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Sarah Hibberd and Miranda Stanyon, eds, Music and the Sonorous Sublime in European Culture, 1680–1880 (Cambridge: Cambridge University Press, 2020). xvi + 305 pp. $99.99

Published online by Cambridge University Press:  08 October 2021

Joshua A. Waggener
Joshua A. Waggener*
Affiliation:
Wake Forest, North Carolina jwaggener@sebts.edu
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Type
Book Review
Information
Nineteenth-Century Music Review , Volume 19 , Special Issue 1: Music, Medical Science and the Body/Retrospect Opera: Reviving Britain's Nineteenth-Century Operatic Past , April 2022 , pp. 182 - 185
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Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press

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References

1 Aspden addresses Wye J. Allanbrook's scepticism regarding Handel and the eighteenth-century sublime directly, identifying it as ‘based on a very partial, Germano-centric reading of the literature’ (p. 67, with reference to Allanbrook, , ‘Is the Sublime a Musical Topos?’, Eighteenth-Century Music 7/2 (2010), 263–79CrossRefGoogle Scholar).

2 Stanyon (a scholar of eighteenth-century literary culture) admits that ‘this chapter has perhaps played fast and loose with harmony’ (p. 199). She suggests a range of possible ways that ‘harmony’ could relate to the sublime, beginning with Longinus (p. 178) and ending with an exploration of the ‘confounding semantic range’ of the word (pp. 195–99).