Explores the interaction of literature and music in the Atlantic world in the age of Enlightenment and Romanticism

This new study looks at the relationship of rhetoric and music in the era’s intellectual discourses, texts and performance cultures principally in Europe and North America. Catherine Jones begins by examining the attitudes to music and its performance by leading figures of the American Enlightenment and Revolution, notably Benjamin Franklin and Thomas Jefferson. She also looks at the attempts of Francis Hopkinson　and others to harness the Orphean power of music so that it should become a progressive force in the creation of a new society. She argues that the association of rhetoric and music that reaches back to classical Antiquity acquired new relevance and underwent new theorisation and practical application in the American Enlightenment in light of revolutionary Atlantic conditions. Jones goes on to consider changes in the relationship of rhetoric and music in the nationalising milieu of the nineteenth century; the connections of literature, music and music theory to changing models of subjectivity; and Romantic appropriations of Enlightenment visions of the public ethical function of music.

Key Features

The first study devoted to literature and music in the Atlantic world
Includes detailed examination of works by canonical and lesser known eighteenth- and nineteenth-century American writers and composers
Shows the intertwining of European and American cultural forms
Integrates the history of music and the history of subjectivity Catherine Jones is Senior Lecturer in English at the University of Aberdeen.

Explores the interaction of literature and music in the Atlantic world in the age of Enlightenment and Romanticism

This new study looks at the relationship of rhetoric and music in the era’s intellectual discourses, texts and performance cultures principally in Europe and North America. Catherine Jones begins by examining the attitudes to music and its performance by leading figures of the American Enlightenment and Revolution, notably Benjamin Franklin and Thomas Jefferson. She also looks at the attempts of Francis Hopkinson　and others to harness the Orphean power of music so that it should become a progressive force in the creation of a new society. She argues that the association of rhetoric and music that reaches back to classical Antiquity acquired new relevance and underwent new theorisation and practical application in the American Enlightenment in light of revolutionary Atlantic conditions. Jones goes on to consider changes in the relationship of rhetoric and music in the nationalising milieu of the nineteenth century; the connections of literature, music and music theory to changing models of subjectivity; and Romantic appropriations of Enlightenment visions of the public ethical function of music.

Key Features

The first study devoted to literature and music in the Atlantic world
Includes detailed examination of works by canonical and lesser known eighteenth- and nineteenth-century American writers and composers
Shows the intertwining of European and American cultural forms
Integrates the history of music and the history of subjectivity Catherine Jones is Senior Lecturer in English at the University of Aberdeen.

Explores the interaction of literature and music in the Atlantic world in the age of Enlightenment and Romanticism

This new study looks at the relationship of rhetoric and music in the era’s intellectual discourses, texts and performance cultures principally in Europe and North America. Catherine Jones begins by examining the attitudes to music and its performance by leading figures of the American Enlightenment and Revolution, notably Benjamin Franklin and Thomas Jefferson. She also looks at the attempts of Francis Hopkinson　and others to harness the Orphean power of music so that it should become a progressive force in the creation of a new society. She argues that the association of rhetoric and music that reaches back to classical Antiquity acquired new relevance and underwent new theorisation and practical application in the American Enlightenment in light of revolutionary Atlantic conditions. Jones goes on to consider changes in the relationship of rhetoric and music in the nationalising milieu of the nineteenth century; the connections of literature, music and music theory to changing models of subjectivity; and Romantic appropriations of Enlightenment visions of the public ethical function of music.

Key Features

The first study devoted to literature and music in the Atlantic world
Includes detailed examination of works by canonical and lesser known eighteenth- and nineteenth-century American writers and composers
Shows the intertwining of European and American cultural forms
Integrates the history of music and the history of subjectivity Catherine Jones is Senior Lecturer in English at the University of Aberdeen.