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Further Reading

Published online by Cambridge University Press:  06 April 2024

Elizabeth A. Wells
Affiliation:
Mount Allison University, Canada
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Print publication year: 2024

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References

Primary Sources

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Bernstein, Jamie. Famous Father Girl: A Memoir of Growing Up Bernstein. New York: HarperCollins, 2018.Google Scholar
Congregation Mishkan Tefila: 1858–1983. Stoughton: Alpine Press, 1984.Google Scholar
Coontz, Stephanie. The Way We Never Were: American Families and the Nostalgia Trap. New York: Basic Books, 1992.Google Scholar
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DeLapp-Birkett, Jennifer. ‘Government Censorship and Aaron Copland’s Lincoln Portrait during the Second Red Scare’. In The Oxford Handbook of Music Censorship, ed. Hall, Patricia. New York: Oxford University Press, 2018, 511–33.Google Scholar
Denning, Michael. The Cultural Front: The Laboring of American Culture in the Twentieth Century. New York: Verso, 1998.Google Scholar
Doherty, Thomas. Show Trial: Hollywood, HUAC, and the Birth of the Blacklist. New York: Columbia University Press, 2018.CrossRefGoogle Scholar
Fosler-Lussier, Danielle. Music in America’s Cold War Diplomacy. Berkeley: University of California Press, 2015.CrossRefGoogle Scholar
Gaddis, John Lewis. The Cold War: A New History. London: Penguin Books, 2007.Google Scholar
Gentry, Philip. ‘Leonard Bernstein’s “The Age of Anxiety”: A Great American Symphony during McCarthyism’. American Music vol. 29 no. 3 (Fall 2011): 308–31.CrossRefGoogle Scholar
Hubbs, Nadine. The Queer Composition of America’s Sound: Gay Modernists, American Music, and National Identity. Berkeley: University of California Press, 2004.CrossRefGoogle Scholar
Hubbs, Nadine. ‘Bernstein, Homophobia, Historiography’. Women and Music vol. 13 (2009): 2442.CrossRefGoogle Scholar
Jacobs, Jane. The Death and Life of Great American Cities. New York: Vintage Books, 1992.Google Scholar
Johnson, David K. The Lavender Scare: The Cold War Persecution of Gays and Lesbians in the Federal Government. Chicago: University of Chicago Press, 2004.Google Scholar
May, Elaine Tyler. Homeward Bound: American Families in the Cold War Era. New York: Basic Books, 2008.Google Scholar
Niren, Ann Glazer. ‘The Influence of Solomon Braslavsky and Congregation Mishkan Tefila on Leonard Bernstein’. PhD diss. (published), University of Kentucky, 2013.Google Scholar
Sarna, Jonathan. ‘Leonard Bernstein and the Boston Jewish Community of His Youth: The Influence of Solomon Braslavsky, Herman Rubenovitz, and Congregation Mishkan Tefila’. Journal of the Society for American Music 3, no. 1 (February 2009): 3546.CrossRefGoogle Scholar
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Schmelz, Peter J.Introduction: Music in the Cold War’. Journal of Musicology vol. 26 no. 1 (January 2009): 316.CrossRefGoogle Scholar
Schrecker, Ellen. Many Are the Crimes: McCarthyism in America. Boston: Little Brown, 1998.Google Scholar
Schrecker, Ellen, and Deery, Phillip. Age of McCarthyism: A Brief History with Documents. Boston: Bedford/St. Martin’s, Macmillan Learning, 2017.Google Scholar
Seldes, Barry. Leonard Bernstein: The Political Life of an American Musician. Berkeley: University of California Press, 2009.Google Scholar
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Bernstein, Leonard. ‘Avant-Garde Concerts, 1964, Jan 21, 1963–Feb 25, 1964 (ID: 010–01–06)’. New York Philharmonic Leon Levy Digital Archives. https://archives.nyphil.org/index.php/artifact/f9f18510-5cbb-46fd-8d57-81cbe66961a3-0.1/fullview#page/1/mode/2up.Google Scholar
Block, Geoffrey. ‘Bernstein’s Senior Thesis at Harvard: The Roots of a Lifelong Search to Discover an American Identity’. College Music Symposium vol. 48 (2008): 5268.Google Scholar
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961.Google Scholar
Cott, Jonathan. Conversations with Glenn Gould. Chicago: University of Chicago Press, 2005.Google Scholar
Haskins, Rob. John Cage. London: Reaktion Books, 2012.Google Scholar
Horowitz, Joseph. Classical Music in America: A History of Its Rise and Fall. New York: W. W. Norton, 2005.Google Scholar
Keller, James M.Bernstein and Mahler: Channeling a Prophet’. In Leonard Bernstein: American Original: How a Modern Renaissance Man Transformed Music and the World during His New York Philharmonic Years, ed. Haws, Barbara B. and Bernstein, Burton. New York: HarperCollins Publishers, 2008, 173–91.Google Scholar
Mugmon, Matthew. Aaron Copland and the American Legacy of Gustav Mahler. Rochester, NY: University of Rochester Press, 2019.Google Scholar
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Reilly, Edward R.Mahler in America’. In The Mahler Companion, ed. Mitchell, Donald and Nicholson, Andrew. New York: Oxford University Press, 1999, 422–37.Google Scholar
Robbin, Will. ‘Looking Back at “Lenny’s’ Playlist”’. The New York Times, 31 May 2013.Google Scholar
Sacks, Adam J.Toward an Expansion of the Critique of the Mahler Revival’. New German Critique no. 119 (Summer 2013): 113–36.CrossRefGoogle Scholar
Schiff, David. Gershwin: Rhapsody in Blue. Cambridge: Cambridge University Press. 1997.CrossRefGoogle Scholar
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Locke, Ralph P. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009.Google Scholar
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Simeone, Nigel. Leonard Bernstein: West Side Story. Surrey: Ashgate, 2009.Google Scholar
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Baber, Katherine. Leonard Bernstein and the Language of Jazz. Urbana: University of Illinois Press, 2019.Google Scholar
Bick, Sally. Unsettled Scores: Politics, Hollywood, and the Film Music of Aaron Copland and Hanns Eisler. Urbana-Champaign, IL: University of Illinois Press, 2019.Google Scholar
Bushard, Anthony. ‘He Could’ve Been a Contender!: Thematic Integration in Leonard Bernstein’s Score for On the Waterfront’. Journal of Film Music vol. 2 no. 1 (Fall 2007): 4362.CrossRefGoogle Scholar
Bushard, AnthonyFrom On the Waterfront to West Side Story, Or There’s Nowhere Like Somewhere’. Studies in Musical Theatre vol. 3 no. 1 (August 2009): 6175.CrossRefGoogle Scholar
Bushard, Anthony Leonard Bernstein’s On the Waterfront: A Film Score Guide. Lanham, MD: Scarecrow Press, 2013.Google Scholar
Camp, Gregory. Scoring the Hollywood Actor in the 1950s. New York: Routledge, 2021.Google Scholar
Friedan, Betty. The Feminine Mystique. New York: W.W. Norton, 1963.Google Scholar
Kazan, Elia (dir.). On the Waterfront. DVD. New York: Criterion CC2097D, 2013.Google Scholar
Keathley, Elizabeth L.Postwar Modernity and the Wife’s Subjectivity: Bernstein’s Trouble in Tahiti’, American Music vol. 23, no. 2 (Summer 2005): 220–56.CrossRefGoogle Scholar
Locke, Ralph P. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009.Google Scholar
Oja, Carol. Bernstein Meets Broadway: Collaborative Art in a Time of War. New York: Oxford University Press, 2014.CrossRefGoogle Scholar
Pravadelli, Veronica. ‘Excess, Spectacle, Sensation: Family Melodrama in the 1950s’. In Classic Hollywood: Lifestyles and Film Styles of American Cinema, 1930–1960, translated by Michael Meadows. Urbana: University of Illinois Press, 2014, 128–52.CrossRefGoogle Scholar
Rapf, Joanna E, ed. On the Waterfront. Cambridge: Cambridge University Press, 2003.Google Scholar
Schiller, David. Bloch, Schoenberg, and Bernstein: Assimilating Jewish Music. Oxford: Oxford University Press, 2003.CrossRefGoogle Scholar
Simeone, Nigel. Leonard Bernstein: West Side Story. Surrey: Ashgate, 2009.Google Scholar
Slon, Michael. ‘Leonard Bernstein – The Crisis and Revision of Faith: Kaddish, Chichester Psalms, and Mass’. DMA diss. (unpublished), Indiana University, 2015.Google Scholar
Smith, Helen. There’s a Place for Us: The Musical Theatre Works of Leonard Bernstein. Farnham: Ashgate, 2011.Google Scholar
Stacey, Judith. Brave New Families: Stories of Domestic Upheaval in Late Twentieth-Century America. New York: Basic Books, 1990.Google Scholar
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Kraus, Richard Curt. Pianos and Politics in China: Middle-Class Ambitions and the Struggle over Western Music. New York: Oxford University Press, 1989.Google Scholar
Melvin, Sheila and Cai, Jindong. Rhapsody in Red: How Western Classical Music Became Chinese. New York: Algora Publishing, 2004.Google Scholar
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Bernstein, Leonard Leonard Bernstein’s Young People’s Concerts, Original Edition. Drawings by Isadore Seltzer. New York: Simon and Schuster, 1962.Google Scholar
Bernstein, Leonard The Unanswered Question: Six Talks at Harvard. Cambridge, MA: Harvard University Press, 1976.Google Scholar
Kopfstein-Penk, Alicia. Leonard Bernstein and His Young People’s Concerts. Lanham, MD: Rowman & Littlefield, 2015.Google Scholar
Kraus, Richard Curt. Pianos and Politics in China: Middle-Class Ambitions and the Struggle over Western Music. New York: Oxford University Press, 1989.Google Scholar
Melvin, Sheila and Cai, Jindong. Rhapsody in Red: How Western Classical Music Became Chinese. New York: Algora Publishing, 2004.Google Scholar
Myers, Paul. Leonard Bernstein. 20th Century Composers Series. New York: Phaidon, 1998.Google Scholar
Roberts, John S. The Latin Tinge: The Impact of Latin American Music on the United States. New York: Oxford University Press, 1999.CrossRefGoogle Scholar
Rosenberg, Jonathan. ‘An Idealist Abroad’. In Leonard Bernstein, American Original: How a Modern Renaissance Man Transformed Music and the World during His New York Philharmonic Years, 1943–1976, ed. Rosenberg, Jonathan, Bernstein, Burton, and Haws, Barbara B.. New York: Collins, 2008, 117–34.Google Scholar
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Copland, Aaron, and Perlis, Vivian, Copland since 1943. London and New York: Marion Boyars, 1992.Google Scholar
Copland, Aaron and Perlis, Vivian. Copland: 1900 through 1942. London and Boston: Faber and Faber, 1984.Google Scholar
Crist, Elizabeth B., and Shirley, Wayne, ed. The Selected Correspondence of Aaron Copland. New Haven: Yale University Press, 2006.Google Scholar
Foulkes, Julia L. A Place for Us: West Side Story and New York. Chicago: University of Chicago Press, 2016.CrossRefGoogle Scholar
Gordon, Eric. Mark the Music: The Life and Work of Marc Blitzstein. New York: St. Martin’s Press, 1989.Google Scholar
Hinton, Stephen. Weill’s Musical Theater: Stages of Reform. Berkley: University of California Press, 2012.CrossRefGoogle Scholar
Hubbs, Nadine. The Queer Composition of America’s Sound. Berkeley: University of California Press, 2004.CrossRefGoogle Scholar
Jowitt, Deborah. Jerome Robbins: His Life, His Theatre, His Dance. New York: Simon & Schuster, 2004.Google Scholar
Keathley, Elizabeth L.Postwar Modernity and the Wife’s Subjectivity: Bernstein’s Trouble in Tahiti’, American Music, vol. 23, no. 2 (Summer, 2005): 220–56.CrossRefGoogle Scholar
Kemp, Ian. ‘Harmony in Weill: Some Observations’, Tempo vol. 104 (1973): 1115.CrossRefGoogle Scholar
Kowalke, Kim H.Kurt Weill, Modernism, and Popular Culture: Öffentlichkeit als Stil’, in Modernism/Modernity, vol. 2, no. 1 (January 1995): 2769.CrossRefGoogle Scholar
Laird, Paul R. The Musical Theater of Stephen Schwartz: From Godspell to Wicked and Beyond. Lanham, MD: Rowman & Littlefield, 2014.Google Scholar
Lehrman, Leonard J. Marc Blitzstein: A Bio-bibliography. Westport, CT: Praeger, 2005.Google Scholar
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  • Further Reading
  • Edited by Elizabeth A. Wells, Mount Allison University, Canada
  • Book: Leonard Bernstein in Context
  • Online publication: 06 April 2024
  • Chapter DOI: https://doi.org/10.1017/9781108891349.042
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  • Further Reading
  • Edited by Elizabeth A. Wells, Mount Allison University, Canada
  • Book: Leonard Bernstein in Context
  • Online publication: 06 April 2024
  • Chapter DOI: https://doi.org/10.1017/9781108891349.042
Available formats
×

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  • Further Reading
  • Edited by Elizabeth A. Wells, Mount Allison University, Canada
  • Book: Leonard Bernstein in Context
  • Online publication: 06 April 2024
  • Chapter DOI: https://doi.org/10.1017/9781108891349.042
Available formats
×