Cover image for T.S. Eliot's orchestra : critical essays on poetry and music
T.S. Eliot's orchestra : critical essays on poetry and music
Cooper, John Xiros, 1944-
Publication Information:
New York : Garland Pub., [2000]

Physical Description:
xix, 352 pages : illustrations, music ; 23 cm.
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 -- Eliot's impossible music / Brad Bucknell -- Eliot's Ars musica poetica : sources in French symbolism / John Adames -- 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. Pound -- 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 E. Whitted and Andrew Shenton.
Format :


Call Number
Material Type
Home Location
Item Holds
PS3509.L43 Z8734 2000 Adult Non-Fiction Central Closed Stacks

On Order



First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Reviews 1

Choice Review

Recent searches of two databases, MLA Bibliography and Music Literature, yielded 30 and 22 citations, respectively, under the heading "T.S. Eliot and Music," so there is hardly a paucity of material on the subject. However, this collection of 14 specialized essays on Eliot's use of music in his works contains much unique material from two disciplines: musicology and literary criticism. To this advantage one must add accessibility and convenience, since Cooper (Univ. of British Columbia) has gathered the material in one source and indexed it. This reviewer is aware of no comparable single source available, apart from those mentioned above. Although Cooper provides no bibliography as such, works cited and/or notes sections follow each essay in proper academic format, and there is a "Checklist of Musical Settings of Eliot's Works" as well. Recommended for collections supporting work at the upper-division undergraduate level and above. A. R. Nourie; Illinois State University

Table of Contents

Daniel AlbrightJohn Xiros CooperDavid ChinitzKevin McNeillyJonna MackinJonathan GillJohn Xiros CooperBrad BucknellJohn AdamesSuzanne RobinsonDavid BarndollarJ. Robert BrowningC. F. PondDavid BanksMargaret E. DanaJayme StayerBrent E. Whitted and Andrew Shenton
Series Editor's Forewordp. vii
Prefacep. xv
Part I Eliot and Popular Musical Culturep. 1
1 A Jazz-Banjorine, Not a Lute: Eliot and Popular Music before The Waste Landp. 3
2 Culture, Race, Rhythm: Sweeney Agonistes and the Live Jazz Breakp. 25
3 Raising Life to a Kind of Art: Eliot and Music Hallp. 49
4 Protective Coloring: Modernism and Blackface Minstrelsy in the Bolo Poemsp. 65
5 Thinking with Your Ears: Rhapsody, Prelude, Song in Eliot's Early Lyricsp. 85
Part II You Are the Musicp. 109
6 Eliot's Impossible Musicp. 111
7 Eliot's Ars Musica Poetica: Sources in French Symbolismp. 129
Part III Eliot and the Composersp. 147
8 The Pattern from the Palimpsest: Convergences of Eliot, Tippett, and Shakespearep. 149
9 Movements in Time: Four Quartets and the Late String Quartets of Beethovenp. 179
10 "My God, What Has Sound Got to Do with Music?!" Interdisciplinarity in Eliot and Ivesp. 195
11 Benjamin Britten and T. S. Eliot: Entre Deux Guerres and Afterp. 215
12 Reading Aloud and Composing: Two Ways of Hearing a Poemp. 245
13 Orchestrating The Waste Land: Wagner, Leitmotiv, and the Play of Passionp. 267
14 A Tale of Two Artists: Eliot, Stravinsky, and Disciplinary (Im)Politicsp. 295
Checklist of Musical Settings of Eliot's Worksp. 335
Contributorsp. 341
Indexp. 345