By David Deutsch, Erik Tonning, Matthew Feldman
British Literature and Classical Music explores literary representations of classical tune in early twentieth century British writing. protecting authors starting from T.S. Eliot and Virginia Woolf to Aldous Huxley, H.G. Wells and D.H. Lawrence, the ebook examines literature produced in the course of a interval of commonly proliferating philosophical, academic, and performance-oriented musical actions in either private and non-private settings. David Deutsch demonstrates how this proliferation triggered classical track to develop into an more and more very important part of British tradition and a motor vehicle for exploring contentious concerns resembling social mobility, sexual freedoms, and foreign political rivalries.
by using information of live performance courses, cult novels, and letters written through the First and moment global Wars, the publication examines how authors either celebrated and satirized the musicality of the lower-middle and dealing sessions, same-sex needing participants, and cosmopolitan promoters of a shared eu tradition to depict those teams as worthy participants of and - much less usually as threats to – British life.
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Extra resources for British Literature and Classical Music: Cultural Contexts 1870-1945
Plato, however, places a more forceful emphasis on the capacity of music to affect citizens’ virtues in a practical, even physical fashion. As Pater remarks in Plato: The student of The Republic hardly needs to be reminded how all-pervasive in it that [musical] imagery is; how emphatic, in all its speculative theory, in all its practical provisions, is the desire for harmony; how the whole business of education (of gymnastic even, the seeming rival of music) is brought under it; how large a part of the claims of duty, of right conduct, for the perfectly initiated, comes with him to be this, that it sounds so well.
9 Along then with Johnson, Hawtrey, Hullah, Curwen, and Sullivan, Ruskin worked to overturn stereotypes of music as a pursuit for arcane specialists, servants, or disreputable bohemians by emphasizing the social benefits of its calming, harmonizing, moral, and intellectual influences. Music, these men argued, was a means to bring education, morality, and gentility to all social classes. : The immoral imputations of music Although influential individuals, such as Sullivan, Haweis, Hawtrey, and Ruskin, praised the educational and moral benefits of music, some people continued to associate music with immorality and effeminacy.
Associations linking music to effeminacy, sensuality, and even homoeroticism circulated relatively widely in late-nineteenth-century literature among writers such as Oscar Wilde, Marc-André Raffalovich, and Robert Hichens, as I discuss in Chapter 4. Ruskin, too, while praising the intellectual and moral potentials of music, warned that music could, if misused, promote sensuous depravity. In his Queen of the Air (1869), he notes that music, “which of all the arts is most directly ethical in origin,” is the most effective of all instruments of moral instruction; while in the failure and betrayal of its functions, it becomes the subtlest aid of moral degradation.