Anselm Gerhard

Anselm Gerhard (born 30 March 1958 in Heidelberg) is a German musicologist and opera scholar.[1]

Publications
  • Die Verstädterung der Oper. Paris und das Musiktheater des 19. Jahrhunderts. Metzler, Stuttgart/Weimar 1992, ISBN 3-476-00850-9; englisch: The Urbanization of Opera: Music Theater in Paris in the Nineteenth Century, translated by Mary Whittall. The University of Chicago Press, Chicago/London 1998.
  • Musikwissenschaft – eine verspätete Disziplin? Die akademische Musikforschung in der ersten Hälfte des 20. Jahrhunderts zwischen Fortschrittsglauben und Modernitätsverweigerung.[2] Edited by Anselm Gerhard. Metzler, Stuttgart 2000.
  • Verdi-Handbuch. edited by Anselm Gerhard and Uwe Schweikert. Metzler, Stuttgart/Weimar 2001, 2. überarbeitete Auflage 2013.
  • London und der Klassizismus in der Musik. Die Idee der „absoluten Musik“ und Muzio Clementis Klavierwerk. Metzler, Stuttgart/Weimar 2002.
  • „Musizieren, Lieben – und Maulhalten!“ Albert Einsteins Beziehungen zur Musik. edited by Ivana Rentsch and Anselm Gerhard. Schwabe, Basel 2006.
  • Giuseppe Verdi. Beck, München 2012.
  • Antonio Ghislanzoni: Wie macht man eine italienische Oper? Italienisch/deutsch [L’arte di far libretti (1870)]. edited by Anselm Gerhard. (Taschenbücher zur Musikwissenschaft, 163). Noetzel, Wilhelmshaven 2014.
gollark: I wonder if some sort of dynamically-switchable channel content warning thing would be remotely doable.
gollark: Also this.
gollark: I mean, if I were being more consistent, which I probably should be, we should maybe... not have rule 4, in its current form? Probably the imagery bit due to things I already outlined, but better methods for handling "textual conversation which makes me uncomfortable" than just not having it which would generalize to other things.
gollark: Workplace-wise it is more visible from a distance, I think.
gollark: Imagery has more of that "horribly scarred for life instantly" thing going for it which you can probably avoid with text.

References
  1. Notice biographique
  2. Musikwissenschaft – eine verspätete Disziplin? Die akademische Musikforschung in der ersten Hälfte des 20. Jahrhunderts zwischen Fortschrittsglauben und Modernitätsverweigerung on Springer link
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