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Acknowledgements | ix | |
The Orchestration of the Arts: A New Approach to the Great Questions | ix | |
Introduction | 1 | |
Section 1 | Music, Literature, History, Architecture, Staging, Painting, Decoration: Within A Symphony of the Arts | |
Paradox and Metaphor: An Integrity of the Arts | 5 | |
Aesthetic Symbiosis and Spiritual Quest: Grunewald's Isenheim Altarpiece in Hindemith's Opera Mathis der Maler | 17 | |
The Ambiguity of Baroque Enchantment: Operatic Mise en Abyme | 53 | |
The Musicalization of Prose: Prolegomena to the Experience of Literature in Musical Form | 65 | |
Calderon's Dramatic Technique: The Orchestration of the Arts, From Drama to Opera | 75 | |
Baroque Splendor: Vierzehnheiligen Church and Bach's B-Minor Mass | 89 | |
Section 2 | Sharing in Creative and Cosmic Synergies | |
Orchestration of the Universe: Reflections on Tagore's Creativity | 99 | |
The Synergies of Mind and Muse: Reflections on Nineteenth-Century Thought and A Comparative Analysis of Dante Gabriel Rosetti's Poem and Painting The Blessed Damozel and Claude Debussy's La Demoiselle Elue | 113 | |
The Interdependency of Literature, Architecture, Theater and Music as an Expression of Baroque Absolutism at the Hapsburg Court in Vienna | 135 | |
Literature and Architecture as a Metaphor of "Grandeur" and "Decadence" | 149 | |
Louis Sullivan: The Life-Enhancing Symbiosis of Music, Language, Architecture, and Ornament | 165 | |
An Orchestration of the Arts in Wallace Stevens' "Peter Quince at the Clavier" | 183 | |
Section 3 | The Symbiosis and the Interaction of the Arts | |
The Harmonic Conceit: Music, Nature and Mind in Wordworth's Prelude | 197 | |
Histoire de L'Aveugle: "Matierisme"'s Critique of Vision | 209 | |
Images of Water and the Sea in Tristan L'Hermite's "La Mer" and in Painting | 241 | |
Section 4 | Arts Interacting with Our Perception of Nature and Human Life | |
Fire and Ice: Le Vrai Magique | 257 | |
W. E. B. du Bois' The Souls of Black Folk as an Example of the Tragic | 265 | |
The Blending of Natures and the Perception of the Real | 275 | |
The Symbiosis and the Interaction of the Arts: Cesario Verde, Poet / Painter | 283 | |
This is Mine, and I Can Hold It: Edna St. Vincent Millay and her Music | 293 | |
Section 5 | The Poetic Inter-Reflection of the Arts | |
The Terpsichorean Poem | 305 | |
A Study in Nostalgia: The Orchestration of Life in Facade. The Edith Sitwell--William Walton Musico-Poetic Collaboration | 315 | |
Interreflection of Complementary Expressive Means in Combined-Media Art Performances | 325 | |
The Orchestration of the Arts in Leila Sebbar's Sherazade, 17 ans, brune, frisee, les yeux verts | 343 | |
Beauty and the Dialogue of the Arts: Considerations about Gadamer | 351 | |
Section 6 | Arts Nurturing Human Culture | |
A Look at Modernism from the Keyboard: The Piano in the Parlor and Abstract Art | 365 | |
Pierre Puvis de Chavannes, Richard Wagner and Emile Bernard: Composition and Meaning in the Late Nineteenth Century | 379 | |
The Temporal Character of Catherine Schieve's Slide Opera | 391 | |
An Unfolding of Theory and Practice: From Ingarden to a Phenomenological Aesthetic for Opera | 401 | |
Emotion, Metaphor, Music, and Humor | 417 | |
The Cultural Milieu of Francis Poulenc (1899-1963) and his "Musique de Tous les Jours" (including a brief survey of his works for piano) | 437 | |
Index of Names | 469 |
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