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First Published in 2000. Nearly everyone who addresses T. S. Eliot's imaginative and critical work must acknowledge the importance of music in thematic and formal terms. This collection of original essays thoroughly explores this aspect of his work from a number of perspectives.
List of contents
Introduction, John Xiros Cooper * A Jazz-Banjorine, Not a Lute: Eliot and Popular Music before The Waste Land, David Chinitz * Culture, Race, Rhythm: Sweeney Agonistes and the Live Jazz Break, Kevin McNeilly * Raising Life to a Kind of Art: Eliot and Music Hall, Jonna Mackin * Protective Coloring: Modernism and Blackface Minstrelsy in the Bolo Poems, Jonathan Gill * Thinking with Your Ears: Rhapsody, Prelude, Song in Eliot's Early Lyrics, John Xiros Cooper * Part II: You are the Music; Eliot's Impossible Music, Brad Bucknell * Eliot's Ars Musica Poetica: Sources in French Symbolism, John Adames * Part III: Eliot and the Composers * The Pattern from the Palimpsest: Convergences of Eliot, Tippett, and Shakespeare, Suzanne Robinson * Movements in Time: Four Quartets and the Late String Quartets of Beethoven, David Barndollar * My God, What Has Sound Got to Do with Music?; Interdisciplinarity in Eliot and Ives, J. Robert Browning * Benjamin Britten and T. S. Eliot: Entre Deux Guerres and After, C. F. Pond * Reading Aloud and Composing: Two Ways of Hearing a Poem, David Banks * Orchestrating The Waste Land: Wagner, Leitmotiv, and the Play of Passion, Margaret E. Dana * A Tale of Two Artists: Eliot, Stravinsky, and Disciplinary (Im)Politics, Jayme Stayer * Checklist of Musical Settings of Eliot's Works, Brent Whitted and Andrew Shenton
About the author
John Xiros Cooper is an Associate Professor of English at the University of British Columbia. He is the author of two books on T. S. Eliot: T S. Eliot and the Politics of Voice and T S. Eliot and the Ideology of Four Quartets. He has also published articles and book chapters on Eliot, Ezra Pound, William Carlos Williams, David Jones, Joseph Conrad, and modernism.
