Difficult Rhythm

Michelle Fillion is a professor of musicology at the University of Victoria, British Columbia, and the editor of Early Viennese Chamber Music with Obbligato Keyboard.

• List of Abbreviations   ixList of Musical Examples   xiiiList of Figures   xvPreface   xvii1. E. M. Forster's Life in Music   12. "Creating" Lucia: The Voice of Luisa Tetrazzini in Where Angels Fear to Tread   243. Wagnerism, "Decadent" Wagnerites, and Wagnerian Motives in The Longest Journey   394. "New Woman" or "Piano Girl": Lucy's Music in A Room with a View   565. Not Listening to Beethoven and Brahms at the Queen's Hall: Music as Vision in Howards End   796. Tchaikovsky and the Deflowering of Masculine Love in Maurice   937. "Beethoven's Piano Sonatas" (1939-40) and the Twilight of the Hero   1088. Claggart's Monologue and the Art of Collaboration in Billy Budd   1239. Conclusion: Difficult Rhythm, Prophetic Song   138Appendix A: Forster's Known Ballets Russes Attendance   145Appendix B: Forster's Known Opera Attendance   146Notes   151Works Cited   173Index   189

"Astute and well informed. . . . Fillion's extremely fine study is surely one that scholars will draw on with admiration and pleasure."--Review of English Studies "A very comprehensive and perceptive assessment of the role of music in E. M. Forster’s life and work."--Music and Letters "A significant reassessment of one of the twentieth century's finest writers. By paying nuanced attention to the comprehensive role of music in Forster's novels and aesthetics, Fillion finds a new keynote to Forster's literary art. To read his novels without this perspective in play is to miss much."--Scott G. Burnham, author of Beethoven Hero "Briskly written and highly readable."--Times Literary Supplement "Difficult Rhythm is a tasty read, indeed. Fillion impressively and gracefully shows how Forster's engagement and fascination with music in his works articulates his evolving social, political, and ideological concerns."--Todd Avery, author of Radio Modernism: Literature, Ethics, and the BBC, 1922–1938 "These works continue testifying to the quality of Fillion's contribution to Forster scholarship and interdisciplinary research."--Polish Journal of English Studies "Fine's documentation of the more recent growth of sacred and secular step teams outside of the realm of Black Greek Letter Organizations, the strength of her arts and performance-related scholarship, and her discussion of the intersections of African and African American aesthetics make this an important book that adds tremendously to our understanding of an important aspect of twentieth and twenty-first century African American and American popular culture."--Journal of African American History "The history, culture, politics, and art of this African-American performance artform is examined in-depth; black-and-white photographs embellish this impressive, scholarly, highly recommended contribution to Black American cultural studies reference collections and supplemental reading lists."--Bookwatch“Elizabeth Fine takes us on a journey of discovery with Soulstepping, all the way back to its African roots and all the way up to our moment. All groups have dance steps that the group performs together for the pure joy of celebrating life. Soulstepping brings out that joy, that exhilaration, that love of life. This celebration is long overdue.”--Nikki Giovanni“Elizabeth Fine has produced a labor of love. Soulstepping is thorough and true to the African American spirit she discovered more completely as she traveled through history to bring to light this remarkable phenomenon, one that would otherwise exist only for those fortunate enough to have been present late at night perhaps at an African American fraternity or sorority event on an American college or university campus.”--Michael V. W. Gordon, Professor of Music Emeritus at Indiana University School of Music and First Executive Director of the National Pan-Hellenic Council