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Adriana L. Varga. Virginia Woolf and Music
Virginia Woolf & Music
Contents
Preface
NOTES
Acknowledgments
Abbreviations
Introduction
LITERATURE AND MUSIC
MUSIC AND MODERNISM
SIGNIFICANT FORM: MUSICAL STRUCTURE IN WOOLF’S SHORT FICTION
NOTES
WORKS CITED
ONE. Bloomsbury and Music
NOTES
WORKS CITED
TWO. Virginia Woolf and Musical Culture
WORKS CITED
PART TWO. Ut Musica Poesis: Music and the Novel
THREE. Music, Language, and Moments of Being. FROM THE VOYAGE OUT TO BETWEEN THE ACTS
RACHEL VINRACE AND THE VOYAGE OUT: WORD AND MUSIC
FROM THE VOYAGE OUT TO THE WAVES: THE NOVEL AS MUSICAL CONVERSATION
BETWEEN THE ACTS: MUSIC, LANGUAGE, AND COMMUNITY
APPENDIX: THEME AND VARIATION IN THE WAVES – AN EXAMPLE. Part 1: “The shock of meeting.”
Part 2: Is the self “fixed irrevocably”? (158) Themes 1, 2, 3 restated
Part 3: The moment captured, time has stopped in the looking glass, death
Part 4: A walk through the gardens at Hampton Court; recovering the sense of time
Part 5: Conclusions
NOTES
WORKS CITED
FOUR. The Birth of Rachel Vinrace from the Spirit of Music
THE CHORIC SONG AND ITS MUSIC
THE DIONYSIAN IN MUSIC
THE BIRTH OF RACHEL VINRACE FROM THE SPIRIT OF MUSIC
NOTES
WORKS CITED
FIVE “The Worst of Music” LISTENING AND NARRATIVE IN NIGHT AND DAY AND “THE STRING QUARTET”
NOTES
WORKS CITED
SIX. Flying Dutchmen, Wandering Jews. ROMANTIC OPERA, ANTI-SEMITISM, AND JEWISH MOURNING INMRS. DALLOWAY
FROM ROMANTIC OPERA TO MODERNIST NOVEL
“JUDAISM IN MUSIC” AND MUSICAL JEWS
THE JEWISH WAY IN DEATH AND MOURNING
NOTES
WORKS CITED
SEVEN. The Efficacy of Performance. MUSICAL EVENTS IN THE YEARS
CULTURAL ANALYSIS
MUSICAL PERFORMANCE
GREEK THEATRICAL CORRELATIONS
THE “ETERNAL WALTZ” THAT IS THE YEARS
NOTES
EIGHT. Sounding the Past. THE MUSIC IN BETWEEN THE ACTS
II
III
IV
V
NOTES
WORKS CITED
NINE. Broken Music, Broken History. SOUNDS AND SILENCE IN VIRGINIA WOOLF’S BETWEEN THE ACTS
COMPOSITION: A COMPLETE WHOLE AND THE UNREST PROBLEM (WOOLF AND SCHOENBERG, PRIME SERIES)
SOUNDS AND RHYTHMS: WOOLF AND STRAVINSKY
THE LANGUAGE OF THE UNRECORDED: WOOLF AND SCHOENBERG, #2
“THE TREES WITH THEIR MANY-TONGUED MUCH SYLLABLING”: THE FORGING OF THE PRIMEVAL VOICE
CODA: ART AND THE SOCIUM
NOTES
WORKS CITED
TEN “Shivering Fragments” MUSIC, ART, AND DANCE IN VIRGINIA WOOLF’S WRITING
THE AURALITY OF WOOLF’S NOVELS
PERUGIA 1908
NIJINSKY
THE “MUSIC” OF FRAGMENTATION AND ACCELERATION
MOTOR CARS AND AEROPLANES
BLOOMSBURY AND VORTICISM
SPEED CONTAINED IN FORM AND RELEASED IN EXPLOSIVE FORCE
“THE STRING QUARTET” AND LES NOCES
WORDS WRIT IN AIR
C. R. W. NEVINSON, PERCUSSIONIST AND PAINTER OF WAR
NOTES
WORKS CITED
ELEVEN. Chiming the Hours. A PHILIP GLASS SOUNDTRACK
ANALYSIS OF THE OPENING SCENES
NOTES
WORKS CITED
Contributors
Index
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Virginia Woolf & Music
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21. Gotthold Ephrain Lessing, for instance, challenged Horace’s “Ut pictura poesis” (Ars poetica 333–65) and was himself challenged by some of his contemporaries. Herder in particular disapproved of the narrowness of Lessing’s taste and his “rigid segregation of temporal from spatial,” while Diderot, and later Wagner and others, devised “serious arguments concerning the unity of the arts” (Albright 10, 8).
22. Elicia Clements’s “Virginia Woolf, Ethel Smyth, and Music” and “Transforming Musical Sounds in Words: Narrative Method in Virginia Woolf’s The Waves” appeared in separate journals: College Literature and, respectively, Narrative. Emma Sutton’s “‘Within a Space of Tears’: Music, Writing, and the Modern in Virginia Woolf’s The Voyage Out” appeared in Music and Literary Modernism; her chapter, “Music,” in Virginia Woolf in Context; as well as “Shell Shock and Hysterical Fugue, or why Mrs Dalloway Likes Bach,” appeared in Literature and Music of the First World War. Joyce Kelley’s “Virginia Woolf and Music” is included in The Edinburgh Companion to Virginia Woolf and the Arts. Emilie Crapoulet’s “Beyond the Boundaries of Language: Music in Virginia Woolf’s ‘The String Quartet’” appeared in Journal of the Short Story in English, while her wonderful analysis Virginia Woolf: A Musical Life was published in the Bloomsbury Heritage Series by Cecil Woolf. Tracey Sherard published “‘Parcival in the forest of gender’: Wagner, Homosexuality, and The Waves,” and Joycelyn Slovak published “Mrs. Dalloway and Fugue: ‘Songs without Words, Always the Best . . .‘” at Unsaid (http://www.unsaidmag.com/display_lit.php?issue=2&file_url=slovak.html/). Three groundbreaking studies that began the shift in Woolf and music scholarship are Jane Marcus’s “Enchanted Organs, Magic Bells: Night and Day as Comic Opera,” in Virginia Woolf Revaluation and Continuity; Melba Cuddy-Keane’s “Virginia Woolf, Sound Technologies, and the New Aurality,” in Virginia Woolf in the Age of Mechanical Reproduction, which discusses, among other things, the challenge of “listening” to a book and differences between the linguistic representation and conceptualization of sound; and Pamela Caughie’s “Virginia Woolf: Radio, Gramophone, Broadcasting,” in The Edinburgh Companion to Virginia Woolf and the Arts. Peter Jacobs’s “The Second Violin Tuning in the Ante-room: Virginia Woolf and Music” is an exceptionally brilliant piece dealing with music in an otherwise visual arts–oriented set of essays, The Multiple Muses of Virginia Woolf, edited by Diane F. Gillespie. Two of the most fruitful earliest articles on the topic – Gerald Levin’s “The Musical Style of The Waves” (1983), and Harold Fromm’s “To the Lighthouse: Music and Sympathy” (1968) – are also well worth mentioning in this context.
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