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Imagining Musical Pasts – The Queer Literary Musicology of Vernon Lee, Rosa Newmarch, and Edward Prime–Stevenson

Name: Imagining Musical Pasts – The Queer Literary Musicology of Vernon Lee, Rosa Newmarch, and Edward Prime–Stevenson
Brand: LUP – Clemson University Press
SKU: 9781638040583
Price: 49135 HUF
Availability: InStock

Szerző: Kristen M. Franseen

Nyelv:

Kötés: Kemény kötésű

Kiadó: LUP – Clemson University Press

Elérhetőség: Beszállítói készleten

Küldés 14-21 napon belül

49 135 Ft

An Open Access edition of this book is available on the Liverpool University Press website and the O...

Információk a könyvről

Szerző

Kristen M. Franseen

Nyelv

Angol

Kötés

Könyv - Kemény kötésű

Kiadva

2023

oldal

280

EAN

9781638040583

ISBN

1638040583

Enbook ID

42319434

Kiadó

LUP – Clemson University Press

Súly

666

Méretek

164 x 240 x 15

Teljes leírás

An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library. Imagining Musical Pasts explores the complicated archive of sources, interpretations, and people present in queer writings on opera and symphonic music from ca. 1880–1935. It focuses primarily on the work of three turn-of-the-twentieth-century music scholars—philosopher and horror writer Vernon Lee (pseud. Violet Paget), biographer and program note annotator Rosa Newmarch, and critic and amateur sexologist Edward Prime-Stevenson. Each of the three major sections of the book is organized according to the authorial personae each author adopted in their creative and scholarly work. These categories reflect the particular intellectual commitments of each figure: Lee’s fascination with the failure of written documentation to fully capture the “ghosts” of past musical experience, Newmarch’s reliance on documentary evidence to reveal some of her subject’s secrets and her stated discomfort with the role of the biographer, and Prime-Stevenson’s nostalgic use of repetition, revision, and dedication to “return” to the 1890s decades after the fact. By reframing these ways of knowing as central to each scholar’s individual approach to constructing and interpreting musical and sexual knowledge, the book draws attention to aspects of their work previously neglected or considered only in isolation. Identifying the coded references, careful nuances, and intentional and accidental gaps that make ambiguity an inherent feature of these sources requires an awareness of multiple approaches to music history beyond biography and historiography, intersecting as it does with literary scholarship, art history, the histories of science and medicine, and sound studies. This project proposes some ways in which the histories of sexuality and musicology might be more intertwined than commonly assumed.