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  • 1. Introduction–Bryan Gilliam

    2. Seven Degrees Of Separation: Music, Text, Image, And Gesture In The Seven Deadly Sins–Kim H. Kowalke

    3. The ‘‘Phenomenal Image’’ In Opera 63–Linda Hutcheon And Michael Hutcheon

    4. Zwischenreden Für Zwischenakte: Egmont And The Melodramatic Supplement–Elizabeth Paley

    5. Visual Pleasures—Musical Signs: Dance At The Paris Opéra–Annegret Fauser

    6. Syvilla Fort’s Africanist Modernism And John Cage’s Gestic Music: The Story Of Bacchanale–Tamara Levitz

    7. ‘‘Look At That Big Hand Move Along’’: Clocks, Containment, And Music In High Noon–Neil Lerner

    8. Notes On Contributors

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  • Description

    This special issue of South Atlantic Quarterly focuses on music—be it a film score, incidental music for a play, or music for pantomime or dance—as a nonautonomous phenomenon. The result is a broad-based discussion where the cultural, the social, and the political are not considered peripheral contexts that shape music but rather are framed as integral components of the works at hand.

    Contributors. Annegret Fauser, Bryan Gilliam, Linda Hutcheon, Michael Hutcheon, Kim H. Kowalke, Neil Lerner, Tamara Levitz, Elizabeth Paley

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