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Table of Contents
Introduction. The Old Queer Musicology
I. Vernon Lee's Ghostly Musical Encounters. "The more or less remote Past" : Imagining Castrati and Overhearing the Eighteenth Century ; "A gallery of dramatis personae with whom I often feel very intimate" : Musicological Authority and Curious Intimacies in Music and its Lovers and "A Wicked Voice"
II. Rosa Newmarch's Musical Detective Work. "An autobiographical interest for which there is no real warranty" : Gossip, Evidence, and Speculation in Newmarch's Tchaikovsky Scholarship ; "Her own song to sing" : Friendship and Romantic Ambiguity in Mary Wakefield and the Sonnets
III. Edward Prime-Stevenson's Secret Identities and Musical Nostalgia. "The ultimate voices in a homosexual message by symphonic music" : The Intersexes and Long-Haired Iopas as Hidden Musicological Sexology ; "Once : But Not Twice"? Repertory as the Culmination of Nostalgic Wanderings
Conclusions. Are Musicologists Human?
I. Vernon Lee's Ghostly Musical Encounters. "The more or less remote Past" : Imagining Castrati and Overhearing the Eighteenth Century ; "A gallery of dramatis personae with whom I often feel very intimate" : Musicological Authority and Curious Intimacies in Music and its Lovers and "A Wicked Voice"
II. Rosa Newmarch's Musical Detective Work. "An autobiographical interest for which there is no real warranty" : Gossip, Evidence, and Speculation in Newmarch's Tchaikovsky Scholarship ; "Her own song to sing" : Friendship and Romantic Ambiguity in Mary Wakefield and the Sonnets
III. Edward Prime-Stevenson's Secret Identities and Musical Nostalgia. "The ultimate voices in a homosexual message by symphonic music" : The Intersexes and Long-Haired Iopas as Hidden Musicological Sexology ; "Once : But Not Twice"? Repertory as the Culmination of Nostalgic Wanderings
Conclusions. Are Musicologists Human?