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1

Elka, Spoerri, Baumann Daniel 1967-, and Adolf-Wölfli-Stiftung, eds. Adolf Wölfli: Draftsman, writer, poet, composer. Cornell University Press, 1997.

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2

Mittler-Battipaglia, Diana. Franz Mittler: Austro-American composer, musician, and humorous poet. P. Lang, 1993.

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3

A, Hoffmann E. T. E.T.A. Hoffmann's musical writings: Kreisleriana, The poet and the composer, music criticism. Cambridge University Press, 1989.

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4

A, Hoffmann E. T. E.T.A. Hoffmann's musical writings: Kreisleriana, The poet and the composer, music criticism. Cambridge University Press, 2003.

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5

Czuba, Mike. Satie et cocteau: A rehersal of play of a composer by a poet. Playwrights Guild of Canada, 2012.

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6

Hughes, Robert. Cavalcanti: A perspective on the music of Ezra Pound. Second Evening Art, 2003.

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7

Hughes, Robert G., and Margaret Fisher, eds. Le Testament "Paroles de Villon": 1926 and 1933 performance editions. Second Evening Art Publishing, 2008.

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8

Kennedy, Kate. Ivor Gurney: Poet, composer : a special issue of the Ivor Gurney Society journal based on papers given at the conference held at Lucy Cavendish College, Cambridge, on 8-9 September 2007. s.n.], 2007.

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9

Hull, A. Eaglefield. Cyril Scott, Composer, Poet and Philosopher. Franklin Classics, 2018.

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10

Cyril Scott, Composer, Poet and Philosopher. Franklin Classics, 2018.

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11

Hull, A. Eaglefield 1876-1928. Cyril Scott, Composer, Poet and Philosopher. Creative Media Partners, LLC, 2022.

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12

Hull, A. Eaglefield 1876-1928. Cyril Scott, Composer, Poet and Philosopher. Creative Media Partners, LLC, 2022.

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13

Franz Mittler: Austro-American Composer, Musician, and Humorous Poet (Austrian Culture). Peter Lang Pub Inc, 1994.

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14

Hull, A. Eaglefield. Cyril Scott: Composer, Poet and Philosopher (Library of Music and Musicians). Library Reprints, 2001.

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15

A, Hoffmann E. T. E. T. A. Hoffmann's Musical Writings: Kreisleriana; The Poet and the Composer; Music Criticism. Cambridge University Press, 2004.

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16

Complete Violin Works: 1923-1933. Second Evening Art Publishing, 2005.

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17

Oscar George Theodore 1873- Sonneck. Francis Hopkinson: The First American Poet-Composer and James Lyon, Patriot, Preacher, Psalmodist ; Two Studies in Early American Music. Creative Media Partners, LLC, 2021.

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18

Oscar George Theodore 1873- Sonneck. Francis Hopkinson: The First American Poet-Composer and James Lyon, Patriot, Preacher, Psalmodist ; Two Studies in Early American Music. Creative Media Partners, LLC, 2021.

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19

Parabosco, Girolamo. Madrigali a cinque voci (Venice, 1546). Edited by Timothy R. McKinney. A-R Editions, 2022. http://dx.doi.org/10.31022/r176.

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Girolamo Parabosco (ca. 1524–1557), a disciple of the renowned Venetian composer Adrian Willaert, held one of the most important musical posts in Italy as first organist at Venice's Basilica di San Marco from 1551 to 1557. He was lauded by his contemporaries for his talents as a poet, musician, and composer. Despite the fame he garnered during his lifetime and the enduring appeal of some of his literary works, much of his music has lain dormant since the sixteenth century. This volume represents the first complete critical edition of his sole extant music collection, the Madrigali a cinque voc
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20

Pollack, Howard. Touche’s Salon. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0019.

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During his final years, Latouche faced some discrimination and censure as a result of his inclusion in a 1950 handbook entitled Red Channels: The Report of Communist Influence in Radio and Television. For all his malaise during these years, he continued to kick up his heels with friends and maintain his reputation as one of the city’s brightest wits and raconteurs. His eclectic assortment of friends durisng this period included composer Ned Rorem; writers Gore Vidal, Tennessee Williams, Truman Capote, and Jack Kerouac; ghost hunter Hans Holzer; and poet Frank O’Hara. He also became romanticall
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21

Antliff, Allan. Poetic Tension. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041051.003.0008.

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This essay examines the politics of New York's Living Theater, from its founding in late 1940s to the mid-1960s. He will outline Julian Beck and Judith Malina's anarchist-pacifism, their involvement in anti-nuclear bomb protests during the 1950s and early 1960s, and the increasingly confrontational tenor of their theater productions. Topics to be discussed include the abstract expressionist paintings of Beck, Malina's interest in the Gestalt theories of Paul Goodman, and the group's collaborations with composer John Cage, poet Jackson Mac Low, and the artists of the No! Art! movement. The chap
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22

Mathai, Varghese. Mahakavi K. V. Simon. Bloomsbury Publishing Inc, 2023. http://dx.doi.org/10.5040/9781501388521.

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The first English study of poet K. V. Simon (1883-1944), with sample translations, including of his 12,000-line epic Vedaviharam, and a critical biography. Opening with the story of South Indian poet laureate (or mahakavi) K. V. Simon’s heroic life, this book escorts its global reader through the legendary Malabar Coast, transiting into the densely rich Simon verse in translation, and closing with a comparative reading of a rewarding range of texts from Simon and Milton. When Simon's epic Vedaviharam, a verse rendition of The Book of Genesis, appeared in the Malayalam language in 1931, The Gua
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23

Klaper, Michael, and Nastasia Heckendorff, eds. Cantatas on Texts by Francesco Buti (1606–82). A-R Editions, 2021. http://dx.doi.org/10.31022/b226.

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This is an edition of all the surviving cantatas with texts by Francesco Buti (1606‒82), and thus one of the first editions of seventeenth-century Italian cantatas organized around a single poet rather than a single composer. It contains ten pieces set to music by the first generation of Roman cantata composers, such as Carlo Caproli, Giacomo Carissimi, Marco Marazzoli, Luigi Rossi, Mario Savioni, and Loreto Vittori, as well as the traveling guitar virtuoso Francesco Corbetta. Most of the pieces belong to the genre of chamber cantata and are scored for solo voice and basso continuo, though als
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24

Abbott, Helen. Repackaging Baudelaire. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0003.

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Beginning with a survey of known Baudelaire settings, this chapter analyses the extent of reworkings of Baudelaire’s poetry, including those made by the poet himself, through the different editions of Les Fleurs du mal, and translations of his work beyond France. The rationale for the selected corpus of song settings is then outlined (focus on an important time period for transmission of Baudelaire’s poetry across Europe; analysis of groups of Baudelaire poems set to music by a given composer; focus on scores which converge around the mélodie genre). It explores definitions of a ‘song set’ as:
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25

Hopkins, Lisa, and Tom Rutter, eds. A Companion to the Cavendishes. Arc Humanities Press, 2020. http://dx.doi.org/10.17302/comp-9781641891783.

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The noble Cavendishes were one of the most influential families in the politics and culture of early modern England and beyond. A Companion to the Cavendishes offers a comprehensive account of the Cavendish family's creative output and cultural significance in the seventeenth century. It discusses the writings of individuals including William and Margaret Cavendish, and William's daughters Jane and Elizabeth; family members' work and patronage in other media such as music, architecture, and the visual arts; their participation in contemporary developments in politics, philosophy, and horsemans
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26

Duffin, Ross W. Unmasked. Oxford University Press, 2025. https://doi.org/10.1093/oso/9780197771488.001.0001.

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Abstract The 1613 marriage of Princess Elizabeth of England to Frederick, Count Palatine, was one of the most spectacular events of King James’s court, lavishly celebrated with banquets, tournaments, a mock sea battle, fireworks, and most notably, with masques—extravagant entertainments with elaborate sets, costumes, much dancing, and songs. Three masques have long been associated with the celebrations, but sadly, although we have the lyrics, music survives for only one song. One other song can be identified as a close partner to an existing song by the same poet/composer, Thomas Campion. Usin
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27

Leontis, Artemis. Eva Palmer Sikelianos. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691171722.001.0001.

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This is the first biography to tell the fascinating story of Eva Palmer Sikelianos (1874–1952), an American actor, director, composer, and weaver best known for reviving the Delphic Festivals. Yet, as this book reveals, Eva's most spectacular performance was her daily revival of ancient Greek life. For almost half a century, dressed in handmade Greek tunics and sandals, she sought to make modern life freer and more beautiful through a creative engagement with the ancients. Along the way, she crossed paths with other seminal modern artists. Eva was a wealthy New York debutante who studied Greek
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28

Gagliano, Marco da. Madrigals, Part 4. Edited by Edmond Strainchamps. A-R Editions, 2021. http://dx.doi.org/10.31022/b221.

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Il quarto libro de madrigali a cinque voci, the fourth of six books of madrigals by the Florentine composer Marco da Gagliano, was published in 1606. The book is distinguished by the excellence of its music as well as by its varied settings of texts by some of the most celebrated poets of the day. Five of the madrigals use texts by Giovanni Battista Guarini, three by Giambattista Marino, one each by Gabriello Chiabrera, Cosimo Galletti, and Alsaldo Cebà, and a final two-part madrigal for six voices sets a sonnet by the great fourteenth-century poet Francesco Petrarca. In addition to fourteen m
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29

Bonds, Mark Evan. Music's Fourth Wall and the Rise of Reflective Listening. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197806401.001.0001.

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Abstract We’ve all heard the line before: “I enjoy classical music but don’t know anything about it.” The “but” is telling. Why and when did music-lovers begin to apologize for a lack of knowledge about what gave them pleasure? This book examines fundamental changes in concert-hall listening since the Enlightenment. By calling attention to the artifice of their art, composers like Haydn and Beethoven violated music’s fourth wall, that imagined barrier which for so long had allowed listeners to “lose” themselves in what they were hearing, to resonate with the music and to forget, in effect, tha
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