221 EPILOGUE The two main themes of this

EPILOGUE
The two main themes of this dissertation, the relation between
performance and text and the difficulty of writing about music history
came together in chapter three. There we saw how German aesthetic
thought turned its attention, starting in the 1770s, to the unique expressive
qualities of human language. I argued that this change in thinking about
language was related to a change in thinking about musical performance.
These “expressivist” ideas emerged contemporaneously with the notion of
the “historical world” as a category of thought, that is with the idea the
human history is like an infinitely-large landscape painting whose detail,
like that of “performed” language, is impossible to capture in words. The
appearance of these two ways of looking at the world at the same time is
not a coincidence. Neither is it a coincidence that the music of Mozart
and some of his contemporaries bears traces of these discourses. In this
brief epilogue I would like to sketch some of the consequences of this
observation.
First, the choice between “Geistesgeschichte” and “positivism,”
between “interpretation” and “facts,” laid out by Wolfgang Plath in 1964
is misleading, for all of the manifest good Plath’s theses did for Mozart
scholarship in the decades that followed. “Historicism” as theorized by
Johann Gustav Herder and the generations of historical thinkers that
followed him always already included the search for the particular, the
individual, and the “factual” within the framework of general “ideals.” At
the same time, the “new historicists” of today’s humanistic scholarship (in
221
222
our field some representatives of the “new musicology”) seem at times
unwilling to see this. The choice between “positivism” and
“interpretation” (or “criticism”) is not really a choice at all. A historical
scholarship that is honest about its methods admits that the individual
actions of the past are available to us only via the historical record. It is
the historian’s task to bring order and narrative to the disparate “facts” of
this record. This task is impossible without acts of interpretation.
Musical performance is an instructive test case for the historian, because
its nuance makes freezing it in texts so difficult. That is the reason why
the search for “music” in “music history” can be so arduous.
This is not an original insight: it has been made both by early
theorists of historicism, such as Johann Gustav Droysen, and by
contemporary musicological critics like Leo Treitler, and, as different as
his approach may be, by Richard Taruskin. What I have hoped to show in
this dissertation is that the “crisis of historicism” was not only a challenge
for the nineteenth, twentieth, and twenty-first centuries. As I have argued
here, Mozart and his contemporaries were confronted with precisely this
problem as they struggled to find the right balance between the individual
and the general, sensus and ratio, performance and text. In the final three
chapters of this dissertation I have sought the traces of their efforts in
musical texts. I have suggested that our problems of text and performance
were also Mozart’s problems. That is what makes writing about them so
difficult. Mozart is closer to us than we think.
A second conclusion I would like suggest is that recent arguments
about the “emergence” of the musical “work-concept” (primarily in the
writings of Carl Dahlhaus and Lydia Goehr) need to be seen in this
223
historicized context. Both writers make a claim for a “shift” in thinking
about the “work” in the closing decades of the eighteenth century. The
realization of the difficulties of textualizing unique human actions and the
arrival of a sharpened “sense of history” cannot but have played a role in
this “paradigm-shift.” The emergence of the “strong principle of music
history” and the construction of the “imaginary museum” did not take
place in a vacuum: for us as in Mozart’s time, today’s transcription of
unique acts of performance is tomorrow’s historical monument. What
makes things complicated is that Mozart’s texts arrived just as the relation
between performance and monumentality was being (re-)negotiated; as I
have suggested here, the results of this process were left open. That is
why a “work” of Mozart’s is not quite the same thing as a “work” of
Beethoven’s.
A third consequence relates to today’s “historical performance
practice.” The nearness of performance to the surface in much late
Eighteenth-century thinking about text exposes a weakness of historical
performance. “Werktreue” in the old-fashioned sense, with its attendant
distrust of virtuosity, actually works against the expressivist aesthetic that
was manifestly a concern of the musical culture historical performance
wishes to “restore.” Once again, our problem must also have been
Mozart’s problem. It is no coincidence that the pedantic strictures of
some (but by no means all) proponents of historical performance today
are oddly reminiscent of Leopold Mozart’s pronouncements about the
dangers of allowing performers too much freedom. If we read his son’s
music the way I have, however, we can see that Wolfgang knew that
224
performance always works against the “work.” Trying to rub it out can
be fatal.
Finally, this study suggests a possible re-focus of thinking on
Mozart’s compositional practice. While it is certain that Mozart was
never the “child-genius” generations of hagiographers have made him out
to be, mindlessly throwing one masterwork after another onto paper in a
kind of demonic performance, neither can the opposite cannot be true.
For him, composition and performance were not separate categories. That
is why finding the irrational, the nuanced, and the unknowable in
Mozart’s music, in both the ways in which he and his contemporaries
played it and in the ways in which he wrote it down, remains the
challenge of writing its history.
APPENDIX ONE
Zu bearbeitende Themen aus der Mozart-Forschung (1964)*
*
Reprinted with kind permission of Wolfgang Rehm and the Editionsleitung of the
Neue Mozart-Ausgabe.
225
226
227
APPENDIX TWO
Paul Wranitzky op. 4/10, I (diplomatic transcription of autograph ms.)
228
229
230
231
BIBLIOGRAPHY
Abbate, Carolyn. “Music—Drastic or Gnostic?” Critical Inquiry 30/4
(2004). 504-36.
Abert, Hermann. “Über Stand und Aufgabe der heutigen MozartForschung.” Mozart-Jahrbuch 1 (1923). 7-22.
------. W.A Mozart: Neubearbeitete und erweiterte Ausgabe von Otto
Jahn’s Mozart, erster Teil. Leipzig: Breitkopf und Härtel, 1923.
Adelung, Jacob Christoph. Grammatisch-Kritisches Wörterbuch der
Hochdeutschen Mundart mit beständiger Vergleichung der
übrigen Mundarten, besonders aber der Oberdeutschen. Leipzig:
J.G.I. Breitkopf, 1796.
Adler, Guido. Methode der Musikgeschichte. Leipzig: Breitkopf und
Härtel, 1919.
Adorno, Theodor W. “Bach Defended against his Devotees.” In Prisms
trans. Samuel and Shierry Webber. Cambridge, Mass.: MIT
Press, 1981. 133-46.
------. “Einleitung zum ‘Positivismusstreit in der deutschen
Soziologie.’” In Gesammelte Schriften 8. Frankfurt: Suhrkamp
Verlag, 1972. 280-353.
Anonymous. “Wodurch erhebt sich der dichtende Tonkünstler über den
ausübenden?” Allgemeine musikalsiche Zeitung 2/17 (1800).
Col. 289-290.
Appel, Bernhard and Joachim Veit, eds. Editionsrichtlinien Musik.
Kassel: Bärenreiter, 2000.
232
233
Austin, J. L. How To Do Things With Words. Cambridge, Mass.:
Harvard University Press, 1975.
Bach, Carl Phillip Emmanuel. Versuch über die wahre Art das Klavier
zu Spielen. Repr. Wiesbaden: Breitkopf und Härtel, 1992.
Baeumer, Max L. Heinse-Studien: Mit einer unveröffentlichten Schrift
Heinses zur Erfindung der Buchdruckerkunst in Mainz. Stuttgart:
J.B. Metzger-Verlag, 1966.
------. Winckelmann und Wilhelm Heinse: Die Sturm-und-DrangAnschauung von den bildenden Künsten. Stendal: WinckelmannGesellschaft, 1997.
------. “Zur neuen Heinse-Forschung.” In Das Maß des Bacchanten.
Wilhelm Heinses Über-Lebenskunst ed. Gert Theile. Munich:
Wilhelm Fink Verlag, 1998. 13-24.
Ballstaedt, Andreas. “‘Humor’ und ‘Witz’ in Joseph Haydns Musik.”
Archiv für Musikwissenschaft 55-3 55/3 (1998). 194-219.
Barchas, Janine. Graphic Design, Print Culture, and the EighteenthCentury Novel. Cambridge: Cambridge University Press, 2003.
Barth, George. The Pianist as Orator: Beethoven and the
Transformation of Keyboard Style. Ithaca: Cornell University
Press, 1992.
Barthes, Roland. Music—Image—Text trans. Stephen Heath. New
York: Hill and Wang, 1977.
Bärwinkel, Roland. “Heinse-Bibliographie. Sekundärliteratur 18031996.” In Das Maß des Bacchanten. Wilhelm Heinses
Überlebenskunst ed. Werner Keil. Munich: Wilhelm Fink
Verlag, 1998. 261-314.
234
Bent, Margaret. “Fact and Value in Contemporary Scholarship.” The
Musical Times 127 (1986). 85-89.
Bergeron, Katherine. Decadent Enchantments—The Revival of
Gregorian Chant at Solesmes. Berkeley: University of California
Press, 1998.
Berke, Dietrich. “Mozart Forschung und Mozart Edition. Zur
Erinnerung an Wolfgang Plath.” Mozart-Jahrbuch 2001. 1-12.
Berlin, Isaiah. “Herder and the Enlightenment.” In Aspects of the
Eighteenth Century ed. Earl R. Wasserman. Baltimore: The
Johns Hopkins Press, 1967. 47-104.
Biba, Otto. “Grundzüge des Konzertwesens in Wien zu Mozarts Zeit.”
Mozart-Jahrbuch 1978. 132-43.
Bilson, Malcolm. “Execution and Expression in the Sonata in E Flat, K.
282.” Early Music 20/2 237-44.
Blume, Friederich. “Historische Musikforschung der Gegenwart.” In
Syntagma Musicologicum II: Gesammelte Reden und Schriften
1962-1972 eds. A.A. Abert and M. Ruhnke. Kassel: Bärenreiter,
1973.
Boa, Elizabeth. “Aping and Parroting: Imitative Performance in
Goethe’s Die Wahlverwandtschaften.” In Performance and
Performativity in German Cultural Studies eds. Carolin
Duttlinger, Lucia Ruprecht, and Andrew Webber. Bern: Peter
Lang, 2003. 21-40.
Boisits, Barbara. “Historismus und Musikwissenschaft um 1900: Guido
Adler’s Begründung der Musikwissenschaft im Zeichen des
Historismus.” In Frauen in der Musikwissenschaft ed. Markus
Grassl. Vienna: Universität für Musik und Darstellende Kunst,
1998. 11-29.
235
Bonds, Mark Evan. “The Symphony as Pindaric Ode.” In Haydn and
His World ed. Elaine Sisman. Princeton: Princeton University
Press, 1997. 131-53.
-------. “Haydn, Lawrence Stern, and the Origins of Musical Irony.”
Journal of the American Musicological Society 44/1 (1991). 5791.
Bowen, José A. “Finding the Music in Musicology: Performance
History and Musical Works.” In Rethinking Music eds. Nicholas
Cook and Mark Everist. Oxford: Oxford University Press, 2001.
424-51.
-------. “The History of Remembered Innovation: Tradition and Its Role
in the Relationship between Musical Works and their
Performances.” The Journal of Musicology 11/2 (1993). 139-73.
Bowers, Jane. “Mozart and the Flute.” Early Music 20/1 (1992). 3142.
Braunbehrens, Volkmar. Mozart in Wien. Munich: Piper, 1986.
Brett, Philip. “Text, Context, and the Early Music Editor.” In
Authenticity and Early Music: A Symposium, ed. Nicholas
Kenyon. Oxford: Oxford University Press, 1988. 83-114.
Brown, Howard Mayer and Stanley Sadie, eds. Performance Practice:
Music After 1600. New York and London: W.W. Norton, 1989.
Brügge, Jochim. “Intertextualität als Problem: Zum Finale von
Mozart’s D-Dur-Quintett, KV 593, und ‘Jupitersymphonie’, KV
551 IV.” Acta Musicologica 68 (1996). 1-11.
Buelow, George J. “Music, Rhetoric, and the Concept of the
Affections: A Selective Bibliography.” Notes 30 (1973). 250-59.
236
Butler, Judith. “Performative Acts and Gender Constitution: An Essay
in Phenomenology and Feminist Theory.” Theatre Journal 40
(1988). 519-31.
Butt, John. Playing with History: The Historical Approach to Musical
Performance. Cambridge: Cambridge University Press, 2002.
-------. “Acting up a Text: Scholarship of Performance and the
Performance of Scholarship.” Early Music 24/2 (1996). 323-32.
Calder III, William M., Hubert Cancik and Berhard Kytzler, eds. Otto
Jahn: ein Geisteswissenschaftler zwischen Klassizismus und
Historismus. Stuttgart: F. Steiner-Verlag, 1991.
Caldwell, John. Editing Early Music. Oxford: Clarendon Press, 1985.
Campe, Joachim Heinrich. Wörterbuch der Deutschen Sprache.
Braunschweig: Schulbuchhandlung, 1809.
Carter, Tim. “An American in...?” Music and Letters 83/2 (2002).
274-78.
Conquergood, Dwight. “Performance Studies: Interventions and
Radical Research.” The Drama Review 46/2 (2002). 45-56.
Constapel, Britta. Der Musikverlag Johann André in Offenbach am
Main: Studien zur Verlagstätigkeit von Johann Anton André und
Verzeichnis der Musikalien von 1800 bis 1840. Tutzing:
Schneider-Verlag, 1998.
Cook, Nicholas. Music, Imagination, and Culture. Oxford: Clarendon
Press, 1990.
-------. “Analysing Performance and Performing Analysis.” In
Rethinking Music eds. Nicholas Cook and Mark Everist. Oxford:
Oxford University Press, 2001. 239-61.
Cook, Nicholas and Mark Everist, eds. Rethinking Music. Oxford:
Oxford University Press, 2001.
237
Culler, Jonathan. On Deconstruction. Ithaca: Cornell University Press,
1981.
-------. The Pursuit of Signs: Semiotics, Literature, Deconstruction.
Ithaca: Cornell University Press, 1988.
Dadelsen, Georg von. “Die ‘Fassung letzter Hand’ in der Musik.” Acta
Musicologica 33 (1961). 1-14.
Dahlhaus, Carl. Grundlagen der Musikgeschichte. Cologne:
Musikverlag Gerig, 1977.
-------. “Das 18. Jahrhundert als musikgeschichtliche Epoche.” In Die
Musik des 18. Jahrhunderts ed. Carl Dahlhaus. Laaber: LaaberVerlag, 1985. 1-69.
-------. Klassische und romatische Musikästhetik. Laaber: LaaberVerlag, 1988.
-------. Nineteenth-Century Music trans J. B. Robinson. Berkeley:
University of California Press, 1994.
-------. “Philologie und Rezepzionsgeschichte: Bemerkungen zur
Theorie der Edition.” In Werke Bd. I “Historik.” Laaber:
Laaber-Verlag, 2001. 233-46.
Dankwardt, Marianne. “‘Muss accurat mit der Gusto, forte und piano,
wie es steht, gespiellt werden.’ Funktionen der Dynamik bei
Mozart.” Mozart-Jahrbuch 1997. 293-316.
Danto, Arthur C. Analytical Philosophy of History. Cambridge:
Cambridge University Press,
Danuser, Hermann and Friedhelm Krummacher, eds.
Rezeptionsästhetik und Rezeptionsgeschichte in der
Musikwissenschaft. Laaber: Laaber-Verlag, 1991.
Demuth, Dieter. Das idealistische Mozart-Bild 1785-1860. Tutzing:
Schneider-Verlag, 1997.
238
DeNora, Tia. Beethoven and the Construction of Genius: Musical
Politics in Vienna, 1792-1803. Berkeley: University of
California Press, 1995.
Deutsch, Otto Erich, ed. Mozart: Die Dokuments seines Lebens.
Kassel: Bärenreiter, 1961.
Dick, Manfred. Der junge Heinse. Munich: Wilhelm Fink Verlag,
1980.
-------. “Der Literat und der Naturforscher. Wilhelm Heinse und
Samuel Thomas Soemmering.” In Das Maß des Bacchanten.
Wilhelm Heinses Über-Lebenskunst ed. Gert Theile. Munich:
Wilhelm Fink Verlag, 1998. 185-212.
Dilthey, Wilhelm. Weltanschauungslehre. Abhandlungen zur
Philosophie der Philosophie (=Gesammelte Werke vol. VIII).
Leipzig: Taubner, 1932.
Dreyfus, Laurence. “Mozart as Early Music: A Romantic Antidote.”
Early Music 20/2 (1992). 297-310.
-------. “Early Music Defended against its Devotees: A Theory of
Historical Performance in the Twentieth Century.” The Musical
Quarterly 59/3 (1983). 297-322.
Droysen, Johan Gustav. Historik: Vorlesungen über Enzyklopädie und
Methodologie der Geschichte. Munich: R. Oldenbourg, 1967.
Durand, Béatrice. “Imitation versus Autonomie. Zum Musikdenken
der französischen Philosophes.” Schweizer Jahrbuch für
Musikwissenschaft 20 (2000). 19-38.
Eagleton, Terry. The Ideology of the Aesthetic. Oxford: Oxford
University Press, 1990.
Edge, Dexter. “Review of Mary Sue Morrow: Concert Life in Haydn’s
Vienna.” Haydn Yearbook 17 (1992). 108-66.
239
-------. “Mozart’s Reception in Vienna, 1787-1791.” In Wolfgang
Amadé Mozart: Essays on his Life and Music ed. Stanley Sadie.
Oxford: Clarendon Press, 1996. 66-120.
-------. Mozart’s Viennese Copyists. PhD Dissertation: University of
Southern California, 2000.
Eichhorn, Andreas. “Otto Jahn, dem das Beethoven’sche Lied an die
Freude nicht heiter genug erschien: zu Otto Jahn’s
musikästhetischen Denken.” In Otto Jahn: ein
Geisteswissenschaftler zwischen Klassizismus und Historismus
ed. Calder et al. Stuttgart: F. Steiner-Verlag, 1991. 151-68.
Einstein, Alfred. “Hermann Aberts Mozart.” Mozart-Jahrbuch 1923.
158-62.
-------. Mozart: His Life and Works trans. Arthur Mendel and Nathan
Broder. New York: Oxford University Press, 1945.
Eisen, Cliff ed. New Mozart Documents: A Supplement to O.E.
Deutsch’s Documentary Biography. London: Macmillan Press,
1991.
--------. “Old and New Mozart Editions.” Early Music 20/2 (1991).
513-29.
--------. “Mozart’s Salzburg Copyists: Aspects of Attribution,
Chronology, Text, Style and Performance Practice.” In Mozart
Studies ed. Cliff Eisen. Oxford: Oxford University Press, 1992.
-------. “The Mozart’s Salzburg Music Library.” In Mozart Studies 2
ed. Cliff Eisen. Oxford: Clarendon Press, 1997. 85-138.
Eisen, Cliff and Christopher Wintle. “Mozart’s C Minor Fantasy, K.
475: An Editorial ‘Problem’ and Its Analytical Consequences.”
Journal of the Royal Musical Association 124 (1999). 26-52.
Engel, Hans. “Probleme der Mozartforschung.” Mozart-Jahrbuch
1964. 38-54.
240
Feder, Georg. Musikphilologie: Eine Einführung in die musikalische
Textkritik, Hermeneutik und Editionstechnik. Darmstadt:
Wissenschaftliche Buchgesellschaft, 1987.
-------. “Die Vorstellung von Varianten in musikalischer Kritik und
Hermeneutik.” In Musikalische Hermeneutik im Entwurf: Thesen
und Diskussionen eds. Gernot Gruber and Siegfried Mauser.
Laaber: Laaber-Verlag, 1994. 205-32.
Feder, Georg and Hubert Unverricht. “Urtext und Urtextausgaben.”
Die Musikforschung (1959). 432-54.
Fink, Robert. “Going Flat: Post-Hierarchichal Music Theory and the
Musical Surface.” In Rethinking Music eds. Nicholas Cook and
Mark Everist. Oxford: Oxford University Press, 2001. 102-37.
-------. “Elvis is Everywhere: Musicology and Popular Music at the
Twighlight of the Canon.” American Music: A Quarterly Journal
Devoted to all Aspects of American Music and Music in America
16/2 (1998). 135-79.
Finscher, Ludwig. “Aspects of Mozart’s Compositional Process in the
Quartet Autographs.” In The String Quartets of Mozart, Haydn,
Beethoven: Studies of the Autograph Manuscripts ed. C. Wolff.
Cambridge, MA: Harvard University Press, 1980. 121-53.
-------. “Bemerkungen zu den späten Streichquintetten.” In Mozarts
Streichquintette: Beiträge zum musikalischen Satz, zum
Gattungskontext und zu Quellenfragen eds. Cliff Eisen and Wolf
Dieter Seiffert. Stuttgart: Franz Steiner Verlag, 1994. 153-62.
Fish, Stanley. Is there a Text in this Class? The Authority of
Interpretive Communities. Cambridge, Mass.: Harvard
University Press, 1980.
Flothuis, Marius. “A Close Reading of the Autographs of Mozart’s Ten
Late Quartets.” In The String Quartets of Mozart, Haydn,
Beethoven: Studies of the Autograph Manuscripts ed. C. Wolff.
Cambridge, MA: Harvard University Press, 1980. 154-78.
241
Foucault, Michel. Discipline and Punish: The Birth of the Prison (2nd
Edition). New York: Vintage Books, 1995.
Frankhäuser, Gernot, Johannes Hilgart and Thomas Hilsheimer, eds.
Wilhelm Heinse und seine Bibliotheken. Mainz: Verlag Philipp
von Zabern, 2003.
Fuboni, Enrico. Geschichte der Musikästhetik von der Antike bis zur
Gegenwart. Stuttgart: J.B. Metzler, 1997.
Gadamer, Hans-Georg. Wahrheit und Methode: Grundzüge einer
philosophischen Hermeneutik. Tübingen: Mohr, 1960.
Garratt, James. Palestrina and the German Romantic Imagination:
Interpreting Historicism in Nineteenth-Century Music.
Cambridge: Cambridge University Press, 2002.
Geertz, Clifford. The Interpretation of Cultures. New York: Basic
Books, 1973.
Gérard, Yves. Thematic, Bibliographical, and Critical Catalogue of the
Works of Luigi Boccherini. London: Oxford University Press,
1969.
Giegling, Franz, ed. Bericht über den neunten internationalen Kongress
Salzburg 1964. Band II: Protokolle von den Symposia und
Round-Tables. Kassel: Bärenreiter, 1966.
Giegling, Franz, Alexander Weinmann and Gerd Sievers, eds.
Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke
Wolfgang Amadé Mozarts 6. Auflage. Wiesbaden: Breitkopf und
Härtel, 1964.
Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in
the Philosophy of Music. Oxford: Clarendon Press, 1992.
Greetham, D.C. Textual Scholarship: An Introduction. New York and
London: Garland Publishing, 1992.
242
Grier, James. The Critical Editing of Music: History, Method, and
Practice. Cambridge: Cambridge University Press, 1996.
Haberkamp, Gertraut. Die Erstdrucke der Werke von Wolfgang
Amadeus Mozart. Tutzing: Schneider-Verlag, 1986.
Habermas, Jürgen. The Structural Transformation of the Public Sphere:
An Inquiry into a Category of Bourgeois Society. Cambridge,
Mass.: MIT Press, 1989.
Haskell, Harry. The Early Music Revival: A History. London: Thames
and Hudson, 1988.
Heartz, Daniel. “The Young Boccherini: Lucca, Vienna, and the
Electoral Courts.” Journal of Musicology 13 (1995). 103-16.
-------. Music in European Capitals. New York: W.W. Norton, 2003.
Heinse, Wilhelm. Begebenheiten des Enklop, aus dem Satyricon des
Petron übersetzt. Rome (=Schwabach): 1773.
-------. Ardinghello und die glückseligen Inseln: Eine Italiänische
Geschichte aus dem sechszehnten Jahrhundert. Lemgo: Meyer,
1786.
-------. Hildegard von Hohenthal und Musikalische Dialogen.
Hildesheim: Olms-Verlag, 2002.
Hempel, C. G. “The Function of General Laws in History.” In Aspects
of Scientific Explanation and Other Essays in the Philosophy of
Science. New York: The Free Press, 1965. 231-44.
Hepokoski, James. “The Dahlhaus Project and Its Extra-Musicological
Sources.” Nineteenth Century Music 14/3 (1991). 221-46.
Herder, Johann Gottfried. On the Origin of Language. New York: F.
Ungar, 1967.
243
-------. “Correspondence on Ossian and the Songs of the Ancient
Peoples (1773) trans. Joyce P. Crick.” In The Origins of Modern
Critical Thought: German Aesthetic and Literary Criticism form
Lessing to Hegel ed. David Simpson. Cambridge: Cambridge
University Press, 1988. 72.
-------. “Abhandlung über den Ursprung der Sprache.” In Johann
Gottfried Herder, Werke I. Frankfurt: Deutscher Klassiker
Verlag, 1994. 695-810.
-------. “Auch eine Philosophie der Geschichte zur Bildung der
Menschheit. Beitrag zu vielen Beiträgen des Jahrhunderts.” In
Johann Gottfried Herder, Werke IV. Frankfurt: Deutsche
Klassiker Verlag, 1994. 9-108.
Hess, Ernst. “Die ‘Varianten’ im Finale des Streichquintettes KV 593.”
Mozart-Jahrbuch 1960. 68-77.
Hettrich, Ernst. “Eine neue, wichtige Quelle zu Mozarts
Streichquintten.” In Im Dienst der Musik: Festschrift Gertraut
Haberkamp zum 65. Geburtstag ed. Paul Mai. Tutzing:
Schneider-Verlag, 2002. 434-45.
Heuß, Alfred. “Das dämonische Element in Mozarts Werken.”
Zeitschrift der internationalen Musik-Gesellchaft 7/5 (1906).
175-86.
Hickman, Roger. “The Flowering of the Viennese String Quartet in the
Late Eighteenth Century.” Music Review 1 (1989). 157-80.
Hilzinger, Klaus Harro. “Über kritische Edition literarischer und
musikalischer Texte.” Euphorion 68 (1974). 198-210.
Hindrichs, Gunnar. “Das Problem des Historismus.” Philosophisches
Jahrbuch 129/2 (2002). 283-305.
Hohendahl, Peter Uwe. Der Europäische Roman der Emfindsamkeit.
Wiesbaden: Akademische Verlagsgesellschaft Athenaion, 1976.
244
Hosler, Bellamy. Changing Aesthetic Views of Instrumental Music in
18th- Century Germany. Ann Arbor: UMI Research Press, 1982.
Iggers, Georg G. The German Conception of History: The National
Tradition of Historical Thought form Herder to the Present.
Middletown: Wesleyan University Press, 1983.
Irvine, Thomas. “Mozarts KV 475: Fantasie als Utopie.” Acta
Mozartiana 50/1 (2003). 37-49.
Irving, John. Mozart’s Piano Sonatas: Contexts, Sources, Style.
Cambridge: Cambridge University Press, 1997.
Jacob, Margaret. Living the Enlightenment: Freemasonry and Politics
in the Eighteenth Century. Oxford: Oxford University Press,
1991.
Jaeger, Friedrich, and Jörn Rüsen. Geschichte des Historismus: Eine
Einführung. Munich: Verlag C.H. Beck, 1992.
Jahn, Otto. Mozart. Leipzig: Breitkopf und Härtel, 1856.
-------. “Über Darstellungen Griechischer Dichter auf Vasenbildern.”
In Abhandlungen der philologisch-historischen Classe der
Königlich Sächsischen Gesellschaft der Wissenschaften Dritter
Band. Leipzig: S. Hirzel, 1861.
Keefe, Simon P., ed. The Cambridge Companion to Mozart.
Cambridge: Cambridge University Press, 2002.
-------. Mozart’s Piano Concertos: Dramatic Dialogue in the Age of
Enlightenment. London: Boydell Press, 2002.
Keil, Werner. “Heinses Beitrag zur romantischen Musikästhetik.” In
Das Maß des Bacchanten. Wilhelm Heinses Über-Lebenskunst,
ed. Gert Theile. Munich: Wilhelm Fink Verlag, 1998. 139-58.
Kerman, Joseph. Contemplating Music: Challenges to Musicology.
Cambridge, Mass: Harvard University Press, 1985.
245
-------. “How We Got Into Analysis and How to Get Out.” In Write All
These All Down: Essays on Music. Berkeley: University of
California Press, 1994. 12-32.
-------. “Mozart’s Piano Concertos and their Audience.” In Write These
All Down: Essays on Music. Berkeley: University of California
Press, 1994. 322-34.
King, A.-Hyatt. Mozart in Retrospect. Oxford: Oxford University
Press, 1955.
Koch, Heinrich Christoph. Introductory Essay in Composition: The
Mechanical Rules of Melody, Sections 3 and 4 trans. Nancy
Kovaleff Baker. New Haven: Yale University Press, 1983.
-------. Musikalisches Lexikon (Faksimile-Reprint der Ausgabe
Frankfurt/Main 1802). Kassel: Bärenreiter, 2001.
Köhler, Rafael. “Johann Gottfried Herder und die Überwindung der
musikalischen Nachahmungsästhetik.” Archiv für
Musikwissenschaft 52/3 (1995). 205-19.
Komlós, Katalin. “Mozart the Performer.” In The Cambridge
Companion to Mozart, ed. Simon P. Keefe. Cambridge
University Press, 2002. 215-26.
Konrad, Ulrich. Mozarts Schaffensweise: Studien zu den
Werkautographen, Skizzen und Entwürfen (=Abhandlungen der
Akademie der Wissenschaften in Göttingen, philologischhistorische Klasse, Dritte Folge, Nr. 201). Göttingen:
Vandenhoeck & Ruprecht, 1992.
-------. “Friedrich Rochlitz und die Entstehung des Mozart-Bildes um
1800.” In Mozart - Aspekte des 19. Jahrhunderts, ed. Hermann
Jung. Mannheim: Palatium Verlag/J & J Verlag, 1995. 1-22.
Konrad, Ulrich and Martin Staehelin, eds. Allzeit ein Buch : die
Bibliothek Wolfgang Amadeus Mozarts. Weinheim: VCH Acta
Humaniora, 1991.
246
Koselleck, Reinhart. “Geschichte.” In Geschichtliche Grundbegriffe:
historisches Lexikon zur politisch-sozialen Sprache in
Deutschland Bd. IV eds. Otto Brunner, Werner Conze and
Reinhart Koselleck. Stuttgart: Klett-Kotta, 1972. 678-717.
-------. “Standortbildung und Zeitlichkeit. Ein Beitrag zur
historiographischen Erschließung der geschichtlichen Welt.” In
Vergangene Zukunft: Zur Semantik gechichtlicher Zeiten.
Frankfurt am Main: Suhrkamp-Verlag, 1979.
-------. Critique and Crisis: Enlightenment and the Pathogenesis of
Modern Society. Cambridge, Mass.: MIT Press, 1998.
-------. The Practice of Conceptual History. Trans. Todd Samuel
Presner and others. Stanford: Stanford University Press, 2002.
--------. Zeitschichten: Studien zur Historik. Frankfurt: Suhrkamp,
2003.
Kramer, Richard. Distant Cycles: Schubert and the Conceiving of Song.
Chicago: University of Chicago Press, 1994.
--------. “Review of NMA X/30/3: Skizzen, vorgelegt von Ulrich
Konrad.” Notes 57/1 (2000). 188-92.
Kropfinger, Klaus. “Von der Werkstatt zur Aufführung. Was bedeuten
Beethovens Skizzen für die Werkinterpretation?” In Über Musik
im Bilde eds. Bodo Bischoff, Andreas Eichhorn, Thomas Gerlich,
and Ulrich Siebert. Cologne: Verlag Christoph Dohr, 1995. 23140.
-------. “Rezepzionsforschung.” In Die Musik in Geschichte und
Gegenwart Sachteil Bd. 8 ed. Ludwig Finscher. Kassel:
Bärenreiter, 1998. 200-24.
La Vopa, Anthony J. “Conceiving a Public: Ideas and Society in
Eighteenth-Century Europe.” Journal of Modern History 64
(1992). 76-116.
247
Le Guin, Elisabeth. “‘One Says That One Weeps, but One Does Not
Weep’: Sensible, Grotesque, and Mechanical Embodiments in
Boccherini’s Chamber Music.” Journal of the American
Musicological Society 55/2 (2002). 207-54.
Le Huray, Peter and James Day, eds. Music and Aesthetics in the
Eighteenth and Early-Nineteenth Centuries. Cambridge:
Cambridge University Press, 1981.
Leech-Wilkinson, Daniel. “What We are Doing with Early Music is
Genuinely Authentic to Such a Small Degree that the Word Loses
Much of its Intended Meaning.” Early Music 12 (1984). 13-16.
Levin, Robert D. “Performance Practice in the Music of Mozart.” In
The Cambridge Companion to Mozart ed. Simon P. Keefe.
Cambridge University Press, 227-45.
------- “Improvised Embellishments in Mozart’s Keyboard Music.”
Early Music 20/2 (1992). 221-36.
Lockwood, Lewis. “Performance and ‘Authenticity’.” Early Music
19/4 (1991). 501-06.
Lütteken, Laurenz. Das Monologische als Denkform in der Musik
zwischen 1760 and 1785 (=Wolfenbüttler Studien zur Aufklärung
24). Tübingen: Niemayer, 1995.
Maas, Paul. Textual Criticism. Trans. Barbara Flower. Oxford:
Clarendon Press, 1958.
Marshall, Robert. Mozart Speaks: Views on Music, Musicians, and the
World. Drawn from the Letters of Wolfgang Amadeus Mozart
and other Early Accounts. New York: Schirmer Books, 1991.
Mathew, Nicholas. “Wie Kommerz Klingt: Mozarts Klaviersonate KV
332.” Acta Mozartiana 50/1-2. 51-62.
248
Maus, Fred Everett. “Musical Performance as Analytical
Communication.” In Performance and Authenticity in the Arts.
Cambridge: Cambridge University Press, 1999. 129-53.
-------. Concepts of Musical Unity. Oxford: Oxford University Press,
2001.
McClary, Susan. “A Musical Dialectic of Enlightenment: Mozart’s
Piano Concerto in G Major K. 453, Movement 2.” Cultural
Critique 4 (1986). 123-45.
McGann, Jerome J. A Critique of Modern Textual Criticism. Chicago:
University of Chicago Press, 1983.
-------. The Beauty of Inflections: Literary Investigations in Historical
Method and Theory. Oxford: Clarendon Press, 1985.
-------. “A Note on the Current State of Humanities Scholarship.”
Critical Inquiry 30/2 (2004).
McPeek, Gwynn S. “Musicology in the United States: A Survey of
Recent Trends.” In Studies in Musicology: Essays in the History,
Style, and Bibliography of Music in Memory of Glen Haydon ed.
James W. Pruett. Chapel Hill: University of North Carolina
Press, 1969. 261-75.
Meinecke, Friedrich. Die Entstehung des Historismus. Munich: R.
Oldenbourg Verlag, 1965.
Menckenstock, Günter. “Schleirmacher, Friedrich Daniel Ernst.” In
Routledge Encyclopedia of Philosophy Vol. 8, ed. Howard Craig.
London and New York: Routledge, 1998. 531-39.
Mendel, Arthur. “Recent Developments in Bach Chronology.” The
Musical Quarterly 46 (1960). 283-300.
-------. “Evidence and Explanation.” In Report of the Eighth Congress
of the International Musicological Society New York 1961 Vol. 2.
Kassel: Bärenreiter, 1962. 2-18.
249
Michaelis, Christian Friedrich. “Ueber das Humoristische oder Launige
in der musikalischen Komposition.” Allgemeine musikalsiche
Zeitung 9/46 (1807). Cols. 725-729.
Morrow, Mary Sue. Concert Life in Haydn’s Vienna. Stuyvesant, New
York: Pendragon Press, 1989.
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin
Playing 2nd Edition trans. Editha Knocker. Oxford: Oxford
University Press, 1951.
-------. Versuch einer gründlichen Violinschule (1756). Kassel:
Bärentreiter, 1995.
Mozart, W.A. W.A. Mozart’s Werke: Kritisch durchgesehene
Gesamtausgabe. Leipzig: Breitkopf und Härtel, 1878-.
-------. Neue Ausgabe sämtlicher Werke. Kassel: Bärenreiter, 1956-.
-------. Briefe und Aufzeichnungen, Gesamtausgabe. ed. Wilhelm A.
Bauer and Otto Erich Deutsch. Kassel: Bärenreiter, 1962.
-------. Wolfgang Amadeus Mozart: Eigenhändiges Werkverzeichnis
(=NMA X/33/1). Kassel: Bärenreiter, 1991.
Munslow, Alan. “Nietzsche.” In Routledge Companion to Historical
Studies. London: Routledge, 2000. 174-78.
Nahm, Milton C. Readings in Philosophy of Art and Aesthetics.
Englewood Cliffs, NJ: Prentice Hall, 1975.
Neubauer, J. The Emancipation of Music from Language: Departure
from Mimesis in the Eighteenth Century. New Haven: Yale
University Press, 1986.
Neumann, Frederick. “The Use of Baroque Treatises in Musical
Performance.” Music and Letters 48 (1967). 315-24.
250
Nietzsche, Friederich. “Vom Nutzen und Nachtheil der Historie für das
Leben.” In Nietzsche Werke: Kritische Gesamtausgabe III/1, eds.
Giorgio Colli and Mazzino Montanari. Berlin: Walter de
Gruyter, 1972. 239-330.
-------. The Birth of Tragedy trans. Douglas Smith. Oxford: Oxford
University Press, 2000.
Nipperdey, Thomas. Deutsche Geschichte: Bürgerwelt und starker
Staat. Munich: C.H. Beck Verlag, 1983.
Hughes, Rosemary, ed. A Mozart Pilgrimage: Being the Travel Diaries
of Vincent and Mary Novello in the Year 1829. London: Novello,
1955.
November, Nancy. Haydn’s Vocality and the Ideal of “True” String
Quartets. PhD Dissertation: Cornell University, 2003.
Oertel, Eucharius F.C. Grammatisches Wörterbuch der deutschen
Sprache. Munich: Fleischmann, 1834.
Owensby, Jacob. Dilthey and the Narrative of History. Ithaca: Cornell
University Press, 1994.
Pape, Matthias. “Mozart—Deutscher? Österreicher? Oder Europäer?
Das Mozart-Bild in seinen Wandlungen vor und nach 1945.”
Acta Mozartiana 44/3-4 (1997). 53-84.
Parker, Mara. Soloistic Chamber Music at the Court of Friedrich
Wilhelm II: 1786-1797. PhD Dissertation: Indiana University,
1994.
-------. The String Quartet, 1750-1797: Four Types of Musical
Conversation. Aldershot: Ashgate, 2002.
Pekacz, Yolanta T. “Memory, History, and Meaning: Musical
Biography and its Discontents.” Journal of Musicological
Research 23 (2004). 39-80.
251
Plath, Wolfgang. Klavierbüchlein für Wilhelm Friedemann Bach. PhD
Dissertation: University of Tübingen, 1956.
-------. “Der gegenwärtige Stand der Mozart-Forschung (1964)” in
Mozart-Schriften: ausgewählte Aufsätze ed. Marianne
Danckwardt. Kassel: Bärenreiter, 1991. 78-85.
Plath, Wolfgang and Wolfgang Rehm. “Zu bearbeitende Themen aus
der Mozart-Forschung.” Unpublished typescript (1963).
Popper, Karl. The Open Society and its Enemies. Princeton: Princeton
University Press, 1962.
Potter, Pamela. Most German of the Arts: Musicology and Society from
the Weimar Republic to the End of Hitler’s Reich. New Haven:
Yale University Press, 1998.
Quantz, Johann Jochim. Versuch einer Anweisung die Flöte traversière
zu spielen. Repr. Kassel: Bärenreiter, 1995.
Ranke, Leopold von. The Theory and Practice of History.
Indianapolis: The Bobbs-Merrill Company, 1973.
Rapahel, Lutz. Die Erben von Bloch und Febvre: AnnalesGeschichtsschreibung und nouvelle histoire in Frankreich 19451980. Stuttgart: Klett-Kotta, 1994.
Rebnitz, Barbara von. “Otto Jahn bei Friedrich Nietzsche: der
‘Grenzbotenheld’ als Wagner-Kritiker.” In Otto Jahn: Ein
Geisteswissenschaftler zwischen Klassizismus und Historismus
ed. Calder et al. Stuttgart: F. Steiner Verlag, 1991. 204-33.
Rehm, Wolfgang. “Quellenforschung und Dokumentation in Verhältnis
zur Editionstechnik.” In Musik. Edition. Interpretation.
Gedenkschrift Gunter Henle ed. Martin Bente. Munich: Henle,
1980. 410-16.
252
-------. “Das Phantom der “correcten” Ausgabe: Bruchstückhafte
Bemerkungen zur Editionsgeschichte der neuen MozartAusgabe.” In Festschrift Christoph-Hellmut Mahling zum 65.
Geburtstag eds. Axel Beer and Wolfgang Ruf. Tutzing:
Schneider, 1997. 1109-19.
Reilly, Edward R. Quantz’s Veruche einer Anweisung die Flöte
traversière zu spielen: A Translation and Study. PhD
Dissertation: University of Michigan, 1958.
Reinalter, Helmut. Joseph II. und die Freimauerer im Lichte
zeitgenössischer Brochüren. Vienna: Böhlau, 1987.
Repgen, Konrad. “Über Ranke’s Diktum von 1824: Bloss sagen, wie es
eigentlich gewesen.” Historisches Jahrbuch 102 (1982). 439-49.
Rice, John A. “The Blind Dülon and His Magic Flute.” Music and
Letters 71/1 (1990). 25-51.
Richards, Annette. “Automatic Genius: Mozart and the Mechanical
Sublime.” Music and Letters 80 (1999). 366-89.
-------. The Free Fantasy and the Musical Picturesque. Cambridge:
Cambridge University Press, 2001.
Richards, Annette and Mark Franko. “Actualizing Absence: The
Pastness of Performance.” In Acting on the Past: Historical
Performance Across the Disciplines eds. Annette Richards and
Mark Franko. Hanover and London: Wesleyan University Press,
2000. 1-9.
Rickman, H.P. Dilthey Today: A Critical Reappraisal of the
Contemporary Relevance of his Work. New York: Greenwood
Press, 1988.
253
Ridgewell, Rupert. Mozart and the Artaria Publishing House: Studies
in the Inventory Ledgers, 1784-1793. PhD Dissertation: Royal
Holloway and New Bedford College, University of London,
1999.
-------. “Mozart’s Publishing Plans with Artaria: New Archival
Evidence.” Music and Letters 83/1 (2002). 30-74.
Riethmüller, Albrecht. “Wunschbild: Beethoven as Chauvinist.”
Archiv für Musikwissenschaft 58/2 (2001). 91-109.
Ringer, Fritz K. The Decline of the German Mandarins: The German
Academic Community 1890-1933. Cambridge, Mass.: Harvard
University Press, 1969.
Rink, John, ed. The Practice of Performance: Studies in Musical
Interpretation. Cambridge: Cambridge University Press, 1995.
-------. “Translating Musical Meaning: The Nineteenth-Century
Performer as Narrator.” In Rethinking Music eds. Nicholas Cook
and Mark Everist. Oxford: Oxford University Press, 2001. 21738.
Robbins Landon, H. C. Haydn Chronicle. Bloomington: Indiana
University Press, 1978.
-------. Haydn at Esterháza: 1776-1790. London: Thames and Hudson,
1978.
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New
York: W.W. Norton, 1975.
Rüdiger, Horst. Geschichte der Textüberlieferung der antiken und
mittelalterlichen Literatur Band I. Zürich: Atlantis-Verlag, 1961.
Samson, Jim. “Reception.” In The New Grove Dictionary of Music and
Musicians Second Edition vol. 20 eds. Stanley Sadie and John
Tyrell. London: Macmillan, 2001. 908-11.
254
-------. “Analysis in Context.” In Rethinking Music eds. Nicholas Cook
and Mark Everist. Oxford: Oxford University Press, 1999. 3454.
-------. Virtuosity and the Musical Work. Cambridge: Cambridge
University Press, 2002.
Schechner, Richard. Performance Theory. New York: Routledge,
1988.
Schlötterer, Reinhold. “Ein Beispiel zu Mozarts
“Compositionswissenschaft” im Streichquartett G-Dur KV 387.”
Mozart-Jahrbuch 1991. 650-54.
Schmid, Manfred Hermann. Italienischer Vers und musikalische Syntax
in Mozarts Opern (=Mozart-Studien IV). Tutzing: SchneiderVerlag, 1994.
Schmitt Scheubel, Robert. “Einstein’s ‘Riemann’ in der Zeit von 1938
bis 1952.” Die Musikforschung 4/2002. 386-94.
Scholz, Gunter. Ethik und Hermeneutik: Schliermachers Grundlegung
der Geisteswissenschaften. Frankfurt am Main: SuhrkampVerlag, 1995.
Schubert, Franz. “Lieder Bd. 1 Teile a und b.” In Neue Ausgabe
sämtlicher Werke ed. Walter Dürr. Kassel: Bärenreiter, 1970.
Schulenberg, David. “Expression and Authenticity in the Harpsichord
Music of J.S. Bach.” The Journal of Musicology 8/4 (1990).
449-76.
Schwindt-Gross, Nicole. Drama und Diskurs. Zur Beziehung zwischen
Satztechnik und motivischem Prozeß am Biespiel der
durchbrochenen Arbeit in den Streichquartetten Mozarts und
Haydns. Laaber: Laaber-Verlag, 1989.
255
Seiffert, Wolf-Dieter. “Die Untersuchung autographer Korrekturen als
Chance ‘Authetisicher’ Werkinterpretation dargestellt anhand von
Mozarts ‘Haydn-Quartetten’.” Mozart-Jahrbuch 2001. 306-43.
-------. “Mozarts Haydn Quartette: Zum Quellenwert von Autograph
und Erstausgabe unter besonderer Berücksichtigung des Finales
aus KV 387.” In Studien zur Musikgeschichte: Eine Festschrift
für Ludwig Finscher eds. Annagrit Laubenthal and Kara KusanWindweh. Kassel: Bärenreiter, 1995. 377-92.
Shipper-Hönicke, Gerold. Im klaren Rausch der Sinne. Wahrnehmung
und Lebensphilosophie in den Schriften und Aufzeichnungen
Wilhelm Heinses. Würzburg: Köningshausen und Neumann,
2003.
Simonis, Linda. Die Kunst des Geheimen. Esoterische Kommunikation
und ästhetische Darstellung im 18. Jahrhundert. Heidelberg:
Winter, 2002.
Sisman, Elaine. “Gesture, Genre, and Meaning in Mozart’s Prague
Symphony.” In Mozart Studies 2, ed. Cliff Eisen. Oxford:
Clarendon Press, 1996.
Small, Christopher. Musicking. Hanover and London: Wesleyan
University Press, 1998.
Soemmering, Samuel Thomas. Über das Organ der Seele. Königsberg:
Nicolovius, 1796.
Solie, Ruth. “The Living Work: Organicism and Musical Analysis.”
Nineteenth Century Music 4/2 (1980). 147-56.
Solomon, Maynard. “The Rochlitz Anecdotes.” In Mozart Studies ed.
Cliff Eisen. Oxford: Clarendon Press, 1991. 1-60.
-------. Mozart: A Life. New York: HarperCollins, 1995.
256
Sorgner, Stafan Lorenz and Oliver Fürbeth, eds. Musik in der deutschen
Philosophie: Eine Einführung. Stuttgart: Verlag J.B. Metzler,
2003.
Speck, Christian. Boccherinis Streichquartette: Studien zur
Kompositionsweise und zur gattungsgeschichtlichen Stellung.
Munich: Wilhelm Fink Verlag, 1987.
Spiess, Meinrad. Tractatus musicus compositorio. Augsburg: Johann
Jacob Lotters seel. Erben, 1746.
Stadler, Maximilian. “Materialien zur Geschichte der Musik unter den
Österreichischen Regenten.” In Abbé Maximilian Stadler: Seine
Materialien zur Geschichte der Musik in unter den
Österreichischen Regenten ed. Karl Wagner. Salzburg:
Schriftenreihe der internationalen Stiftung Mozarteum, 1974.
Steblin, Rita. A History of Key Characteristics in the Eighteenth and
Early Nineteenth Centuries, Second Edition. Rochester:
University of Rochester Press, 2002.
Steglich, Rudolf. “Studien an Mozarts Hammerflügel.” Neues MozartJahrbuch 1 (1941). 181-210.
Stramm, Michael. Otto Jahn’s Musikästhetik und Musikkritik. Essen:
Verlag die Blaue Eule, 1998.
Strohm, Reinhard. “Looking Back at Ourselves: Problems with the
Work-Concept.” In The Musical Work, Reality or Invention? ed.
Michael Talbott. Liverpool: University of Liverpool Press, 2000.
128-52.
Subotnik, Rose Rosengard. “On Grounding Chopin.” In Developing
Variations: Style and Ideology in Western Music. Minneapolis
and Oxford: University of Minnesota Press, 1991. 141-65.
Sulzer, Johann Georg. Allgemeine Theorie der schönen Künste.
Hildesheim: Olms, 1967.
257
Taruskin, Richard. Text and Act: Essays on Music and Performance.
Oxford: Oxford University Press, 1995.
Taylor, Charles. Hegel. Cambridge: Cambridge University Press,
1975.
-------. Philosophical Arguments. Cambridge, Mass.: Harvard
University Press, 1995.
Terras, Rita. “Wilhelm Heinses Musikalische Dialogen.” Goethe
Yearbook: Publications of the Goethe Society of North America 6
(1992). 181-92.
Theile, Gert, ed. Das Maß des Bacchanten. Über Heinses ÜberLebenskunst. Munich: Wilhelm Fink Verlag, 1998.
Thormählen, Wiebke. “The Cultural Politics of the Virtuosic Gesture in
Beethoven’s String Quintet Op. 29.” Unpublished Paper:
International Conference on “Music and Gesture,” University of
East Anglia, 2003.
Tomlinson, Gary. Music in Renaissance Magic: Toward a
Historiography of Others. Chicago: University of Chicago Press,
1993.
-------. “The Web of Culture: A Context for Musicology.” Nineteenth
Century Music 7/3 (1984). 350-62.
Treitler, Leo. “History, Criticism, and Beethoven’s Ninth Symphony.”
In Music and the Historical Imagination. Cambridge, Mass.:
Harvard University Press, 1989. 19-45.
-------. “The Power of Positivist Thinking (= Review of Kerman,
Contemplating Music).” Journal of the American Musicological
Society 42/2 (1990). 375-402.
Triest, J.F.K. “Bemerkungen über die Ausbildung der Tonkunst in
Deutschland im 18ten Jahrhunderte (vierter Teil).” Allgemeine
musikalsiche Zeitung 3/18 (1801). Col. 297-308.
258
-------. “Remarks on the Development of the Art of Music in Germany”
trans. Susan Gillespie. In Haydn and His World ed. Elaine
Sisman. Princeton: Princeton University Press, 1997. 321-94.
Tromlitz, Johann Georg. The Keyed Flute trans. with an introduction by
Ardal Powell. Oxford: Oxford University Press, 1996.
Türk, Daniel Gottlieb. Klavierschule oder Anweisung zum
Klavierspielen für Lehrer und Lernende (Faksimile-Reprint der 1.
Ausgabe 1789). Kassel: Bärenreiter, 1997.
Tyson, Alan. Mozart: Studies of the Autograph Scores. Cambridge,
Mass.: Harvard University Press, 1987.
Vail, Stephanie. Take Pause: Musical Punctuation in the Eighteenth
Century. DMA Dissertation: Cornell University, 2000.
Walter, Horst. “Zum Wiener Streichquartett der Jahre 1780 bis 1800.”
Haydn Studien VII/3-4 (1998). 289-313.
Walther, Gerritt. “Mozart und Methode. Otto Jahn’s Beitrag zur
Begründung der modernen Musikgeschichtsschreibung.” In
Musikwissenschaft - eine verspätete Diziplin? ed. Anselm
Gerhard. Stuttgart: J.B. Metzler Verlag, 2000. 31-54.
Wangermann, Ernst. Aufklärung und staatsbürgerliche Erziehung.
Gottfried van Swieten als Reformator des österreichischen
Unterrichtswesens 1781-1791. Munich: R. Oldenbourg Verlag,
1978.
Wayne, Don E. “New Historicism.” In Encyclopedia of Literature and
Criticism eds. Martin Coyle, Peter Garside, Malcolm Kelsall, and
John Peck. London: Routledge, 1991. 791-808.
Webster, James. “The Significance of Haydn’s Quartet Autographs for
Performance Practice.” In The String Quartets of Haydn, Mozart,
and Beethoven: Studies of the Autograph Manuscripts ed.
Christoph Wolff. Cambridge, Mass.: Harvard University Press,
1980. 62-98.
259
-------. “The Triumph of Variability: Haydn’s Articulation Markings in
the Autograph of Sonata no. 49 in E-Flat.” In Haydn, Mozart,
and Beethoven: Studies in the Music of the Classical Period—
Essays in Honor of Alan Tyson ed. Sieghard Brandenburg.
Oxford: Clarendon Press, 1998. 33-64.
-------. “Haydns op. 9 und 17. Zur Kritik der Ideologie des
‘klassischen’ Streichquartetts.” In Haydn und das
Streichquartett, eds. Georg Feder and Walter Reicher. Tutzing:
Schneider, 2003.
Weinmann, Alexander. Johann Traeg: Die Musikalienverzeichnisse
von 1799 und 1804 (Handschriften und Sortiment). Vienna:
Universal Edition, 1973.
-------. Vollständiges Verlagsverziechnis Artaria & Comp. Vienna:
Musikverlag L. Krenn, 1978.
West, Martin L. Textual Criticism and Editorial Technique Applicable
to Greek and Latin Texts. Stuttgart: B.G. Teubner, 1973.
Wheelock, Gretchen. Haydn’s Ingenious Jesting with Art. New York:
Schirmer Books, 1992.
Wiener, Oliver. “‘Ein ganzes Duzend Manuductionen’: Joseph Riepels
Desintegration der Gradus ad Parnassum von Johan Joseph Fux.”
Jahresgabe der Johann-Joseph-Fux-Gesellschaft 26 (2003). 126.
Williams, Alistair. Constructing Musicology. Aldershot: Ashgate,
2001.
Williams, Peter. “The Snares and Delusions of Musical Rhetoric: Some
Examples from Recent Writings on J.S. Bach.” In Alte Musik:
Praxis und Reflexion, eds. P. Riedemeister and V. Gutmann.
Winterthur: Amadeus, 1983. 230-40.
260
Wimsatt, W.K. and Monroe Beardsley. “The Intentional Fallacy.” In
On Literary Intention ed. David Newton-de Molina. Edinburgh:
University Press, 1976. 1-13.
Wiora, Walter, ed. Die Ausbreitung des Historismus in der Music.
Regensburg: Bosse-Verlag, 1969.
Wolf, Eugene K. “The Rediscovered Autograph of Mozart’s Fantasy
and Sonata in C Minor, K. 475/457.” Journal of Musicology 10
(1992). 3-47.
Wolff, Christoph, ed. The String Quartets of Mozart, Haydn,
Beethoven: Studies of the Autograph Manuscripts. Cambridge,
Mass.: Harvard University Press, 1980.
-------. “Creative Exhuberance vs. Critical Choice: Thoughts on
Mozart’s Quartet Fragments.” In The String Quartets of Haydn,
Mozart, Beethoven: Studies of the Autograph Manuscripts.
Cambridge, MA: Harvard University Press, 1980. 191-215.
Woodfield, Ian. “John Bland: London Retailer of the Music of Haydn
and Mozart.” Music and Letters 81/2 (2000). 210-244.
Wyzewa, T. de, and G. de Saint-Foix. W.-A. Mozart: sa vie musicale et
son oevre. Paris: Descleé de Brouwer et cie, 1912-1936.
Yearsley, David. Ideologies of Learned Counterpoint in the North
German Baroque. PhD Dissertation: Stanford University, 1995.
-------. Bach and the Meanings of Counterpoint. Cambridge:
Cambridge University Press, 2002.
Zaslaw, Neal. Mozart’s Symphonies: Context, Performance Practice,
Reception. Oxford: Clarendon Press, 1989.
Zaslaw, Neal, and John Spitzer. The Birth of the Orchestra. Oxford:
Oxford University Press, 2004.