Essays on Literature and Music (1985 – 2013) by Walter Bernhart


Volume Editor:
This volume is dedicated to the musico-literary oeuvre of Walter Bernhart, professor of English literature at Karl-Franzens-Universität Graz/Austria and pioneer in the field of intermedial relations between literature and other arts and media. It renders accessible a wide variety of texts which are sometimes no longer easily retrievable. The 37 texts collected here in chronological order span the period from 1985 to 2013 and thematically range from contributions to opera programmes and the discussion of musical aspects of Romantic and modernist poetry to inquiries into individual operas and composers as well as into theoretical aspects of word and music relations (e. g. the ways of setting poetry to music, musico-literary ‘comparative poetics’, the concept of ‘genre’ in music and literature, iconicity in both media, their narrative as well as metareferential and illusionist capacities). The volume is of relevance to literary scholars and musicologists but also to all those with an interest in intermediality studies in general and in the relations between literature and music in particular.

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Pages: 491–493
Pages: 495–503
Walter Bernhart, retired Professor of English Literature at the University of Graz, Austria, is the founding director of the university's Centre for Intermediality Studies in Graz (CIMIG) and the founding and current president of the International Association for Word and Music Studies (WMA). His main research interests are intermediality studies, word and music studies, theory of lyric and rhythm studies, Elizabethan and twentieth-century poetry, and his book publications include 'True Versifying': Studien zur elisabethanischen Verspraxis und Kunstideologie (1993). He is executive editor of Word and Music Studies (WMS) and Studies in Intermediality (SIM) and has (co)edited thirteen individual volumes, both within and outside these two book series.
"Mit der Kompilation und Herausgabe der Aufsätze Walter Bernharts macht Werner Wolf – wie er im Vorwort selbst schreibt: eine sich in der genannten Schriftenreihe konsolidierende Tradition fortführend – die einschlägigen Publikationen eines „Pioniers“ in dem Forschungsfeld der sprachlich-musikalischen Beziehungen (ix) in einem Band zugänglich, die sich der interessierte Leser ansonsten aus den unterschiedlichsten Quellen zusammenklauben müsste." - Marco Agnetta, Nr. 4,1, 2019.
Preface (Werner Wolf)
Theorie und Praxis der Vertonung in den elisabethanischen Airs [1985]
The Iconic Quality of Poetic Rhythm [1986]
Examples of Byron’s Impact on 19th-Century German and Austrian Music [1987]
Setting a Poem: The Composer’s Choice For or Against Interpretation [1988]
Zweimal ‘Johnny’: Der treulose Herzensbrecher bei Brecht/Weill und Auden/Britten [1991]
Prekäre angewandte Opernästhetik: Auden’s ‘sekundäre Welt’ und Hans Werner Henzes Elegie für junge Liebende [1994]
An Exegetic Composer: Benjamin Britten’s Journey of the Magi [1995]
‘Kalogenetic’ Functions of Prosody: An Exercise in Comparative Poetics [1995]
How Final Can a Theory of Verse Be? Toward a Pragmatics of Metrics [1996]
‘Proportion’ in Elizabethan Poetry and Music [1996]
Cardillac, the Criminal Artist: A Challenge to Opera as a Musico-Literary Form [1997]
Iconicity and Beyond in “Lullaby for Jumbo”: Semiotic Functions of Poetic Rhythm [1999]
Some Reflections on Literary Genres and Music [1999]
Die Ambivalenz der Unschuld: Benjamin Britten auf der Suche nach dem kindlichen Sein [1999]
A Profile in Retrospect: Calvin S. Brown as a Musico-Literary Scholar [2000]
Typologische Überlegungen zum Melodrama [2000]
Three Types of Song Cycles: The Variety of Britten’s ‘Charms’ [2001]
Parsifal for Our Times: Young Artists Show the Way from Interpretation to Cyberstaging [2001]
The Turn of the Screw: Ein Glanzstück der Literaturoper [2002]
The ‘Destructiveness of Music’: Functional Intermedia Disharmony in Popular Songs [2002]
Masterminding Word and Music Studies: A Tribute to Steven P. Scher [2002]
Peter Grimes: Auf George Crabbes Spuren zwischen Realismus und Romantik [2003]
The Rake’s Progress: Klassizistische Oper zwischen Moralität, Märchen, Mythos und Groteske [2004]
Der ‘postmoderne’ Rosenkavalier [2005]
‘Die lustigen Weiber’ proben den Aufstand: Transzendiertes Biedermeier in Otto Nicolais Oper [2005]
Narrative Framing in Schumann’s Piano Pieces [2006]
‘Musikalische Verse’: “Ich weiß nicht, was soll es bedeuten” [2006]
Myth-making Opera: David Malouf ’s and Michael Berkeley’s Jane Eyre [2007]
Words and Music as Partners in Song: ‘Perfect Marriage’ – ‘Uneasy Flirtation’ – ‘Coercive Tension’ – ‘Shared Indifference’ – ‘Total Destruction’ [2007]
“Liebling der ganzen Welt”: Sir Walter Scott als Inspiration für die romantische Oper und Donizettis Lucia di Lammermoor [2008]
From Novel to Song via Myth: Wuthering Heights as a Case of Popular Intermedial Adaptation [2008]
What Can Music Do to a Poem? New Intermedial Perspectives of Literary Studies [2008]
“... pour out forgiveness like a wine”: Can Music “say an existence is wrong”? [2009]
Christophorus, oder “Die Vision einer Oper”: Franz Schreker’s Opera as a Metareferential Work [2010]
Metareference in Operatic Performance: The Case of Katharina Wagner’s Die Meistersinger von Nürnberg [2011]
Rhythmical Ambivalence of Poetry Performance: The Case of Elizabethan Verse [2011]
Aesthetic Illusion in Instrumental Music? [2013]
The volume is primarily of relevance to literary scholars and musicologists but also to all those with an interest in intermediality studies in general and in the relations between literature and music in particular.
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