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The virtuous virtuosa: Women at the...

Morgan, Elizabeth Natalie.

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The virtuous virtuosa: Women at the pianoforte in England, 1780--1820.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The virtuous virtuosa: Women at the pianoforte in England, 1780--1820./
作者:	Morgan, Elizabeth Natalie.
面頁冊數:	199 p.
附註:	Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: 1833.
Contained By:	Dissertation Abstracts International70-06A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3364115
ISBN:	9781109238631

The virtuous virtuosa: Women at the pianoforte in England, 1780--1820.
Morgan, Elizabeth Natalie.

The virtuous virtuosa: Women at the pianoforte in England, 1780--1820. - 199 p.

Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: 1833.

Thesis (Ph.D.)--University of California, Los Angeles, 2009.

This dissertation examines music making among female amateur pianists in Britain between 1780 and 1820. By looking at repertoire that amateur women pianists studied, as well as circumstances of their musical educations and characteristics of their performances, I argue that women pianists had a significant impact on the history of keyboard writing and performance. In particular, they altered notions of keyboard virtuosity.

ISBN: 9781109238631Subjects--Topical Terms:

516178
Music.

The virtuous virtuosa: Women at the pianoforte in England, 1780--1820.
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245 1 4 $a The virtuous virtuosa: Women at the pianoforte in England, 1780--1820.
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500 $a Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: 1833.
500 $a Adviser: Susan McClary.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2009.
520 $a This dissertation examines music making among female amateur pianists in Britain between 1780 and 1820. By looking at repertoire that amateur women pianists studied, as well as circumstances of their musical educations and characteristics of their performances, I argue that women pianists had a significant impact on the history of keyboard writing and performance. In particular, they altered notions of keyboard virtuosity.
520 $a My dissertation begins by establishing the cultural stipulations surrounding music making as a feminine accomplishment. To paint an accurate portrait of the period, I draw heavily on period sources such as diaries, musical notebooks, and Georgian-era novels. These sources suggest that while late Georgian culture sought to temper female enthusiasm for music, the practice of amateur musicking eluded these strict stipulations. In their study of both keyboard etudes and battle pieces, for instance, women pursued a high degree of technical proficiency. Similarly, while music making was often associated with the rituals of courtship, women claimed erotic agency in their musical pursuits. I end by tracing the habits of female performers of the late Georgian era into the future, finding aspects of their performance practices in the keyboard works of Franz Liszt.
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