The Idea of Music in Victorian Fiction

Fuller, Sophie; Losseff, Nicky

doi:10.4324/9781315556918

Cited by 14 publications

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“…In this era, music was finally formed regarded as a form of art (Goncalves and Soares 2016). The Romanticism of the nineteenth century was marked by the emergence and flourishing of new music schools (Losseff 2004). Like the Classical period, this era not only created new musical forms.…”

Section: Introductionmentioning

confidence: 99%

A comparative statistical analysis of music styles (seventeenth–nineteenth centuries)

Chang

2020

Interdisciplinary Science Reviews

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This article is devoted to the study of instrumental sonatas by composers of Baroque, Classicism, and Romanticism periods. Within the study, the overall number of notes, number of repeated, lowered and raised notes, maximum interval, and range of musical passage are examined. Six subhypotheses are tested to learn the differences in musical works. The analysis is carried out by Student's t-test and Kruskal-Wallis test. The analysis results manifest that four of the six analysed parameters depend on the era of composing. Therefore, these parameters can be used to identify the period of writing a musical piece.

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Section: Introductionmentioning

confidence: 99%

A comparative statistical analysis of music styles (seventeenth–nineteenth centuries)

Chang

2020

Interdisciplinary Science Reviews

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E. M. Forster and Music

Tsai¹

2021

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This book examines the political resonances of E. M. Forster's representations of music, offering readings of canonical and overlooked works. It reveals music's crucial role in his writing and draws attention to a previously unacknowledged eclecticism and complexity in Forster's ideological outlook. Examining unobtrusive musical allusions in a variety of Forster's writings, this book demonstrates how music provided Forster with a means of reflecting on race and epistemology, material culture and colonialism, literary heritage and national character, hero-worship and war, and gender and professionalism. It unveils how Forster's musical representations are mediated through a matrix of ideas and debates of his time, such as those about evolution, empire, Britain's relationship with the Continent, the rise of fascism, and the emergence of musicology as an academic discipline.

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Opera in the Novel from Balzac to Proust

Newark

2011

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The turning point of Madame Bovary, which Flaubert memorably set at the opera, is only the most famous example of a surprisingly long tradition, one common to a range of French literary styles and sub-genres. In the first book-length study of that tradition to appear in English, Cormac Newark examines representations of operatic performance from Balzac's La Comédie humaine to Proust's À la recherche du temps perdu, by way of (among others) Dumas père's Le Comte de Monte-Cristo and Leroux's Le Fantôme de l'Opéra. Attentive to textual and musical detail alike in the works, the study also delves deep into their reception contexts. The result is a compelling cultural-historical account: of changing ways of making sense of operatic experience from the 1820s to the 1920s, and of a perennial writerly fascination with the recording of that experience.

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The Idea of Music in Victorian Fiction

Cited by 14 publications

References 0 publications

A comparative statistical analysis of music styles (seventeenth–nineteenth centuries)

A comparative statistical analysis of music styles (seventeenth–nineteenth centuries)

E. M. Forster and Music

Opera in the Novel from Balzac to Proust

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