Shaw and Music
Baake,
Friedrich. ‘George Bernard Shaw als Musikkritiker.’ Archiv für
Musikwissenschaft 10 1953 233-52
Barber,
George S. ‘Shaw’s contributions to music criticism.’ PMLA 72 1957
1005-17
Blissett,
William. ‘Bernard Shaw: imperfect Wagnerite.’ University of Toronto
Quarterly 27 1958 185-99
Breuer,
Hans P. ‘Form and feeling: George Bernard Shaw as music critic.’ Journal of
Irish Literature 11 iii 1982 74-102
Cardus,
Neville. Talking of music. London: Collins, 1957, 283-88 (Shaw as music
critic)
Cheshire,
David F. ‘Bernard Shaw and music hall.’ Theatre Quarterly 10 1980 19-22
(largely excerpts from reviews)
Clarke,
Bruce C. ‘George Bernard Shaw: Mozart and his musical self-respect.’ Mozart
Society of America Newsletter 8 i 2005 4-7
Clive,
John. ‘The versatile Signor di Bassetto: an essay in crime prevention.’ Daedalus
111 iii 1982 51-63 (essay-review of Shaw’s music: the complete musical
criticism in three volumes)
Corballis,
Richard. ‘Why the devil gets all the good tunes: Shaw, Wagner, Mozart, Gounod,
Bizet, Boito, and Stanford.’ SHAW 12 1992 165-80
Coskren,
Robert. ‘Siegfried elements in the plays of Bernard Shaw.’ SHAW 2
1982 27-46
-----.
‘Wagner and Shaw: Rheingold motifs in Major Barbara.’ Comparative
Drama 14 1980 70-73
Crompton,
Louis. ‘Editor’s introduction.’ Pp xi-xxvii in Shaw. The great composers:
reviews and bombardments by Bernard Shaw. Berkeley: Univ. of California Pr.,
1978
Cumbow,
Robert. ‘The ring is a fraud: self, totem, and myth in Der Ring des
Nibelungen.’ Opera Quarterly 1 i 1983 107-25 (part questions Shaw’s
interpretations)
Dent,
Edward J. ‘Corno di Bassetto.’ Pp 122-30 in Winsten
Dombrowski,
Eileen. ‘Shaw’s Mozartian Ana: Don Giovanni and Man and Superman.’
Shavian 5 1975 15-21
Everist,
Mark. ‘Speaking with the supernatural: E. T. A. Hoffmann, George Bernard Shaw
and “die aller Opern.”’ Mozart-Jahrbuch des Zentralinstitutes für
Mozartforschung der Internationalen Stiftung Mozarteum Salzburg 2002 115-35
Ganz,
Arthur. ‘Don Giovanni Shavianized: Man and Superman as Mozartean
commentary.’ Opera Quarterly 13 i 1996 21-28
-----. ‘The
playwright as perfect Wagnerite: motifs from the music dramas in the theatre of
Bernard Shaw.’ Comparative Drama 13 1979 187-209; repr. on pp 101-23 in
Clifford Davidson et al., eds. Drama in the twentieth century: comparative
and critical essays. NY: AMS Pr., 1984
Gates,
Eugene. ‘The music criticism and aesthetics of George Bernard Shaw.’ Journal
of Aesthetic Education 35 2001 63-71
Goodman,
Phyllis M. ‘Beethoven as the prototype of Owen Jack.’ Shaw Review 7 1965
12-24 (in the novel Love Among the Artists)
Griffith,
Gareth. Socialism and superior brains: the political thought of Bernard Shaw.
London: Routledge, 1993, 56-63: ‘The Perfect Wagnerite and beyond’
Haywood,
Charles. ‘George Bernard Shaw on incidental music in the Shakespearean
theatre.’ Jahrbuch der Deutschen Shakespeare-Gesellschaft Ost 105 1969
168-82
-----.
‘George Bernard Shaw on Shakespearean music and the actor.’ Shakespeare
Quarterly 20 1969 417-26
Henson,
Janice. ‘Bernard Shaw’s contribution to the Wagner controversy in England.’ Shaw
Review 4 i 1961 21-26
Holt, Charles
L. ‘Music and the young Shaw.’ Shavian 4 iii 1966 9-13
-----.
‘Mozart, Shaw and Man and Superman.’ Shaw Review 9 1966 102-16
Huckvale,
David. ‘Music and the man: Bernard Shaw and the music collector at Shaw’s
Corner.’ SHAW 10 1990 96-112
Irvine, William.
The universe of G.B.S. NY: McGraw-Hill, 1949, 125-36: ‘The music critic’
(from ‘G. B. Shaw’s musical criticism.’ Musical Quarterly 32 1946
319-32)
Jasi½ski, Roman. ‘George Bernard Shaw o Paderewskim.’ Ruch
Muzyczny 2 Jan 1978 14-18
King,
Carlyle. ‘GBS and music, with a moral for Canadians.’ Queen’s Quarterly 63
1956 165-78
Laurence,
Dan H. ‘Introduction.’ Pp 7-22 in Shaw. Shaw’s music: the complete musical
criticism in three volumes, I. Ed. Laurence. London: Max Reinhardt / The
Bodley Head, 1981; same as ‘Introduction.’ Pp xi-xxii in Shaw. How to become
a musical critic. NY: Hill & Wang, 1961
Ledeen, Lydia. ‘Are Shaw’s
writings on music still relevant?’ Shavian 10 ii 2006 5-7
Lee,
Josephine. ‘The skilled voluptuary: Shaw as music critic.’ SHAW 12 1992
147-64
Levinson,
George. ‘Some animadversions on Shaw as music critic.’ Independent Shavian
22 1984 8-10; Jacques Barzun. ‘Another look at Shaw as music critic.’ Independent
Shavian 22 1984 29-30; Levinson. ‘Again, Shaw’s musical invective.’ Independent
Shavian 23 1985 11-12
Liébert,
Georges. ‘Avant-propos.’ Pp vii-xxxi in Shaw. Écrits sur la musique.
Paris: Laffont, 1994
Lipman,
Samuel. ‘Pshaw!’ American Scholar 51 1982 513-20 (Shaw as music critic)
Loewenstein,
F. E. ‘Bernard Shaw, music critic.’ Hinrichsen’s Musical Yearbook 6 1949
147-52
Lowenthal,
Jerome. ‘Beethoven, Shaw, and the literary sensibility.’ Piano Quarterly no.
82 1973 14-15
Mackerness,
E. D. ‘Corno Inglese: notes on the texture of George Bernard Shaw’s musical
criticism.’ Pp 147-57 in G. R. Hibberd, ed. Renaissance and modern essays.
NY: Barnes & Noble, 1966
-----.
‘George Bernard Shaw and the English musical renaissance.’ Durham University
Journal 79 1987 303-10
Martin,
Stoddard. Wagner to ‘The Waste Land’: a study of the relationship of Wagner
to English literature. London: Macmillan, 1982, 79-98
Mehus,
Donald V. ‘George Bernard Shaw als Muziekcriticus.’ Vlaamse Gids 42 1958
653-56
Neel, Boyd.
‘Shaw and music.’ Pp 53-61 in Rosenblood
Nickson,
Richard. ‘The perfect Wagnerite? Wagner and his Shavian advocate.’ Independent
Shavian 28 1990 51-61
Onnen, F.
‘George Bernard Shaw als Muziekcriticus.’ Mens en Melodie 5 1950 392-95
Osborne,
George. ‘Unpremeditated art: George Osborne on George Bernard Shaw, the music
critic.’ Opera 57 2006 900-906
Osborne,
Linda P. ‘Shaw and Mozart: dramaturgy and the Life Force.’ Journal of Irish
Literature 12 i 1983 96-110
O’Sullivan,
Thomas. ‘The perfect Wagnerite: Shaw’s reading of the Ring.’ English
Literature in Transition 30 1987 39-47
Parakilas,
J. P. ‘Music for the people: George Bernard Shaw’s musical socialism.’ Musical
Newsletter 7 i 1977 21-28
Parmenter,
Ross. ‘Shaw and Mozart.’ Shaw Bulletin no. 3 1952 3-5; repr. in Independent
Shavian 27 1989 11-15
Pharand,
Michel W. Bernard Shaw and the French. Gainesville: UP of Florida, 2000,
24-45: ‘Shaw in the concert halls: “I purposely vulgarized musical criticism”’
(his critiques of French composers and performers)
Pleasants,
Henry. ‘George Bernard Shaw: critic of music.’ HiFi / Stereo Review 20
March 1968 58-63
Pollak,
Paulina S. ‘Master to the masters: Mozart’s influence on Bernard Shaw’s Don
Juan in Hell.’ SHAW 8 1988 39-68 (structural parallels)
Pulido, E.
‘Bernard Shaw (Corno di Bassetto), critico musical.’ Heterofonia 44 1975
9-12, 47 1976 13-18, 48 1976 8-13
Rather, J.
L. The dream of self-destruction: Wagner’s Ring and the modern world.
Baton Rouge: Louisiana State UP, 1979, 149-67
Redlin,
Gebhard. Die Welt der Musik des Bernard Shaw: ein aussergewohnlicher
Musikkritiker und seine Zeit. Frankfurt: Lang, 2001. 578 pp
Resch, Rita
M. ‘George Bernard Shaw’s criticism of singers and singing.’ NATS Bulletin 31
ii 1974 2-10 (National Association of Teachers of Singing bulletin)
Sava,
Iosif. Bucuriile muzicii. Bucharest: Editura Muzical|, 1985, 213-24: ‘George Bernard Shaw Õi publicistica pe teme muzicale’
Schmidgall,
Gary. ‘Arcibravo, GBS!’ Opera Quarterly 14 iv 1998 5-15 (as opera
critic)
Sessa, Anne
D. Richard Wagner and the English. Rutherford, NJ: Fairleigh Dickinson
UP, 1979, 50-64: ‘Bernard Shaw, Wagnerite’ (traces references to Wagner in the
novels and plays)
Shenfield,
Margaret. ‘Shaw as a music critic.’ Music and Letters 49 1958 378-84
Stuckenschmidt,
H. H. ‘Shaw und Wagner.’ Stimmen: Monatsblätter für Musik 1 1947-48 107-11
Taylor,
Ronald. ‘Shaw and Elgar.’ Pp 214-20 in Raymond Monk, ed. Elgar Studies.
Aldershot: Scolar Pr., 1990
Thomson,
John M. ‘The recorder revival, I: The friendship of Bernard Shaw and Arnold
Dolmetsch.’ Pp 137-51 in Thomson & Anthony Rowland-Jones, eds. The
Cambridge companion to the recorder. Cambridge: Cambridge UP, 1995
Turco,
Alfred. ‘Nobody’s perfect: George Bernard Shaw as Wagnerite.’ Leitmotive:
The Journal of the Wagner Society of Northern California 19 ii 2005 2-6, 12
(part two pending)
Vesonder,
Timothy G. ‘Shaw’s Caesar and the mythic hero.’ Shaw Review 21 1978
72-79 (Wagner’s Siegfried)
Walz,
Matthias. ‘Er hatte nur einen Abgott—Mozart: der Musikkritiker Georg Bernard
Shaw.’ Neue Zeitschrift für Musik 146 xii 1985 17-20
Weimer,
Michael. ‘The well-tempered performance: Shaw as a critic of music.’ Yale /
Theatre 4 iv 1973 15-19
Weintraub,
Stanley. ‘Shaw’s musician: Edward Elgar.’ SHAW 22 2002 1-18
(interactions)
Weisert,
John J. ‘A Wagner pilgrim: GBS in Germany.’ SHAW 5 1985 5-11
West, E. J.
‘G.B.S., music, and Shakespearean blank verse.’ Pp 344-56 in Elizabethan
studies and other essays in honor of George F. Reynolds. Boulder: Univ. of
Colorado Studies, 1945
-----.
‘Disciple and master: Shaw and Mozart.’ Shavian 2 iii 1961 16-23
Wiedmann,
Lutz. Die Dramaturgie George Bernard Shaws und ihre Wurzeln in Musik,
Philosophie, und in seiner Auseinandersetzung mit dem englischen Theater der
Jahrhundertwende. Bern: Lang, 1993. 165 pp
Williams,
Stephen. ‘Bernard Shaw as music critic.’ Musical Times no. 1295 1951
9-13
Williamson,
Audrey. ‘Wagner and Shaw: a dramatic comparison.’ Music Review 19 1958
186-91
Wisenthal,
J. L. ‘“Please remember, this is Italian opera”: Shaw’s plays as music-drama.’
Pp 283-308 in Innes