The present volume meets a frequently expressed demand as it is the first collection of all the relevant essays and articles which Steven Paul Scher has written on Literature and Music over a period of almost forty years in the field of Word and Music Studies. Scher, The Daniel Webster Professor of German and Comparative Literature at Dartmouth College, Hanover, NH, USA, is one of the founding fathers of Word and Music Studies and a leading authority in what is in the meantime a well-established intermedial field. He has published very widely in a variety of journals and collections of essays, which until now have not always been easy to lay one’s hands on. His work covers a wide range of subjects and comprises theoretical, methodological and historical studies, which include discussions of Ferruccio Busoni, Thomas Mann, Bertolt Brecht, Judith Weir, the Talking Heads and many others and which pay special attention to E. T. A. Hoffmann and German Romanticism. The range and depth of these studies have made him the ‘mastermind’ of Word and Music Studies who has defined the basic aims and objectives of the discipline. This volume is of interest to literary scholars and musicologists as well as comparatists and all those concerned about the rapidly expanding field of Intermedia Studies.
Preface Walter BERNHART: Masterminding Word and Music Studies: A Tribute to Steven Paul Scher Essays on Literature and Music by Steven Paul Scher Thomas Mann’s ‘Verbal Score’: Adrian Leverkühn’s Symbolic Confession (1967) Notes Toward a Theory of Verbal Music (1970) How Meaningful is ‘Musical’ in Literary Criticism? (1972) Brecht’s Die sieben Todsünden der Kleinbürger: Emblematic Structure as Epic Spectacle (1974) “O Wort, du Wort, das mir fehlt!”: Der Realismusbegriff in der Musik (1975) Kreativität als Selbstüberwindung: Thomas Manns permanente ‘Wagner-Krise’ (1976) Temporality and Mediation: W. H. Wackenroder and E. T. A. Hoffmann as Literary Historicists of Music (1976) Carl Maria von Weber’s Tonkünstlers Leben: The Composer as Novelist? (1978) Beethoven and the Word: Literary Affinity or Artistic Necessity? (1980/81) Comparing Literature and Music: Current Trends and Prospects in Critical Theory and Methodology (1981) Literature and Music (1982) Theory in Literature, Analysis in Music: What Next? (1983) Comparing Poetry and Music: Beethoven’s Goethe Lieder as Composed Reading (1986) The Strauss-Hofmannsthal Operatic Experiment: Tradition, Modernity, or Avant-Garde? (1987) E. T. A. Hoffmann: Der Dichter als Komponist (1987) Mignon in Music (1988) The German Lied: A Genre and Its European Reception (1990) “Tutto nel mondo è burla”: Humor in Music? (1991) Liszt and Literature (1991) Musicopoetics or Melomania: Is There a Theory behind Music in German Literature? (1992) Hoffmann, Weber, Wagner: The Birth of Romantic Opera from the Spirit of Literature? (1992) Der Opernkomponist Hoffmann und das europäische Musiktheater seiner Zeit (1993) Da Ponte und Mozart: Wort und Ton in Don Giovanni (1994) Acoustic Experiment as Ephemeral Spectacle?: Musical Futurism, Dada, Cage, and the Talking Heads (1994) Mozart – an Epistolary Aesthetician? (1997) E. T. A. Hoffmanns “Der Dichter und der Komponist”: Manifest romantischer Librettologie oder melopoetische Erzählfiktion? (1998) Melopoetics Revisited: Reflections on Theorizing Word and Music Studies (1999) Judith Weir’s Heaven Ablaze in His Breast: A Postmodern Dance Opera Based on E. T. A. Hoffmann’s “The Sandman” (2000/2004) Eine Berlinische Geschichte: Hoffmanns Brautwahl in Busonis Opernbuch? (2004) Sources Acknowledgements