Virginia Woolf

Elicia Clements is a cross-appointed, associate professor in the Departments of Humanities and English at York University.

Acknowledgments
Abbreviations

Introduction

I. Woolf's Musical Ear
II. Interdisciplinary Methods
III. "Hoity te, hoity te, hoity te …": Tripartite Woolf

Part 1 An Emerging Earcon: Woolf's Singers

1. Finding a Voice

I. Resonant Beginnings: The Voyage Out
II. Sonic Networks in Jacob's Room
III. Urban and Rural Interrelations in Mrs. Dalloway and To the Lighthouse

2. The Earcon Reproduces

I. "And what is a cry?": The Waves
II. Integrating the Earcon in The Years
III. Aural Multiplicity in Between the Acts

Part 2 Profound Listening and Acousmatics

3. Initial Apperceptions

I. Materialized Sonics and Listening Subjects in The Voyage Out
II. Involuntary, Yet Profound, Listening in Night and Day
III. International Acousmatics: War and Its Veterans in Jacob's Room and Mrs. Dalloway

4. Bodies and Voices

I. To the Lighthouse and Family Acousmatics
II. The Gender of Listening in The Waves
III. "Hush!... Somebody's listening": The Years
IV. Heterogeneous Reattachments in Between the Acts

Part 3 Music as Performance in Woolf's Fiction

5. Performing Women

I. Women at the Piano in the First Three Novels
II. Performing Personal History in The Years
III. Historical Reenactments: Between the Acts 

6. The Performativity of Language: The Waves Musicalized

I. Word Music: "(The rhythm is the main thing in writing)"
II. The Case of Ludwig van Beethoven
III. Transforming Beethoven's Opus 130 and 133 into Words

Coda: A Meditation on Rhythm

Notes
Works Cited
Index