000			03864cam a2200505 i 4500
001			ocn958371523
003			OCoLC
005			20240726105033.0
008			160912s2017 ilu ob s001 0 eng
010			_a2016041884
040			_aDLC _beng _erda _cDLC _dOCLCF _dNT _dP@U _dJSTOR _dYDX _dEBLCP _dMERUC _dGZM _dOTZ _dUKOUP _dIOG _dAGLDB _dIGB _dSNK _dINTCL _dMHW _dBTN _dAUW _dVTS _dCEF _dINT _dD6H _dEZ9 _dU3W _dG3B _dS8I _dS8J _dS9I _dDLC _dNT _dOCLCO
020			_a9780252099151 _q((electronic)l(electronic)ctronic)
042			_apcc
043			_an-us---
050	0	0	_aPN4145 _b.E463 2017
049			_aMAIN
100	1		_aKimber, Marian Wilson, _d1960- _e1
245	1	0	_aThe elocutionists : _bwomen, music, and the spoken word / _cMarian Wilson Kimber.
260			_aUrbana : _bUniversity of Illinois Press, _c(c)2017.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aMusic in American life
520	0		_a"Emerging in the 1850s, elocutionists recited poetry or drama with music to create a new type of performance. The genre--dominated by women--achieved remarkable popularity. Yet the elocutionists and their art fell into total obscurity during the twentieth century. Marian Wilson Kimber restores elocution with music to its rightful place in performance history. Gazing through the lenses of gender and genre, Wilson Kimber argues that these female artists transgressed the previous boundaries between private and public domains. Their performances advocated for female agency while also contributing to a new social construction of gender. Elocutionists, proud purveyors of wholesome entertainment, pointedly contrasted their "acceptable" feminine attributes against those of morally suspect actresses. As Wilson Kimber shows, their influence far outlived their heyday. Women, the primary composers of melodramatic compositions, did nothing less than create a tradition that helped shape the history of American music"-- _cProvided by publisher.
504			_a2
505	0	0	_aCover; Title; Copyright; Contents; Preface: Hearing Lost Voices; Acknowledgments; 1. The Odyssey of a Nice Girl: Elocution and Women's Cultural Aspirations; 2. Making Elocution Musical: Accompanied Recitation and the Musical Voice; 3. Reading the Fairies: Shakespeare in Concert with Mendelssohn's A Midsummer Night's Dream; 4. Sentimentality and Gender in Musically Accompanied Recitations; 5. Grecian Urns in Iowa Towns: Delsarte and The Music Man; 6. In Another Voice: Women and Dialect Recitations.
505	0	0	_a7. Womanly Women and Moral Uplift: Female Readers and Concert Companies on the Chautauqua Circuit8. Multiplying Voices: American Women and the Music of Choral Speaking; 9. Words and Music Ladies: The Careers of Phyllis Fergus and Frieda Peycke; 10. Women's Work, Women's Humor: Musical Recitations by Female Composers; Afterword: Echoes of Elocutionary Arts; Appendix; Notes; Index.
530			_a2 _ub
650		0	_aOral interpretation.
650		0	_aElocutionists _zUnited States.
650		0	_aWomen and literature _zUnited States _xHistory _y19th century.
650		0	_aWomen and literature _zUnited States _xHistory _y20th century.
650		0	_aWomen performance artists _zUnited States.
650		0	_aMusic theater _zUnited States.
650		0	_aReaders' theater.
650		0	_aChoral speaking.
650		0	_aOral reading.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1425173&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN _m2017 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c86799 _d86799
902			_a1 _bCynthia Snell _c1 _dCynthia Snell