LEADER 00000cam  2200649Ii 4500 
001    ocn316327933 
003    OCoLC 
005    20160518075157.9 
006    m     o  d         
007    cr cnu---unuuu 
008    090319s2008    ne      ob    000 0 eng d 
019    649903217|a764535926 
020    9781441603432|q(electronic bk.) 
020    1441603433|q(electronic bk.) 
035    (OCoLC)316327933|z(OCoLC)649903217|z(OCoLC)764535926 
040    N$T|beng|epn|erda|cN$T|dOCLCQ|dE7B|dOCLCQ|dOCLCO|dOCLCQ
       |dCOO|dDKDLA|dOCLCF|dOCLCO|dOCLCQ|dOCLCO|dOCL 
043    e-uk--- 
049    GTKE 
050  4 PN56.M87|bH64 2008eb 
082 04 809/.933578|222 
100 1  Hohl Trillini, Regula. 
245 14 The gaze of the listener :|bEnglish representations of 
       domestic music-making /|cRegula Hohl Trillini. 
264  1 Amsterdam :|bRodopi,|c2008. 
300    1 online resource (viii, 249 pages). 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
490 1  Word and music studies ;|v10 
504    Includes bibliographical references. 
520 8  This study analyzes representations of music in fiction, 
       drama and poetry as well as normative texts in order to 
       contribute to a gendered cultural history of domestic 
       performance. From the Tudors to the First World War, 
       playing the harpsichord or piano was an indispensable 
       asset of any potential bride, and education manuals as 
       well as courtship plots and love poems pay homage to this 
       social function of music. The Gaze of the Listener charts 
       the fundamental tension which determines all these texts: 
       while music is warmly recommended in conduct books and 
       provides standard metaphors like?concord? and?harmony? for
       virtuous love, a profound anxiety about its sensuous 
       inarticulateness and implicit femininity unsettles all 
       descriptions of actual music-making. Along with repressive
       plot lines, the privileging of visual perception over 
       musical appreciation is the most telling indicator of this
       problem. The Gaze of the Listener is the first coherent 
       account of this discourse and its historical continuity 
       from the Elizabethan to the Edwardian period and provides 
       a significant background for more narrowly focused 
       research. Its uniquely wide database contextualizes 
       numerous?minor? works with classics without limiting 
       itself to the fringe phenomenon of?musician novels?. 
       Including a fresh account of the novels of Jane Austen in 
       their contemporary (rather than Victorian) context, the 
       book is of interest to scholars and students in gender 
       studies, English literature, cultural studies and 
       musicology. 
588 0  Print version record. 
600 10 Austen, Jane,|d1775-1817|xKnowledge|xMusic. 
600 10 Shakespeare, William,|d1564-1616|xKnowledge|xMusic. 
600 10 Austen, Jane,|d1775-1817|vMusic|xKnowledge. 
600 17 Austen, Jane,|d1775-1817.|2fast|0(OCoLC)fst00032929 
600 17 Shakespeare, William,|d1564-1616.|2fast
       |0(OCoLC)fst00029048 
648  7 1600-1899|2fast 
650  0 Music and literature|xHistory|y17th century. 
650  0 Music and literature|xHistory|y18th century. 
650  0 Music and literature|xHistory|y19th century. 
650  0 Music|xSocial aspects|zGreat Britain. 
650  0 Music in literature. 
650  7 TRAVEL|xSpecial Interest|xLiterary.|2bisacsh 
650  7 LITERARY CRITICISM|xGeneral.|2bisacsh 
650  7 Art.|2fast|0(OCoLC)fst00815177 
650  7 Music and literature.|2fast|0(OCoLC)fst01030479 
650  7 Music in literature.|2fast|0(OCoLC)fst01030552 
650  7 Music|xSocial aspects.|2fast|0(OCoLC)fst01030444 
651  7 Great Britain.|2fast|0(OCoLC)fst01204623 
655  7 History.|2fast|0(OCoLC)fst01411628 
655  7 Music.|2fast|0(OCoLC)fst01423855 
776 08 |iPrint version:|aHohl Trillini, Regula.|tGaze of the 
       listener.|dAmsterdam : Rodopi, 2008|z9789042024892
       |z9042024895|w(OCoLC)298777211 
830  0 Word and music studies ;|v10. 
914    ocn316327933 
994    93|bGTK