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The Player Piano and the Edwardian Novel
In her study of music-making in the Edwardian novel, Cecilia Björkén-Nyberg argues that the invention and development of the player piano had a significant effect on the perception, performance and appreciation of music during the period. In contrast to existing devices for producing music mechanically such as the phonograph and gramophone, the player piano granted its operator freedom of individual expression by permitting the performer to modify the tempo. Because the traditional piano was the undisputed altar of domestic and highly gendered music-making, Björkén-Nyberg suggests, the potential for intervention by the mechanical piano's operator had a subversive effect on traditional no...
The Player Piano and the Edwardian Novel
In her study of music-making in the Edwardian novel, Cecilia Björkén-Nyberg examines works by authors such as Dorothy Richardson, E.M. Forster, Henry Handel Richardson, and Compton Mackenzie to show that the invention and development of the player piano had a significant effect on the perception, performance and appreciation of music during the period. She draws on archival materials to place the player piano in the context of Edwardian commercial and technical discourse.
The Player Piano and the Edwardian Novel
In her study of music-making in the Edwardian novel, Cecilia Björkén-Nyberg argues that the invention and development of the player piano had a significant effect on the perception, performance and appreciation of music during the period. In contrast to existing devices for producing music mechanically such as the phonograph and gramophone, the player piano granted its operator freedom of individual expression by permitting the performer to modify the tempo. Because the traditional piano was the undisputed altar of domestic and highly gendered music-making, Björkén-Nyberg suggests, the potential for intervention by the mechanical piano's operator had a subversive effect on traditional no...
International Journal of Language Studies (IJLS) Ð volume 12(4)
Papers in this special issue on Figurative Language: (1) Cecilia BJÖRKÉN-NYBERG: Vocalising motherhood: The metaphorical conceptualisation of voice in listener responses to The girl on the train by Paula Hawkins (pp. 1-28); (2) Danielle CUDMORE: Prophet, poet, seer, skald: Poetic diction in Merlínusspá (pp. 29-60); (3) Kristina HILDEBRAND: "As fayre an handid man" Malory's figurative language (pp. 61-74); (4) Birgitta SVENSSON: The development of figurative competence in narrative writing: A longitudinal case study (pp. 75-102); (5) Monica KARLSSON: Book Review (pp. 103-106); (6) Keith ALLAN: Book Review (pp. 107-113).
Maurice Guest
Maurice Guest was Richardson's first novel which she began in 1897. It was first published in London in 1908, and is still recognised as influential today. In 1888 the family moved to Germany and she read widely in European literature and began her own writing career with her first novel Maurice Guest (1908).
Beyond the Art of Finger Dexterity
Carl Czerny was a highly successful composer of popular piano music, and his pedagogical works remain fundamental to the training of pianists. But Czerny's reputation in these areas has obscured the remarkable breadth of his activity, and especially his work as a composer of serious music. This collection aims to address this.
Leaving College
In this 1994 classic work on student retention, Vincent Tinto synthesizes far-ranging research on student attrition and on actions institutions can and should take to reduce it. The key to effective retention, Tinto demonstrates, is in a strong commitment to quality education and the building of a strong sense of inclusive educational and social community on campus. He applies his theory of student departure to the experiences of minority, adult, and graduate students, and to the situation facing commuting institutions and two-year colleges. Especially critical to Tinto’s model is the central importance of the classroom experience and the role of multiple college communities.
The Six Metre
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Pointed Roofs
From the INTRODUCTION by May Sinclair.I HAVE been asked to write a criticism of the novels of Dorothy Richardson. I do not know whether this essay is or is not going to be a criticism, for so soon as I begin to think what I shall say I find myself criticising criticism, wondering what is the matter with it and what, if anything, can be done to make it better, to make it alive. Only a live criticism can deal appropriately with a live art. And it seems to me that the first step towards life is to throw off the philosophic cant of the nineteenth century. I don't mean that there is no philosophy of Art, or that if there has been there is to be no more of it; I mean that it is absurd to go on talking about realism and idealism, or objective and subjective art, as if the philosophies were sticking where they stood in the eighties....
