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2007
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“The Continuing
Fascination with Orpheus,” in Laurence LeDiagon-Jacquin, ed., Le Paon d'Héra / Hera’s Peacock
2/2 (Paris: Éditions du
Murmure), 199-206. |
2007
|
“Vers une
méthodologie de l’ekphrasis musical,” in Marta Grabocz and
Danièle Piston, Sens et signification en musique
(Paris: Hermann), 155-176.
|
| 2007 |
“Transfiguration Transmedialized: From Miraculous
Vision to Musical Mirage,” in Mikael Aksander et al., eds.,
Changing Borders: Contemporary Positions in Intermediality (Lund:
Intermedia Studies Press), 323-338.
|
| 2007 |
“Resounding Images: Picasso in Musical
Transmedializations by Walter Steffens,” in Stephanie M. Glaser, ed., Media
Inter Media (Amsterdam/New York: Rodopi), 27-42.
|
| 2006 |
“La danse des morts – a folk tradition
religiously contextualized: Arthur Honegger and Paul Claudel’s response
to Hans Holbein’s woodcut series,” in Eero Tarasti, ed., Music and
the Arts (Helsinki: Acta Semiotica Fennica), 243-254.
|
2005
|
“Rituals and Genres in a
Twentieth-Century Operatic Oortrayal of a Medieval Saint,” in Mette B.
Bruun et al., eds., Genre and
Ritaul: The Cultural Heritage of Medieval Rituals (Copenhagen:
Museum Tusculanum Press), 173-186.
|
| 2004 |
“Mythopoesis and Musical Genre in Bohuslav Martinu’s Greek
Passion,” in N.H. Petersen et al., eds., Signs of Change:
Transformations of Christian Traditions and Their Representation in the
Arts, 1000-2000 (Amsterdam, Rodopi), 293-311. |
| 2003 |
“Fear of Death in a Life Between God and Satan: Kari
Tikka’s Recent Opera Luther,” in The Arts and the
Heritage of Martin Luther [special issue of Transfigurations:
Nordic Journal for Christianity and the Arts], J. Fleischer et al.
(Copenhagen: Museum Tusculanum Press), 187-208. |
| 2002 |
“Three Ways of Listening to Birds on a Crank: Musical
Interpretations of Paul Klee’s Witty Criticism of Modern Culture,” in Cultural
Functions of Intermedial Explorations, U.-B. Lagerroth et al.,
eds. (Amsterdam: Rodopi), 267-285 |
| 2002 |
“Musikalisk ekfras,” in Intermedialitet: ord,
bild och ton i samspel, Hans Lund, ed. (Lund: Studentlitteratur),
193-202. |
|
2002
|
“Schönbergs Pelleas und Melisande,” in Arnold
Schönberg - Interpretationen seiner Werke, Gerold W. Gruber,
ed. (Laaber: Laaber Verlag), vol. I, 36-59.
|
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2002
|
“Des encadrements musicaux qui élargissent la
vue. Implications herméneutiques dans deux des Vingt
regards sur l’Enfant-Jésus d’Olivier Messiaen,” in Approches
herméneutiques de la musique, Jacques Viret, ed.
(Strasbourg: Presses Universitaires de Strasbourg), 7-19.
|
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2002
|
“Wordless Songs of Love, Glory, and Resurrection:
Musical Emblems of the Holy in Hindemith’s Saints,” in Voicing the
Ineffable, Siglind Bruhn, ed. (Hillsdale, N.Y.: Pendragon), 157-188.
|
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2001
|
“John Taveners Operndarstellung der Maria
Ægyptiaca als ‘Ikone in Musik und Tanz’,” in Analyse zur
Vermittlung von Musik und Werbung für Komponisten. Eine Anthologie
für Gottfried Scholz zu seinem 65. Geburtstag, Margareta
Saary, ed. (Frankurt etc.: Peter Lang), 39-74.
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1999
|
“Piano Poems and Orchestral Recitations: Instrumental
Music Interprets a Literary Text,” in W. Bernhart, S.P. Scher, W. Wolf,
eds., Word and Music Studies: Defining the Field (Amsterdam:
Rodopi), 277-299.
|
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1999
|
“Ein Komponist individualisiert den Soldaten
Jedermann. Vom sozialen Drama Büchners zum psychologischen Drama
Bergs,” in Peter Csobadi et. al., eds., Alban Bergs WOZZECK
und die zwanziger Jahre (Anif/Salzburg: Verlag
Müller-Speiser), 121-140.
|
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1998
|
“Vom Bild zum Text -- vom Text zum Ton: Musikalische
Ekphrastik in einem ‘Klaviergedicht’ Ravels,” in Intermedialität:
Theorie und Praxis eines interdisziplinären Forschungsgebiets,
Jörg Helbig, ed. (Berlin: Erich Schmidt Verlag), 161-176.
|
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1998
|
“The Spiritual Layout in Messiaen’s Contemplations of
the Manger,” in Messiaen’s Language of Mystical Love, Siglind
Bruhn, ed. (New York: Garland), 247-267.
|
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1998
|
“Symbolism and Self-Quotation in Berg’s Picture
Postcard Songs,” in Encrypted Messages in Alban Berg's Music,
S. Bruhn, ed. (New York: Garland), 157-190.
|
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1997
|
“ ‘Herr, gehe nicht ins Gericht’: A comparison of
style and musical symbolism in the church cantata settings of this text
by Johann Sebastian Bach und Johann Friedrich Fasch,” in Nationalstile
und Europäisches Denken in der Musik von Fasch und seinen
Zeitgenossen, Konstanza Musketa, ed. (Dessau: Anhaltische
Verlagsgesellschaft), 23-39.
|
| 1997 |
“New Perspectives in a Love Triangle: Ondine
in Musical Ekphrasis,” in Interart Poetics: Essays on the
Interrelations of the Arts and Media, U.-B. Lagerroth, H. Lund, E.
Hedling, eds. (Amsterdam: Rodopi), 47-60. |
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1988
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“Helmut Eder: Erstes Violinkonzert,” in Dodekaphonie
in Österreich nach 1945, Gottfried Scholz, ed. (Vienna:
Verband der wissenschaftlichen Gesellschaften Österreichs),
113-147.
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