Women Musicians in Victorian Fiction, 1860-1900 Representations of Music, Science and Gender in the Leisured Home = Representations of Music, Science and Gender in the Leisured Home

Over the first half of the nineteenth century, writers like Austen and Brontë confined their critiques to satirical portrayals of women musicians. Later, however, a marked shift occurred with the introduction of musical female characters where were positively to be feared. First published in 2000, this book examines the reasons for this shift in representations of female musicians in Victorian fiction from 1860-1900. Focusing on changing gender roles, musical practices and the framing of both of these scientific discourses, the book explores how fictional notions of female musicians diverged from actual trends in music making. This book will be of interest to those studying nineteenth century literature and music. "For nineteenth-century society, music was a means by which women could display their gentility, education, their physical grace and express their 'selves'. Novelists were quick to employ this recognized way for women to project their personalities, and fictional scenes featuring women musicians served to reinforce or explore and challenge traditional views of the place of both women and music in society." "Over the first half of the century, writers like Austen and Bronte confined their critiques to satirical portrayals of women musicians. Later, however, a marked shift occurred with the introduction of musical female characters who were positively to be feared. The stark boundaries between the musical 'angel' and the musical 'demon' became increasingly blurred, making more complex the fictional depiction of gender identities and sexuality." "Phyllis Weliver examines the reasons for this shift in her investigation of representations of female musicians in Victorian fiction from 1860-1900. Focusing on changing gender roles, musical practices and the framing of both of these in scientific discourses, the book explores how fictional notions of women musicians diverged from actual trends in music making."--Jacket This title was first publushed in 2000. Phyllis Weliver investigates representations of female musicians in British novels from 1860 to 1900 with regard to changing gender roles, musical practices and scientific discourses. During this time women were portrayed in complex and nuanced ways as they played and sang in family drawing rooms. Women in the 19th century were judged on their manners, appearance, language and other accomplishments such as sewing or painting, but music stood out as an area where women were encouraged to take centre stage and demonstrate their genteel education, graceful movements and self-expression. However within the novels of the Victorian were begining to move away from portraying the musical accomplishments of middle- and upper-class women as feminine and worthwhile towards depicting musical women as truly dangerous. This book explores the reasons for this reaction and the way labels and images were constructed to show extremes of behaviour, and it looks at whether the fiction was depicting the real trends in music at the time. Cover Half Title Title Copyright Dedication Original Title Original Copyright Contents Acknowledgements List of Illustrations Introduction 1 Musical Women in England, 1860-1900 2 Harmony and Discord in the Self: Music, Mesmerism and Mental Science 3 Female Power in Sensation Fiction 4 Dissonance and Fugue in The Mystery of Edwin Drood 5 George Eliot: Melody, Evolution and Aesthetics 6 Recapitulation and Natural Selection in The Mill on the Floss 7 Sexual Selection and Music: Middlemarch and Daniel Deronda Conclusion: Trilby Appendix A: Source Readings Appendix B: Glossary of Musical Terms Bibliography Index