Cover

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pp. 1-1

Title Page, Copyright, Dedication

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pp. 2-9

Contents

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pp. vii-viii

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Prelude

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pp. 1-4

Who are they, and what are they up to, these lissome young women in their Fortuny pleats, winding down the golden stairs, carrying their improbable musical instruments out of one enigmatic doorway and into another? Perhaps we should not ask, but simply enjoy their grace and their sinuous progress, ...

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1. Beethoven as Secular Humanist: Ideology and the Ninth Symphony in Nineteenth-Century Criticism

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pp. 5-43

In recent years musicologists have been energetic in their efforts to demonstrate that the history of music in Europe has participated in the history of ideas more widely understood.1 Although instinct suggests that this must be so, exploration of the relationship has been difficult because the attribution of intellectual or political meaning-content ...

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2. Music in a Victorian Mirror: Macmillan’s Magazine in the Grove Years

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pp. 44-84

In this essay I attempt to find a window onto the meanings that music held in English Victorian culture, to understand how musical ideas and information, as well as feelings and attitudes toward music, may permeate a culture— or at least a larger segment of the culture than we customarily encounter when we simply take on faith what the music professionals tell us. ...

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3. “Girling” at the Parlor Piano

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pp. 85-117

In an excruciating climactic scene in the American girls’ novel Elsie Dinsmore, the pious eight-year-old heroine finds herself seated on a piano bench facing an irresolvable moral dilemma. Her father has asked her to play and sing for a gathering of his friends, and Elsie would be more than happy to comply, ...

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4. Biedermeier Domesticity and the Schubert Circle: A Rereading

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pp. 118-152

Writing in a French periodical in the summer of 1840, Richard Wagner set out to encourage enthusiasm for German music, in part by enlightening his readers as to the essential musical and spiritual differences that distinguish the Germans, the French, and the Italians. He elaborates his argument around a core rhetorical image: ...

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5. “Tadpole Pleasures”: Daniel Deronda as Music Historiography

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pp. 153-186

Music was a deep love and a strong force in the personal life of George Eliot— that is, of Marian Evans, whose birthday fell on St. Cecilia’s day; it makes its presence felt in virtually all of her writing.1 “If Eliot’s religion was ‘the religion of humanity,’” writes William Sullivan, “then music was that religion’s most efficacious sacrament.”2 ...

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6. Fictions of the Opera Box

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pp. 187-218

This passage is taken from The Monster, a rather fey and histrionic novel by the eccentric (and comma-prone) Edgar Saltus. Within mere paragraphs it contains all the earmarks of a scene utterly familiar in American fiction around the turn of the twentieth century, a scene set in a box at the opera. ...

Index

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pp. 219-223

Production Notes

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pp. 235-235