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Karol Berger: Publications

1. Books

Theories of Chromatic and Enharmonic Music in Late 16th-Century Italy, Studies in Musicology 10 (Ann Arbor:  UMI Research Press, 1980). 

Musica Ficta:  Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino (Cambridge: Cambridge University Press, 1987; paperback 2004).  Recipient of the 1988 Otto Kinkeldey Award of the American Musicological Society. 

A Theory of Art (New York:  Oxford University Press, 2000; paperback 2002; also available in the Oxford Scholarship Online philosophy series).  Polish trans.:  Potega smaku.  Teoria sztuki, trans. Anna Tenczynska (Gdansk:  slowo/obraz terytoria, 2008). 

Bach's Cycle, Mozart's Arrow:  An Essay on the Origins of Musical Modernity (Berkeley and Los Angeles:  University of California Press, 2007; paperback 2008).  Forthcoming in Polish trans., Gdansk:  slowo/obraz terytoria.  Recipient of the 2008 Marjorie Weston Emerson Award of the Mozart Society of America. 

Beyond Reason:  Wagner contra Nietzsche (Berkeley and Los Angeles:  University of California Press, 2016). 

2. Books edited

Music and the Aesthetics of Modernity:  Essays, edited jointly with Anthony Newcomb, Isham Library Papers 6, Harvard Publications in Music 21 (Cambridge:  Harvard University Department of Music, 2005). 

3. Papers

“Prospero's Art,” Shakespeare Studies, 10 (1977), 211-39.

“Tonality and Atonality in the Prologue to Orlando di Lasso’s Prophetiae Sibyllarum:  Some Methodological Problems in Analysis of Sixteenth-Century Music,” The Musical Quarterly, 66 (1980), 484-504; Polish trans. in Pagine, 5 (1989), 121-40. 

“The Hand and the Art of Memory,” Musica Disciplina, 35 (1981), 87-120; Polish trans. in Muzyka, 48 (2003), No. 2, pp. 71-97. 

“King Roger’s Liebesleben,” in M. Bristiger, R. Scruton, and P. Weber-Bockholdt, eds., Karol Szymanowski in seiner Zeit (Munich: Wilhelm Fink Verlag, 1984), pp. 101-12. 

“The Expanding Universe of Musica Ficta in Theory from 1300 to 1550,” The Journal of Musicology, 4 (1985-6), 410-30. 

“The Common and the Unusual Steps of Musica Ficta: a Background for the Gamut of Orlando di Lasso’s Prophetiae Sibyllarum,” Revue Belge de Musicologie, 39-40 (1985-6), 61-73. 

“The Martyrdom of St. Sebastian:  the Function of Accidental Inflections in Dufay’s O beate Sebastiane,” Early Music, 17 (1989), 342-57. 

“Musica ficta,” in H. M. Brown and S. Sadie, eds., Performance Practice:  Music before 1600, The New Grove Handbooks in Music (London/New York:  The Macmillan Press/W.W. Norton & Company, 1989), pp. 107-25. 

“Toward a History of Hearing:  The Classic Concerto, A Sample Case,” in W. J. Allanbrook, J. M. Levy, and W. P. Mahrt, eds., Convention in Eighteenth- and Nineteenth-Century Music:  Essays in Honor of Leonard G. Ratner (Stuyvesant:  Pendragon Press, 1992), pp. 405-29. 

“The Second-Movement Punctuation Form in Mozart’s Piano Concertos:  the Andantino of K. 449,” in R. Angermüller, D. Berke, U. Hofmann, and W. Rehm, eds., Bericht über den Internationalen Mozart-Kongreß Salzburg 1991, Mozart-Jahrbuch 1991 (1992), 168-72. 

“Narrative and Lyric:  Fundamental Poetic Forms of Composition,” in N. K. Baker and B. R. Hanning, eds., Musical Humanism and Its Legacy:  Essays in Honor of Claude V. Palisca (Stuyvesant:  Pendragon Press, 1992), pp. 451-70; Polish trans. in Jan Steszewski andMaciej Jablonski, eds., Interdisciplinary Studies in Musicology:  Report from the First Interdisciplinary Conference Poznan, November 23-24, 1991 (Poznan:  Ars Nova, 1993), pp. 41-55. 

Diegesis and Mimesis:  The Poetic Modes and the Matter of Artistic Presentation,” The Journal of Musicology, 12 (1994), 407-33; reprinted in Maciej Jablonski and Jan Steszewski, eds., Interdisciplinary Studies in Musicology:  Report from the Second Interdisciplinary Conference, Poznan, October 15-16, 1993 (Poznan:  Wydawnictwo Poznanskiego Towarzystwa Przyjaciol Nauk, 1995), pp. 45-70. 

“Chopin’s Ballade Op. 23 and the Revolution of the Intellectuals,” in John Rink and Jim Samson, eds., Chopin Studies 2 (Cambridge: Cambridge University Press, 1994), pp. 72-83; Spanish trans. in Quodlibet, No. 29 (June 2004), 145-59; Polish trans. in Zeszyty Literackie, 109 (2010), 45-59. 

“Contemplating Music Archeology,” The Journal of Musicology, 13 (1995), 404-23; Italian trans. in Rivista Italiana di Musicologia, 30 (1995), 213-26. 

“The Form of Chopin’s Ballade, Op. 23,” 19th-Century Music, 20 (1996), 46-71. 

“The First-Movement Punctuation Form in Mozart’s Piano Concertos,” in Neal Zaslaw, ed., Mozart’s Piano Concertos:  Text, Context, Interpretation (Ann Arbor:  The University of Michigan Press, 1996), pp. 239-59. 

“The Text and Its Author,” in Hermann Danuser and Tobias Plebuch, eds., Musik als Text:  Bericht über den Internationalen Kongreß derGesellschaft für Musikforschung Freiburg im Breisgau 1993, vol. 1 (Kassel: Bärenreiter, 1998), pp. 58-60. 

"Beethoven and the Aesthetic State," Beethoven Forum, 7 (1999), 17-44. 

“Mozart’s Concerto Andante Punctuation Form,” Mozart-Jahrbuch 1998, 119-38; reprinted in Helen Geyer, Maciej Jablonski, and Jan Steszewski, eds., Music in the World of Ideas (Poznan:  Ars Nova, 2001), pp. 81-102. 

"De muzen tussen leegte en trivialiteit" ["The Muses Between Emptiness and Triviality," in Dutch trans.], Nexus, 27 (2000), 141-53. 

"The Guidonian Hand," in Mary Carruthers and Jan Ziolkowski, eds., The Medieval Craft of Memory:  An Anthology of Texts and Pictures (Philadelphia:  University of Pennsylvania Press, 2002; paperback 2004), pp. 71-82. 

"Beyond Language," in David E. Wellbery, ed., A New History of German Literature (Cambridge:  Harvard University Press, 2004), pp. 445-50. 

“Teoria sztuki:  Hermeneutyka.  Interpretacja i jej prawomocnosc” [Polish trans. of  A Theory of Art, 6], Res Facta Nova, 7 (2004), 63-82. 

"Time's Arrow and the Advent of Musical Modernity," in Berger and Anthony Newcomb, eds., Music and the Aesthetics of Modernity (see Books edited above), pp. 3-22; shorter version in Detlef Altenburg and Rainer Bayreuther, eds., Musik und kulturelle Identität. Berich über den XIII. Internationalen Kongress der Gesellschaft für Musikforschung Weimar 2004 (Kassel:  Bärenreiter, 2012); Polish trans. in Muzyka, 47 (2002), Nos. 3-4, pp. 11-29, shorter version in Zeszyty Literackie, 21 (2003), No. 82, pp. 71-81. 

“Musicology According to Don Giovanni, or:  Should We Get Drastic?,” Journal of Musicology, 22 (2005), 490-501; Italian trans. in Saggiatore musicale, 13 (2006), 324-33; Polish trans. forthcoming in Res Facta Nova

“Concepts and Developments in Music Theory,” in James Haar, ed., European Music 1520-1640 (Woodbridge:  The Boydell Press, 2006), pp. 304-28. 

“Die beiden Arten von Da-Capo-Arien in der Matthäus-Passion” [“The Two Kinds of the Da Capo Aria in the St. Matthew Passion”], Bach-Jahrbuch 92 (2006), 127-59. 

“’Czarodziejski Flet’, czyli o tym, jak nowozytni uwierzyli w siebie” [Polish translation of Bach's Cycle, Mozart's Arrow, Chapter 7], Muzyka, 51/3 (2006), 107-20; Zeszyty Literackie, 26 (2008), No. 104, pp. 68-80. 

“Love in the Time of Bismarck,” review essay of Roger Scruton, Death-Devoted Heart:  Sex and the Sacred in Wagner’s ‘Tristan andIsolde’Cambridge Opera Journal, 18 (2006), 118-23. 

“Monteverdi’s L’Orfeo, or the Anxiety of the Moderns,” The Hopkins Review, 1 (2008), 30-52. 

“’Die Zauberflöte’ oder die Selbstbehauptung der Modernen” [German trans. of Bach's Cycle, Mozart's Arrow, Chapter 7], in LaurenzLütteken and Hans-Joachim Hinrichsen, eds., Mozarts Lebenswelten.  Eine Zürcher  Ringvorlesung 2006 (Kassel:  Bärenreiter, 2008), pp. 228-43. 

“A Note on Tristan’s Death Wish,” in Thomas S. Grey, ed., Richard Wagner and his World (Princeton:  Princeton University Press, 2009), pp. 123-32; Polish trans. forthcoming in Zeszyty Literackie.

“L’Orfeo albo niepokoj nowoczesnych” [Polish translation of Bach's Cycle, Mozart's Arrow, Prelude], Zeszyty Literackie, 28 (2010), No. 111, 93-104. 

“Podroz wloska Gregora Samsy,” review essay of Michal Bristiger, Transkrypcje.  Pisma i przeklady, Biblioteka Mnemosyne (Gdansk: slowo/obraz terytoria, 2010), Zeszyty Literackie, 113 (2011), 182-89. 

“The Thrice-Told Tale:  Thematic Narratives in the Allegros of Mozart’s Piano Concertos,” Mozart-Jahrbuch 2007-2008 [2011], 3-38. 

“Carl Dahlhaus’s Conception of Wagner’s Post-1848 Dramaturgy,” internet edition in Muzykalia 8 (2009), Zeszyt niemiecki 2:; German trans.:  “Carl Dahlhaus’ Konzeption von WagnersDramaturgie nach 1848,” Hermann Danuser, Peter Gülke and Norbert Miller, eds. Carl Dahlhaus und die Musikwissenschaft:  Werk,Wirkung, Aktualität (Schliengen:  Edition Argus, 2011), pp. 52-63. 

“Der Dichter spricht:  self-representation in Parsifal,” in Joshua S. Walden, ed., Representation and Meaning in Western Music (Cambridge:  Cambridge University Press, 2013), pp. 182-202; German trans.:  “Der Dichter spricht:  der Karfreitagszauber und diePerformanz der Interpretation,” in Camilla Bork, Tobias Robert Klein, Burkhard Meischein, Andreas Meyer, and Tobias Plebuch, eds., Ereignis und Exegese.  Musikalische Interpretation, Interpretation der Musik.  Festschrift für Hermann Danuser zum 65. Geburtstag (Schliengen:  Edition Argus, 2011), pp. 479-91. 

“Time’s Cycle and Time’s Arrow in Music,” in Marie-Agnes Dittrich, Martin Eybl, and Reinhard Kapp, eds., Zyklus und Prozess.  Joseph Haydn und die Zeit (Vienna, Cologne, and Weimar:  Böhlau Verlag, 2012), pp. 15-24; Polish trans. in De Musica/Krytyka Muzyczna, No. 1 (2010), 1-9: 

“Fünf Thesen zum Kanon.  Versuch einer konzeptuellen Klärung” [German trans. of “Five Canonic Theses:  an Attempt at a Conceptual Clarification”], forthcoming in Klaus Pietschmann and Melanie Wald-Fuhrmann, eds., Der Kanon der Musik: Theorie und Geschichte.Ein Handbuch (Munich:  edition text + kritik 2011), pp. 65-71. 

“Tristan und Isolde.  Handlung in drei Aufzügen WWV 90,” in Laurenz Lütteken, ed., Wagner-Handbuch (Kassel and Stuttgart: Bärenreiter and Metzler, 2012), pp. 371-80. 

“Niesamowity wdziek.  Glosa do marionetek Kleista” [Polish trans. of “The uncanny grace:  a gloss on Kleist’s marionettes”], ZeszytyLiterackie, 119 (2012), 30-40. 

Parsifal und die Regenerationsfrage,” Hundertsiebenundneunzigstes Neujahrsblatt der Allgemeinen Musikgesellschaft Zürich auf das Jahr 2013 (Winterthur:  Amadeus, 2012). 

“The Ends of Music History, or:  The Old Masters in the Supermarket of Cultures,” forthcoming in Journal of Musicology, 31 (2014); German trans.:  “Vom Ende der Musikgeschichte, oder:  Die Alten Meister im Supermarkt der Kulturen,” in Michele Calella andNikolaus Urbanek, eds., HistorischeMusikwissenschaft. Grundlagen und Perspektiven (Stuttgart:  J.B. Metzler, 2013), pp. 245-54; Polish trans.:  “Po koncu historii muzyki, czyli starzy mistrzowie w supermarkecie kultur,” in Anna Grzegorczyk, Małgorzata Grzywacz, andKatarzyna Machtyl, eds., Fenomen muzyki (Poznan: Centrum Badań im. Edyty Stein, 2012), pp. 21-33. 

“Wie man wird, was man ist.  Die Walküre, Erster Aufzug,” in Helmut Loos, ed., Richard Wagner. Persönlichkeit, Werk und Wirkung, Leipziger Beiträge zur Wagner-Forschung, Richard-Wagner-Verband Leipzig, Sonderband (Markkleeberg:  Sax-Verlag, 2013), pp. 77-83. 

“Die unheimliche Grazie:  Eine Bemerkung über Kleists Marionetten” [German trans. of “The uncanny grace:  a gloss on Kleist’s marionettes”], forthcoming in Hans Ulrich Gumbrecht and Friedericke Knüpling, eds., Kleist Revisited (Paderborn:  Wilhelm Fink, 2013), pp. 111-22. 

“The Uncanny Grace:  Kleist between Rossini and Schubert,” in Ivana Rentsch and Klaus Pietschmann, eds., Schubert:  Interpretationen, Schubert:  Perspektiven – Studien 3 (Stuttgart:  Franz Steiner Verlag, 2014), pp. 155-64.

“How holy is German art?  On the last scene of Die Meistersinger von Nürnberg,” forthcoming in Arne Stollberg, Ivana Rentsch and Anselm Gerhard, eds., Gefühlskraftwerke für Patrioten?  Wagner und das Musiktheater zwischen Nationalismus und Globalisierung (Würzburg:  Königshausen & Neumann, 2015), pp. 137-55. 

“Must one be silent about that whereof one cannot speak?  Remarks on the first scene of Die Walküre,” in Matthias Schmidt, and Arne Stollberg, eds., Das Bildliche und das Unbildliche.  Nietzsche, Wagner und das Musikdrama (Munich:  Wilhelm Fink, 2015), pp. 43-56.