Cover; Contents; Acknowledgments; Abbreviations; Introduction; I Woolf's Musical Ear; II Interdisciplinary Methods; III "Hoity te, hoity te, hoity te ...": Tripartite Woolf; Part 1 An Emerging Earcon: Woolf's Singers; 1 Finding a Voice; I Resonant Beginnings: The Voyage Out; II Sonic Networks in Jacob's Room; III Urban and Rural Interrelations in Mrs. Dalloway and To the Lighthouse; 2 The Earcon Reproduces; I "And what is a cry?": The Waves; II Integrating the Earcon in The Years; III Aural Multiplicity in Between the Acts; Part 2 Profound Listening and Acousmatics; 3 Initial Apperceptions

I Materialized Sonics and Listening Subjects in The Voyage OutII Involuntary, Yet Profound, Listening in Night and Day; III International Acousmatics: War and Its Veterans in Jacob's Room and Mrs. Dalloway; 4 Bodies and Voices; I To the Lighthouse and Family Acousmatics; II The Gender of Listening in The Waves; III "Hush! ... Somebody's listening": The Years; IV Heterogeneous Reattachments in Between the Acts; Part 3 Music as Performance in Woolf's Fiction; 5 Performing Women; I Women at the Piano in the First Three Novels; II Performing Personal History in The Years

III Historical Reenactments: Between the Acts6 The Performativity of Language: The Waves Musicalized; I Word Music: "(The rhythm is the main thing in writing)"; II The Case of Ludwig van Beethoven; III Transforming Beethoven's Opus 130 and 133 into Words; Coda: A Meditation on Rhythm; Notes; Works Cited; Index