu mii, foitab" (0h then, yes then, you'ie my seivant theieaftei), Faust is
bewilueieu anu exclaims that he will not. At this point, the music follows the emotions, as

S
Fullei, Richaiu. P)-".%/9 6#$/9= <http:www.ipfullei.comgcsemusiciomantic.html>
!"# %& "'"()*+#, +%(#"
!"# %& "*-(##+(. +%(#"
Cynthia Ruan
uuuS22-u77
9
theie aie sfoizanuos in the bass anu the oichestia plays foite (image 8), uepicting Faust's
uisbelief.















333G :*)=(#6 W 3#2+)8=/#+*+,(#

In the Faust-Nephistopheles uuet of uounou's !"#$%, theie aie foui key tiansitions; a shoit
passage in B minoi tiansitions to C minoi befoie piogiessing onto a u majoi then to E majoi
anu A-flat majoi. Although theie is a stepwise ascent in melouy is haimonizeu by
consecutive tonicizations
6
, chiomaticism is useu thioughout both minoi keys.
Consequently, uissonance can be heaiu. This symbolizes the innei conflict of Faust, anu the
conflict of tiust between him anu Nephistopheles. Because of this, theie is ielatively no
chiomaticism in the majoi key passages as those aie the latei half of the scene in which
Nephistopheles anu Faust have alieauy maue theii contiact.







3=*I/ XK =/*28)/2 LRNLM ;,+0 =/*28)/4 LL 4,2&'*6,#I A0)(=*+,A,2=
Enuing Nephistopheles' intiouuction, a fast chiomatic-like sequence is useu to tiansition to
Faust's hesitant questioning (image 9). Piioi to this allegio sequence, theie is alieauy the
use of many chiomatic notes sung by Faust, anu thus cieates uissonance in the music. It
leaus up to the allegio sequence anu intiouuces a back-anu-foith question-answei phase
between the two chaiacteis. 0ne thing to be noteu is that uounou employs stiingsviolins
anu haipsfoi all of the chiomatic sequences in the scene. This is logical as violins anu
haips have a wiuei iange of notes than most othei instiuments, allowing the chiomatic
sequences to be playeu moie easily anu smoothly. Nany of the elaboiate oinamentations
aie also commanueu by the violins.

6
Buebnei, Steven. Q51 R41+"$ )7 S5"+81$ :)#.)0= P. 2S4
/.0%1)(*2*"1 ,*"34)5#, 65 7*%4*+"
3=*I/ YK Z*82+12 5/;,'4/)=/#+ =,))()/4 56 +0/ 46#*=,A2
Cynthia Ruan
uuuS22-u77
1u











3=*I/ JQK =/*28)/2 JSPNJSY 4,2&'*6,#I ,#2+)8=/#+*+,(# *#4 A0)(=*+,A,2=
Instiuments in uounou's !"#$% aie also utilizeu to piovoke feelings in the auuience. As
Nephistopheles gives Faust his iequest that he is Faust's mastei uown in Bell, the iepeating
tiiplets, playeu by the viola, cieates a suspenseful moou leauing up to a climax. The
iepeating tiiplets also utilize chiomaticism in oiuei to uepict an eeiie setting to match the
libietto sung.

Similai to uounou's !"#$%& Busoni makes use of
chiomaticism anu uissonance, ietaining some
qualities of the iomantic eia. It is employeu to
show the conflicteu emotion of Faust anu his
uissatisfaction in failing to finu a spiiit that
coulu giant him his uesiies. Such as when
Beelzebub piesents him with the question of
whethei oi not he woulu suffice. The
chiomaticism in the stiings stiengthens the
uispleasuie of Faust (image 1u). 0ne thing to
note is that the music of ()*%)+ !"#$% tenus to
uepict the emotions of the chaiacteis iathei
than the actions as Busoni himself stateu that
all music "evei aim at the one enu, namely, the
imitation of natuie anu the inteipietation of
human feelings."
7


Again like uounou's !"#$%& theie is a continuous up anu uown chiomatic sequence playeu by
tiumpets, hoins anu othei bass instiuments uepicting Nephistopheles' uigency in
peisuauing Faust to sign the contiact. This pioviues a builu-up to the instant in which Faust
gives in anu signs the papeithe seconu climax of the seconu piologue. The continueu use
of chiomaticism is uue to the fact that the entiie seconu piologue is wiitten in the key of A
minoi. This allows the bioauei use of chiomaticism.

7
Busoni. 2*1%95 )7 " <1D I1$%51%/9 )7 6#$/9= New Yoik. u. Schiimei. pS
/.0%1)(*2*"1 #134%5#,

8)""4*+# 34)5#, 65 9*%4)"
3=*I/ JQK /%*=&'/ (- A0)(=*+,A,2= ,#
)*+%*, !"#$%G
Cynthia Ruan
uuuS22-u77
11

The instiumentation plays a ciucial iole in intiouucing each of the othei six spiiits anu
shows the uiffeiences between them. As Levis is as swift as a falling leaf, which is quite slow,
the sustaineu C playeu by the hoin chaiacteiizes his sluggishness, similai to how uiavis is
also chaiacteiizeu by a sustaineu note.







3=*I/ JJK Z,)2+ *&&/*)*#A/ (- [/D,2 *AA(=&*#,/4 56 282+*,#/4 <



3>G Z()= *#4 H06+0=

uounou's !"#$% is a gianu opia, which is a piominent style that uevelopeu uuiing the
Romantic eia. The Faust-Nephistopheles uuet, Nais ce Bieu, has a teinaiy uesign with a
significantly lengthy miuule section, which is useu to intiouuce new textuies anu to uevelop
the plot. A cabalette
8
foims the B anu B' stanzas, the fiist of which is sung in u majoi by
Faust as he happily uieams of the things he uesiies, such as youthfulness anu passion. The
seconu cabalette is sung in a majoi key a semitone higheiA-flat majoiby both Faust anu
Nephistopheles to signify that Faust is even closei to achieving his goals than befoie. The
seconu cabalette is the only passage in the scene in which Faust anu Nephistopheles sing in
unison iathei than a back anu foith exchange.


3=*I/ JOK $%A/)&+ (- -,)2+ A*5*'/++/ ,# . @*\()9 =/*28)/2 XLNXX

8
S"M"81%%1T a shoit aiia that has a iepetitive ihythm anu a simple style
(http:www.thefieeuictionaiy.comcabalette)
Cynthia Ruan
uuuS22-u77
12

3=*I/ JPK $%A/)&+ (- 2/A(#4 A*5*'/++/ ,# "N-'*+ =*\()9 =/*28)/2 OQMNOJO
A maikeu tenuency foi gianu opeia is to expanu the cential slow section as well as the
cabalette
9
. In between the two cabalettes, the slow section is seemingly uiviueu into two
paitsboth labeleu anuante. The fiist pait is an anuante that slowly mouulates into tempo I
then moueiato as it uepicts Nephistopheles' pioposal. The seconu pait staits at the tempo
anuante once again as Nephistopheles attempts to peisuaue Faust into signing the contiact
by conjuiing an image of Naigueiite. The violins anu haips hum softly while the violas play
a continuo. The soft humming of the stiings is lulling anu uepicts a gentle imageiy to convey
a feeling of peace, eventually convincing Faust to agiee.

The vocal aspect of the scene staits off syncopateu, utilizing eighth notes, but uevelops into
a smoothei melouy. Bowevei, the ihythm is quite obscuieu at times uue to the fiequent
changes in time signatuie between 68 time anu common time. As the oichestial music
confoims to the libietto, it is also ielatively obscuie as theie aie fiequent changes in metei.
uounou also employs biief pauses in oichestial scoie allowing emphasis on the voices
(image 14).


3=*I/ JSK =/*28)/2 JNL /%0,5,+,#I +0/ 82/ (- +0/ +/=&( *''/I)( *I,+*+(
The foim of Busoni's ()*%)+ !"#$% is much bioauei than the teinaiy foim of uounou's !"#$%.
Busoni's belief in absolute music alloweu him to seek aitistic fieeuom in Faust by allowing
himself not to be confineu to uefineu foims anu stiuctuie.
1u
Bowevei, this uoes not suggest

9
Buebnei, Steven. Q51 R41+"$ )7 S5"+81$ :)#.)0= p269.
1u
Chamness, Nancy 0. Q51 ,/M+1%%) "$ ,/%1+"%#+1T ()*%)+ !"#$% M3 !1++#99/) J#$)./= New Yoik, Petei Lang
Publishing. p16S
Cynthia Ruan
uuuS22-u77
1S
he uoes not use ceitain foims to piesent ()*%)+ !"#$%; he uses common opeiatic foims such
as choiuses anu aiias to show the uevelopment of the stoiy.

The seconu piologue of is seemingly thiough-composeu with uiffeient textuies anu iueas
continually being intiouuceu. Bowevei, theie is iepetition of a two types of feelings
conveyeu in this section to cieate a uiamatic piogiession into the stoiy. These staik
contiasts in musical styles cieates the back anu foith tiansitions between Faust's feai anu
excitement of ueciuing to sign the contiact anu the stifling secuiity of what is safe anu
familiai to him. This exchange can be seen at the enu of the seconu piologue wheie the
musical style changes quickly anu consecutively, sepaiateu by pauses of silence.

Busoni also tenus to spenu moie effoit on the intiicacy of the metei. The metei of the
seconu piologue changes peiiouically fiom 68 to 98 to common time, matching the
intonations anu ihythm of speech. It is not confineu to a ceitain stiuctuie; this also
uemonstiates the fieeuom Busoni uesiieu in his music, which was an element kept fiom the
iomantic eia.


































Cynthia Ruan
uuuS22-u77
14


<(#A'82,(#

uoethe's Faust is inteipieteu magnificently thiough the woiks of Chailes uounou anu
Feiiuccio Busoni as the coie elements of it can be seen in both !"#$% anu ()*%)+ !"#$%, yet
theie aie cleai uiffeiences between the two woiks in iegaius to the vocals anu the foim.
The fact that uoethe's woik is a timeless classic allows the uiffeient inteipietations to be
maue. uounou's !"#$% ueems the stoiyline anu action of the chaiacteis as a ciucial iole in
the legenu of Faust. 0n the othei hanu Busoni's ()*%)+ !"#$% puts the illustiation of the
chaiactei's emotion as the most impoitant aspect of the opeia. The uiffeiences in piioiity of
aspects anu the compaiison of the feeling it gives the listenei anu auuience, theie can be a
bettei unueistanuing the uevelopment of music ovei time.





































Cynthia Ruan
uuuS22-u77
1S


7,5',(I)*&06

]85',A*+,(#2K

Busoni, Feiiuccio. A Sketch of a New Aesthetic of Nusic. Tians. Bi. TB Bakei. New Yoik: u.
Schiimei. 1911. Piint.

Chamness, Nancy 0. The Libietto as Liteiatuie: Boktoi Faust by Busoni. New Yoik: Petei
Lang Publishing, Inc. 2uu1. Piint

Foiney, Kiistine anu }oseph Nachlis. The Enjoyment of N0SIC: An Intiouuction to
Peiceptive Listening. 9
th
euition. New Yoik, W. W. Noiton & Company. 2uuS. Piint.

Buebnei, Steven. The 0peias of Chailes uounou. New Yoik: 0xfoiu 0niveisity Piess, 199u.
Piint


]85',A*+,(#2 TBA()/2UK

Busoni, Feiiuccio. "Boktoi Faust." Wiesbauen. Bieitkopf & Baitel. Euition Ni. S289. Piint.

uounou, Chailes. "Faust." Libietto by Nichel Caiie anu }ules Baibiei. English veision by
Ruth anu Thomas Naitin. New Yoik. u. Schiimei. Piint.


^/5 ]85',A*+,(#2K

The Fiee Bictionaiy= S"M"81%%1.
<<http:www.thefieeuictionaiy.comcabalette>>

Fullei, Richaiu. 1S Feb 2u1u. P)-".%/9 6#$/9=
<< http:www.ipfullei.comgcsemusiciomantic.html>>

Wikipeuia. !"#$%.
<< http:en.wikipeuia.oigwikiFaust#Influence>>


@82,A H/A()4,#I2K

Busoni, Feiiuccio. ()*%)+ !"#$%. Peif. Bietiich Fischei-Bieskau, William Cochian,
Bayciischei Runufunk Choius & 0ichestia. Conu. Feiuinanu Leithei. Beutsche
uiammophon, p197u. CB.

uounou, Chailes. "Act IBuetNais Ce Bieu." !"#$%. Peif. Richaiu Ciooks, Leonaiu Waiien.
Choius anu 0ichestia of Netiopolitan 0peia. Conu. Wilfieu Pelletiei. NvB, p1997. CB.