Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-ndmmz Total loading time: 0 Render date: 2024-06-01T05:43:08.174Z Has data issue: false hasContentIssue false

Further Reading

Published online by Cambridge University Press:  06 April 2024

Elizabeth A. Wells
Affiliation:
Mount Allison University, Canada
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Abraham, Daniel, Kopfstein-Penk, Alicia, and Weaver, Andrew H., eds. Leonard Bernstein and Washington, DC: Works, Politics, Performances. Rochester: University of Rochester Press, 2020.Google Scholar
Bernstein, Leonard. Findings. New York: Simon and Schuster, 1982.Google Scholar
Burton, Humphrey. Leonard Bernstein. New York: Doubleday, 1994.Google Scholar
Gottlieb, Jack. Working with Bernstein: A Memoir. New York: Amadeus Press, 2010.Google Scholar
Laird, Paul R. Leonard Bernstein. London: Reaktion Books, 2018.Google Scholar
Laird, Paul R., and Lin, Hsun. Leonard Bernstein: A Research and Information Guide, 2nd ed. New York: Routledge, Taylor & Francis Group, 2015.CrossRefGoogle Scholar
Library of Congress. ‘Leonard Bernstein Collection’. www.loc.gov/collections/leonard-bernstein.Google Scholar
Peyser, Joan. Bernstein: A Biography. New York: Beech Tree Books/William Morrow, 1987.Google Scholar
Secrest, Meryle. Leonard Bernstein. New York: Vintage Books, 1994.Google Scholar
Shawm, Allen. Leonard Bernstein: An American Musician. New Haven: Yale University Press, 2014.Google Scholar
Simeone, Nigel. The Leonard Bernstein Letters. New Haven: Yale University Press, 2013.Google Scholar
Wells, Elizabeth A. West Side Story: Cultural Perspectives on an American Musical. Lanham: Scarecrow Press, 2010.Google Scholar

Secondary Sources

American Business Consultants, Red Channels: The Report of Communist Influence in Radio and Television. New York: Counterattack, 1950.Google Scholar
Ansari, Emily Abrams. The Sound of a Superpower: Musical Americanism and the Cold War. New York: Oxford University Press, 2018.CrossRefGoogle Scholar
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
Crist, Elizabeth B.Mutual Responses in the Midst of an Era: Aaron Copland’s The Tender Land and Leonard Bernstein’s Candide’. Journal of Musicology vol. 23 no. 4 (Fall 2006): 485527.CrossRefGoogle Scholar
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
Saunders, Frances Stonor. The Cultural Cold War: The CIA and the World of Arts and Letters. New York: New Press, 2000.Google Scholar
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
American Business Consultants, Red Channels: The Report of Communist Influence in Radio and Television. New York: Counterattack, 1950.Google Scholar
Ansari, Emily Abrams. The Sound of a Superpower: Musical Americanism and the Cold War. New York: Oxford University Press, 2018.CrossRefGoogle Scholar
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
Crist, Elizabeth B.Mutual Responses in the Midst of an Era: Aaron Copland’s The Tender Land and Leonard Bernstein’s Candide’. Journal of Musicology vol. 23 no. 4 (Fall 2006): 485527.CrossRefGoogle Scholar
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
Saunders, Frances Stonor. The Cultural Cold War: The CIA and the World of Arts and Letters. New York: New Press, 2000.Google Scholar
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
Bañagale, Ryan R. Arranging Gershwin: Rhapsody in Blue and the Creation of an American Icon. Oxford: Oxford University Press, 2014.CrossRefGoogle Scholar
Bazzana, Kevin. Wondrous Strange: The Life and Art of Glenn Gould. New York: Oxford University Press, 2004.Google Scholar
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
Pollack, Howard. George Gershwin: His Life and Work. Berkeley: University of California Press, 2006.CrossRefGoogle Scholar
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
Weiner, Marc A.Mahler and America: A Paradigm of Cultural Reception’. Modern Austrian Literature vol. 20, no. 3/4 (1987): 155–69.Google Scholar
Bañagale, Ryan R. Arranging Gershwin: Rhapsody in Blue and the Creation of an American Icon. Oxford: Oxford University Press, 2014.CrossRefGoogle Scholar
Bazzana, Kevin. Wondrous Strange: The Life and Art of Glenn Gould. New York: Oxford University Press, 2004.Google Scholar
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
Pollack, Howard. George Gershwin: His Life and Work. Berkeley: University of California Press, 2006.CrossRefGoogle Scholar
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
Weiner, Marc A.Mahler and America: A Paradigm of Cultural Reception’. Modern Austrian Literature vol. 20, no. 3/4 (1987): 155–69.Google Scholar
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
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
Bernstein, Leonard. The Joy of Music. New York: Anchor Books/Doubleday, 1959.Google Scholar
Bernstein, Leonard The Infinite Variety of Music. New York: Simon and Schuster, 1966.Google Scholar
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
Rosenberg, Jonathan. ‘Fighting the Cold War with Violins and Trumpets: American Symphony Orchestras Abroad in the 1950’s’. In Winter Kept us Warm: Cold War Interactions Reconsidered, ed. Rosenberg, Jonathan, Autio, Sari, and Humphreys, Brendan. Helsinki: Kikimora Publications, 2010, 2343.Google Scholar
Yoshihara, Mari. Musicians from a Different Shore: Asians and Asian Americans in Classical Music. Philadelphia: Temple University Press, 2007.Google Scholar
Yoshihara, Mari Dearest Lenny: Letters from Japan and the Making of the World Maestro. New York: Oxford University Press, 2019.CrossRefGoogle Scholar
‘“A Serious and Delicate Mission”: American Orchestras, American Composers, and Cold War Diplomacy in Europe’. In Crosscurrents: American and European Music in Interaction, ed. Oja, Carol J., Shreffler, Anne C., Rathert, Felix, and Meyer, Wolfgang. Woodbridge: Boydell Press, 2013, 287–98.Google Scholar
Bernstein, Leonard. The Joy of Music. New York: Anchor Books/Doubleday, 1959.Google Scholar
Bernstein, Leonard The Infinite Variety of Music. New York: Simon and Schuster, 1966.Google Scholar
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
Rosenberg, Jonathan. ‘Fighting the Cold War with Violins and Trumpets: American Symphony Orchestras Abroad in the 1950’s’. In Winter Kept us Warm: Cold War Interactions Reconsidered, ed. Rosenberg, Jonathan, Autio, Sari, and Humphreys, Brendan. Helsinki: Kikimora Publications, 2010, 2343.Google Scholar
Yoshihara, Mari. Musicians from a Different Shore: Asians and Asian Americans in Classical Music. Philadelphia: Temple University Press, 2007.Google Scholar
Yoshihara, Mari Dearest Lenny: Letters from Japan and the Making of the World Maestro. New York: Oxford University Press, 2019.CrossRefGoogle Scholar
‘“A Serious and Delicate Mission”: American Orchestras, American Composers, and Cold War Diplomacy in Europe’. In Crosscurrents: American and European Music in Interaction, ed. Oja, Carol J., Shreffler, Anne C., Rathert, Felix, and Meyer, Wolfgang. Woodbridge: Boydell Press, 2013, 287–98.Google Scholar
Banfield, Stephen. Sondheim’s Broadway Musicals. Ann Arbor: University of Michigan Press, 1993.CrossRefGoogle Scholar
Berson, Misha. Something’s Coming, Something Good: West Side Story and the American Imagination. Milwaukee, WI: Applause Theatre & Cinema Books, 2011.Google Scholar
Block, Geoffrey. Enchanted Evenings. New York: Oxford University Press, 2009.Google Scholar
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
McClung, Bruce D. ‘Introduction’ in Weill, Kurt, Lady in the Dark. A Musical Play in Two Acts, ed. McClung, Bruce D and Elmar, Juchem. Series I, vol. 6. New York: Kurt Weill Foundation for Music, Inc./European American Music Corporation, 2017, 1334.Google Scholar
Mellers, Wilfrid. Music in a New Found Land: Themes and Developments in the History of American Music. London: Barrie and Rockliff, 1964.Google Scholar
Mugmon, Matthew. ‘Beyond the Composer-Conductor Dichotomy: Bernstein’s Copland-Inspired Mahler Advocacy’. Music & Letters vol. 94, no. 4 (2014): 606–27.Google Scholar
Perlis, Vivian. ‘Dear Aaron, Dear Lenny: A Friendship in Letters’. In Aaron Copland and His World, ed. Oja, Carol J. and Tick, Judith. Princeton: Princeton University Press, 2005, 151–76.Google Scholar
‘Marc Blitzstein, Composer, 58, Killed in Automobile Accident’. Obituary. New York Times. 24 January 1964.Google Scholar
Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. London: Faber and Faber, 1999.Google Scholar
Pollack, Howard. Marc Blitzstein. New York: Oxford University Press, 2012.CrossRefGoogle Scholar
Redfern, Sophie, Bernstein and Robbins: the Early Ballets. Rochester, NY: University of Rochester Press, 2021.Google Scholar
Smith, Justin. ‘Grand Oratorio with a Social Conscience: Marc Blitzstein’s This Is the Garden (1957)’. Choral Journal vol. 49 no. 8 (February 2009): 3247.Google Scholar
Banfield, Stephen. Sondheim’s Broadway Musicals. Ann Arbor: University of Michigan Press, 1993.CrossRefGoogle Scholar
Berson, Misha. Something’s Coming, Something Good: West Side Story and the American Imagination. Milwaukee, WI: Applause Theatre & Cinema Books, 2011.Google Scholar
Block, Geoffrey. Enchanted Evenings. New York: Oxford University Press, 2009.Google Scholar
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
McClung, Bruce D. ‘Introduction’ in Weill, Kurt, Lady in the Dark. A Musical Play in Two Acts, ed. McClung, Bruce D and Elmar, Juchem. Series I, vol. 6. New York: Kurt Weill Foundation for Music, Inc./European American Music Corporation, 2017, 1334.Google Scholar
Mellers, Wilfrid. Music in a New Found Land: Themes and Developments in the History of American Music. London: Barrie and Rockliff, 1964.Google Scholar
Mugmon, Matthew. ‘Beyond the Composer-Conductor Dichotomy: Bernstein’s Copland-Inspired Mahler Advocacy’. Music & Letters vol. 94, no. 4 (2014): 606–27.Google Scholar
Perlis, Vivian. ‘Dear Aaron, Dear Lenny: A Friendship in Letters’. In Aaron Copland and His World, ed. Oja, Carol J. and Tick, Judith. Princeton: Princeton University Press, 2005, 151–76.Google Scholar
‘Marc Blitzstein, Composer, 58, Killed in Automobile Accident’. Obituary. New York Times. 24 January 1964.Google Scholar
Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. London: Faber and Faber, 1999.Google Scholar
Pollack, Howard. Marc Blitzstein. New York: Oxford University Press, 2012.CrossRefGoogle Scholar
Redfern, Sophie, Bernstein and Robbins: the Early Ballets. Rochester, NY: University of Rochester Press, 2021.Google Scholar
Smith, Justin. ‘Grand Oratorio with a Social Conscience: Marc Blitzstein’s This Is the Garden (1957)’. Choral Journal vol. 49 no. 8 (February 2009): 3247.Google Scholar
Carnarina, John. The New York Philharmonic: From Bernstein to Maazel. New York: Amadeus Press, 2010.Google Scholar
Cole, John Y. America’s Greatest Library: An Illustrated History of the Library of Congress. Washington, DC: The Library of Congress in association with D Giles Limited, 2017.Google Scholar
Conaway, James. America’s Library: The Story of the Library of Congress, 1800–2000. New Haven: Yale University Press in association with the Library of Congress, 2000.Google Scholar
Cott, Jonathan. Dinner with Lenny: The Last Long Interview with Leonard Bernstein. New York: Oxford University Press, 2013.Google Scholar
Doering, James M. The Great Orchestrator: Arthur Judson and American Arts Management. Urbana, Ill.: University of Illinois Press, 2013.CrossRefGoogle Scholar
Ross, Alex. The Rest Is Noise: Listening to the Twentieth Century. New York: Picador.Google Scholar
Schiff, David. ‘Re-hearing Bernstein’, The Atlantic vol. 271 no. 6 (June 1993): 5568.Google Scholar
Shanet, Howard. Philharmonic: A History of New York’s Orchestra. Garden City, NJ: Doubleday, 1975.Google Scholar
Wilson, Colin. Colin Wilson on Music. London: Pan, 1967.Google Scholar
Carnarina, John. The New York Philharmonic: From Bernstein to Maazel. New York: Amadeus Press, 2010.Google Scholar
Cole, John Y. America’s Greatest Library: An Illustrated History of the Library of Congress. Washington, DC: The Library of Congress in association with D Giles Limited, 2017.Google Scholar
Conaway, James. America’s Library: The Story of the Library of Congress, 1800–2000. New Haven: Yale University Press in association with the Library of Congress, 2000.Google Scholar
Cott, Jonathan. Dinner with Lenny: The Last Long Interview with Leonard Bernstein. New York: Oxford University Press, 2013.Google Scholar
Doering, James M. The Great Orchestrator: Arthur Judson and American Arts Management. Urbana, Ill.: University of Illinois Press, 2013.CrossRefGoogle Scholar
Ross, Alex. The Rest Is Noise: Listening to the Twentieth Century. New York: Picador.Google Scholar
Schiff, David. ‘Re-hearing Bernstein’, The Atlantic vol. 271 no. 6 (June 1993): 5568.Google Scholar
Shanet, Howard. Philharmonic: A History of New York’s Orchestra. Garden City, NJ: Doubleday, 1975.Google Scholar
Wilson, Colin. Colin Wilson on Music. London: Pan, 1967.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • 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
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • 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
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • 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
×