54. Modernist Poetry and Music: Pound Notes

Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations xi
4. List of Tables xiv
5. Acknowledgements xv
6. Introduction 1
7. 1. Intertextuality, Topic Theory and the Open Text 16
8. 2. Secrets, Technology and Musical Narrative: Remarks on Method 25
9. 3. Derrida, de Man, Barthes, and Music as the Soul of Writing 31
10. Part I: Literature and Music before 1500
11. Introduction 37
12. 4. Music and the Book: The Textualisation of Music and the 48
13. 5. Liturgical Music and Drama 63
14. 6. Intermedial Texts 78
15. 7. Citation and Quotation 86
16. 8. Polytextuality 96
17. 9. Courtly Subjectivities 111
18. 10. Gender: The Art and Hermeneutics of (In)differentiation 125
19. Part II: Literature and Music in the Sixteenth and Seventeenth Centuries
20. Introduction 145
21. 11. Music and the Literature of Science in Seventeenth-Century England 161
22. 12. The ‘Sister’ Arts of Music and Poetry in Early Modern England 167
23. Metrical Forms and Rhythmic Effects: Music, Poetry and Song
24. 13. The Music of Narrative Poetry: Spenser, Shakespeare, Milton 173
25. 14. Against ‘the Music of Poetry’ 183
26. 15. Speaking the Song: Music, Language and Emotion in Shakespeare’s Cymbeline 189
27. Performers and Performance
28. 16. Shakespeare’s Musicians: Status and Hierarchy 195
29. 17. Best-Selling Ballads in Seventeenth-Century England 202
30. 18. Italian Performance Practices in Seventeenth-Century English Song 209
31. Theatre Music and Opera
32. 19. From Tragicomedy to Opera? John Marston’s Antonio and Mellida 219
33. 20. Learning to Lament: Opera and the Gendering of Emotion in Seventeenth-Century Italy 234
34. 21. All-Sung English Opera Experiments in the Seventeenth Century 249
35. Part III: Literature and Music in the Eighteenth Century
36. Introduction 257
37. 22. Thomas Arne and ‘Inferior’ English Opera 277
38. 23. Phaedra and Fausta: Female Transgression and Punishment in Ancient and Early Modern Plays 289
39. 24. ‘When Farce and when Musick can eke out a Play’: Ballad Opera and Theatre’s Commerce 296
40. Oratorio
41. 25. National Aspiration: Samson Agonistes Transformed in Handel’s Samson 304
42. 26. Maurice Greene and the English Church Music Tradition 311
43. Eighteenth-Century Fiction and Music
44. 27. The Eighteenth-Century English Novel and Music: Virtuous Performers and Well-Mannered Listeners 318
45. 28. ‘Dreadful Insanity’: Jane Austen and Musical Performance 327
46. 29. Music, Passion and Parole in Eighteenth-Century French Philosophy and Fiction 333
47. Music, Poetry and Song
48. 30. Shelley’s Musical Gifts 340
49. 31. Performative Enactment vs Experiential Embodiment: Goethe Settings by Zelter, Reichardt and Schubert 349
50. 32. The Musical Poetry of the Graveyard 360
51. 33. Of Mathematics, Marrow-Bones and Marriage: Eighteenth-Century Convivial Song 372
52. Part IV: Literature and Music in the Nineteenth Century
53. Introduction 381
54. 34. Music and the Rise of Narrative 395
55. Opera
56. 35. From English Literature to Italian Opera: A Tangled Web of Translation 405
57. 36. James, Argento and The Aspern Papers: ‘Orpheus and the Maenads’ 415
58. 37. Opera in Nineteenth-Century Italian Fiction: Reading ‘Senso’ 423
59. Nineteenth-Century Fiction and Music
60. 38. Stendhal at La Scala: The Birth of Musical Fandom 429
61. 39. George Eliot, Schubert and the Cosmopolitan Music of Daniel Deronda 437
62. 40. Music in Thomas Hardy’s Fiction: ‘You Must Not Think Me a Hard-Hearted Rationalist’ 447
63. Music, Poetry and Song
64. 41. Music in Romantic and Victorian Poetry 453
65. 42. The Princess and the Tennysons’ Performance of Childhood 462
66. 43. Tchaikovsky’s Songs: Music as Poetry 476
67. 44. Wagner and French Poetry from Nerval to Mallarmé: The Power of Opera Unheard 483
68. Part V: Literature and Music in the Twentieth and Twenty-First Centuries
69. Introduction 493
70. Music and Critical Theory
71. 45. Nelson Goodman: An Analytic Approach to Music and Literature Studies 515
72. 46. Lyotard, Phenomenology and the Shared Paternity of Literature and Music 522
73. Music and Fiction since 1900
74. 47. Music in Proust: The Evolution of an Idea 533
75. 48. Music in Woolf’s Short Fiction 544
76. 49. Listening in to D. H. Lawrence: Music, Body, Feelings 552
77. 50. E. M. Forster and Music: Listening for the Amateur 559
78. 51. Beckett, Music and the Ineffable 565
79. 52. Jean Rhys and the Politics of Sound 570
80. 53. Music in Contemporary Fiction 577
81. Music, Poetry and Song
82. 54. Modernist Poetry and Music: Pound Notes 587
83. 55. Auden’s Imaginary Song 601
84. 56. Ivor Gurney: Embracing and Attacking A. E. Housman 609
85. 57. Music and Contemporary Poetry: Audience, Apology and Silence 616
86. Opera
87. 58. Le Cas Debussy: Layers of Resonance from Literature into Music 624
88. 59. Britten, Austen and Mansfi eld Park 632
89. 60. Tippett, Eliot and Madame Sosostris 638
90. Literature, Pop Music and Sound
91. 61. Worlds of Sound in Louis MacNeice’s Early Radio Plays: ‘Figure in the Music’ 648
92. 62. ‘High Fidelity’, ‘Added Value’ and the Aesthetics of Sound Technology in Literary Modernism 655
93. 63. Words in Popular Songs 664
94. 64. Notes on Soundtracked Fiction: The Past as Future 672
95. Coda
96. 65. Origins and Destinations: A Future for Literature and Music 681
97. Notes on Contributors 690
98. Editorial Advisory Board 694
99. Index 695