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Author: Sophie Fuller
Publisher: Ashgate Publishing, Ltd.
ISBN: 0754681726
Category : History
Languages : en
Pages : 318
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Book Description
The Idea of Music in Victorian Fiction seeks to address fundamental questions about the function, meaning and understanding of music in nineteenth-century culture and society, as mediated through works of fiction. The eleven essays here, written by musicologists and literary scholars, range over a wide selection of works by both canonical writers such as Austen, Benson, Carlyle, Collins, Gaskell, Gissing, Eliot, Hardy, du Maurier and Wilde, and less-well-known figures such as Gertrude Hudson and Sara Shepherd. Each essay explores different strategies for interpreting the idea of music in the Victorian novel. Some focus on the degree to which scenes involving music illuminate what music meant to the writer and contemporary performers and listeners, and signify musical tastes of the time and the reception of particular composers. Other essays in the volume examine aspects of gender, race, sexuality and class that are illuminated by the deployment of music by the novelist. The result of these wide-ranging approaches to the subject of music and literature is a new network of methodologies for the continuing investigation of the culture and society of nineteenth-century music as reflected in that period's literary output.
Author: Sophie Fuller
Publisher: Ashgate Publishing, Ltd.
ISBN: 0754681726
Category : History
Languages : en
Pages : 318
Get Book Here
Book Description
The Idea of Music in Victorian Fiction seeks to address fundamental questions about the function, meaning and understanding of music in nineteenth-century culture and society, as mediated through works of fiction. The eleven essays here, written by musicologists and literary scholars, range over a wide selection of works by both canonical writers such as Austen, Benson, Carlyle, Collins, Gaskell, Gissing, Eliot, Hardy, du Maurier and Wilde, and less-well-known figures such as Gertrude Hudson and Sara Shepherd. Each essay explores different strategies for interpreting the idea of music in the Victorian novel. Some focus on the degree to which scenes involving music illuminate what music meant to the writer and contemporary performers and listeners, and signify musical tastes of the time and the reception of particular composers. Other essays in the volume examine aspects of gender, race, sexuality and class that are illuminated by the deployment of music by the novelist. The result of these wide-ranging approaches to the subject of music and literature is a new network of methodologies for the continuing investigation of the culture and society of nineteenth-century music as reflected in that period's literary output.
Author: Nicky Losseff
Publisher: Routledge
ISBN: 1317028066
Category : Music
Languages : en
Pages : 318
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Book Description
The Idea of Music in Victorian Fiction seeks to address fundamental questions about the function, meaning and understanding of music in nineteenth-century culture and society, as mediated through works of fiction. The eleven essays here, written by musicologists and literary scholars, range over a wide selection of works by both canonical writers such as Austen, Benson, Carlyle, Collins, Gaskell, Gissing, Eliot, Hardy, du Maurier and Wilde, and less-well-known figures such as Gertrude Hudson and Elizabeth Sara Sheppard. Each essay explores different strategies for interpreting the idea of music in the Victorian novel. Some focus on the degree to which scenes involving music illuminate what music meant to the writer and contemporary performers and listeners, and signify musical tastes of the time and the reception of particular composers. Other essays in the volume examine aspects of gender, race, sexuality and class that are illuminated by the deployment of music by the novelist. Together with its companion volume, The Figure of Music in Nineteenth-Century British Poetry edited by Phyllis Weliver (Ashgate, 2005), this collection suggests a new network of methodologies for the continuing cultural and social investigation of nineteenth-century music as reflected in that period's literary output.
Author: Phyllis Weliver
Publisher: Routledge
ISBN: 1317195256
Category : Literary Criticism
Languages : en
Pages : 353
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Book Description
Over the first half of the nineteenth century, writers like Austen and Brontë confined their critiques to satirical portrayals of women musicians. Later, however, a marked shift occurred with the introduction of musical female characters where were positively to be feared. First published in 2000, this book examines the reasons for this shift in representations of female musicians in Victorian fiction from 1860-1900. Focusing on changing gender roles, musical practices and the framing of both of these scientific discourses, the book explores how fictional notions of female musicians diverged from actual trends in music making. This book will be of interest to those studying nineteenth century literature and music.
Author: Phyllis Weliver
Publisher: Routledge
ISBN: 1351544543
Category : Music
Languages : en
Pages : 281
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Book Description
How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music's place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination. Like its companion volume, The Idea of Music in Victorian Fiction (Ashgate, 2004) edited by Sophie Fuller and Nicky Losseff, this book provides a meeting place for literary studies and musicology, with contributions by scholars situated in each field. Areas investigated in these essays include the Romantic interest in national musical traditions; the figure of the Eolian harp in the poetry of Coleridge and Shelley; the recurring theme of music in Blake's verse; settings of Tennyson by Parry and Elgar that demonstrate how literary representations of musical ideas are refigured in music; George Eliot's use of music in her poetry to explore literary and philosophical themes; music in the verse of Christina and Dante Gabriel Rossetti; the personification of lyric (Sappho) in a song cycle by Granville and Helen Bantock; and music and sexual identity in the poetry of Wilde, Symons, Michael Field, Beardsley, Gray and Davidson.
Author: Michael Allis
Publisher: Boydell Press
ISBN: 1843837307
Category : Literary Criticism
Languages : en
Pages : 334
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Book Description
Despite several recent monographs, editions and recordings devoted to the reassessment of British music in the late nineteenth and early twentieth century, some negative perceptions still remain--particularly a sense that British composers in this period somehow lacked literary credentials. British Music and Literary Context counters this perception by showing that these composers displayed a real confidence and assurance in refiguring literary texts in their music. The book explores how a literary context might offer modern audiences and listeners a 'way in' to appreciate specific works that have traditionally been viewed as problematic. Each chapter of this interdisciplinary study juxtaposes a British composer with a particular literary counterpart or genre. Issues highlighted in the book include the vexed relationship between words and music, the refiguring of literary narratives as musical structures, and the ways in which musical settings or representations of literary texts might be seen as critical 'readings' of those texts. Anyone interested in nineteenth-century British music, literature and Victorian studies will enjoy this thought-provoking and perceptive book.
Author: Sandra Hagan
Publisher: Routledge
ISBN: 1351893505
Category : Literary Criticism
Languages : en
Pages : 396
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Book Description
Although previous scholarship has acknowledged the importance of the visual arts to the Brontës, relatively little attention has been paid to the influence of music, theatre, and material culture on the siblings' lives and literature. This interdisciplinary collection presents new research on the Brontës' relationship to the wider world of the arts, including their relationship to the visual arts. The contributors examine the siblings' artistic ambitions, productions, and literary representations of creative work in both amateur and professional realms. Also considered are re-envisionings of the Brontës' works, with an emphasis on those created in the artistic media the siblings themselves knew or practiced. With essays by scholars who represent the fields of literary studies, music, art, theatre studies, and material culture, the volume brings together the strongest current research and suggests areas for future work on the Brontës and their cultural contexts.
Author: Phyllis Weliver
Publisher: Routledge
ISBN: 1351544535
Category : Music
Languages : en
Pages : 453
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Book Description
How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music's place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination. Like its companion volume, The Idea of Music in Victorian Fiction (Ashgate, 2004) edited by Sophie Fuller and Nicky Losseff, this book provides a meeting place for literary studies and musicology, with contributions by scholars situated in each field. Areas investigated in these essays include the Romantic interest in national musical traditions; the figure of the Eolian harp in the poetry of Coleridge and Shelley; the recurring theme of music in Blake's verse; settings of Tennyson by Parry and Elgar that demonstrate how literary representations of musical ideas are refigured in music; George Eliot's use of music in her poetry to explore literary and philosophical themes; music in the verse of Christina and Dante Gabriel Rossetti; the personification of lyric (Sappho) in a song cycle by Granville and Helen Bantock; and music and sexual identity in the poetry of Wilde, Symons, Michael Field, Beardsley, Gray and Davidson.
Author: Phyllis Weliver
Publisher: Routledge
ISBN: 1317195248
Category : Literary Criticism
Languages : en
Pages : 382
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Book Description
Over the first half of the nineteenth century, writers like Austen and Brontë confined their critiques to satirical portrayals of women musicians. Later, however, a marked shift occurred with the introduction of musical female characters where were positively to be feared. First published in 2000, this book examines the reasons for this shift in representations of female musicians in Victorian fiction from 1860-1900. Focusing on changing gender roles, musical practices and the framing of both of these scientific discourses, the book explores how fictional notions of female musicians diverged from actual trends in music making. This book will be of interest to those studying nineteenth century literature and music.
Author: Katherine O'Callaghan
Publisher: Routledge
ISBN: 1351865889
Category : Literary Criticism
Languages : en
Pages : 506
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Book Description
This volume explores the role of music as a source of inspiration and provocation for modernist writers. In its consideration of modernist literature within a broad political, postcolonial, and internationalist context, this book is an important intervention in the growing field of Words and Music studies. It expands the existing critical debate to include lesser-known writers alongside Joyce, Woolf, and Beckett, a wide-ranging definition of modernism, and the influence of contemporary music on modernist writers. From the rhythm of Tagore’s poetry to the influence of jazz improvisation, the tonality of traditional Irish music to the operas of Wagner, these essays reframe our sense of how music inspired Literary Modernism. Exploring the points at which the art forms of music and literature collide, repel, and combine, contributors draw on their deep musical knowledge to produce close readings of prose, poetry, and drama, confronting the concept of what makes writing "musical." In doing so, they uncover commonalities: modernist writers pursue simultaneity and polyphony, evolve the leitmotif for literary purposes, and adapt the formal innovations of twentieth-century music. The essays explore whether it is possible for literature to achieve that unity of form and subject which music enjoys, and whether literary texts can resist paraphrase, can be simply themselves. This book demonstrates how attention to the role of music in text in turn illuminates the manner in which we read literature.
Author: Cecilia Bjorken-Nyberg
Publisher: Routledge
ISBN: 1317021223
Category : Literary Criticism
Languages : en
Pages : 223
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Book Description
In her study of music-making in the Edwardian novel, Cecilia Björkén-Nyberg argues that the invention and development of the player piano had a significant effect on the perception, performance and appreciation of music during the period. In contrast to existing devices for producing music mechanically such as the phonograph and gramophone, the player piano granted its operator freedom of individual expression by permitting the performer to modify the tempo. Because the traditional piano was the undisputed altar of domestic and highly gendered music-making, Björkén-Nyberg suggests, the potential for intervention by the mechanical piano's operator had a subversive effect on traditional notions about the status of the musical work itself and about the people who were variously defined by their relationship to it. She examines works by Dorothy Richardson, E.M. Forster, Henry Handel Richardson, Max Beerbohm and Compton Mackenzie, among others, contending that Edwardian fiction with music as a subject undermined the prevalent antithesis, expressed in contemporary music literature, between a nineteenth-century conception of music as a means of transcendence and the increasing mechanisation of music as represented by the player piano. Her timely survey of the player piano in the context of Edwardian commercial and technical discourse draws on a rich array of archival materials to shed new light on the historically conditioned activity of music-making in early twentieth-century fiction.
