Sound and Sense in British Romanticism

James Grande is Senior Lecturer in Eighteenth-Century Literature and Culture at King's College London. He was a postdoctoral research fellow on the European Research Council-funded project 'Music in London, 1800–1851'. He has published extensively on Romantic-period radical writers including William Cobbett and William Hazlitt. He is a trustee of Keats-Shelley House, Rome, and editor of the Keats-Shelley Review. Carmel Raz leads the research group 'Histories of Music, Mind, and Body' at the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany. Before going to Frankfurt, she was a postdoctoral research fellow at the Columbia University Society of Fellows. Her research focuses on the intertwined histories of Romantic music and medicine as well as on music theory in the Scottish Enlightenment.

• 1. William Hogarth: looking and listening for a painting Lydia Goehr; 2. Collecting ballads, historicizing sounds: appropriating Scottish national music in the eighteenth century Maria Semi; 3. Realising The Enraged Musician Oskar Cox Jensen; 4. 'A strange jingle of sounds': scenes of aural recognition in early nineteenth-century English literature Josephine McDonagh; 5. The sound of news: affective rhythm, rupture, and nostalgia William Tullett; 6. The resounding fame of Fingal's Cave Jonathan Hicks; 7. Echoing sounds: what was poetry for Gilbert White? Courtney Weiss Smith; 8. Mary Somerville's sound accomplishments: scientific writing and the sonorous sublime Katherine Fry; 9. Organizing modernity: Henry Liston's euharmonic organ and natural tuning in Company India Daniel Walden; 10. Stethoscopic fantasies Melissa Dickson.