The Edinburgh Companion to Literature and Music

List of Illustrations List of Tables Acknowledgements

Introduction - Delia da Sousa Correa1. Intertextuality, Topic Theory and the Open Text - Michael L. Klein2. Secrets, Technology and Musical Narrative: Remarks on Method - Lawrence Kramer3. Derrida, de Man, Barthes, and Music as the Soul of Writing - Peter Dayan

Part I: Literature and Music before 1500Introduction - Ardis Butterfi eld, Helen Deeming and Elizabeth Eva Leach4. Music and the Book: The Textualisation of Music and the Musicalisation of Text - Helen Deeming5. Liturgical Music and Drama - Nils Holger Petersen6. Intermedial Texts - Maureen Boulton7. Citation and Quotation - Jennifer Saltzstein8. Polytextuality - Suzannah Clark and Elizabeth Eva Leach9. Courtly Subjectivities - Helen J. Swift and Anne Stone10. Gender: The Art and Hermeneutics of (In)differentiation - Elizabeth Eva Leach and Nicolette Zeeman

Part II: Literature and Music in the Sixteenth and Seventeenth Centuries

Introduction - Ros King11. Music and the Literature of Science in Seventeenth-Century England - Penelope Gouk12. The ‘Sister’ Arts of Music and Poetry in Early Modern England - Helen WilcoxMetrical Forms and Rhythmic Effects: Music, Poetry and Song13. The Music of Narrative Poetry: Spenser, Shakespeare, Milton - David Fuller14. Against ‘the Music of Poetry’ - Robert Stagg15. Speaking the Song: Music, Language and Emotion in Shakespeare’s Cymbeline - Erin MinearPerformers and Performance16. Shakespeare’s Musicians: Status and Hierarchy - B. J. Sokol17. Best-Selling Ballads in Seventeenth-Century England - Christopher Marsh18. Italian Performance Practices in Seventeenth-Century English Song - Elizabeth Kenny Theatre Music and Opera19. From Tragicomedy to Opera? John Marston’s Antonio and Mellida - Ros King20. Learning to Lament: Opera and the Gendering of Emotion in Seventeenth-Century Italy - Wendy Heller21. All-Sung English Opera Experiments in the Seventeenth Century - Andrew Pinnock

Part III: Literature and Music in the Eighteenth Century

Introduction - Suzanne Aspden22. Thomas Arne and ‘Inferior’ English Opera - Suzanne Aspden23. Phaedra and Fausta: Female Transgression and Punishment in Ancient and Early Modern Plays - Reinhard Strohm24. ‘When Farce and when Musick can eke out a Play’: Ballad Opera and Theatre’s Commerce - Berta Joncus

Oratorio25. National Aspiration: Samson Agonistes Transformed in Handel’s Samson - Ruth Smith26. Maurice Greene and the English Church Music Tradition - Matthew Gardner

Eighteenth-Century Fiction and Music27. The Eighteenth-Century English Novel and Music: Virtuous Performers and Well-Mannered Listeners - Christopher Wiley28. ‘Dreadful Insanity’: Jane Austen and Musical Performance - Regula Hohl Trillini29. Music, Passion and Parole in Eighteenth-Century French Philosophy and Fiction - Tili Boon Cuillé

Music, Poetry and Song30. Shelley’s Musical Gifts - Gillen D’Arcy Wood31. Performative Enactment vs Experiential Embodiment: Goethe Settings by Zelter, Reichardt and Schubert - Marshall Brown32. The Musical Poetry of the Graveyard - Annette Richards33. Of Mathematics, Marrow-Bones and Marriage: Eighteenth-Century Convivial Song - Christopher Price

Part IV: Literature and Music in the Nineteenth Century

Introduction - Delia da Sousa Correa34. Music and the Rise of Narrative - Lawrence Kramer

Opera35. From English Literature to Italian Opera: A Tangled Web of Translation - Denise P. Gallo36. James, Argento and The Aspern Papers: ‘Orpheus and the Maenads’ - Michael Halliwell37. Opera in Nineteenth-Century Italian Fiction: Reading ‘Senso’ - Cormac Newark

Nineteenth-Century Fiction and Music38. Stendhal at La Scala: The Birth of Musical Fandom - Gillen D’Arcy Wood39. George Eliot, Schubert and the Cosmopolitan Music of Daniel Deronda - Delia da Sousa Correa40. Music in Thomas Hardy’s Fiction: ‘You Must Not Think Me a Hard-Hearted Rationalist’ - John Hughes

Music, Poetry and Song41. Music in Romantic and Victorian Poetry - Francis O’Gorman42. The Princess and the Tennysons’ Performance of Childhood - Ewan Jones and Phyllis Weliver43. Tchaikovsky’s Songs: Music as Poetry - Philip Ross Bullock44. Wagner and French Poetry from Nerval to Mallarmé: The Power of Opera Unheard - Peter Dayan

Part V: Literature and Music in the Twentieth and Twenty-First CenturiesIntroduction - Stephen Benson

Music and Critical Theory45. Nelson Goodman: An Analytic Approach to Music and Literature Studies - Eric Prieto46. Lyotard, Phenomenology and the Shared Paternity of Literature and Music - Anthony Gritten

Music and Fiction since 190047. Music in Proust: The Evolution of an Idea - Mary Breatnach48. Music in Woolf’s Short Fiction - Emma Sutton49. Listening in to D. H. Lawrence: Music, Body, Feelings - Susan Reid50. E. M. Forster and Music: Listening for the Amateur - Will May51. Beckett, Music and the Ineffable - Eric Prieto52. Jean Rhys and the Politics of Sound - Anna Snaith53. Music in Contemporary Fiction - Christin Hoene

Music, Poetry and Song54. Modernist Poetry and Music: Pound Notes - Adrian Paterson55. Auden’s Imaginary Song - T. F. Coombes56. Ivor Gurney: Embracing and Attacking A. E. Housman - Kate Kennedy57. Music and Contemporary Poetry: Audience, Apology and Silence - Will May

Opera58. Le Cas Debussy: Layers of Resonance from Literature into Music - Richard Langham Smith59. Britten, Austen and Mansfi eld Park - Will May60. Tippett, Eliot and Madame Sosostris - Oliver Soden

Literature, Pop Music and Sound61. Worlds of Sound in Louis MacNeice’s Early Radio Plays: ‘Figure in the Music’ - Claire Davison62. ‘High Fidelity’, ‘Added Value’ and the Aesthetics of Sound Technology in Literary Modernism - Sam Halliday63. Words in Popular Songs - Dai Griffiths64. Notes on Soundtracked Fiction: The Past as Future - Justin St Clair

Coda65. Origins and Destinations: A Future for Literature and Music - Michael L. Klein

Notes on Contributors Editorial Advisory Board Index