Member Publications
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Indexed by last name.
Additionally, read Steven P. Scher’s response to essays published in his honor in WMA4.
A
“Der Operntext soll ein Carton sein, kein fertiges Bilb.” IASLonline. 2009.
“Sündenfall der Brecht-Rezeption. Eine Untersuchung des Lukullus-Komplexes als exemplarische Geschichte deutscher Kultur im 20. Jahrhundert.” IASLonline. 2008.
“Thomas Mann: Doktor Faustus. Das Leben des deutschen Tonsetzers Adrian Leverkühn, erzählt von einem Freunde.” Arbitrium 2 (2008): 230-236.
dissertation review of Tina Hartmann: Goethes Musiktheater. Singspiele, Opern, Festspiele, ’Faust’. (Hermaea N.F. 105) Tübingen: Max Niemeyer 2004.
http://iasl.uni-muenchen.de/rezensio/liste/Ammon3484151056_1155.html
dissertation review of Hanna Stegbauer: Die Akustik der Seele. Zum Einfluss der Literatur auf die Entstehung der romantischen Instrumentalmusik und ihrer Semantik. (Palaestra 325) Göttingen: Vandenhoeck & Ruprecht 2006.
http://iasl.uni-muenchen.de/rezensio/liste/Ammon9783525205990_2526.html
"Blaise: The poème simultané according to Pierre Cartier." Canadian Theatre Review Fall (2002): 21-24.
La lecture musico-littéraire. Presses de l’université de Montréal, 2001.
"When Is a Text Like Music?" In Word and Music Studies Vol. 3 , ed. Bernhart, Wolf, and Mosley, 81-99. Amsterdam: Rodopi, 2001.
B
Composing for Voice. New York: Routledge, 2003.
"David Malouf’s Moments Musicaux." Journal of Commonwealth Literature 38:1 (2003).
“For Want of a Better Term?: Polyphony and the Value of Music in Bakhtin and Kundera", Narrative 11.3 (2003), 292-311.
"Kipling’s Singing Voice: Setting The Jungle Books." Critical Survey 13:3 (2001): 40-60
Literary Music: Writing Music in Contemporary Fiction. Aldershot: Ashgate, 2006.
"Something’s missing’: Towards a Listening Space for Fairytale Opera." New Comparison 31 (2001): 112-29.
“From Novel to Song via Myth: Wuthering Heights as a Case of Popular Intermedial Adaptation.” David Francis Urrows, Ed. Word and Music Studies: Essays on Word/Music Adaptation and on Surveying the Field. Word and Music Studies 9. Amsterdam & New York: Rodopi, 2008. 13-27.
“What Can Music Do to a Poem? New Intermedial Perspectives of Literary Studies.” Wolfgang Zach and Michael Kenneally, Eds. Literatures in English: Priorities of Research. Studies in English and Comparative Literature 21. Tübingen: Stauffenberg, 2008. 41-46.
“‘Pour Out&133;Forgiveness Like a Wine’: Can Music ‘Say an Existence is Wrong’?” Keith Chapin and Lawrence Kramer, Eds. Musical Meaning and Human Values. New York: Fordham University Press, 2009. 170-183.
Werner Wolf and Walter Bernhart, Eds. Framing Borders in Literature and Other Media. Studies in Intermediality 1. Amsterdam & New York: Rodopi, 2006.
Werner Wolf and Walter Bernhart, Eds. Description in Literature and Other Media. Studies in Intermediality 2. Amsterdam & New York: Rodopi, 2007.
"The ‘Destructiveness of Music’: Functional Intermedia Disharmony in Popular Songs". Erik Hedling, Ulla-Britta Lagerroth, eds. Cultural Functions of Intermedial Exploration. Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft. Amsterdam/New York, NY: Rodopi, 2002. 247-253.
"Lied som intermedial konstform". Hans Lund, ed. Intermedialitet. Ord, bild och ton i samspel. Lund: Studentlitteratur, 2002. 79-84.
"’Musikalische Verse’: ’Ich weiß nicht, was soll es bedeuten’". Die Vorstellung von Musik in Malerei und Dichtung. Jahresschrift der österreichischen Gesellschaft für Musikwissenschaft. Barbara Boisits, Cornelia Szabò-Knotik, eds. Musicologica Austriaca 25. Vienna: Praesens Verlag, 2006. 111-121.
"Myth-making Opera: David Malouf and Michael Berkeley’s Jane Eyre". A Breath of Fresh Eyre: Intertextual and Intermedial Reworkings of Jane Eyre. Margarete Rubik, Elke Mettinger-Schartmann, eds. Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft 111. Amsterdam/New York, NY: Rodopi, 2007. 317-329.
“Narrative Framing in Schumann’s Piano Pieces". Framing Borders in Literature and Other Media. Werner Wolf, Walter Bernhart, eds. Studies in Intermediality 1. Amsterdam/New York: Rodopi, 2005. 449-476.
"Typologische Überlegungen zum Melodrama." Jana Fojtíková, Vera Šustíková, eds. Fibich - Melodram - Secese / Fibich - Melodrama - Art Nouveau. Praha: Zdenek Fibich Society, Museum of Czech Music, 2000. 128-135.
"Tritonus der Hoffnung. Ein fiktives Intervall in Thomas Manns Doktor Faustus." Orbis Litterarum 56:5 (2001): 334-354.
"The Hofmannsthal-Strauss Collaboration." In A Companion to the Works of Hugo von Hofmannsthal, ed. Kovach, 117-137. Studies in German Literature, Language and Culture. Rochester, NY: Camden House, 2002.
Seminar: A Journal of Germanic Studies. Special Theme Issue on Literature in Opera 38.3 (2002). Guest Editor and Author of the Introduction.
C
Delia da Sousa Correa, Katia Chornik, and Robert Samuels. “Literature and Music: Interdisciplinary Research and Teaching at The Open University.” Crossing the Divides: Multi-Disciplinary Approaches to Teaching and Researching English Studies. Special issue of the electronic journal Working With English: Modern and Medieval Language, Literature and Drama. http://www.nottingham.ac.uk/~aezweb/working_with_english/5/
“Literary Research and Other Media.” Delia da Sousa Correa and W. R. Owens, Eds. The Handbook to Literary Research, 2nd edition. London: Routledge, 2009. 148-158.
Delia da Sousa Correa and Robert Fraser. “Stories about Music.” Robert Philip, Ed. Musical Narratives. Milton Keynes: The Open University, 2008. 153-210.
“Victorian Soundscapes and the potential for interdisciplinary exchange.” Martin Hewitt and Rachel Cowgill, Eds. Victorian Soundscapes Revisited. Leeds Working Papers in Victorian Studies, vol. 9. Leeds: Leeds Centre for Victorian Studies, 2007. 9-36.
Delia da Sousa Correa, Katia Chornik, and Robert Samuels. “Literature and Music: Interdisciplinary Research and Teaching at The Open University.” Crossing the Divides: Multi-Disciplinary Approaches to Teaching and Researching English Studies. Special issue of the electronic journal Working With English: Modern and Medieval Language, Literature and Drama. http://www.nottingham.ac.uk/~aezweb/working_with_english/5/
D
"De la traduction en musique chez Baudelaire." Romance Studies 18 (2000): 145-155.
"Do Mallarmé’s Divagations Tell Us Not to Write About Musical Works?" In Word and Music Studies Vol.3, ed. Bernhart, Wolf, and Mosley, 65-80. Amsterdam: Rodopi, 2001.
“The force of music in Derrida’s writing." Delia da Sousa Correa, ed. Phrase and Subject. Oxford: Legenda, 2006. 45-58.
Music Writing Literature, from Sand via Debussy to Derrida. Aldershot: Ashgate, 2006.
“Nature, Music, and Meaning in Debussy’s Writing.” Nineteenth-Century Music. Vol. XXVIII no. 3 (Spring 2005): 214-229.
"What Can Music Express of Consuelo?" In Women Seeking Expression, ed. Lloyd and Nelson, 146-58. Monash Romance Studies, 2000.
With Robin Elliott, eds. Music and Literature in German Romanticism. Rochester, NY: Camden House, 2004.
E
“Traditional Art Forms as reflected by New Media: Ot(h)ello, a Case in Point". Expanding Circles, Transcending Disciplines, and Multimodal Texts. Reflections on Teaching, Learning and Researching in English and American Studies. Bernhard Kettemann and Georg Marko, eds. Tübingen: Gunter Narr, 2003. 209-227.
“Cultural, Racial, and Religious Difference in Shakespeare’s Othello, Verdi’s Otello, and Zeffirelli’s Otello: A Critical Comparison". TRANS Internet-Zeitschrift für Kulturwissenschaften 15 (2004) http://www.inst.at/trans/15Nr/01_2/01_2inhalt15.htm
“Cultural, Racial, and Religious Difference in Shakespeare’s Othello, Verdi’s Otello, and Zeffirelli’s Otello: A Critical Comparison". Herbert Arlt, ed. Das Verbindende der Kulturen. TRANS-Studien zur Veränderung der Welt 1. Münster et al.: LIT Verlag, 2004. (CD-ROM)
“Cultural, Racial, and Religious Difference in Shakespeare’s Othello, Verdi’s Otello, and Zeffirelli’s Otello: A Critical Comparison". Semiotische Berichte 28 (2004).
“The Myth of the American West in Puccini’s La Fanciulla del West". Arbeiten aus Anglistik und Amerikanistik, forthcoming.
Ed. Media Borders, Multimodality, and Intermediality. Hampshire: Palgrave Macmillan. (forthcoming)
Divine Madness: On Interpreting Literature, Music, and the Visual Arts Ironically. Lewisburg and London: Bucknell University Press, 2002.
“Intermedial Topography and Metaphorical Interaction.” Lars Elleström, Ed. Media Borders, Multimodality and Intermediality. Hampshire: Palgrave Macmillan. (forthcoming)
"Modes of Musicality in Paul Celan’s Die Niemandsrose.” Seminar: A Journal of Germanic Studies 45.2 (2009): 138-158.
“(Im)possibilities of Communication: On the interplay between Paul Celan’s poetry and the music of Ruzicka and Dittrich.” Perspectives of New Music 46.2 (2008): 5-32.
“‘Streicht dunkler die Geigen': Berio and Birtwistle in Dialogue with Paul Celan.” Siglind Bruhn, Ed. Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis. Hillsdale: Pendragon Press, 2008. 119-141.
F
"Musical Aesthetics and Narrative Forms in Dorothy Richardson’s Prose" Textus 16: 1 (2003): 311-28.
G
“Durch Musik zur Erkenntnis kommen? Kierkegaards ironische Musikästhetik.” Kierkegaard Studies Yearbook, 2005. 418-439.
Literatur und Musik in der klassischen Moderne. Mediale Konzeptionen und intermediale Poetologien. Würzburg, 2006
"Atonalität und literarische Avantgarde. Musikalische Moderne bei Elmer Diktonius". Literatur und Musik in der klassischen Moderne. Mediale Konzeptionen und intermediale Poetologien. Joachim Grage. ed. Würzburg, 2006. 307-325.
H
"Narrative Elements in Opera." In Word and Music Studies Vol. 1, ed. Bernhart, Scher, and Wolf, 135-53. Amsterdam: Rodopi, 1999.
"’The Master’s Voice’: Henry James and Opera." In Henry James on Stage and Screen, ed. Bradley, 23-34. Basingstoke: Palgrave, 2000.
"’Singing the Nation’: Word/Music Tension in the Opera Voss." In Word and Music Studies Vol. 3, ed. Bernhart, Wolf, and Mosley, 25-48. Amsterdam: Rodopi, 2001.
Soldier, Soldier: The Barrack-Room Ballads of Rudyard Kipling. Michael Halliwell (baritone) and David Miller (piano). Compact Disc AW 028 (Artworks) 2001.
(forthcoming) “Like Perfect Music unto Noble Words: Gender Metaphors in Victorian Poetry.” Dichotonies. American Studies: A Monograph Series. Heidelberg: Winter Verlag, 2008.
The Gaze of the Listener: English Representations of Domestic Music-Making. Amsterdam: Rodopi, 2008.
"The Gaze of the Listener: Shakespeare’s Sonnet 128 and Early Modern Discourses on Instrumental Music.” Music and Letters 89.1 (February 2008): 1-17.
“Tom, Dick and … Jack in the OED and in Sonnet 128.” Shakespeare-Jahrbuch, 2007. 177-179.
“The Dear Dead Past: The Piano in 19th-Century Poetry.” Phrase and Subject. Delia da Sousa Correa, ed. Oxford: Legenda, 2006.
Der Zuhörer ist ganz Auge." Uni Nova. 102 (March 2006): 12-13.
Review of Woman Musicians in Victorian Fiction, 1860-1900: Representations of Music, Science, and Gender in the Leisured Home, by Phyllis Weliver. In The George Eliot Review 32 (2001): 91.
K
"Intertextuelles Spiel mit Wagner-Analogien: Thomas Manns Burleske ’Tristan’ und Der Ring des Nibelungen." Thomas Mann Jahrbuch 14 (2001):189-211.
Katherine Kolb and Jean-Louis Pautrot, Eds. “Ouvertures musicales.” L’Esprit Créateur 47.2 (Summer 2007). An issue devoted to music in current French literature.
"Resistance, Satire, and Strange Enthusiasm: Progressive Responses to Wagner during the First World War Era". Christa Brüstle, Guido Heldt, and Eckhardt Weber, eds. Von Grenzen und Ländern, Zentren und Rändern: Der Erste Weltkrieg und die Verschiebungen in der musikalischen Geographie Europas. Schliengen: Edition Argus, 2005.
Lawrence Kramer and Keith Chapin, Eds. Musical Meaning and Human Values. New York: Fordham University Press, 2009.
“The Talking Wound and the Foolish Question: Symbolization in Parsifal.” Opera Quarterly 22 (2007): 208-229.
Beyond the Soundtrack: Representing Music in Cinema. Lawrence Kramer, Daniel Goldmark, Richard Leppert eds. Berkley: University of California Press, 2007.
Opera and Modern Culture: Wagner and Strauss. Berkeley: University of California Press, 2004.
Why Classical Music Still Matters. Berkley: University of California Press, 2007.
Die Oper im italienischen Film. FORA: Studien zu Literatur und Sprache 9. Essen: Die Blaue Eule, 2005.
L
"National Opera Bearing Evidence of Swedish National and Cultural Identity: The Case of Wilhelm Peterson-Berger´s Viking Opera Arnljot." In Word and Music Studies Vol. 4, ed. Lodato, Aspden, and Bernhart, 245-61. Amsterdam: Rodopi, 2002.
"Svensk nationalopera i nationellt och internordiskt perspektiv. Exemplet Arnljot." In I ordets smedja. Festskrift till Per Rydén, ed. Gustafsson et al., 403-18. Stockholm: Carlssons, 2002.
Cultural Functions of Intermedial Exploration. Ed. Hedling and Lagerroth. Amsterdam: Rodopi, 2002.
With David Francis Urrows, eds. Proceedings of the Fourth International Conference on Word and Music Studies at Berlin, 2003. Word and Music Studies 7. Amsterdam: Rodopi, forthcoming 2005.
“False Assumptions: Richard Strauss’s Lieder and Text/Music Analysis”. Proceedings of the Fourth International Conference on Word and Music Studies at Berlin, 2003. Word and Music Studies 7. Amsterdam: Rodopi, forthcoming 2005.
"The Challenge of the Choral Works". The Strauss Companion. Mark-Daniel Schmid, ed. Westport, CT: Praeger, 2003. 383-410.
M
"L’image de ’l’Arabe’ dans la chanson française contemporaine" Autour des musiques populaires 2 (2003): 129-143.
"Kanadas ’elisabethanisches’ Zeitalter und der internationale Durchbruch: 1967 bis zur Gegenwart. Oralität und Chanson". Konrad Groß, Wolfgang Klooß, Reingard M. Nischik, eds. Kanadische Literaturgeschichte. Stuttgart: Metzler, 2005 (im Druck).
Editor of BAT, Bulletin des Archivs für Textmusikforschung. Universität Innsbruck
N
“Hoffmanns vertellingen en andere verhalen over instrumentale muziek.” Welke taal spreekt de muziek? Muziekfilosofische beschouwingen. Ed. Erik Heijerman and Albert van der Schoot. Budel: Damon, 2005. 23-37.
“The Return of the Repressed: Language and Music in the Nineteenth Century.” Anglistentag 1004. Aachen. Ed. Lilo Moessner and Christa Schmidt. Trier: Wissenschaftlicher Verlag Trier, 2005. 199-209.
“Shards of a Combat: Tasso and Monteverdi.” It Started in Venice: Legacies, Passages, Horizons. Fifty Years of ICLA. Ed. Paola Mildonian and Alessandro Scarsella. Venice 2006.
“I Zarathustras spar, Nietzschesångerna.” Bengt Olof Engström, Orwar Eriksson, Lennart Hedwall, and Henrik Karlsson, Eds. Wilhelm Peterson-Berger en vägvisare. Musikaliska Akademiens skriftserie. 2006.
“Adaptationer av Esaias Tegnérs Frithiofs saga.” Clas Zilliacus, Heidi Grönstrand, and Ulrika Gustafsson, Eds. Gränser i nordisk litteratur. IASS XXVI. 2006.
P
Katherine Kolb and Jean-Louis Pautrot, Eds. “Ouvertures musicales.” L’Esprit Créateur 47.2 (Summer 2007). An issue devoted to music in current French literature.
Pascal Quignard ou le fonds du monde. Amsterdam &New York: Rodopi, 2007.
The André Hodeir Jazz Reader. Ann Arbor, MI: The University of Michigan Press, 2006.
Listening In: Music, Mind and the Modernist Narrative. Lincoln, NB: University of Nebraska Press, 2003.
“Ouvertures musicales.” L’Esprit Créateur. Katherine Kolb, Jean-Louis Pautrot, eds. 47.2 (Summer 2007).
“Proust in an Interdisciplinary Context: Literature and Music". Dezon-Jones, Elyane & Inge Wimmers, eds. Approaches to Teaching Proust’s Fiction and Criticism. New York: Publications of The Modern Language Association of America, 2003. 151-155.
“La Musique de Pascal Quignard". Etudes Françaises 40.2 (2004): 55-76.
“Dix questions à Pascal Quignard". (Interview). Etudes Françaises 40.2 (2004): 87-92.
“Le Jazz français en grande forme : la contribution d’André Hodeir.” Nottingham French Studies 43.1 (2004): 19-29.
“Anticipation and delay as microrhythm and gesture in Hip Hop Aesthetics.” Journal of Music and Meaning. (forthcoming)
“Aesthetic Experience and Aestheticization: The Rhythm of Hip Hop Music.” Jan Hein Hoogstad and B.S. Pedersen, Eds. Pluralizing Rhythm. Amsterdam & New York, NY: Rodopi, 2009.
"Alexandre Stellio and the Beginnings of the Biguine". Nottingham French Studies 43:1 (2004), 30-38.
"Ethnography, Improvisation, and the Archimedean Fulcrum: Michel Leiris and Jazz". International Journal of Francophone Studies 6:1 (2003), 5-16.
Q
“’An Assiduous Frequenter of the Italian Opera’: Shelley’s Prometheus Unbound and the Opera Buffa,” Romantic Circles: Praxis Series. October 2005. http://www.rc.umd.edu/praxis/opera/quillin/quillin.html.
“Shelleyan Lyricism and the Romantic Historicization of Musical Aesthetics.” Keats-Shelley Journal. LIV (2005): 133-147.
R
Intermedialität. Tübingen: A. Francke, 2002.
Intermediales Erzählen in der italienischen Literatur der Postmoderne. Von den giovani scrittori der 80er zum pulp der 90er Jahre. Tübingen: Gunter Narr, 2003.
S
Delia da Sousa Correa, Katia Chornik, and Robert Samuels. “Literature and Music: Interdisciplinary Research and Teaching at The Open University.” Crossing the Divides: Multi-Disciplinary Approaches to Teaching and Researching English Studies. Special issue of the electronic journal Working With English: Modern and Medieval Language, Literature and Drama. http://www.nottingham.ac.uk/~aezweb/working_with_english/5/
“Narratives of Masculinity and Femininity: Two Schumann Song Cycles.” Phrase and Subject: Studies in Music and Literature. Delia da Sousa Correa, ed. Legenda: Oxford, 2006.
“Music as Narrative’s Limit and Supplement.” The Dynamics of the Threshold. Ana Mazanas, Jesus Benito eds. Studies in Liminality and Literature 5. Gateway Press: Madrid, 2007.
"Wozu [Lieder] in dürftiger Zeit’ [1958]?": Britten’s Sechs Hölderlin-Fragmente as a ’Literary Song Cycle." In Word and Music Studies Vol. 4, ed. Lodato, Aspden, and Bernhart, 101-122. Amsterdam: Rodopi, 2002.
"Orientalism and the Feminine in Selected German Lieder from 1814 to1889: Settings of Goethe’s West-östlicher Divan by Schubert, Mendelssohn, Hensel, Schumann, and Wolf." In Die Goethezeit: Werke-Wirkung-Wechselbeziehungen (Festschrift für Wilfried Malsch), 259-84. Göttingen: Verlag von Schwerin, 2001.
"Hugo Wolf’s Seventeen Divan-Settings: An Undiscovered Goethe-Cycle?" In Word and Music Studies Vol. 3, ed. Bernhart, Wolf, and Mosley, 183-209. Amsterdam: Rodopi, 2001.
"Perspektiv på moderna psalmer." In Verbum förlag. Stockholm, 1999.
"Ways and Functions of Intermedial Relationships between Text and Tune in Hymns." In Cultural Functions of Intermedial Exploration, ed. Hedling and Lagerroth, 261-74. Amsterdam: Rodopi, 2002.
"’Det tänds ett ljus’: Femton musikers tolkningar av Arne H Lindgren psalmtext." In Metrik & Musik ed. Christian Koch. Göteborg: Rhetor förlag.
"The Musical Magic of Ambiguity in Benjamin Britten’s Death in Venice." Literator 22 (2001): 39-57.
"Representation and Function of Characters from Greek Antiquity in Benjamin Britten’s Death in Venice." Literator 23 (2002): 1-18.
"Teks - konteks: ’n Ideologiese magspel of ’n dialektiese dissonansie?" Koers 67 (2001): 195-211.
V
Im Schatten Wagners: Thomas Mann ueber Richard Wagner. Ausgewahlt, kommentiert und mit einem Essay von Hans Rudolf Vaget. Frankfurt/M: Fischer Taschenbuch Verlag, 1999.
"‘Wehvolles Erbe’: Zur ‘Metapolitik’ der Meistersinger von Nuernberg." Musik & Aesthetik, 6 (2002): 23 - 39.
"National and Universal: Thomas Mann and the Paradox of ’German’ Music." In Music and German National Identity, ed. Applegate and Potter, 155-77. Chicago: University of Chicago Press, 2002.
W
Words and Music: Camus, Beckett, Cage, Gould. New York: Peter Lang, 2009.
“Musical Qualities in Samuel Beckett's En Attendant Godot.” Word and Music Studies Forum, 2009. http://wordmusicstudies.org/forum-2009/forum-2009-weagel.htm.
“Musical and Verbal Counterpoint in ‘Thirty Two Short Films About Glenn Gould’.” Suzanne M. Lodato and David Francis Urrows, Eds. Essays on Music and the Spoken Word and on Surveying the Field. Word and Music Studies 7. Amsterdam & New York: Rodopi. 2005. 181-96.
“Musical and Verbal Counterpoint in Thirty Two Short Films About Glenn Gould”. Word and Music Studies 7, Suzanne M. Lodato and David Francis Urrows, eds. Amsterdam: Rodopi, forthcoming.
“Shedding Light on Jean-Delphin Alard: 19th-Century Violinist, Pedagogue, and Composer.” VSA Papers, forthcoming.
Interconnections: Essays on Music, Art, Literature, and Gender. Calcutta: Writers Workshop, 2004.
"Biblical and Modern Decadenz in twentieth-century Austrian Oper: Arnold Schönberg’s Moses and Aron in Light of Richard Strauss’ Salome and Alban Berg’s Wozzeck and Lulu". Decadence/Fin de sieclé in Sino-Western Literary Relations. Marian Galik, ed. Bratislava, 2005.
"How to Stage or Not to Stage an Opera: Some Methodological and Historical Observations on a Performing Art. Arcadia 36 (2001): 256-86.
Review of Pastiche, by Ingeborg Hosterey. Arcadia 37 (2002): 433-58.
"Libretologi." In Intermedialitet, ed. Lund, 85-93. Lund: Studentlitteratur, 2002.
Selected Essays on Opera. Word and Music Studies 8. Walter Bernhart, ed. Amsterdam: Rodopi, 2006
five short essays in Oper im Brennpunkt: A Quarterly Publication of the Society of Friends of Opera in Graz, 2000-02.
Editor. Zehn Jahre Grazer Opernfreunde, 2001.
Werner Wolf, Ed. in collaboration with Katharina Bantleon and Jeff Thoss. Metareference across Media: Theory and Case Studies. Dedicated to Walter Bernhart on the Occasion of his Retirement. Studies in Intermediality 4. Amsterdam & New York: Rodopi, 2009.
“Erzählende Musik? Zum erzähltheoretischen Konzept der Narrativität und dessen Anwendbarkeit auf Instrumentalmusik.” Melanie Unseld and Stefan Weiss, Eds. Der Komponist als Erzähler: Narrativität in Dmitri Schostakowitschs Instrumentalmusik. Ligaturen 2. Hildesheim: Olms, 2008. 17-44.
“Metafiction and Metamusic: Exploring the limits of metareference.” Winfried Nöth and Nina Bishara, Eds. Self-Reference in the Media. Approaches to Applied Semiotics 6. Berlin: Mouton de Gruyter, 2007. 303-324.
Werner Wolf and Walter Bernhart, Eds. Framing Borders in Literature and Other Media. Studies in Intermediality 1. Amsterdam & New York NY: Rodopi, 2006.
Werner Wolf and Walter Bernhart, Eds. Description in Literature and Other Media. Studies in Intermediality 2. Amsterdam & New York: Rodopi, 2007.
"Instrumental Metamusic as an Analogy to Literary Metafiction? - An Exploration of the Limits of the Transmedial Field Meta-Referentiality". Self-Reference in the Media, Winfried Nöth, Nina Bishara, eds. Approaches to Applied Semiotics. Berlin: De Gruyter, 2007 (forthcoming).
"Intermedial iconicity in fiction - Tema con variazioni". In From Sign to Signing, ed. Wolfgang G. Müller and Olga Fischer (Iconicity in Language and Literature 3), 339-360. Amsterdam: Benjamins, 2003.
"Intermediality". In The Routledge Encyclopedia of Narrative Theory, ed. David Herman, Manfred Jahn and Marie-Laure Ryan, 252-256. London: Routledge, 2005.
"Intermediality Revisited: Reflections on Word and Music Relations in the Context of a General Typology of Intermediality". In Word and Music Studies: Essays in Honor of Steven Paul Scher and on Cultural Identity and the Musical Stage, ed. Suzanne M. Lodato, Suzanne Aspden and Walter Bernhart (Word and Music Studies 4), 13-34. Amsterdam: Rodopi, 2002.
"Leitmotif" The Routledge Encyclopedia of Narrative Theory. David Herman, Manfred Jahn, Marie-Laure Ryan, eds. London: Routledge, 2005. 276.
"Music and narrative". In The Routledge Encyclopedia of Narrative Theory, ed. David Herman, Manfred Jahn and Marie-Laure Ryan, 324-329. London: Routledge, 2005.
"Musikalisering av litterär berättelse" ("The Musicalization of Fiction [as a Special Case of Musico-Literary Intermediality])". In Intermedialitet. Ord, bild och ton i samspel, ed. Hans Lund, 203-212. Lund: Studentlitteratur, 2002.
"The role of music in Gabriel Josipovici’s Goldberg: Variations". Style 37(3) 2003. 294-317.
Y
Daisan Teikoku no R. Shutorausu: Ongakuka no kigekiteki tousou [Richard Strauss in the Third Reich: A Musician’s Comic Strife]. Kyoto: Sekaishisosha, 2004.
"Strauss and Don Quixote: Richard III’s Revolt". Cervantes y su mundo II (Estudios Literatura 91), Kurt Reichenberger and Darío Fernández-Morera, eds. Kassel: Edition Reichenberger, 2005. 437-456.
"Bound by Sound: Music, Masculinity and Dante Gabriel Rossetti". Critical Survey 20:3 (2008). 79-96.
“Instruments of ambivalence: Dante Gabriel Rossetti and aural anxiety after 1860.” Victorian Soundscapes Revisited. Martin Hewitt, Rachel Cowgill, eds, Leeds: Leeds Trinity and All Saints, 2007. 145-160.