New and Recent Volumes of 19th-Century Music Academic Journal

Spring 2015, vol. 38, no. 3

David Larkin, “Dancing to the Devil's Tune: Liszt's Mephisto Waltz and the Encounter with Virtuosity”

Martin Knust, “Music, Drama, and Sprechgesang: About Richard Wagner's Creative Process”

Karen Leistra-Jones, “Improvisational Idyll: Joachim's ‘Presence’ and Brahms's Violin Concerto, op. 77”

Marc Brooks, “Strauss and Hofmannsthal's Arabella and the Resacralization of the Operatic Tradition”

Fall 2014, vol. 38, no. 2

Carmel Raz “’The Expressive Organ within Us’: Ether, Ethereality, and Early Romantic Ideas about Music and the Nerves”

Robert D. Pearson “Harmony of Hearts: Marital Love in Beethoven’s Leonore of 1806”

Stephan Knapik “Vitalistic Discourses of Violin Pedagogy in the Early Twentieth Century”

Summer 2014, vol. 38, no. 1

Claudio Vellutini, “Adina par excellence: Eugenia Tadolini and the Performing Tradition of Donizetti’s L’elisir d’amore in Vienna”

Don Michael Randel, “Congruence between Poetry and Music in Schumann’s Dichterliebe

Dragana Jeremic Molnar and Aleksandar Molnar, “Adorno, Schubert, and Mimesis”

Kevin Salfen, “Britten the Anthologist”

Spring 2014, vol. 37, no. 3

Laurie McManus, “Feminist Revolutionary Music Criticism and Wagner Reception: The Case of Louise Otto”

Flora Willson, “Of Time and the City: Verdi’s Don Carlos and Its Parisian Critics”

Christopher Moore, “Regionalist Frictions in the Bullring: Lyric Theater in Béziers at the Fin de Siècle

Fall 2013, vol. 37, no. 2

Kelly St. Pierre, “Smetana's ‘Vyšehrad’ and Mythologies of Czechness in Scholarship

Gavin Williams, “A Voice of the Crowd: Futurism and the Politics of Noise”

Jessie Fillerup, “Ravel and Robert-Houdin, Magicians”

Summer 2013, vol. 37, no. 1

Matthew Gelbart, “Once More to Mendelssohn’s Scotland: The Laws of Music, the Double Tonic, and the Sublimation of Modality”

Peter Mondelli, “The Sociability of History in French Grand Opera: A Historical Materialist Perspective”

Steven Huebner, “Édouard Dujardin, Wagner, and the Origins of Stream of Consciousness Writing”