Articles

Bryan Gilliam

Introduction
South Atlantic Quarterly 104(1): 1-5 (2005); DOI:10.1215/00382876-104-1-1 [PDF]  

Kim H. Kowalke

Seven Degrees of Separation: Music, Text, Image, and Gesture in The Seven Deadly Sins: For Giselher Schubert on his sixtieth birthday
South Atlantic Quarterly 104(1): 7-62 (2005); DOI:10.1215/00382876-104-1-7 [PDF]  

Linda Hutcheon and Michael Hutcheon

The "Phenomenal Image" in Opera
South Atlantic Quarterly 104(1): 63-77 (2005); DOI:10.1215/00382876-104-1-63 [PDF]  

Elizabeth Paley

Zwischenreden für Zwischenakte: Egmont and the Melodramatic Supplement
South Atlantic Quarterly 104(1): 79-97 (2005); DOI:10.1215/00382876-104-1-79 [PDF]  

Annegret Fauser

Visual Pleasures—Musical Signs: Dance at the Paris Opéra
South Atlantic Quarterly 104(1): 99-121 (2005); DOI:10.1215/00382876-104-1-99 [PDF]  

Tamara Levitz

Syvilla Fort's Africanist Modernism and John Cage's Gestic Music: The Story of Bacchanale
South Atlantic Quarterly 104(1): 123-149 (2005); DOI:10.1215/00382876-104-1-123 [PDF]  

Neil Lerner

"Look at that big hand move along": Clocks, Containment, and Music in High Noon
South Atlantic Quarterly 104(1): 151-173 (2005); DOI:10.1215/00382876-104-1-151 [PDF]  

Notes on Contributors
South Atlantic Quarterly 104(1): 175-176 (2005); DOI:10.1215/00382876-104-1-175 [PDF]  

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