John Neubauer (Budapest 1933 – Amsterdam 2015) was Professor of Comparative Literature at the University of Amsterdam. Among his works are The Emancipation of Music from Language (1986), The Fin-de-siècle Culture of Adolescence (1992) and the four-volume History of the Literary Cultures of East-Central Europe (4 vols., ed. w. M. Cornis-Pope, 2004-10).

• PrefaceWords of ThanksList of AbbreviationsList of IllustrationsIntroductionRetelling the FifthAbsolute or Emancipated Music?Part 1: The New DiscoursesPart 2: Romantic OralityPart 1: New Discourses about MusicIntroduction to Part 11 The Music JournalsAllgemeine Musikalische Zeitung (amz)Friedrich RochlitzGottfried Wilhelm Fink A.B. Marx and the Berliner allgemeine musikalische Zeitung (bamz)Revue et Gazette musicale de Paris (rgm) Maurice SchlesingerJules JaninHector BerliozNeue Zeitschrift für Musik (NZfM)2 From Poetry to Music NovelsGulden/Fiorino, Hildegard von Hohental, Heinrich vonOfterdingenLe neveu de RameauHegel’s Spirit“Ritter Gluck”3 Failing Musicians, Failed EducationThe Berglinger StoriesMiseducation or Music Madness“Der Besuch im Irrenhause” (1804)“Der arme Spielmann”4 Serialized NovellasHoffmann in GermanyHoffmann in France and in FictionJanin’s HoffmannOpera FictionOpera in Balzac’s “Gambara” and “Massimilla Doni”Historical Musicians in Fiction5 Narrating Listeners, Narrating InstrumentsListeners NarrateInstruments NarrateBerlioz“Harold en Italie” (1834)Roméo et Juliette (1839)SchumannPart 2: Romantic Orality6 From Journals to BattlesBattle Drums at Dresden, Leipzig, and WellingtonWaltzing in Vienna7 Music Histories: From Gossip to NationalismAnecdotes, Gossip, and ObituariesStendhal – A Biographer?Voice and Instruments in HistoryThibaut’s Musical Past and Legal PresentSchumann and ThibautF.-J. Fétis: The Glory of the Low Countries?8 Speech and SongMichel FoucaultFriedrich Schlegel and Franz BoppWilhelm von HumboldtJohann Christoph AdelungThe Mother’s Voice and PestalozziDer goldene Topf9 Vocal Authenticity?OssianismHerder on OssianForgeries, Opera Adapations, Plagiarisms, and CopyrightsAuthentic Folk Songs?Whose Wunderhorn?10 “Write as You Speak” – in SerbianKopitar, the NetworkerKaradžić, the Voice of the “Volk”Jacob Grimm, the PatronFauriel, the ProfessorParry and Bartók: Secondary Orality11 Contrafacts from the British IslesScott (Re)turns to UlsterByron on Jordan’s BanksSchumann as Saul12 Vernacular OperasEpilogueReferencesIndex

John Neubauer (Budapest 1933 – Amsterdam 2015) was Professor of Comparative Literature at the University of Amsterdam. Among his works are The Emancipation of Music from Language (1986), The Fin-de-siècle Culture of Adolescence (1992) and the four-volume History of the Literary Cultures of East-Central Europe (4 vols., ed. w. M. Cornis-Pope, 2004-10).

• PrefaceWords of ThanksList of AbbreviationsList of IllustrationsIntroductionRetelling the FifthAbsolute or Emancipated Music?Part 1: The New DiscoursesPart 2: Romantic OralityPart 1: New Discourses about MusicIntroduction to Part 11 The Music JournalsAllgemeine Musikalische Zeitung (amz)Friedrich RochlitzGottfried Wilhelm Fink A.B. Marx and the Berliner allgemeine musikalische Zeitung (bamz)Revue et Gazette musicale de Paris (rgm) Maurice SchlesingerJules JaninHector BerliozNeue Zeitschrift für Musik (NZfM)2 From Poetry to Music NovelsGulden/Fiorino, Hildegard von Hohental, Heinrich vonOfterdingenLe neveu de RameauHegel’s Spirit“Ritter Gluck”3 Failing Musicians, Failed EducationThe Berglinger StoriesMiseducation or Music Madness“Der Besuch im Irrenhause” (1804)“Der arme Spielmann”4 Serialized NovellasHoffmann in GermanyHoffmann in France and in FictionJanin’s HoffmannOpera FictionOpera in Balzac’s “Gambara” and “Massimilla Doni”Historical Musicians in Fiction5 Narrating Listeners, Narrating InstrumentsListeners NarrateInstruments NarrateBerlioz“Harold en Italie” (1834)Roméo et Juliette (1839)SchumannPart 2: Romantic Orality6 From Journals to BattlesBattle Drums at Dresden, Leipzig, and WellingtonWaltzing in Vienna7 Music Histories: From Gossip to NationalismAnecdotes, Gossip, and ObituariesStendhal – A Biographer?Voice and Instruments in HistoryThibaut’s Musical Past and Legal PresentSchumann and ThibautF.-J. Fétis: The Glory of the Low Countries?8 Speech and SongMichel FoucaultFriedrich Schlegel and Franz BoppWilhelm von HumboldtJohann Christoph AdelungThe Mother’s Voice and PestalozziDer goldene Topf9 Vocal Authenticity?OssianismHerder on OssianForgeries, Opera Adapations, Plagiarisms, and CopyrightsAuthentic Folk Songs?Whose Wunderhorn?10 “Write as You Speak” – in SerbianKopitar, the NetworkerKaradžić, the Voice of the “Volk”Jacob Grimm, the PatronFauriel, the ProfessorParry and Bartók: Secondary Orality11 Contrafacts from the British IslesScott (Re)turns to UlsterByron on Jordan’s BanksSchumann as Saul12 Vernacular OperasEpilogueReferencesIndex

John Neubauer (Budapest 1933 – Amsterdam 2015) was Professor of Comparative Literature at the University of Amsterdam. Among his works are The Emancipation of Music from Language (1986), The Fin-de-siècle Culture of Adolescence (1992) and the four-volume History of the Literary Cultures of East-Central Europe (4 vols., ed. w. M. Cornis-Pope, 2004-10).

• PrefaceWords of ThanksList of AbbreviationsList of IllustrationsIntroductionRetelling the FifthAbsolute or Emancipated Music?Part 1: The New DiscoursesPart 2: Romantic OralityPart 1: New Discourses about MusicIntroduction to Part 11 The Music JournalsAllgemeine Musikalische Zeitung (amz)Friedrich RochlitzGottfried Wilhelm Fink A.B. Marx and the Berliner allgemeine musikalische Zeitung (bamz)Revue et Gazette musicale de Paris (rgm) Maurice SchlesingerJules JaninHector BerliozNeue Zeitschrift für Musik (NZfM)2 From Poetry to Music NovelsGulden/Fiorino, Hildegard von Hohental, Heinrich vonOfterdingenLe neveu de RameauHegel’s Spirit“Ritter Gluck”3 Failing Musicians, Failed EducationThe Berglinger StoriesMiseducation or Music Madness“Der Besuch im Irrenhause” (1804)“Der arme Spielmann”4 Serialized NovellasHoffmann in GermanyHoffmann in France and in FictionJanin’s HoffmannOpera FictionOpera in Balzac’s “Gambara” and “Massimilla Doni”Historical Musicians in Fiction5 Narrating Listeners, Narrating InstrumentsListeners NarrateInstruments NarrateBerlioz“Harold en Italie” (1834)Roméo et Juliette (1839)SchumannPart 2: Romantic Orality6 From Journals to BattlesBattle Drums at Dresden, Leipzig, and WellingtonWaltzing in Vienna7 Music Histories: From Gossip to NationalismAnecdotes, Gossip, and ObituariesStendhal – A Biographer?Voice and Instruments in HistoryThibaut’s Musical Past and Legal PresentSchumann and ThibautF.-J. Fétis: The Glory of the Low Countries?8 Speech and SongMichel FoucaultFriedrich Schlegel and Franz BoppWilhelm von HumboldtJohann Christoph AdelungThe Mother’s Voice and PestalozziDer goldene Topf9 Vocal Authenticity?OssianismHerder on OssianForgeries, Opera Adapations, Plagiarisms, and CopyrightsAuthentic Folk Songs?Whose Wunderhorn?10 “Write as You Speak” – in SerbianKopitar, the NetworkerKaradžić, the Voice of the “Volk”Jacob Grimm, the PatronFauriel, the ProfessorParry and Bartók: Secondary Orality11 Contrafacts from the British IslesScott (Re)turns to UlsterByron on Jordan’s BanksSchumann as Saul12 Vernacular OperasEpilogueReferencesIndex