Douglass Seaton is Warren D. Allen Professor of Music Emeritus at Florida State University. He is the author of Ideas and Styles in the Western Musical Tradition.

"Romantic Voices is a wide-ranging yet focused, accessible, and incisive study of some of the central composers and works of modern musical life. Anyone interested in the composers it studies, the music with which it engages, or the myriad perspectives that have informed performers', listeners', and scholars' understandings of those composers and works will find this book essential reading—and many will find their own perspectives altered in ways that may be surprising." — John Michael Cooper, Southwestern University "Douglass Seaton offers a new, innovative approach to the study of music and narrative. Through a wide range of case studies and an impressive array of methodologies, in which he engages with the music itself, with texts connected in various ways to the work, and with a variety of contexts, he demonstrates many possible ways that this voice can be heard in musical works." — Andrew Weaver, Professor of Musicology, Catholic University of America

• List of FiguresList of TablesList of Music ExamplesAcknowledgmentsPreface: Historical Framework1. Hearing Voices: A Termino-Methodological Prolegomenon2. The Voice of the Genius: Interruption in Beethoven's "Tempest" Sonata3. Nonchronological Narrative in the Song Cycle: Schubert's Heine Songs4. Prima Donna or Composer: Opera Variations and Chopin's Op. 25. Onstage and Off: Performing Berlioz's Harold en Italie6. The Voice and the Listener: Applying Mendelssohn's Aesthetics7. The Poet Speaks in the Song Cycle: Schumann's Eichendorff Liederkreis8. Feminine Voices in Instrumental Music9. Finding a Voice in the Symphony: Quotation in Schumann's Symphony in C, Op. 6110. Traveler and Pilgrim: Epigram and "Vallée d'Obermann"from Liszt's Années de pèlerinage11. "The Real Author of the Drama": Deconstruction inVerdi's Otello12. The Painter Sings: Historicity in Wolf's "Auf ein altes Bild"13. Representing the Narrator's Voice: MacDowell's "Keltic" Sonata14. Recognizing Romantic VoicesNotesBibliographyIndex

Douglass Seaton is Warren D. Allen Professor of Music Emeritus at Florida State University. He is the author of Ideas and Styles in the Western Musical Tradition.

"Romantic Voices is a wide-ranging yet focused, accessible, and incisive study of some of the central composers and works of modern musical life. Anyone interested in the composers it studies, the music with which it engages, or the myriad perspectives that have informed performers', listeners', and scholars' understandings of those composers and works will find this book essential reading—and many will find their own perspectives altered in ways that may be surprising." — John Michael Cooper, Southwestern University "Douglass Seaton offers a new, innovative approach to the study of music and narrative. Through a wide range of case studies and an impressive array of methodologies, in which he engages with the music itself, with texts connected in various ways to the work, and with a variety of contexts, he demonstrates many possible ways that this voice can be heard in musical works." — Andrew Weaver, Professor of Musicology, Catholic University of America

• List of FiguresList of TablesList of Music ExamplesAcknowledgmentsPreface: Historical Framework1. Hearing Voices: A Termino-Methodological Prolegomenon2. The Voice of the Genius: Interruption in Beethoven's "Tempest" Sonata3. Nonchronological Narrative in the Song Cycle: Schubert's Heine Songs4. Prima Donna or Composer: Opera Variations and Chopin's Op. 25. Onstage and Off: Performing Berlioz's Harold en Italie6. The Voice and the Listener: Applying Mendelssohn's Aesthetics7. The Poet Speaks in the Song Cycle: Schumann's Eichendorff Liederkreis8. Feminine Voices in Instrumental Music9. Finding a Voice in the Symphony: Quotation in Schumann's Symphony in C, Op. 6110. Traveler and Pilgrim: Epigram and "Vallée d'Obermann"from Liszt's Années de pèlerinage11. "The Real Author of the Drama": Deconstruction inVerdi's Otello12. The Painter Sings: Historicity in Wolf's "Auf ein altes Bild"13. Representing the Narrator's Voice: MacDowell's "Keltic" Sonata14. Recognizing Romantic VoicesNotesBibliographyIndex