Beruflich Dokumente
Kultur Dokumente
MUS 690
9/10/18
Bach, Johann Sebastian. Chorales. Edited by Charles N. Boyd and Albert Reimenschneider.
New York: G. Schirmer, 1939.
Brahms. 70 Songs for Voice and Piano (Low). Selected by Sergius Kagen. New York:
International Music, 1954.
Butt, John, ed. The Cambridge Companion to Bach. Cambridge Companions to Music. 1 997.
Reprint, Cambridge: Cambridge University Press, 2008.
Gaffurio, Franchino. The Theory of Music. Translated by Walter Kurt Kreyszig. Music Theory
Translation Series. Edited by Claude V. Palisca. New Haven: Yale University Press,
1993.
The Musical Times. “Swine before Pearls?” Editorial. The Musical Times, J une 1996.
Schoenberg, Arnold. Verklaerte Nacht: Sextet, Op 4. Kalmus Study Scores no 900. Melville,
NY: Belwin Mills, 1968.
elected and
Shelley, Percy Bysshe. Shelley’s Poetry and Prose: Authoritative Texts Criticism. S
edited by Donald H. Riemann and Sharon B. Powers. Norton Critical Editions. New
York: W.W. Norton, 1977.
Tate Publishing. The EY Exhibition - Paul Klee: Making Visible. London: Tate Publishing, 2013.
Weber, Carl Maria von. Great Overtures in Full Score: Jubilee Overture, Preciosa, Der
Freischütz, Euryanthe and Oberon. N ew York: Dover, 1986.
1. The Musical Times, “Swine before Pearls?” editorial, The Musical Times, June 1996: 3.
2. Herbert Anton, “Kleists ›Z erbrochner Krug‹ im »elucidario cabbalistico«” in Jahrbuch
des Freien Deutschen Hochstifts, e dited by Christoph Perels (Tübingen: Max Niemeyer,
1984), 233.
3. Brahms, “Ach wende diesen Blick Op. 57, No. 4,” text by H. v. Daumer, trans. by Edith
Braun and Waldo Lyman, no. 1 in 70 Songs for Voice and Piano (Low), selected by
Sergius Kagen (New York: International Music, 1954), n.p.
4. Paul Klee, Polyphony, 1932, oil and chalk on canvas, in Tate Publishing, The EY
Exhibition - Paul Klee: Making Visible (London: Tate Publishing, 2013), 186—187.
5. Claude V. Palisca, preface to Franchino Gaffurio, The Theory of Music, t rans. by Walter
Kurt Kreyszig, Music Theory Translation Series, ed. by Claude V. Palisca (New Haven:
Yale University Press, 1993), xii.
6. John Butt, “Bach’s Metaphysic of Music,” in John Butt, ed., The Cambridge Companion
to Bach, Cambridge Companions to Music (1997, reprint, Cambridge: Cambridge
University Press, 2008) 46.
7. Percy Bysshe Shelley, Queen Mab, i n Shelley’s Poetry and Prose: Authoritative Texts
Criticism, selected and edited by Donald H. Riemann and Sharon B. Powers, part of
Norton Critical Editions ( New York: W.W. Norton, 1977), lines 1—8.
8. Fux, “Fux VII, 2” quoted as “Example 6” in John Rothgeb and Jürgen Thym, trans.,
Counterpoint: A Translation of “Kontrapunkt” by Heinrich Schenker, vol. 2, New
Musical Theories and Fantasies, bk 2, Counterpoint in Three and More Voices; Bridges
to Free Composition, e dited by John Rothgeb (1922, reprint, New York: Schirmer Books,
1987), 11.