Italian Meta-Opera -- Dall'A alla Z

Speranza

--


Abbate, Carolyn.
Unsung Voices. Princeton, NJ: Princeton University Press, 1991.

Abel, Lionel.
Meta-theatre: A New View of Dramatic Form. New York: Hill and Wang, 1963.

_____.

Tragedy and Meta-theatre: Essays on Dramatic Form. New York: Holmes &
Meier, 2003.

Accorsi, Maria Grazia. ―Gigli, Gerolamo.‖ New Grove Online, edited by Laura Macy (Accessed 3 October, 2008) www.oxfordmusiconline.com.

Acton, Harold Mario Mitchell. The Last Medici. London: Faber and Faber, 1932.

Ajello, Raffaele. Arcana Juris: Diritto e Politica nel Settecento Italiano. Naples: Jovene, 1976.

Alighieri, Dante. The Divine Comedy of Dante Alighieri, Vol. 2, ―Purgatorio.‖ Edited and translated by Robert M. Durling. New York: Oxford University Press, 2003.

Allacci, Leone.
Drammaturgia: Accresciuta e Continuata fino all‟Anno MDCCLV. Torino: Bottega d‘Erasmo, 1961.

Allerston, Patricia. ―L‘Abito come Articolo di Scambio nella Societa dell‘eta Moderni: Alcune Implicazione.‖ Le Trame della Moda, edited by Anna Giulia Cavagna and Grazietta Butazzi, 109-24. Rome: Bulzoni, 1995.

Andrews, Richard. ―Scripted Theatre and the Commedia dell‟arte.‖ Theatre of the English and Italian Renaissance, edited by J. R. Mulryne and Margaret Shewring, 21-54. London: MacMillan, 1991.
_____. Scripts and Scenarios: The Performance of Comedy in Renaissance Italy. New York: Cambridge University Press, 1993.

_____. ―Molière, Commedia dell‘arte, and the Question of Influence in Early Modern European Theatre.‖ Modern Language Review 100, no. 2 (2005): 444-63.

Angiolini, Franco, Vieri Becagli, and Marcello Verga, eds. La Toscana nell'età di Cosimo III: atti del convegno, Pisa-San Domenico di Fiesole, 4-5 giugno 1990. Florence: EDIFIR, 1993.

Apter, Michael J. The Experience of Motivation: The Theory of Psychological Reversals. New York: Academic Press, 1982.

Arias, Enrique Alberto. Comedy in Music: A Historical Bibliographical Resource Guide. Westport, CT: Greenwood Press, 2001.

Atherton, Margaret. Women Philosophers of the Early Modern Period. Indianapolis, IN: Hackett, 1994.

Attardo, Salvatore. Linguistic Theories of Humour. New York: Mouton de Gruyter, 1994.

Attardo, Salvatore and Victor Raskin. ―Script Thoery Revis(it)ed: Joke Similarity and Joke Representation Model.‖ Humor 4, nos. 3-4 (1991): 293-347.

Attinger, Gustave. L‟Esprit de la Commedia dell‟arte dans le Théâtre français. Paris: Librairie Théâtrale, 1950.

Austin, J. L. How to Do Things with Words. Cambridge, MA: Harvard University Press, 1962.

Balatri, Filippo. Frutti del Mondo. Edited by Karl Vossler. Palermo: R. Sandron, 1924.
Barlettani, Saverio Maria. ―Giovanni Cosimo Villifranchi.‖ Notizie istoriche degli
Arcadi morti, 3 vols., edited by Giovanni Mario Crescimbeni. Roma, Stamperia di A. de Rossi, 1720- 1721.

Barillari, Bruno. G.V. Gravina come precursore del Vico. Naples: Città di Castello, 1942.

Beattie, James. ―On Laughter, and Ludicrous Composition.‖ Essays, 583-706. Edinburgh: William Creech, 1776.

*********************************

Bellini, Alice.

Aspects of Meta-theatre in Eighteenth-Century Italian Opera.

Ph.D. dissertation, University of Cambridge, 2009.


BELLINI, Alice,

Music and ‗Music‘ in Eighteenth-Century Operatic Scores.

Eighteenth Century Music 6, no. 2 (2009):183-207.


Benedetti, Giovanni Battista. Lettere apologetiche in difesa della teolgia scolastica. Naples: Raillard, 1694.

Bentivegna, Ferruccia Cappi. Abbigliamento e Costume Nella Pittura Italiana. Rome: Carlo Bestetti, 1964.

Bergson, Henri. L‟Évolution Créatrice. Paris: F. Alcan, 1909.
Bernard, John. ―Theatricality and Textuality: The Example of Othello.‖ New Literary History 26, no. 4 (1995): 931-49.
Bianconi, Lorenzo and Thomas Walker. ―Dalla Finta pazza alla Veremonda: storie di Febiarmonici.‖ Rivista Italiana de Musicologia 10 (1975): 379–454.
282
Bisogni, Fabio. ―Fabbrini, Giuseppe,‖ New Grove Online, edited by Laura Macy (Accessed 3 October, 2008) www.grovemusic.com.
Black, Christopher F. Early Modern Italy: A Social History. New York: Routledge, 2001.
Bonds, Mark Evan. ―Haydn, Laurence Sterne, and the Origins of Musical Irony.‖ Journal of the American Musicological Society 44, no. 1 (1991): 57-91.
Booker, Christopher. The Seven Basic Plots: Why We Tell Stories. London: Continuum, 2004.
Bourqui, Claude. Les Sources de Molière: Répertoire Critique des Sources Littéraires et Dramatiques. Paris: SEDES, 1999.
Brainard, Paul. ―Bach‘s Parody Procedure and the St. Matthew Passion.‖ Journal of the American Musicological Society 22, no. 2 (1969): 241-260.
Brand, Peter and Lino Pertile. The Cambridge History of Italian Literature. New York: Cambridge University Press, 1999.
Brent-Smith, Alexander. ―Humour and Music.‖ The Musical Times 68, no. 1007 (1927): 20-23.
Broad, Jacqueline. Women Philosophers of the Seventeenth Century. New York: Cambridge University Press, 2002.
Brothers, A. J. ―The Construction of Terence‘s Heautontimorumenos.‖ The Classical Quarterly, New Series, 30, no. 1 (1980): 94-119.
Brumoy, Pierre. Le Théâtre des Grecs, vol. III. Paris: Rollin, 1730.
Burney, Charles. A General History of Music from the Earliest Ages to the Present Period, to which is prefixed, a Dissertation on the Music of the Ancients, vol. IV. London: Payne & Son, 1789.
Calder, Andrew. Molière: The Theory and Practice of Comedy. London: The Athlone Press, 1993.
Calderwood, James L. When the Theatre Turns to Itself: The Aesthetic Metaphor in Shakespeare. Lewisburg: Bucknell University Press, 1981.
Calderwood, James L. Shakespearean Metadrama: The Argument of the Play in Titus Andronicus, Love‟s Labour‟s Lost, Romeo and Juliet, A Midsummer Night‟s Dream and Richard II. Minneapolis, University of Minnesota Press, 1971.
Calino, Cesare. Lezioni Teologiche, e Morali Sopra il Giuoco. Venice: Giovanni Battista Recurti, 1720.
283
Caillois, Roger. Les Jeux et les Hommes: Le Masque et le Vertige. Paris: Gallimard, 1958.
_____. Man, Play and Games. Translated by Meyer Barash. Urbana: University of Illinois Press, 2001.
Cannon, Beekman C. ―Johann Mattheson‘s ‗Inquiring Composer‘.‖ New Mattheson Studies, edited by George J. Buelow and Hans Joachim Marx, 125-168. New York: Cambridge University Press, 1983.
Canestrani, Carla. ―Meta-Communicative Signals and Humorous Verbal Interchanges: A Case Study.‖ Humor 23, no. 3 (2010): 327-350.
Cassiani, Vincenzo. Silla Dittatore: dramma per musica. Naples: Francesco Ricciardo, 1723.
Castiglione, Caroline. ―Extravagant Pretensions: Aristocratic Family Conficts, Emotion, and the ‗Public Sphere‘ in Early Eighteenth-Century Rome.‖ Journal of Social History 38, no. 3 (2005): 685-703.
Chafe, Wallace. The Importance of Not Being Earnest: The Feeling Behind Laughter and Humor. Amsterdam: John Benjamins, 2007.
Chiappelli, Alberto. Storia del Teatro in Pistoia dalle Origini all fine del Sec. XVIII. Pistoia: Officina Tipografica Cooperativa, 1913.
Clubb, Louise George. Italian Drama in Shakespeare‟s Time. New Haven, CT: Yale University Press, 1989.
Cochrane, Eric W. Florence in the Forgotten Centuries, 1527-1800: a History of Florence and the Florentines in the Age of the Grand Dukes. Chicago: University of Chicago Press, 1973.
Comparato, Vittor Ivo. Giuseppe Valletta, un Intellettuale napoletano della fine del Seicento. Naples: Nella sede dell‘Instituto, 1970.
Contarini, Silvia. ―Descartes in Naples: The Reception of the Passions de l‟âme.‖ Reason and its Others: Italy Spain and the New World, edited by David R. Castillo and Massimo Lollini, 39-60. Nashville, TN: Vanderbilt University Press, 2006.
Cordemoy, Géraud de. OEvres Philosophiques, edited by Pierre Clair and François Girbal. Paris: Presse Universitaires de France, 1968.
_____. Un Discours Physique de la Parole. Paris: Lambert, 1668.
284
Cotticelli, Francesco, Anne Goodrich Heck and Thomas F. Heck (trans. and eds.). The Commedia dell‟Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios, Vol. I. London: The Scarecrow Press, 2001.
Crescembeni, Giammario. Commentarj di Gio. Mario de‟ Crescimbeni intorno alla sua Istoria della volgar Poesia. Rome: Antonio de Rossi, 1711
_____. La Bellezza della Volgar Poesia: Spiegata in Otto Dialoghi. Rome: Gio. Francesco Buagni, 1700.
Csapo, Eric. Actors and Icons of the Ancient Theater. Chichester, UK: Wiley-Blackwell, 2010.
Dällenbach, Lucien. The Mirror in the Text, translated by Jeremy Whiteley with Emma Hughes. Chicago: University of Chicago Press, 1989.
Dalmonte, Rossana. ―Towards a Semiology of Humour in Music.‖ International Review of the Aesthetics and Sociology of Music 26, no. 2 (1995): 167-187.
Davis, Natalie Zemon. Fiction in the Archives: Pardon Tales and Their Tellers in Sixteenth- Century France. Stanford, CA: Stanford University Press, 1987.
Davis, Natalie Zemon and Arlette Farge. ―Women as Historical Actors.‖ A History of Women in the West, edited by Georges Duby and Michelle Perrot, 1-8. Cambridge, MA: Belknap Press, 1994.
Dean, Winton and Carlo Vitali. ―Cuzzoni, Francesca.‖ New Grove Online, edited by Laura Macy (accessed 14 September, 2008). www.oxfordmusiconline.com.
Dent, Edward J. ―Italian Opera in the Eighteenth Century and its Influence on the Music of the Classical Period.‖ Sammelbände der Internationalen Musik-Gesellschaft xiv (1912–13): 500–9.
Dentith, Simon. Parody. New York: Routledge, 2000.
Descartes, René. ―Discourse on Method.‖ Philosophical Works, vol I, translated by Elizabeth S. Haldane and G.R.T. Ross. New York: Cambridge University Press, 1911.
_____. I principj della filosofia di Renato Des-Cartes, translated by Giuseppa Eleanora Barbapiccola. Torino [Naples]: Gio. Francesco Mairesse, 1722.
Di Benedetto, Renato. ―Poetics and Polemics.‖ The History of Italian Opera, edited by Lorenzo Bianconi and Giorgio Pestelli, 1-66. Chicago: University of Chicago Press, 1998.
Di Giacomo, Salvatore. I Quattro antichi Conservatorii di musica di Napoli. Milan: Remo Sandron, 1928.
285
Dolcetti, Giovanni. Le Bische e il Giuoco d‟Azzardo a Venezia: 1172-1807. Venice: Aldo Manuzio, 1903.
Downes, Edward. ―The Operas of Johann Christian Bach as a Reflection of the Dominant Trends in Opera Seria: 1750-1780.‖ Ph.D. dissertation: Harvard University, 1958.
Dreyfuss, Lawrence. Bach and the Patterns of Invention. Cambridge, MA: Harvard University Press.
Dufresny, Charles Rivière. Oeuvres, vol. I. Paris: Briason, 1747.
Dunkley, John. ―Illegal Gambling in Eighteenth-Century France: Incidence, Detection, and Penalties.‖ Journal for Eighteenth-Century Studies 8, no. 2 (1985): 129–137.
Eastman, Max. Enjoyment of Laughter. New Brunswick, NJ: Transaction Publishers, 2009.
Eco, Umberto. Semiotics and the Philosophy of Language. Bloomington, IN: Indiana University Press, 1984.
Eggebrecht, Hans Heinrich. ―Der Begriff des Komischen in der Musik-Ästhetik des 18. Jahrhunderts.‖ Die Musikforschung IV (1951): 144-45.
Eisen, Cliff and W. Dean Sutcliffe. ―Editorial.‖ Eighteenth-Century Music 1, no. 1 (2004): 3.
Ekman, Paul. ―What We Have Learned by Measuring Facial behaviour.‖ What the Face Reveals, edited by Paul Ekman and Erika L. Rosenberg, 469-85. New York: Oxford University Press, 1997.
Fabbri, Lorenzo. Alleanza Matrimoniale e Patriziato nella Firenze del „400: Studio sulla Famiglia Strozzi. Florence: L.S. Olschki, 1991.
Fabbri, Mario. Alessandro Scarlatti e il principe Ferdinando de‟ Medici. Florence: L.S. Olschki, 1961.
Fabris, Dinko. Music in Seventeenth-Century Naples: Francesco Provenzale (1624-1704). Burlington, VT: Ashgate, 2007.
Fanelli, Jean Grundy. ―A Sweet Bird of Youth: Caffarelli in Pistoia.‖ Early Music 27, no. 1 (1999): 55-63.
Fannière, Edouard. ―Charles Rivière Dufresny.‖ The Modern Language Review 6, no. 3 (1911): 335-353.
Feldman, Martha. Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy. Chicago: University of Chicago Press, 2007.
286
Ferraro, Joanne M. Marriage Wars in Late Renaissance Venice. New York: Oxford University Press, 2001.
_____. ―The Power to Decide: Battered Wives in Early Modern Venice.‖ Renaissance Quarterly 48, no. 3 (1995): 492-512.
Ferrone, Siro. Commedie dell‟arte. Milan: Mursia, 1985.
Ferrone, Vincenzo. The Intellectual Roots of the Italian Enlightenment: Newtonian Science, Religion and Politics in the Early Eighteenth Century, translated by Sue Brotherton. Atlantic Highlands, NJ: Humanities Press, 1995.
Findlen, Paula. ―Translating the New Science: Women and the Circulation of Knowledge in Enlightenment Italy.‖ Configurations 3.2 (1995): 167-206.
Findlen, Paula, Wendy Wassyng Roworth, and Catherine M. Sama, eds. Italy‟s Eighteenth Century: Gender and Culture in the Age of the Grand Tour. Stanford, CA: Stanford University Press, 2009.
Findlen, Paula and Rebecca Messbarger, eds. The Contest for Knowledge: Debates over Women‟s Learning in Eighteenth-century Italy. Chicago: University of Chicago Press, 2005.
Franchi, Saverio. Drammaturgia Romana: Repertorio Bibliografico Cronologico dei Testi Drammatici Pubblicati a Roma e nel Lazio. Rome: Edizioni di storia e letteratura, 1988.
Freeman, Robert S. ―Farinello and His Repertory.‖ Studies in Renaissance and Baroque Music in Honor of Arthur Mendel. Edited by Robert Marshall, 301-30. Kassel: Bärenreiter, 1974.
_____. Opera Without Drama: Currents of Change in Italian Opera, 1675-172. Ann Arbor, MI: UMI Research Press, 1981.
Frenquellucci, Chiara. ―A Passion to Amuse: Girolamo Gigli‘s Theatre and Prose,‖ Ph.D. diss., Harvard University, 1998.
Fricke, Dietmar. ―Ein Vorform der Oper: Le bourgeois gentilhomme von Molière und Lully.‖ Neue Zeitschrift für Musik 148, no. 6 (1987): 10-13.
Gallico, Claudio. ―La ‗sostanza de‘melodrammi‘ secondo Pier Jacopo Martello: Una rilettura.‖ Musica e Storia 7, no. 2 (December 1, 1999): 347-349.
_____. ―P.I. Martello and La poetica di Aristotile sul melodramma.‖ Scritti in Onore di Luigi Ronga, 225-232. Naples: Ricciardi, 1973.
_____. ―Prassi esecutiva nel Teatro alla moda di Benedetto Marcello.‖ Studi Musicali 1, no. 1(1972): 317-26.
287
Giannone, Pietro. Istoria Civile del Regno di Napoli, Vol. 9. Milan: Bettoni, 1821.
Gianturco, Carolyn. ―A Possible Date for Stradella‘s Il Trespolo tutore.‖ Music & Letters 54, no. 1 (1973): 25-37.
_____. ―Evidence for Late Roman School of Opera.‖ Music & Letters 56, no. 1 (1975): 4-17.
_____. ―Il trespolo tutore di Stradella e di Pasquini: Due Diverse Concezioni dell‘Opera Comica,‖ Venezia e il Melodramma nel Settecento, Vol. 1, edited by Maria Teresa Muraro, 185-98. Florence: Olschiki, 1978.
Giuntini, Francesco. ―Modelli Teatrali Francesi nei Drammi per Musica di Antonio Salvi.‖ Revista de Musicología 16, no. 1 (1993): 335-47.
Giuntini, Francesco. ―Salvi, Antonio.‖ New Grove Online, Edited by Laura Macy (accessed 14 August, 2008). www.oxfordmusiconline.com.
Gigli, Girolamo. La Dirindina, farsetta per musica, Seconda edizione. Lucca: Leonardo Venturini, 1715.
Gilbert, Henry F. ―The American Composer.‖ The Musical Quarterly 1, no. 2 (1915): 169-180.
_____. ―Humor in Music.‖ The Musical Quarterly 12, no. 1 (1926): 40-55.
Gjerdingen, Robert. Music in the Galant Style. New York: Oxford University Press, 2007.
Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. New York: Oxford University Press, 1992.
Goffman, Erving. Frame Analysis: An Essay on the Organization of Experience. Cambridge, MA: Harvard University Press, 1974.
Grafton, Anthony. The Footnote: A Curious History. Cambridge, MA: Harvard University Press, 1997.
Gravina, Gian Vincenzo. Della tragedia. Naples: Nicolo Naso, 1715.
Greimas, Algirdas Julien. Sémantique Structurale: Recherche de Méthode. Paris: Larousse, 1966.
Griggs, John C. ―The Influence of Comedy upon Operatic Reform.‖ The Musical Quarterly 3, no. 4 (1917): 552-561.
Group μ. ―Isotopie et Allotopie: Le Fonctionnement Rhétorique du Texte.‖ Versus 14, no. 2 (1976): 41-65.
288
_____. Rhétorique de la Poésie. Brussels: Complexe, 1977.
Grout, Donald J. A History of Western Music, seventh edition, revised by J. Peter Burkholder and Claude Palisca. New York: W.W. Norton, 2006.
Grover-Friedlander, Michal. Vocal Apparitions: The Attraction of Cinema to Opera. Princeton, NJ: Princeton University Press, 2005.
Gruneberg, R. ―Humor in Music.‖ Philosophy and Phenomenological Research 30, no. 1 (1969): 122-125.
Gruner, Charles R. The Game of Humor: A Comprehensive Theory of Why We Laugh. New Brunswick, NJ: Transaction, 1997.
Hacke, Daniela. Women, Sex, and Marriage in Early Modern Venice. Burlington, VT: Ashgate, 2004.
Haller, Hermann W. The Other Italy: The Literary Canon in Dialect. Toronto: University of Toronto Press, 1999.
Hanley, Sarah. ―Social Sites of Political Practice in France: Lawsuits, Civil Rights, and the Separation of Powers in Domestic and State Government, 1500-1800.‖ The American Historical Review 102, no. 1 (1997): 27-52.
Hansell, Sven. ―The Solo Cantatas, Motets and Antiphons of Johann Adolf Hasse‖ Ph.D. diss., University of Illinois, 1966.
Harris, W. V. ―Child-Exposure in the Roman Empire.‖ The Journal of Roman Studies 84 (1994): 1-22.
Hayley, Rodney L. ―Cibber, Collier, and ‗The Non-Juror‘.‖ The Huntington Library Quarterly 43, no. 1 (1979): 61-75.
Heartz, Daniel. ―Approaching a History of 18th-century Music.‖ Current Musicology 9 (1969): 92-95.
_____. Music in European Capitals: The Galant Style, 1720-1780. New York: Norton, 2003.
Hedges, Stephen A. ―Dice Music in the Eighteenth Century.‖ Music & Letters 59, no. 2 (1978): 180-187.
Heitner, Robert. ―On the Relationship Between Lessing and Diderot see Concerning Lessing‘s Indebtedness to Diderot.‖ Modern Language Notes 65, no. 2 (1950): 82-88.
Henke, Robert. Performance and Literature in the Commedia dell‟arte. Cambridge, MA: Cambridge University Press, 2002.
289
Hill, John Walter and Francesco Giuntini. ―Gasparini, Giuseppe Maria.‖ Grove Music Online, edited by Laura Macy (accessed 14 September, 2008). www.oxfordmusiconline.com.
Hobbes, Thomas. The Elements of Law, Natural and Politic, edited with an introduction by J.C.A. Gaskin. New York: Oxford University Press, 1994.
Hokenson, Jan. The Idea of Comedy: History, Theory, Critique. Madison, NJ: Fairleigh Dickinson University Press, 2006.
Holmes, William C. Opera Observed: Views of a Florentine Impresario in the Early Eighteenth Century. Chicago: The University of Chicago Press, 1993.
Holmes, William C. ―Operatic Commissions and Productions at Pratolino: Ifianassa e Melampo by Moniglia and Legrenzi.‖ The Journal of Musicology 17, no. 1 (1999): 152-167.
Hornby, Richard. Drama, Metadrama and Perception. Lewisburg, PA: Bucknell University Press, 1986.
Hubert, Walter, Mathilde Moeller and Renate de Jong-Meyer. ―Film-induced Amusement Changes in Saliva Cortisol Levels.‖ Psychoneuroendocrinology 18, no. 4 (1993): 265- 272.
Huizinga, Johan. Homo Ludens: A Study of the Play-Element in Culture. Boston: Beacon Press, 1950.
_____. Homo Ludens: Versuch einer Bestimmung des Spielelementest der Kultur. Leipzig: Pantheon Akademische Verlagsanstalt, 1939.
Hume, Robert D. Reconstructing Contexts: The Aims and Principles of Archaeo-Historicism. New York: Oxford University Press, 1999.
Hume, Robert D., Gabriella Diderikson, Judith Milhous and Curtis Alexander Price. Italian Opera in Late Eighteenth-Century London. 2 vols. Oxford: Clarendon Press, 1995-2000.
Hunter, Mary. ―Some Representations of opera seria in opera buffa.‖ Cambridge Opera Journal 3, no. 2 (1991): 89-108.
Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Methuen, 1985.
_____. A Theory of Adaptation. New York: Routledge, 2006.
Hutcheon, Linda and Michael Hutcheon. Bodily Charm: Living Opera. Lincoln: University of Nebraska Press, 2000.
290
_____. ―The ‗Phenomenal Image‘ in Opera.‖ South Atlantic Quarterly 104, no. 1 (2005): 63-77.
Ingarden, Roman. Das literarische Kunstwerk: Eine Untersuchung aus dem Grenzgebiet der Ontologie, Logik und Literaturwissenschaft. Halle an der Saale: Max Niemeyer, 1931.
Ingarden, Roman. The Ontology of the Work of Art: The Musical Work, The Picture, The Architectural Work, The Film. Translated by Raymond Meyer with John T. Goldthwait. Athens, OH: Ohio University Press, 1989.
Jackson-Stops, Gervase. ―Some Sources for the Paintings of C.R. Leslie.‖ The Magazine Antiques 135 (1989): 310-21.
Jacob, P. L. Bibliographie Moliéresque, 2nd edition. Paris: A. Fontaine, 1875.
Jaffe-Berg, Erith. The Multilingual Art of Commedia dell‘arte. Ottawa, ON: Legas, 2009.
Kant, Immanuel. Critique of Judgment. Translated by J.H. Bernard. London: Macmillan, 1914.
Kay, Peter. ―Music and Humor: What‘s so Funny?‖ Music Reference Services Quarterly 10, no. 1 (2006): 37-53.
Kimbell, David. Italian Opera. New York: Cambridge University Press, 1991.
King, Richard G. ―Metastasio‘s L‟impresario delle canarie and its fortunes in London.‖ Händel- Jahrbuch 45 (1999): 143-156.
Kirkendale, Warren. The Court Musicians in Florence during the Principate of the Medici. Florence: Leo S. Olschki, 1993.
Kirkpatrick, Ralph. Domenico Scarlatti. Princeton, NJ: Princeton University Press, 1953.
Kivy, Peter. Music Alone: Reflections on the Purely Musical Experience. Ithaca: Cornell University Press, 1990.
Koestler, Arthur. The Act of Creation. London: Hutchinson, 1964.
Kozintsev, Alexander. The Mirror of Laughter. Translated by Richard P. Martin. New Brunswick, NJ: Transaction Publishers, 2010.
Kuhlman, Thomas L. ―A Study of Salience and Motivational Theories of Humor.‖ Journal of Personality & Social Psychology 49, no. 1 (1985): 281-286.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicgo: University of Chicago Press, 1980.
291
Lancaster, Henry Carrington. A History of French Dramatic Literature in the Seventeenth Century, vol. 3, no. 2. Baltimore: Johns Hopkins Press, 1936.
Landmann, Ortrun. ―Quellenstudien zum Italienischen Intermezzo Comico per Musicam und zu seiner Geschichte in Dresden.‖ Ph.D. diss., Universität Rostock, 1973.
Lang, Paul Henry. George Frideric Handel. New York: W.W. Norton, 1966.
LaRue, Steven. Handel and His Singers: The Creation of the Royal Academy Operas, 1720- 1728. New York: Oxford University Press, 1995.
_____. ―Handel and the Aria.‖ The Cambridge Companion to Handel. Edited by Donald Burrows. New York: Cambridge University Press, 1997.
Lazarevich, Gordana. ―From Naples to Paris: Transformations of Pergolesi‘s Intermezzo Livietta e Tracollo by Contemporary Buffo Singers.‖ Studi Pergolesiani, Vol. 1 (1986): 149-165.
_____. ―Hasse as a Comic Dramatist: The Neapolitan Intermezzi‖ Analecta Musicologica 25 (1987): 287-303.
_____. ―The Neapolitan Intermezzo and Its Influence on the Symphonic Idiom.‖ The Musical Quarterly 57, vol. 2 (1971): 294-313.
_____. ―Review: Les Intermèdes Comiques Italiens au XVIIIe Siècle en France et en Italie.‖ The Musical Quarterly 60, no. 1 (1974)126-132.
_____. ―The Role of the Neapolitan Intermezzo in the Evolution of Eighteenth-Century Musical Style: Literary, Symphonic, and Dramatic Aspects, 1685-1735.‖ Ph.D, diss., Columbia University, 1970.
Lee, Sherry. ― ‗Deinen Wuchs wie Musik‘: Portraits and the Dynamics of Seeing in Berg‘s Operatic Sphere,‖ Berg and His World, edited by Christopher Hailey, 163-94. Princeton, NJ: Princeton University Press, 2010.
Lefcourt, Herbert M. Humor: The Psychology of Living Buoyantly. New York: Kluwer Academic/Plenum Publishers, 2001.
Leve, James Samuel. ―Humor and Intrigue: A Comparative Study of Comic Opera in Florence and Rome during the late Seventeenth Century.‖ Ph.D. diss., Yale University, 1998.
Lehan, Richard. ―Bergson and the Discourse of the Moderns.‖ Crisis of Modernism, edited by Frederick Burwick and Paul Douglass, 306-29. Cambridge: Cambridge University Press, 1992.
292
Lessing, Gotthold Ephraim. ―Hamburgische Dramaturgie, Sechsunddreissigstes Stück (September 1, 1767).‖ Werke: Vol. 2 Kritische Schriften. Philosophische Schriften, edited by Jost Perfahl and Otto Mann, 425-26. Munich: Winkler, 1969.
Levitan, William. ―Seneca in Racine.‖ Yale French Studies 76 (1989): 185-210.
Levy, Janet M. ―Something Mechanical Encrusted on the Living: A Source of Musical Wit and Humor.‖ Convention in Eighteenth- and Nineteenth-Century Music, edited by W.J. Allanbrook, J.M. Levy, and W.P. Mahrt, 225-56. New York: Pendragon Press, 1992.
Lippman, Edward. A History of Western Musical Aesthetics. Lincoln, NB: University of Nebraska Press, 1992.
Lissa, Zofia. ―Über das Komische in der Musik.‖ Aufsätze zur Musikästhetik: eine Auswahl, 93- 137. Berlin: Henschel, 1969.
Little, Meredith Ellis. ―Minuet.‖ Grove Music Online, edited by Laura Macy (accessed February 9, 2010). www.oxfordmusiconline.com.
Ludovici, Anthony. The Secret of Laughter. London: Constable, 1932.
Luppi, Andrea. ―Presupposti estetici del Teatro alla moda di Benedetto Marcello.‖ A.M.I.S. Antiquae Musicae Italicae Studiosi: Bollettino dell‟Associazione 2, no. 3 (February 1, 1986): 14-19.
London, Justin. ―Musical and Linguistic Speech Acts.‖ The Journal of Aesthetics and Art Criticism 54, no. 1 (1996): 49-64.
Losonsky, Michael. Linguistic Turns in Modern Philosophy. New York: Cambridge University Press, 2006.
Mackenzie, Barbara Dobbs. ―The Creation of a Genre: Comic Opera‘s Dissemination in Italy in the 1740s.‖ Ph.D. diss., University of Michigan, 1993.
Maehder, Jürgen. ―A queste piccolezze il pubblico non bada: Librettisten und Komponisten als ielscheibe der Opernparodie.‖ Die lustige Person auf der Bühne, vol. 1. Edited by Peter Csobádi, 253-252. Anif: Universität Müller-Speiser, 1994.
Malabranche, Nicolas. The Search after Truth. Translated and edited by Thomas M. Lennon and Paul J. Olscamp. New York: Cambridge University Press, 1997.
Mamczarz, Irène. Les Intermèdes Comiques Italiens au XVIIIe Siècle en France et en Italie. Paris: Éditions du Centre nationale de la recherche scientifique, 1972.
Marcello, Benedetto. ―Il Teatro alla Moda—Part I, Translated by Reinhardt G. Pauly.‖ The Musical Quarterly 34, no. 3 (1948): 371-403.
293
_____. ―Il Teatro alla Moda—Part II, Translated by Reinhardt G. Pauly.‖ The Musical Quarterly 35, no. 1 (1949): 85-105.
Markstrom, Kurt Sven. ―The operas of Leonardo Vinci, Napoletano.‖ (Ph.D., diss., University of Toronto, 1993.
Markstrom, Kurt. The Operas of Leonardo Vinci, Napoletano. Hillsdale, NY: Pendragon Press, 2003.
Martin, R. A. ―Metatheater, Gender and Subjectivity in Richard II and Henry IV, Part I.‖ Comparative Drama 23, no. 3 (1989): 255-64.
Martin, Rod A. ―Humor and Health.‖ The Primer of Humor Research. Edited by Victor Raskin, 479-522. New York: Mouton de Gruyter.
_____. The Psychology of Humor: An Integrative Approach. Burlington, MA: Elsevier Academic Press, 2007.
Martindale, Charles. Latin Poetry and the Judgement of Taste: An Essay in Aesthetics. Oxford: Oxford University Press, 2005.
Mattei, Saverio. La filosofia della musica, o sia La musica de‟salmi. Naples: Porcelli, 1779.
Mazzotta, Giuseppe. The New Map of the World: The Poetic Philosophy of Giambattista Vico. Princeton, NJ: Princeton University Press, 1999.
Medlin, Dorothy Moser. The Verbal Art of Jean-François Regnard. New Orleans, LA: Toulane University Press, 1966.
Metastasio, Pietro. Memoirs of the Life and Writings of Abate Metastasio, Vol. III, edited by C harles Burney. London: Robinson, 1796.
_____. Opere di Pietro Metastasio, vol. I. Trieste: Sezione Letterario-artistica del Lloyd Austriaco, 1857.
Molière. Molière: The Misanthrope and Other Plays, translated by John Wood and David Coward. London: Penguin Books, 2000.
_____. Oeuvres Complètes, edited by Louis Veuillot. Paris: P. Lethielleux, 1924-1940.
Molinari, Cesare. La Commedia Dell‟Arte. Rome: Istituto Poligrafico e Zecca dello Stato, 1999.
Monelle, Raymond. The Musical Topic: Hunt, Military and Pastoral. Bloomington: Indiana University Press, 2006.
294
Monson, Dale. ―Evidence for Pergolesi‘s Compositional Method for the Stage: The Flaminio Autograph,‖ Studi Pergolesiani 2 (1988): 49-66.
Montagu, Lady Mary Wortley. Selected Letters. Edited by Isobel Grundy. New York, NY: Penguin Books, 1997.
Montesquieu, Charles-Louis de Secondat, baron de. Persian Letters, translated by John Davidson. New York: E.P. Dutton, 1891.
Morreall, John. Comic Relief: A Comprehensive Philosophy of Humor. Malden, MA: Wiley- Blackwell, 2009.
_____. ―Comic Vices and Comic Virtues.‖ Humor 23, no. 1 (2010): 1-26.
_____. Taking Laughter Seriously. Albany: State University of New York Press, 1983.
_____. ―Verbal Humor without Switching Scripts and without non-bona fide Communication.‖ Humor 14, no. 4 (2004): 393-400.
Morrison, James C. ―Vico and Spinoza.‖ Journal of the History of Ideas 41, no. 1 (1980): 49-68.
Mounin, Georges. Histoire de la Linguistique: Des Origines au 20e Siècle. Paris: Presses Universitaire de France, 1967.
Nash, Walter. The Language of Humour. New York: Longman, 1985.
Nattiez, Jean-Jacques. Music and Discourse: Toward a Semiology of Music, translated by Carolyn Abbate. Princeton, NJ: Princeton University Press, 1990.
Negri, Giulio. Istoria degli Scrittori Fiorentini. Ferrara: B. Pomatelli, 1722.
Norrick, Neal R. Conversational Narrative: Storytelling in Everyday Talk. Philadelphia: J. Benjamins, 2000.
_____. ―Repetition in Canned Jokes and Spontaneous Conversational Joking.‖ Humor 6, no. 3 (1993): 385-402.
Nuzzo, Enrico. Verso la “Vita Civile”: Antropologia e Politica nelle Lezioni Accademiche di Gregorio Caloprese e Paolo Mattia Doria. Naples: Guida, 1984.
O‘Connor, Thomas Austin. ―Is the Spanish Comedia a Metatheater?‖ Hispanic Review 43, no. 3 (1975): 275-289.
Oring, Elliott. Engaging Humor. Urbana, IL: University of Illinois Press, 2003.
Orwen, Gifford P. Jean-François Regnard. Boston: Twayne Publishers, 1982.
295
Osbat, Luciano. L‟Inquisizione a Napoli: Il Processo agli Ateisti, 1688-1697. Rome: Edizioni di storia e letteratura, 1974.
Oster, Andrew. ―Melisma as Malady: Cavalli‘s Il Giasone (1649) and Opera‘s Earliest Stuttering Role.‖ Sounding Off: Theorizing Disability in Music, edited by Neil Lerner and Joseph N. Straus, 157-72. New York: Routledge, 2006.
Pandolfi, Vito. La commedia dell‟arte: Storia e Testo, Vol. 1. Florence: Sansoni, 1957-61.
Pauly Reinhard G. ―Benedetto Marcello‘s Satire on Early 18th-Century Opera.‖ The Musical Quarterly 34, no. 2 (1948): 222-233.
Pii, Eluggero. ―Republicanism and Commercial Society in Eighteenth-Century Italy.‖ Republicanism: A Shared European Heritage, Vol. 2, edited by Martin van Gelderen and Quentin Skinner, 249-54. New York: Cambridge University Press, 2002.
Piperno, Franco. ―Buffe e Buffi: Considerazione sulla Professionalità degli Scene buffi ed Intermezzi.‖ Rivista Italiana di Musicologia 17, no. 2 (1982): 240-284.
_____. ―Corrado, Gioacchino.‖ Grove Music Online, edited by Laura Macy (accessed 7 May, 2008). www.oxfordmusiconline.com.
Piperno, Franco. ―Opera Production to 1780.‖ Opera Production and its Resources, edited by Lorenzo Bianconi and Giorgio Pestelli, 2-80. Chicago: Univesrity of Chicago Press, 1998.
Pirrotta, Nino. ―Commedia dell‘Arte and Opera.‖ The Musical Quarterly 41, no. 3 (1955): 305- 324.
_____. ―Metastasio and the demands of his literary environment.‖ Studies in Music from the University of Western Ontario 7, no. 1 (1982): 10-17.
_____. ―Pier Jacopo Martello: ‗Et in Arcadia ego,‘ ma ‗cum modo.‘ ‖ Le Parole della Musica. II: Studi sul Lessico della Letteratura Critica del Teatro Musicale in Onore di Gianfranco Folena, 33-46. Florence: Leo S. Olschki, 1995.
Pollio, Howard R. and Rodney W. Mers. ―Predictability and the Appreciation of Comedy.‖ Bulletin of the Psychonomic Society 4, no. 4-A (1974): 229–232.
Rabener, Gottlieb Wilhelm. Satiren, vol. 1. Bern: Walthard, 1766.
Raccolta Copiosa d‟Intermedj. 2 vols. Amsterdam, 1723.
Raskin, Victor. Semantic Mechanisms of Humor. Boston: Reidel, 1985.
296
Ratner, Leonard G. ―Ars Combinatoria: Chance and Choice in Eighteenth-Century Music.‖ Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on his Seventieth Birthday, edited by H.C. Robbins Landon, 343-363. New York: Oxford University Press, 1970.
Regnard, Jean-François. Le Joueur, edited with an introduction by John Dunkley. Genève: Librairie Droz, 1986.
Ricciardi, Giovanni Battista. Il Trespolo tutore. Bologna: Per il Longhi, [1680].
Rice, John A. ―The Roman Intermezzo and Sacchini‘s ‗La contadina in corte‘.‖ Cambridge Opera Journal 12, no. 2 (2000): 91-107.
Richman, Joseph. ―Therapeutic Humor with the Depressed and Suicidal Elderly.‖ Play Therapy with Adults, edited by Charles E. Schaefer, 166-192. New York: John Wiley & Sons, 2003.
Richter, Jean Paul. ―Vorschule der Ästhetik.‖ Werke, series 1, edited by Norbert Miller. Munich: Carl Hanser, 1963.
Ribiero, Aileen. Dress in Eighteenth Century Europe, 1715-1789. London: B.T. Batsford, 1984.
Rice, John A. ―The Roman Intermezzo and Sacchini‘s La Contadina in Corte.‖ Cambridge Opera Journal 12, no. 2 (2000): 91-107.
Riemann, Hugo. ―Der Stil und die Manieren der Mannheimer.‖ Denkmäler der Tonkunst in Bayern xiii, vii, no. 2 (1906): xv–xxv.
Riley, Matthew. ―Straying From Nature: The Labyrinthine Harmonic Theory of Diderot and Bemetzrieder‘s Lecon de clavecin (1771).‖ The Journal of Musicology 19, no. 1 (2002): 3-38.
Rinaldis, Aldo de, Lettere inedite di Salvator Rosa a G.B. Ricciardi. Rome: Fratelli Palombi, 1939.
Ringer, Mark. Electra and the Empty Urn: Metatheater and Role Playing in Sophocles. Chapel Hill: University of North Carolina Press, 1998.
Ritchie, Graeme. The Linguistic Analysis of Jokes. New York: Routledge, 2004.
Roberston, John. The Case for the Enlightenment: Scotland and Naples, 1680-1760. New York: Cambridge University Press.
Romero, Laurence. Molière, Traditions in Criticism: 1900-1970. Chapel Hill, NC: University of North Carolina Department of Romance Languages, 1974.
297
Rosand, Ellen. ―Iro and the Interpretation of Il ritorno d‟Ulisse in patria.‖ The Journal of Musicology 7, no. 2 (1989): 141-164.
_____. Monteverdi‟s Last Operas: A Venetian Trilogy. Berkeley: University of California Press, 2007.
_____. Opera in Seventeenth-Century Venice. Berkeley: University of California Press, 1991.
Rose, Margaret A. Parody: Ancient, Modern and Post-Modern. New York: Cambridge University Press, 1993.
Rosenmeyer, Thomas G. ― ‗Metatheater‘: An Essay on Overload.‖ Arion 10, no. 2 (2002): 87- 119.
Roworth, Wendy Wassyng. ―The Consolations of Friendship: Salvator Rosa‘s Self-Portrait for Giovanni Battista Ricciardi.‖ Metropolitan Museum Journal 23 (1988): 103-124.
Rozin, Paul, Alexander Rozin, Brian Appel and Charles Wachtel. ―Documenting and Explaining the Common AAB Pattern in Music and Humor: Establishing and Breaking Expectations.‖ Emotion 6, no. 3 (2006): 349-355.
Russell, Tilden A. ― ‗Über das Komische in der Musik‘: The Schütze-Stein Controversy,‖ The Journal of Musicology 4, no. 1 (1985/86): 70-90.
Salvi, Antonio. Stratonica. Florence: V. Vangelisti, 1707.
Sartori, Claudio. I libretti italiani a stampa dalle origini al 1800: catalogo analitico con 16 indici. Cuneo: Bertola & Locatelli, 1990-1992.
Schachter Stanley and Ladd Wheeler. ―Epinephrine, Chlorpromazine and Amusement.‖ Journal of Abnormal & Social Psychology 65, no. 2 (1962): 121-128.
Shaw, Joshua. ―Philosophy of Humor.‖ Philosophy Compass 5, no. 2 (2010): 112-126.
Sheinberg, Esti. Irony, Satire, Parody and the Grotesque in the Music of Shostakovich: A Theory of Musical Incongruities. Aldershot: Ashgate, 2000.
Sichel, Marion. History of Women‟s Costume. New York: Chelsea House, 1989.
Simpson, Paul. On the Discourse of Satire: Towards a Stylistic Model of Satirical Humor. Philadelphia: John Benjamins, 2003.
Slater, Niall W. Plautus in Performance: The Theatre of the Mind. Princeton, NJ: Princeton University Press, 1985.
298
_____. Spectator Politics: Metatheatre and Performance in Aristophanes. Philadelphia: University of Pennsylvania Press, 2002.
Smith, Adam. The Theory of Moral Sentiments. Edited by David Daiches Raphael and Alec Lawrence Macfie. New York: Oxford University Press, 1976.
Smith, Webster. ―Pratolino.‖ The Journal of the Society of Architectural Historians 20, no. 4 (1961): 155-168.
Sontag, Susan. ―The Death of Tragedy.‖ Against Interpretation, 132-39. New York: Farrar, Straus & Giroux, 1966.
Stapelbroek, Koen. Love, Self-Deceit, and Money: Commerce and Morality in the Early Neapolitan Enlightenment. Toronto: University of Toronto Press, 2008.
Stewart, Susan. Nonsense: Aspects of Intertextuality in Folklore and Literature. Baltimore, MD: Johns Hopkins University Press, 1979.
Stone, Harold Samuel. Vico‟s Cultural History: The Production and Transmission of Ideas in Naples. New York: E.J. Brill, 1997.
Strohm, Reinhard. ―Alessandro Scarlatti and the Eighteenth Century.‖ Essays on Handel and Italian Opera, 15-33. New York: Cambridge University Press, 1985.
Strohm, Reinhard. ―Leonardo Vinci‘s Didone abbandonata (1726).‖ Essays on Handel and Italian Opera. New York: Cambridge University Press, 1985.
Styan, J. L. Drama, Stage and Audience. London: Cambridge University Press, 1975.
Suls, Jerry M. ―A Two-Stage Model for the Appreciation of Jokes and Cartoons.‖ The Psychology of Humor: Theoretical Perspectives and Empirical Issues, edited by Jeffrey H. Goldstein & Paul E. McGhee, 83-100. New York: Academic Press, 1972.
Suppa, Silvio. L‟Accademia di Medinacoeli: Fra tradizione investigante e nuova scienza civile. Naples: Instituto italiano per gli studi storici, 1971.
Sutherland, N.M. ―Catherine de Medici: The Legend of the Wicked Italian Queen.‖ The Sixteenth Century Journal 9, no. 2 (1978): 45-56.
Talbot, Michael. ―Tomaso Albinoni‘s Pimpinone and the Comic Intermezzo.‖ Con che Soavità: Studies in Italian Opera, Song, and Dance, 1580-1740, edited by Iain Fenlon and Tim Carter, 229-248. New York: Oxford University Press, 1995.
Talbot, Michael. ―Vivaldi, Antonio.‖ Grove Music Online. Edited by Laura Macy (accessed 14 September, 2008). www.oxfordmusiconline.com.
299
Taruskin, Richard. ―Tradition and Authority.‖ Early Music 20, no. 2 (1992): 311-325.
_____. ―The Pastness of the Present and the Presence of the Past.‖ Text and Act: Essays on Music and Performance, 90-154. New York: Oxford University Press, 1995.
Taruskin, Richard and Piero Weiss, eds. Music in the Western World: A History in Documents. New York: Schirmer Books, 1984.
Terentius, Publius. The Self-Tormentor, translated by Frederick W. Ricord. New York: Charles Scribner‘s Sons, 1885.
Toldo, Pietro. Di Alcuni Scenari Inediti della Commedia dell‟Arte e delle loro Relazioni col Teatro del Molière. Turin: Vincenzo Bona, 1907.
Toldo, Pietro. L‟Oeuvre de Molière et sa Fortune en Itali. Turin: Vincenzo Bona, 1910.
Tolmer, L. ―La leçon de phonétique de J.-B. Du Hamel (1673).‖ Le Français Moderne, vol. VI (1938): 243-251.
Torrini, Maurizio. Tommaso Cornelio e La Ricostruzione Della Scienza. Naples: Guida, 1977.
Troy, Charles E. The Comic Intermezzo: A Study in the History of Eighteenth-Century Italian Opera. Ann Arbor, MI: UMI Research Press, 1979.
_____. ―The Comic Intermezzo in Eighteenth-Century Italian Opera Seria.‖ Ph.D. diss., Harvard University, 1972.
Vaughan, Frederick. ―La Scienza Nuova: Orthodoxy and the Art of Writing.‖ Forum Italicum 2, no. 4 (1968): 332-57.
Veidl, Theodor. Der musikalische Humor bei Beethoven. Leipzig: Breitkopf & Härtel, 1929.
Villari, Rosario. The Revolt of Naples, translated by James Newell and John A. Marino. Cambridge, MA: Polity Press, 1993.
Villari, Rosario. La Rivolta Antispagnola a Napoli: Le Origini (1585-1647). Bari: Laterza, 1967.
Villifranchi, Cosimo. L‟ipocondriaco. Florence: Gio. Filippo Cecchi, 1695.
Voile, C. ―La leçon d‘orthographe du Bourgeois Gentilhomme.‖ Le Français Moderne, vol. III (1935): 55-64.
Waeber, Jaecqueline. ―Jean-Jacques Rousseau‘s ‗unité de mélodie‘.‖ Journal of the American Musicological Society 62, no. 1 (2009): 79-143.
300
Walker, Jonathan. ―Gambling and Venetian Noblemen c.1500-1700.‖ Past & Present 162 (1999): 28-69.
Wallace, Richard W. ―The Genius of Salvator Rosa.‖ The Art Bulletin 47, no. 4 (1965): 471-480.
Wallnig, Josef. ―Der homo ludens in der Oper: Essayistische Anmerkungen zu Spielen auf der Opernbühne.‖ Homo Ludens 10: ―Musik und Spiel,‖ edited by Günther G. Bauer, 17-35. Munich: Musikverlag Bernd Katzbichler, 2000.
Walton, Kendall L. ―Understanding Humor and Understanding Music.‖ The Journal of Musicology 11, no. 1 (1993): 32-44.
Watson, Richard A. ―Malebranche, Models, and Causation.‖ Causation in Early Modern Philosophy: Cartesianism, Occasionalism, and Preestablished Harmony, edited by Steven Nadler, 76-92. University Park, PA: Pennsylvania State University Press, 1993.
Weaver, Robert Lamar. ―Villifranchi, Giovanni Cosimo.‖ New Grove Online, edited by Laura Macy. (Accessed 13 August, 2008). www.oxfordmusiconline.com.
Weaver, Robert Lamar and Leonardo Pinzauti. ―Florence.‖ New Grove Online, edited by Laura Macy. (Accessed 28 July, 2008). www.oxfordmusiconline.com.
Weaver, Robert, and Norma Wright Weaver. A Chronology of Music in the Florentine Theater, 1590-1750: Operas, Prologues, Finales, Intermezzos and Plays with Incidental Music. Detroit: Information Coordinators, 1978.
Weber, F. A. ―Über komische Charakteristik und Karrikatur in praktischen Musikwerken.‖ Allgemeine musikalische Zeitung 3, no. 9 (1800): 137-143.
Webster, James. ―The Eighteenth Century as a Musical Historical Period?‖ Eighteenth-Century Music 1, no. 1 (2004): 47-60.
Weimer, Eric. Opera Seria and the Evolution of Classical Style, 1755-1772. Ann Arbor, MI: UMI Research Press, 1984.
Weiss, Piero. ―Ancora Sulle Origini dell‘Opera Comica: Il Linguaggio.‖ Studi Pergolesiani Vol. I (1986): 124-48.
_____. ―Pier Jacopo Martello on Opera (1715): An Annotated Translation.‖ The Musical Quarterly 66, no. 3 (1980): 378-403.
Weisstein, Ulrich. ―Benedetto Marcellos Il teatro alla moda: Scherz, Satire, Parodie oder tiefere Bedeutung?‖ Opern und Opernfiguren: Festschrift für Joachim Herz, 31-57. Salzburg: Ursula Müller-Speiser, 1989.
301
Wheelock, Gretchen A. Haydn‟s Ingenious Jesting with Art: Contexts of Musical Wit and Humor. New York: Schirmer Books, 1992.
_____. ―Wit, Humor, and the Instrumental Music of Joseph Haydn.‖ Ph.D. diss., Yale University, 1979.
White, E. B. and Katherine S. White, eds. A Subtreasury of American Humor. New York: Modern Library, 1948.
Wild, Barbara, Frank A. Rodden, Wolfgang Grodd and Willibald Ruch. ―Neural Correlates of Laughter and Humour.‖ Brain 126, no. 10 (2003): 2121-2138.
Wolf, Eugene K. The Symphonies of Johann Stamitz: a Study in the Formation of the Classic Style. Utrecht : Bohn, Scheltema & Holkema, 1981.
Woodruff, Paul. The Necessity of Theater: The Art of Watching and Being Watched. Oxford: Oxford University Press, 2008.
Wyer Robert S. and James E. Collins. ―A Theory of Humor Elicitation.‖ Psychological Review 99, no. 4 (1992): 663-688.
Zbikowski, Lawrence M. Conceptualizing Music: Cognitive Structure, Theory and Analysis. Oxford University Press, 2002