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Publications of Philip Rupprecht    :chronological  alphabetical  combined listing:

%% Books   
@book{fds320459,
   Author = {Wörner, F and Scheideler, U and Rupprecht, PE},
   Title = {Tonality Since 1950},
   Pages = {345 pages},
   Publisher = {Franz Steiner Verlag},
   Editor = {Woerner, F and Scheideler, U and Rupprecht, P},
   Year = {2017},
   ISBN = {351511582X},
   Abstract = {Tonality Since 1950 documents the debate surrounding one of
             the most basic technical and artistic resources of music in
             the later 20th century.},
   Key = {fds320459}
}

@book{fds302481,
   Author = {Rupprecht, P},
   Title = {British Musical Modernism: The Manchester Group and their
             Contemporaries},
   Pages = {1-492},
   Publisher = {Cambridge University Press},
   Year = {2015},
   ISBN = {9780521844482},
   url = {http://dx.doi.org/10.1017/CBO9781139033350},
   Abstract = {British Musical Modernism explores the works of eleven key
             composers to reveal the rapid shifts of expression and
             technique that transformed British art music in the post-war
             period. Responding to radical avant-garde developments in
             post-war Europe, the Manchester Group composers - Alexander
             Goehr, Peter Maxwell Davies, and Harrison Birtwistle - and
             their contemporaries assimilated the serial-structuralist
             preoccupations of mid-century internationalism to an art
             grounded in resurgent local traditions. In close readings of
             some thirty-five scores, Philip Rupprecht traces a modernism
             suffused with the formal elegance of the 1950s, the
             exuberant theatricality of the 1960s, and - in the works of
             David Bedford and Tim Souster - the pop, minimalist, and
             live-electronic directions of the early 1970s. Setting
             music-analytic insights against a broader social-historical
             backdrop, Rupprecht traces a British musical modernism that
             was at once a collective artistic endeavor, and a sounding
             myth of national identity.},
   Doi = {10.1017/CBO9781139033350},
   Key = {fds302481}
}

@book{fds292166,
   Author = {ed. Philip Rupprecht},
   Title = {Rethinking Britten},
   Publisher = {Oxford University Press},
   Editor = {Rupprecht, P},
   Year = {2013},
   url = {http://global.oup.com/academic/product/rethinking-britten-9780199794805;jsessionid=298A075E8904493D3DCFEDC0830D1AA2?cc=us&lang=en&},
   Key = {fds292166}
}

@book{fds292165,
   Author = {Various},
   Title = {Tonality 1900-1950: Concept and Practice},
   Publisher = {Stuttgart: Franz Steiner Verlag},
   Editor = {Woerner, F and Scheideler, U and Rupprecht, P},
   Year = {2012},
   ISBN = {978-3515101608},
   url = {http://www.steiner-verlag.de/titel/59171.html},
   Key = {fds292165}
}

@book{fds292164,
   Author = {Rupprecht, P},
   Title = {Britten’s Musical Language},
   Publisher = {Cambridge University Press},
   Year = {2001},
   url = {http://www.amazon.com/Brittens-Musical-Language-Twentieth-Century/dp/0521031036/ref=sr_1_1/189-7790522-2579128?s=books&ie=UTF8&qid=1414769263&sr=1-1&keywords=rupprecht+britten},
   Key = {fds292164}
}


%% Articles in Books   
@article{fds358466,
   Author = {Rupprecht, P},
   Title = {Voicing ideology: Modernism and the middlebrow in Britten's
             operas},
   Journal = {Music and Letters},
   Volume = {101},
   Number = {2},
   Pages = {343-366},
   Year = {2020},
   Month = {May},
   url = {http://dx.doi.org/10.1093/ml/gcaa028},
   Doi = {10.1093/ml/gcaa028},
   Key = {fds358466}
}

@article{fds350328,
   Author = {Rupprecht, P},
   Title = {Rhythmic Dignity: Motive, Signal, and Flux in the Music of
             James Dillon},
   Journal = {Musiktheorie},
   Volume = {34},
   Number = {4},
   Pages = {347-376},
   Year = {2019},
   Key = {fds350328}
}

@article{fds332212,
   Author = {Rupprecht, P},
   Title = {Scenes from Britten's 'Spring Symphony'},
   Booktitle = {Literary Britten},
   Publisher = {Boydell},
   Editor = {Kennedy, K},
   Year = {2018},
   Key = {fds332212}
}

@article{fds320456,
   Author = {Rupprecht, P},
   Title = {Images in Sound: Movement, Harmony and Colour in the Early
             Music},
   Booktitle = {The Music of Simon Holt},
   Publisher = {Boydell},
   Editor = {Charlton, D},
   Year = {2017},
   Month = {June},
   Key = {fds320456}
}

@article{fds320458,
   Author = {Rupprecht, P},
   Title = {Tonality Rediscovered: Oliver Knussen and the Musical
             ‘Object’ in the 1970s.},
   Pages = {209--231},
   Booktitle = {Tonality Since 1950},
   Publisher = {Franz Steiner Verlag},
   Editor = {Woerner, F and Scheideler, U and Rupprecht, P},
   Year = {2017},
   Month = {February},
   Key = {fds320458}
}

@article{fds320457,
   Author = {Rupprecht, P},
   Title = {Quickenings of the Heart: Notes on Rhythm and Tempo in
             Britten’s Music},
   Pages = {317-345},
   Booktitle = {Benjamin Britten Studies: Essays on an Inexplicit
             Art},
   Publisher = {Boydell Press},
   Editor = {Stroeher, V and Vickers, J},
   Year = {2017},
   ISBN = {978-1783271955},
   Key = {fds320457}
}

@article{fds350329,
   Author = {Rupprecht, P},
   Title = {Mechanical song: Birtwistle’s rhythmic
             imagination},
   Pages = {26-62},
   Booktitle = {Harrison Birtwistle Studies},
   Publisher = {Cambridge Univ. Press},
   Editor = {David Beard and Kenneth Gloag and Nicholas Jones},
   Year = {2015},
   Month = {January},
   url = {http://dx.doi.org/10.1017/CBO9781316145326.004},
   Abstract = {Soon the year slides past never the same twice. There is no
             foretelling its fulfilment from the start. These words,
             translated from their original medieval context and set by
             Harrison Birtwistle in Narration: A Description of the
             Passing of a Year (1963), touch on a central strand of the
             composer's art: his preoccupation with rhythm and the flow
             of musical time, not merely as a problem of technique or
             construction, but as a dramatic or thematic ‘topic’,
             offered to listeners as a focus of attention. Pulse, return,
             cycle, time – all such categories, in Birtwistle's music,
             become prime (some would say primal) concerns, as is obvious
             even from his evocative work titles. His early response to
             the Gawain text in Narration is hardly his first creative
             attempt to foreground music's passing beat. A great deal of
             compositional invention inheres in demonstrating for
             listeners an almost calendric-seasonal sense of growth and
             transformation as the music unfolds. If time's ‘sliding
             past’ is to be the issue, then Refrains and Choruses
             (1957) already advertises a concern with return as formal
             and rhetorical possibility: the work ends, hauntingly, with
             eleven reiterations of a single five-note chord, each one
             revoiced, so tracing a progressive change. The ticking
             polyrhythmic ‘Toccatas’ in the opera Punch and Judy, a
             decade later (1966–7), display Birtwistle's fascination
             with measuring or marking time's movement: they are ‘to
             sound like some mechanical process switched on and off’,
             the score indicates. This overtly mechanical line of
             thinking about music's rhythm extends from Chronometer
             (1971–2) to Harrison's Clocks (1998) and beyond.
             Birtwistle's rhythmic imagination invites attention at both
             technical and symbolic levels. Throughout his career, he has
             fashioned images of time's passing – in each work, the
             processes are recognizably his own, yet they have
             continuously evolved: never the same twice. His music
             thrives on a tension between the listener's conscious aural
             grasp of the passing moment and evolving awareness of
             slower, inexorably circling returns.},
   Doi = {10.1017/CBO9781316145326.004},
   Key = {fds350329}
}

@article{fds292152,
   Author = {Rupprecht, P},
   Title = {Britten and the Avant-Garde in the 1950s},
   Pages = {131-55},
   Booktitle = {Rethinking Britten},
   Publisher = {Oxford University Press},
   Editor = {Rupprecht, P},
   Year = {2013},
   Key = {fds292152}
}

@article{fds292153,
   Author = {Rupprecht, P},
   Title = {Agency Effects in the Instrumental Drama of Musgrave and
             Birtwistle},
   Pages = {189-215},
   Booktitle = {Music and Narrative Since 1900},
   Publisher = {Indiana University Press},
   Editor = {Klein, ML and Reyland, N},
   Year = {2013},
   Key = {fds292153}
}

@article{fds292154,
   Author = {Rupprecht, P},
   Title = {Introduction: Britten’s Music and Its Audiences},
   Pages = {xv-xxxi},
   Booktitle = {Rethinking Britten},
   Publisher = {Oxford University Press},
   Editor = {Rupprecht, P},
   Year = {2013},
   Key = {fds292154}
}

@article{fds292155,
   Author = {Rupprecht, P},
   Title = {Mechanical Song: Birtwistle’s Rhythmic
             Imagination},
   Booktitle = {Birtwistle Studies},
   Publisher = {CAMBRIDGE UNIV PRESS},
   Editor = {Beard, D and Gloag, K and Jones, N},
   Year = {2013},
   Key = {fds292155}
}

@article{fds292151,
   Author = {Rupprecht, P},
   Title = {Among the Ruined Languages: Britten’s Triadic Modernism,
             1930-1940},
   Pages = {223-245},
   Booktitle = {Tonality 1900-1950: Concept and Practice},
   Publisher = {Stuttgart: Franz Steiner,},
   Editor = {Woerner, F and Scheideler, U and Rupprecht, P},
   Year = {2012},
   Key = {fds292151}
}

@article{fds305709,
   Author = {Rupprecht, P},
   Title = {"Something slightly indecent": British composers, the
             European avant-garde, and national stereotypes in the
             1950s},
   Journal = {The Musical Quarterly},
   Volume = {91},
   Number = {3-4},
   Pages = {275-326},
   Publisher = {Oxford University Press (OUP)},
   Year = {2009},
   Month = {March},
   ISSN = {0027-4631},
   url = {http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:000267616000005&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=47d3190e77e5a3a53558812f597b0b92},
   Doi = {10.1093/musqtl/gdp003},
   Key = {fds305709}
}

@article{fds292149,
   Author = {Rupprecht, P},
   Title = {Thematic Drama in Early Peter Maxwell Davies: Op. 1 to the
             First Taverner Fantasia},
   Pages = {45-78},
   Booktitle = {Maxwell Davies Studies},
   Publisher = {Cambridge University Press},
   Editor = {Gloag, K and Jones, N},
   Year = {2009},
   Key = {fds292149}
}

@article{fds292170,
   Author = {Philip Rupprecht},
   Title = {Above and beyond the bass: harmony and texture in George
             Benjamin’s Viola, Viola},
   Journal = {Tempo: a Quarterly Review of Modern Music},
   Volume = {59},
   Pages = {28-38},
   Year = {2005},
   Month = {April},
   Key = {fds292170}
}

@article{fds292148,
   Author = {Rupprecht, P},
   Title = {The Chamber Music},
   Pages = {245-59},
   Booktitle = {The Cambridge Companion to Benjamin Britten},
   Publisher = {Cambridge University Press},
   Editor = {Cooke, M},
   Year = {1999},
   Key = {fds292148}
}

@article{fds292171,
   Author = {Philip Rupprecht},
   Title = {Tonal stratification and Uncertainty in Britten’s
             music},
   Journal = {Journal of Music Theory},
   Volume = {40},
   Number = {2},
   Pages = {311-346},
   Year = {1996},
   Month = {Fall},
   Key = {fds292171}
}


%% Reviews   
@article{fds316039,
   Author = {Rupprecht, P},
   Title = {Review: Britten's Unquiet Pasts: Sound and Memory in Postwar
             Reconstruction, by Heather Wiebe},
   Journal = {Journal of the American Musicological Society},
   Volume = {68},
   Number = {3},
   Pages = {698-703},
   Publisher = {University of California Press},
   Year = {2015},
   Month = {December},
   ISSN = {0003-0139},
   url = {http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:000369174500008&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=47d3190e77e5a3a53558812f597b0b92},
   Doi = {10.1525/jams.2015.68.3.698},
   Key = {fds316039}
}

@article{fds292147,
   Author = {Rupprecht, P},
   Title = {Edward Elgar, Serenade for Strings, op. 20, Score, edited by
             Christopher Hogwood (Kassel: Bärenreiter-Verlag, 2010), BA
             9041, viii, 18 pp., with critical commentary and
             facsimile.},
   Journal = {Nineteenth Century Music Review},
   Volume = {10},
   Number = {2},
   Pages = {390-394},
   Publisher = {Cambridge University Press (CUP)},
   Year = {2013},
   Month = {December},
   ISSN = {1479-4098},
   url = {http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:000339586100024&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=47d3190e77e5a3a53558812f597b0b92},
   Doi = {10.1017/s1479409813000463},
   Key = {fds292147}
}

@article{fds292167,
   Author = {Rupprecht, P},
   Title = {British Music and Modernism, 1895-1960. Ed. by Matthew
             Riley.},
   Journal = {Music and Letters},
   Volume = {93},
   Number = {1},
   Pages = {103-106},
   Publisher = {Oxford University Press (OUP)},
   Year = {2012},
   Month = {February},
   ISSN = {0027-4224},
   url = {http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:000301905700011&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=47d3190e77e5a3a53558812f597b0b92},
   Doi = {10.1093/ml/gcr101},
   Key = {fds292167}
}

@article{fds292161,
   Author = {Rupprecht, P},
   Title = {Review: Matthew Riley, ed., "British Music and Modernism,
             1895-1960"},
   Journal = {Music and Letters},
   Volume = {93},
   Pages = {103-06},
   Year = {2012},
   Key = {fds292161}
}

@article{fds292160,
   Author = {Rupprecht, P},
   Title = {Review: Jonathan Cross, The Stravinsky Legacy},
   Journal = {Journal of the American Musicological Society},
   Volume = {56},
   Number = {2},
   Pages = {498-507},
   Year = {2003},
   Month = {Summer},
   Key = {fds292160}
}

@article{fds292158,
   Author = {Rupprecht, P},
   Title = {Review: Kyle Gann, The music of Conlon Nancarrow},
   Journal = {Institute for Studies in American Music Newsletter},
   Volume = {27},
   Number = {1},
   Pages = {5-7},
   Year = {1997},
   Key = {fds292158}
}

@article{fds292159,
   Author = {Rupprecht, P},
   Title = {Review: Anthony Pople, ed., Theory, Analysis and Meaning in
             Music},
   Journal = {Journal of Music Theory},
   Volume = {41},
   Number = {1},
   Pages = {157-75},
   Year = {1997},
   Month = {Spring},
   Key = {fds292159}
}

@article{fds320543,
   Author = {Rupprecht, P},
   Title = {Review: Andrew Mead, An Introduction to the Music of Milton
             Babbitt},
   Journal = {Institute for Studies in American Music Newsletter},
   Volume = {25},
   Number = {2},
   Pages = {12-14},
   Year = {1996},
   Key = {fds320543}
}


%% Program Notes   
@misc{fds350330,
   Title = {The Vorticists: Musical Allies},
   Year = {2010},
   Key = {fds350330}
}

@misc{fds350331,
   Title = {"Liturgy and Trope in Britten’s War Requiem" (Note for
             Duke Chapel performances, dir. Rodney Wynkoop, April 19-20,
             2008)},
   Year = {2008},
   Key = {fds350331}
}

@misc{fds292156,
   Author = {Rupprecht, P},
   Title = {Conference Report: Arnold Schoenberg Institute/Music Theory
             Society of New York State: Joint Meeting, Barnard College,
             Columbia University, October 1991},
   Journal = {Music Analysis},
   Volume = {11},
   Number = {1},
   Pages = {129-33},
   Year = {1992},
   Key = {fds292156}
}


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