Music, Morality, and Social Harmony in Women's Writing, 1740-1815
COMPOSING THEMSELVES COMPOSING THEMSELVES: MUSIC, MORALITY, AND SOCIAL HARMONY IN WOMEN'S WRITING, 1740-1815 By LESLIE RITCHIE, B. MUS., B. ED., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English Literature McMaster University © Copyright by Leslie Ritchie, October 2000 DOCTOR OF PHILOSOPHY (2000) MCMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Composing Themselves: Music, Morality, and Social Harmony in Women's Writing, 1740-1815 AUTHOR: Leslie Ritchie, B. Mus., B. Ed., M.A. SUPERVISOR: Dr. Peter Walmsley NUMBER OF PAGES: ix, 334 11 Composing Themselves: Music, Morality, and Social Harmony in Women's Writing, 1740-1815 This interdisciplinary thesis examines rare poetic, didactic, fictional, and musical texts written by women in latter eighteenth-century Britain for instances of and resistance to contemporary perceptions of music as a form of social control. The opening chapter defines and historicizes the term "social harmony," by discussing neoclassical views of musical affect as productive of beneficial social behaviours and gender definition. By delineating canonical aesthetic theorists' influence upon women writers and musicians and assessing music's place in women's moral education, this chapter complicates the idea of separate public and private spheres of cultural achievement and introduces expanded views of women's agency as composers and performers. Next, the thesis appraises women's engagement with charity, musically enacted, through formal musical and textual analysis of hymns, songs, and benefit performances and publications. It marks the productive intersection of patronage and charity for women, who could articulate divergent responses to such idealized or stereotyped objects of pity as prostitutes and madwomen and benefit materially from so doing.
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