restricted access   Volume 21, 2017

Table of Contents

Letter from the Editor

pp. vii-ix
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poem for far too many brilliant scholars, not enough of whom are with us today

pp. 1-2
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“Votes and Notes”: Exhibiting and Contesting Gender in the Orchestra of the New Zealand and South Seas Exhibition (1889–1890)

pp. 3-42
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“A Dreadful Bit of Silliness”: Feminine Frivolity and Ella Fitzgerald’s Early Critical Reception

pp. 43-65
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Fort Greene

pp. 66-71
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A Lady-in-Waiting’s Account of Marie Antoinette’s Musical Politics: Women, Music, and the French Revolution

pp. 72-100
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A Rondo for the Harp: Sophia Dussek (1775–1847)

pp. 101-106
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(Re)Considering the Priestess: Clara Schumann, Historiography, and the Visual

pp. 107-140
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After Orlando

pp. 141-145
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Writing Gender Identity through Musical Metaphor in Dorothy L. Sayers’s Gaudy Night

pp. 146-168
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Coco Chanel Said . . .

pp. 169-174
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“Luck, Classic Coke, and the Love of a Good Man”: The Politics of Hope and AIDS in Two Songs by Michael Callen

pp. 175-198
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Reviews

Voicing Girlhood in Popular Music: Performance, Authority, Authenticity ed. by Jacqueline Warwick, Allison Adrian (review)

pp. 199-202
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Negotiated Moments: Improvisation, Sound, and Subjectivity ed. by Gillian Siddall, Ellen Waterman (review)

pp. 202-208
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