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Preface | ||
1 | A Profile for American Musicology | 3 |
2 | How We Got into Analysis, and How to Get Out | 12 |
3 | A Few Canonic Variations | 33 |
4 | Critics and the Classics | 51 |
5 | William Byrd and Elizabethan Catholicism | 77 |
6 | Byrd, Tallis, and the Art of Imitation | 90 |
7 | "Write All These Down": Notes on a Song by Byrd | 106 |
8 | The Missa Puer natus est by Thomas Tallis | 125 |
9 | An Italian Musician in Elizabethan England | 139 |
10 | Tovey's Beethoven | 155 |
11 | An die ferne Geliebte | 173 |
12 | Taking the Fifth | 207 |
13 | Beethoven's Minority | 217 |
14 | Translating The Magic Flute | 241 |
15 | Wagner: Thoughts in Season | 257 |
16 | Verdi's Use of Recurring Themes | 274 |
17 | Two Early Verdi Operas: Two Famous Terzetti | 288 |
18 | Reading Don Giovanni | 307 |
19 | Mozart's Piano Concertos and Their Audience | 322 |
20 | Tristan und Isolde: The Prelude and the Play | 335 |
Acknowledgments | 351 | |
Index | 353 |
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