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28 Music
Get accessJane Moore is Reader in English literature at Cardiff University, where she teaches and researches British Romanticism. Her publications include The Feminist Reader (with Catherine Belsey (1989)), Mary Wollstonecraft (1999), and the first scholarly edition of The Satires of Thomas Moore (2003). She has recently completed a monograph on Moore, entitled The Surface Romanticism of Thomas Moore: Poetry, Sociability, and Song in the Romantic Period, a book which examines Moore’s creative practice and argues for his important role in the culture of British and Irish Romanticism. With John Strachan and Duncan Wu, she is editor of the Routledge Historical Resource on Romanticism.
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Published:22 May 2024
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Abstract
‘Music’, writes Thomas De Quincey, ‘is an intellectual or a sensual pleasure, according to the temperament of him who hears it.’ This chapter attends to writing about music in the Romantic period, from the growing print subculture of journalism and reviewing, notably of classical music and the opera, to sociable music-making such as musician Vincent Novello’s ‘exquisite evenings of Mozartian … music’ attended by such notables as John Keats, Leigh Hunt, the Lambs, and the Shelleys, through to the manner in which Romantic writers such as De Quincey, William Hazlitt, and Felicia Hemans engaged imaginatively and intellectually with music, virtuosity, and performance. It demonstrates how Hunt straddles reviewing culture with theorizing, seeing for instance, a ‘union’ of ‘passion and feeling’ with ‘science’ as ‘consti[tuting] the style of Mozart and the other great German composers’. Music, in this interpretation, is, in Charles Lamb’s phrase, an ‘alembic strain’, a spark to fire the imagination.
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