The figure of music in nineteenth-century British poetry.0754605477 The figure of music in nineteenth-century British poetry British poetry ( like British literature) is a term rarely used, as almost all poets of the British world (whether of the British Isles, the British Empire, or the United Kingdom) are clearly identified with one of the various nations within those areas. . Ed. by Phyllis Weliver. Ashgate Publishing Co. 2005 266 pages $94.95 Hardcover Music in nineteenth-century Britain ML285 Weliver (English, Wilkes University  This article or section is written like an .Please help [ rewrite this article] from a neutral point of view. Mark blatant advertising for , using . ) presents a collection of 10 essays by international contributors in both English and musicology musicology, systematized study of music and musical style, particularly in the realm of historical research. The scholarly study of music of different historical periods was not practiced until the 18th cent., and few published efforts were rigorously researched. that combines the two fields in an exploration of how music is portrayed in nineteenth-century British poetry and therefore in British culture. Essays discuss national songs published without music, Shelley and Coleridge's depictions of the Aeolian harp Aeolian harp Stringed instrument played by the wind (named for the wind god Aeolus). It is usually a long, narrow, shallow box with soundholes and 10 or 12 strings strung lengthwise between two bridges. , poetry by Blake, George Eliot, Tennyson, Christina and D.G. Rosetti, music and sexuality, and Sappho's poetry in a song cycle by Granville and Helen Bantock. ([c]20062005 Book News, Inc., Portland, OR) |
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