LINDA ZIONKOWSKI is the Samuel and Susan Crowl Professor of Literature at Ohio University in Athens. She is the author of Men's Work: Gender, Class, and the Professionalization of Poetry, 1660–1784 and Women and Gift Exchange in Eighteenth-Century Fiction: Richardson, Burney, Austen and coeditor of The Culture of the Gift in Eighteenth-Century England.MIRIAM F. HART received her PhD at Ohio University in Athens after twenty years of touring as a singer, recording with the Allman Brothers as well as with her group, The Local Girls. She has performed at the White House, on A Prairie Home Companion, and at numerous musical festivals and venues across the United States. Her dissertation included the first complete photographic archiving of Austen's songbooks.

"Women and Music in the Age of Austen offers an expansive, lively, colourful view of the gendered musical practices of the eighteenth century and the Romantic period. These essays enrich our knowledge of the musical world of Jane Austen and Frances Burney while shining a spotlight on little-known female performers, critics, composers, consumers, collectors, fans, and musical entrepreneurs of the preceding decades."— Angela Esterhammer, author of Print and Performance in the 1820s: Improvisation, Speculation, Identity"Throughout this collection, we see women moving across the continuum and the degrees of resistance they encountered: from practicing alone before breakfast, as we know Austen did, through playing as part of a large social event that might also include performances by professional musicians, to appearing on the concert and opera stage and supporting themselves professionally...The scholarly endnotes for each essay and the bibliography provide many fascinating paths for those who wish to explore further."— Jane Austen Society of North America News"Music was important to Jane Austen, as her novels and letters attest, and women played a hitherto undervalued part in the musical world of her time. This sparkling and substantial collection of interdisciplinary essays illuminates Austen's fiction and her age in many original and surprising ways."— Peter Sabor, coeditor of Jane Austen's Manuscript Works"Finding inspiration in a broad range of sources, the volume reflects on women and their musical activities in Georgian England. A focus on Jane Austen and her novels moves in and out of the picture, amplified and receding against historical figures known and unknown. Through these essays by musically-informed literary scholars and musicologists, readers get a sense of the possibilities and desires of women engaged with music over a historical period that brackets the life of our beloved Jane."— Maribeth Clark, coeditor of Musicology and Dance: Historical and Critical Perspectives"Extends far beyond Jane Austen in well-presented, insightful essays. . . . Highly recommended."— Choice

• IllustrationsTableAcknowledgmentsAbbreviationsIntroduction: "It was all in harmony": Musical Women in Austen's CultureLinda Zionkowski with Miriam F. HartPart I: Representing the Female PerformerChapter 1: A Musical Room of Her Own: Musical Spaces in Jane Austen's NovelsPierre DuboisChapter 2: "Prima la musica": Gentry Daughters at Play in Town, Country, and Continent, 1815-1825Kelly M. McDonaldChapter 3: Stage Fright: Female Musicians Crossing Musical Borders in Thicknesse's The School for Fashion and Burney's The WandererDanielle GroverPart II: Women and the Market in MusicChapter 4: Women on the Title Page: Celebrity Endorsement of Musical ScoresPenelope CaveChapter 5: The Lady's Choice: Women and the Purchase of Music through SubscriptionSimon D. I. FlemingChapter 6: Female Musical Entrepreneurship in the Eighteenth CenturyAlison C. DeSimonePart III: Women as Critics and FansChapter 7: Women as Quiet CriticsJane GirdhamChapter 8: Femininity and Foreignness in George Colman's Farce, The Musical LadyLeslie RitchieChapter 9: Georgian Fangirls: Women and Castrati in Eighteenth-Century LondonJeffrey A. NigroPart IV: Women and the Bardic TraditionChapter 10: Anna Gordon and the Ballad CollectorsRuth PerryChapter 11: Antiquaries, Female Harpists, and the Survival of the Bardic TraditionDevon R. NelsonPart V: Revisiting the Age of AustenChapter 12: "That Ecstatic Delight": Gender and Performance in Adaptations of Sense and SensibilityGayle MageeChapter 13: "Here's harmony!": Music and Gender in Kirke Mechem's Pride & Prejudice (2019) and Jonathan Dove's Mansfield Park (2011)Juliette WellsBibliographyNotes on ContributorsIndex

LINDA ZIONKOWSKI is the Samuel and Susan Crowl Professor of Literature at Ohio University in Athens. She is the author of Men's Work: Gender, Class, and the Professionalization of Poetry, 1660–1784 and Women and Gift Exchange in Eighteenth-Century Fiction: Richardson, Burney, Austen and coeditor of The Culture of the Gift in Eighteenth-Century England.MIRIAM F. HART received her PhD at Ohio University in Athens after twenty years of touring as a singer, recording with the Allman Brothers as well as with her group, The Local Girls. She has performed at the White House, on A Prairie Home Companion, and at numerous musical festivals and venues across the United States. Her dissertation included the first complete photographic archiving of Austen's songbooks.

"Women and Music in the Age of Austen offers an expansive, lively, colourful view of the gendered musical practices of the eighteenth century and the Romantic period. These essays enrich our knowledge of the musical world of Jane Austen and Frances Burney while shining a spotlight on little-known female performers, critics, composers, consumers, collectors, fans, and musical entrepreneurs of the preceding decades."— Angela Esterhammer, author of Print and Performance in the 1820s: Improvisation, Speculation, Identity"Throughout this collection, we see women moving across the continuum and the degrees of resistance they encountered: from practicing alone before breakfast, as we know Austen did, through playing as part of a large social event that might also include performances by professional musicians, to appearing on the concert and opera stage and supporting themselves professionally...The scholarly endnotes for each essay and the bibliography provide many fascinating paths for those who wish to explore further."— Jane Austen Society of North America News"Music was important to Jane Austen, as her novels and letters attest, and women played a hitherto undervalued part in the musical world of her time. This sparkling and substantial collection of interdisciplinary essays illuminates Austen's fiction and her age in many original and surprising ways."— Peter Sabor, coeditor of Jane Austen's Manuscript Works"Finding inspiration in a broad range of sources, the volume reflects on women and their musical activities in Georgian England. A focus on Jane Austen and her novels moves in and out of the picture, amplified and receding against historical figures known and unknown. Through these essays by musically-informed literary scholars and musicologists, readers get a sense of the possibilities and desires of women engaged with music over a historical period that brackets the life of our beloved Jane."— Maribeth Clark, coeditor of Musicology and Dance: Historical and Critical Perspectives"Extends far beyond Jane Austen in well-presented, insightful essays. . . . Highly recommended."— Choice

• IllustrationsTableAcknowledgmentsAbbreviationsIntroduction: "It was all in harmony": Musical Women in Austen's CultureLinda Zionkowski with Miriam F. HartPart I: Representing the Female PerformerChapter 1: A Musical Room of Her Own: Musical Spaces in Jane Austen's NovelsPierre DuboisChapter 2: "Prima la musica": Gentry Daughters at Play in Town, Country, and Continent, 1815-1825Kelly M. McDonaldChapter 3: Stage Fright: Female Musicians Crossing Musical Borders in Thicknesse's The School for Fashion and Burney's The WandererDanielle GroverPart II: Women and the Market in MusicChapter 4: Women on the Title Page: Celebrity Endorsement of Musical ScoresPenelope CaveChapter 5: The Lady's Choice: Women and the Purchase of Music through SubscriptionSimon D. I. FlemingChapter 6: Female Musical Entrepreneurship in the Eighteenth CenturyAlison C. DeSimonePart III: Women as Critics and FansChapter 7: Women as Quiet CriticsJane GirdhamChapter 8: Femininity and Foreignness in George Colman's Farce, The Musical LadyLeslie RitchieChapter 9: Georgian Fangirls: Women and Castrati in Eighteenth-Century LondonJeffrey A. NigroPart IV: Women and the Bardic TraditionChapter 10: Anna Gordon and the Ballad CollectorsRuth PerryChapter 11: Antiquaries, Female Harpists, and the Survival of the Bardic TraditionDevon R. NelsonPart V: Revisiting the Age of AustenChapter 12: "That Ecstatic Delight": Gender and Performance in Adaptations of Sense and SensibilityGayle MageeChapter 13: "Here's harmony!": Music and Gender in Kirke Mechem's Pride & Prejudice (2019) and Jonathan Dove's Mansfield Park (2011)Juliette WellsBibliographyNotes on ContributorsIndex

LINDA ZIONKOWSKI is the Samuel and Susan Crowl Professor of Literature at Ohio University in Athens. She is the author of Men's Work: Gender, Class, and the Professionalization of Poetry, 1660–1784 and Women and Gift Exchange in Eighteenth-Century Fiction: Richardson, Burney, Austen and coeditor of The Culture of the Gift in Eighteenth-Century England.MIRIAM F. HART received her PhD at Ohio University in Athens after twenty years of touring as a singer, recording with the Allman Brothers as well as with her group, The Local Girls. She has performed at the White House, on A Prairie Home Companion, and at numerous musical festivals and venues across the United States. Her dissertation included the first complete photographic archiving of Austen's songbooks.

"Women and Music in the Age of Austen offers an expansive, lively, colourful view of the gendered musical practices of the eighteenth century and the Romantic period. These essays enrich our knowledge of the musical world of Jane Austen and Frances Burney while shining a spotlight on little-known female performers, critics, composers, consumers, collectors, fans, and musical entrepreneurs of the preceding decades."— Angela Esterhammer, author of Print and Performance in the 1820s: Improvisation, Speculation, Identity"Throughout this collection, we see women moving across the continuum and the degrees of resistance they encountered: from practicing alone before breakfast, as we know Austen did, through playing as part of a large social event that might also include performances by professional musicians, to appearing on the concert and opera stage and supporting themselves professionally...The scholarly endnotes for each essay and the bibliography provide many fascinating paths for those who wish to explore further."— Jane Austen Society of North America News"Music was important to Jane Austen, as her novels and letters attest, and women played a hitherto undervalued part in the musical world of her time. This sparkling and substantial collection of interdisciplinary essays illuminates Austen's fiction and her age in many original and surprising ways."— Peter Sabor, coeditor of Jane Austen's Manuscript Works"Finding inspiration in a broad range of sources, the volume reflects on women and their musical activities in Georgian England. A focus on Jane Austen and her novels moves in and out of the picture, amplified and receding against historical figures known and unknown. Through these essays by musically-informed literary scholars and musicologists, readers get a sense of the possibilities and desires of women engaged with music over a historical period that brackets the life of our beloved Jane."— Maribeth Clark, coeditor of Musicology and Dance: Historical and Critical Perspectives"Extends far beyond Jane Austen in well-presented, insightful essays. . . . Highly recommended."— Choice

• IllustrationsTableAcknowledgmentsAbbreviationsIntroduction: "It was all in harmony": Musical Women in Austen's CultureLinda Zionkowski with Miriam F. HartPart I: Representing the Female PerformerChapter 1: A Musical Room of Her Own: Musical Spaces in Jane Austen's NovelsPierre DuboisChapter 2: "Prima la musica": Gentry Daughters at Play in Town, Country, and Continent, 1815-1825Kelly M. McDonaldChapter 3: Stage Fright: Female Musicians Crossing Musical Borders in Thicknesse's The School for Fashion and Burney's The WandererDanielle GroverPart II: Women and the Market in MusicChapter 4: Women on the Title Page: Celebrity Endorsement of Musical ScoresPenelope CaveChapter 5: The Lady's Choice: Women and the Purchase of Music through SubscriptionSimon D. I. FlemingChapter 6: Female Musical Entrepreneurship in the Eighteenth CenturyAlison C. DeSimonePart III: Women as Critics and FansChapter 7: Women as Quiet CriticsJane GirdhamChapter 8: Femininity and Foreignness in George Colman's Farce, The Musical LadyLeslie RitchieChapter 9: Georgian Fangirls: Women and Castrati in Eighteenth-Century LondonJeffrey A. NigroPart IV: Women and the Bardic TraditionChapter 10: Anna Gordon and the Ballad CollectorsRuth PerryChapter 11: Antiquaries, Female Harpists, and the Survival of the Bardic TraditionDevon R. NelsonPart V: Revisiting the Age of AustenChapter 12: "That Ecstatic Delight": Gender and Performance in Adaptations of Sense and SensibilityGayle MageeChapter 13: "Here's harmony!": Music and Gender in Kirke Mechem's Pride & Prejudice (2019) and Jonathan Dove's Mansfield Park (2011)Juliette WellsBibliographyNotes on ContributorsIndex