By Nicky Losseff, Sophie Fuller
The assumption of track in Victorian Fiction seeks to handle primary questions on the functionality, which means and figuring out of song in nineteenth-century tradition and society, as mediated via works of fiction. The 11 essays the following, written by means of musicologists and literary students, diversity over a big variety of works by way of either canonical writers comparable to Austen, Benson, Carlyle, Collins, Gaskell, Gissing, Eliot, Hardy, du Maurier and Wilde, and less-well-known figures comparable to Gertrude Hudson and Sara Shepherd. each one essay explores various options for studying the belief of tune within the Victorian novel. a few specialise in the measure to which scenes concerning tune light up what song intended to the author and modern performers and listeners, and represent musical tastes of the time and the reception of specific composers. different essays within the quantity learn elements of gender, race, sexuality and sophistication which are illuminated by means of the deployment of track by means of the novelist. the results of those wide-ranging ways to the topic of track and literature is a brand new community of methodologies for the continued research of the tradition and society of nineteenth-century tune as mirrored in that period's literary output.
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The assumption of tune in Victorian Fiction seeks to deal with basic questions about the functionality, which means and realizing of song in nineteenth-century tradition and society, as mediated via works of fiction. The 11 essays right here, written through musicologists and literary students, variety over a big variety of works by means of either canonical writers reminiscent of Austen, Benson, Carlyle, Collins, Gaskell, Gissing, Eliot, Hardy, du Maurier and Wilde, and less-well-known figures corresponding to Gertrude Hudson and Sara Shepherd.
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Extra resources for The Idea of Music in Victorian Fiction (Music in Nineteenth-Century Britain)
However, the outward forms of religion inspire nothing in him: Before dinner, we went into the cathedral. The choir had just finished practising. Certain exceedingly ill-looking men, whose faces bespoke principally sensuality and self-conceit, and whose function was that of praising God, on the sole qualification of good bass and tenor voices, were coming chattering through the choir gates; and behind them a group of small boys were suddenly transforming themselves from angels to sinners, by tearing off their white surplices, and pinching and poking each other noisily as they passed us, with as little reverence as Voltaire himself could have desired.
396) In Mary Barton, Margaret’s spirituality is much more veiled. On the surface, she is quiet, prim, ordinary and constantly plays down her inner life, but during performance it becomes clear that singing is one true key to her innermost being. 51 Margaret’s 51 Significantly, it is the male Will who is inspired to think of spiritual matters after hearing Margaret sing, and female Mary whose mind dwells on the physical. This militates somewhat against Alisa Clapp’s claim that Will ‘sees the sexual woman more than the musician’.
18 On Sheppard see Jessie Middleton, Introduction to CA vii–xii, and [Harriet E. Prescott], ‘Elizabeth Sara Sheppard’, Atlantic Monthly 10 (1862) 498–502. 19 In her introduction to CA, Middleton provides a list of the musicians that the fictional characters are supposed to represent. Some of her suggestions seem far-fetched, while others (including the suggestion that Seraphael represents Felix Mendelssohn) make more sense.