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List of Illustrations | |
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List of Musical Examples | |
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Acknowledgments | |
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Introduction: Laocoon Revisited | |
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Lessing and Horace | |
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Babbitt and Greenberg | |
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Adorno | |
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Apollo and Marsyas | |
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Kokoschka's Morder, Hoffnung der Frauen | |
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Hindemith's Morder, Hoffnung der Frauen | |
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Aesthetic Paradoxes | |
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Modernism, Historical and Transhistorical | |
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Figures of Consonance among the Arts | |
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Hieroglyph | |
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Plotinus | |
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Mozart's The Magic Flute | |
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Perlocution and Epigram: Liszt and Wagner | |
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Rapee's Dictionary of Silent Film Music and the Leitmotiv | |
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Wagner and the Origin of Music | |
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Eye Music | |
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Stravinsky's Renard and Prokofiev's Semyon Kotko | |
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Ideogram | |
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Pound, Fenollosa, and the Chinese Character | |
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Imagism | |
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Noh | |
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Pound, Fenollosa, Yeats, and Michio Ito | |
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Unnatural Nature: Kleist and Mallarme | |
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Structure of the Noh Play | |
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Nishikigi | |
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Pound's Tristan | |
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The Pisan Cantos as a Noh Play | |
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The Pisan Cantos as an Opera | |
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Britten's Curlew River and Sumidagawa | |
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Gestus | |
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Dalcroze Exercises | |
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Nijinsky, Nijinska, and The Rite of Spring | |
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Lessing's Theory of Gestus | |
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Rousseau and Gesticulation | |
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Weill's Theory of Gestus | |
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Brecht's Theory of Gestus | |
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Farragoes: Mann ist Mann and The Threepenny Opera | |
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Ruined Wishes: Jenny and Lilian | |
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Inscriptive Tetrachords | |
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Brecht's Photograms | |
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Villonaud | |
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Text-Embezzling in The Threepenny Opera | |
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Pound's Le testament: Troubadour Imitations | |
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Le testament: Speech as Music | |
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Schoenberg's Erwartung and the Rejection of Sequence | |
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Wagner on Schopenhauer | |
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The Semantics of Erwartung | |
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Le testament: Rhythmic Complexity, Melodic Simplicity | |
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Noh, Again | |
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Der Jasager: Teaching Acquiescence | |
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Icons of Trudge and Gluck's Hell | |
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Tragedy in Music: Plaint vs. Wall | |
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The Chill of Hieroglyphs | |
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Weill's Epitaph | |
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Figures of Dissonance among the Arts | |
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Loop | |
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Parade: Whorls in Picasso's Designs | |
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Circular Skits | |
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Satie's Furniture Music as a Barrier against Expression | |
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Phonometrography | |
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Property Trees That Don't Convulse | |
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Cocteau's Unspoken Text | |
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Cube | |
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Rimbaud's "Parade" | |
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Cubism and the Letter K | |
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Picasso's Managers: Life inside a Cubist Painting | |
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Metaphors for Cubes in Satie's Music | |
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Ballet realiste and Visual Collage | |
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Intonarumori: Russolo and Boccioni | |
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Loop, Again | |
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Non-synchronicity in Silent Films | |
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The American Girl's Spoof of The Perils of Pauline | |
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Film Loops in Saint-Saen's L'assassinat du duc de Guise | |
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Relache: Clair's Entr'acte cinematographique as a Film Loop | |
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Relache: Segment Construction and Master Bars in Satie's Score | |
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Antheil's Ballet Mecanique: The Big Foot | |
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The Leger-Murphy Film of Ballet Mecanique: Cinematic Abstraction | |
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Surrealism (Literature and Art) | |
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Apollinaire's Coining of the Word Surrealism | |
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Apollinaire's Les mamelles de Tiresias | |
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Calligrams | |
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Simultanism: Verbal Polyphony | |
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Surrealism as a Codified Style: Breton's Land of Unlikeness | |
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Lautreamont's Tryst of Sewing Machine and Umbrella | |
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Headlessness | |
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Surrealism (Music) | |
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The Cocteau-Milhaud Le boeuf sur le toit: Nothing Happens | |
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The Cocteau-Les Six Les maries de la Tour Eiffel | |
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Dadaist Music: Schwitters and Duchamp | |
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Allusion in the Music of Les maries de la Tour Eiffel | |
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Stravinsky as Fagin | |
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The Jacob-Poulenc Le bal masque | |
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The Eluard-Poulenc Un soir de neige: Theft from Ravel | |
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Poulenc's Setting of Les mamelles de Tiresias | |
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Voice-Traning Lessons | |
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Heaven | |
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Temporal Images of the Timeless | |
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Transfiguration in Strauss, Faure, and Elgar | |
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Stein, Automatic Writing, and Dali | |
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Stein's Early "Psychological" Style: The Making of Americans | |
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Stein's Objective Style: Tender Buttons | |
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Stein's An Elucidation: Discourse Vanishing into Visual Pattern | |
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The Land of Unlikeness, Revisited | |
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Stein's Landscape Style: Drama without a Story | |
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Landscape Grammar | |
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Four Saints in Three Acts: An Opera with No Acts | |
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Heavenly Reconfigurings of Position | |
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Counting for Counting's Sake | |
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Thomson's Early Stein Settings: Susie Asado, Capital Capitals | |
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Thomson's Discipline of Spontaneity | |
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Four Saints: Consonant Harmony, Dissonant Syntax | |
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Counting for Counting's Sake, in Music | |
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Grosser's Scenario for Four Saints: Imposing Narrative on the Inenarrable | |
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Stettheimer's Stage Set: The Knickknack Shelf Enlarged | |
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Thomson's Theory of Incidental Music | |
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Voice-Training Lessons, Again | |
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Notes | |
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Works Cited | |
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Photo Credits | |
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Index | |