1.  9
    Metaphysical Song: An Essay on Opera.Gary Tomlinson - 1999 - Princeton University Press.
    "--Lydia Goehr, Columbia University "This extraordinary book offers us an 'alternative story' of the history of opera. . . . [It] will have an important . . . effect on the way we think about opera."--Roger Parker, Oxford University.
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  2.  18
    Evolutionary Studies in the Humanities: The Case of Music.Gary Tomlinson - 2013 - Critical Inquiry 39 (4):647-675.
  3.  18
    Music and the Claims of Text: Monteverdi, Rinuccini, and Marino.Gary Tomlinson - 1982 - Critical Inquiry 8 (3):565-589.
    The composer of vocal music writes as poet and scholiast. His message is autonomous but not wholly his own. He sets to work with a preexistent artwork before him—a poem or passage of prose, often written without thought of musical setting—and fashions his song under its constraints. He welcomes to his work a second, distinct language, one which corresponds to his own at most only partially in syntax and significance.The composer's unique act of accommodation, structuring his setting after certain requisites (...)
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