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DTSTART;TZID=America/New_York:20250410T190000
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SUMMARY:From Air to Arrangement: The Evolution of Keyboard Music in Austen's Era | Laura Klein
DESCRIPTION:In Austen’s novels\, we encounter music in a variety of forms and scenes with the pianoforte at their center. While Austen doesn’t mention keyboard pieces by their titles\, she alludes to one style in particular that 18th-century music in its popular and utilitarian manifestation: the “air.” An air can designate a variety of styles and forms but most commonly indicates a song-like vocal or instrumental tune. In Austen’s mentions\, they are delineated as Scotch\, Irish\, or Italian airs and are played on the pianoforte for dancing or for entertainment purposes. By the turn of the 19th century\, however\, tunes were gradually evolving into larger musical forms\, most commonly serving as the primary motive for sonata movements and sets of themes and variations. This is evident in the wealth of representations contained in Austen’s personal music collection. Through examining the music that she was practicing when she was writing\, we gain a richer understanding and more intimate view of the hands behind the pen. \nLaura Klein\, pianist and historical musicologist\, specializes in British keyboard music and performance practices of the long 18th century. Her current research centers on the music contained in the Austen Family Music Books collection. She founded The Jane Austen Playlist in 2019\, a historical music project that features the music of the Austen family in digitized notations\, companion recordings\, and dramatically narrated performances. An active performer and presenter\, she gives frequent concerts and lecture recitals online\, throughout the United States\, and in the United Kingdom. Klein is Affiliate Professor of Piano at Colorado Christian University and is completing her Ph.D. at the University of Colorado Boulder.
URL:https://nchumanities.org/event/from-air-to-arrangement-the-evolution-of-keyboard-music-in-austens-era-laura-klein/
CATEGORIES:NC Humanities Grantee Event
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DTSTART;TZID=America/New_York:20250320T190000
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CREATED:20250224T145230Z
LAST-MODIFIED:20250224T145230Z
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SUMMARY:Women and Musical Education in the Regency Era | Kathryn Libin
DESCRIPTION:Jane Austen and other women who enjoyed music\, and who aspired to even a modest level of musical accomplishment\, needed some training. What kind of musical education could women in the Regency era expect to receive? What does it indicate that Marianne Dashwood plays concertos\, why is Mary Bennet interested in thoroughbass\, and how would Jane Fairfax have encountered the compositions of J.B. Cramer? Contemporary manuals on female education offer a glimpse into what was then considered appropriate for musical study\, and help us understand what it took for Austen\, her characters\, and the women of her time to achieve their musical goals. \nKathryn L. Libin\, Mary Conover Mellon Professor of Music at Vassar College\, earned BM and MA degrees in piano performance at the Oberlin Conservatory and New York University\, and a PhD in musicology at NYU. She has lectured and published on Mozart’s music and manuscripts\, on music in Jane Austen’s life and works\, and on musical sources in the Lobkowicz Library near Prague. Her articles on Jane Austen and music may be read in Persuasions (19\, 22\, 28\, and 46)\, in the collection Elegance\, Propriety\, Harmony: Jane Austen and the Arts (2013)\, and in the Edinburgh Companion to Jane Austen and the Arts (2024). At Vassar she teaches a course on Jane Austen and Music in the Domestic Sphere.
URL:https://nchumanities.org/event/women-and-musical-education-in-the-regency-era-kathryn-libin/
CATEGORIES:NC Humanities Grantee Event
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DTSTART;TZID=America/New_York:20250306T190000
DTEND;TZID=America/New_York:20250306T203000
DTSTAMP:20260430T132605
CREATED:20250224T145155Z
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SUMMARY:Jane Austen's Musical Life | Gillian Dooley
DESCRIPTION:In her surviving letters\, Jane Austen mentions music occasionally among news of friends\, neighbors and family. We know that she played the piano and sang\, apparently practicing regularly when she could. The memories of relations who were still young when she died – especially her niece Caroline – give us an idea of the place of music in her daily life. There is also rich evidence in the surviving music books from the collection of Austen and her family circle\, much of which is copied in her own handwriting. \nAusten sometimes implies her dislike of public concerts and her appreciation of people who are honest about their lack of musical taste. At other times she expresses genuine enjoyment of a superior performance. Some of these attitudes are also displayed in the novels\, but there are subtleties and ambiguities in the way she uses music and musicianship in her writing to illuminate her characters and sometimes to advance her plots. In this talk\, I will discuss various aspects of music in Austen’s life and work and give some idea of the music that she played and sang. \nGillian Dooley is an Honorary Associate Professor in English at Flinders University\, South Australia. She has published and presented internationally on various topics\, including Jane Austen\, often with an emphasis on music. She was co-convenor of the ‘Immortal Austen’ conference in Adelaide\, July 2017\, and as a singer she has been curating and presenting programs of music from Austen’s personal collection since 2007. In 2021 she completed a detailed index of each of the 500-600 items in the Austen music collections digitized by University of Southampton\, and her book She Played and Sang: Jane Austen and Music was published by Manchester University Press in 2024.
URL:https://nchumanities.org/event/jane-austens-musical-life-gillian-dooley/
CATEGORIES:NC Humanities Grantee Event
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