Jennifer Ronyak is Senior Scientist in Musicology at the Institut für Musikästhetik of the Universität für Musik und darstellende Kunst Graz.

Ronyak's intricate methodology, and especially the central position of women in this book, will be an invaluable model for future performance-centric song scholarship that continues to challenge and complement text^music hermeneutics. All in all, this debut monograph is a significant and innovative addition to the study of the early nineteenth-century lied.(Music & Letters) As a musicologist who has studied rather extensively text-music relations in German Lieder, I have long been aware of some important voices in the field. Certain of their writings have provided eye-opening and ear-opening jolts to interdisciplinary studies, generally within the world of musical scholarship. . . . I may be accused of hyperbole, but I consider Jennifer Ronyak's Intimacy, Performance, and the Lied in the Early Nineteenth Century as having a similar jolt-providing nature. . . . Her rich interdisciplinary approach is indeed a model for others to follow.- Jrgen Thym (Revue de Musicologie) In privileging historical perspectives on subjectivity and performance, Ronyak's monograph offers a rare glimpse into the private, semiprivate, and public contexts that shaped nineteenth-century sociability and concert programming. . . . Ronyak's stimulating study will be welcomed by all who continue to explore the rich expressive potential of poetry and music in the nineteenth-century lied.- Loretta Terrigno (NOTES: QTLY JRL MUSIC LIB ASSN)

• AcknowledgementsList of AbbreviationsIntroduction1. Safeguarding the Self2. Breathing Subjectivity3. Serious Play in the Salon4. The Poetic Public Sphere5. Lieder in an Aria's Clothing6. Mignon as Public PropertyEpilogueBibliographyIndex

Jennifer Ronyak is Senior Scientist in Musicology at the Institut für Musikästhetik of the Universität für Musik und darstellende Kunst Graz.

Ronyak's intricate methodology, and especially the central position of women in this book, will be an invaluable model for future performance-centric song scholarship that continues to challenge and complement text^music hermeneutics. All in all, this debut monograph is a significant and innovative addition to the study of the early nineteenth-century lied.(Music & Letters) As a musicologist who has studied rather extensively text-music relations in German Lieder, I have long been aware of some important voices in the field. Certain of their writings have provided eye-opening and ear-opening jolts to interdisciplinary studies, generally within the world of musical scholarship. . . . I may be accused of hyperbole, but I consider Jennifer Ronyak's Intimacy, Performance, and the Lied in the Early Nineteenth Century as having a similar jolt-providing nature. . . . Her rich interdisciplinary approach is indeed a model for others to follow.- Jrgen Thym (Revue de Musicologie) In privileging historical perspectives on subjectivity and performance, Ronyak's monograph offers a rare glimpse into the private, semiprivate, and public contexts that shaped nineteenth-century sociability and concert programming. . . . Ronyak's stimulating study will be welcomed by all who continue to explore the rich expressive potential of poetry and music in the nineteenth-century lied.- Loretta Terrigno (NOTES: QTLY JRL MUSIC LIB ASSN)

• AcknowledgementsList of AbbreviationsIntroduction1. Safeguarding the Self2. Breathing Subjectivity3. Serious Play in the Salon4. The Poetic Public Sphere5. Lieder in an Aria's Clothing6. Mignon as Public PropertyEpilogueBibliographyIndex