In September 2017, Mary Gladstone and the Victorian Salon: Music, Literature, Liberalism was published in the Cambridge University Press series, New Perspectives in Music History and Criticism, edited by Jeffrey Kallberg, Anthony Newcomb and Ruth A. Solie. The press provides access to Chapter 3, "The Victorian Salon."
Digital humanities (dh) uses digital tools to conduct humanities research. My work in this emergent field involves the use of sound as an experiential way to think through an archive. In late 2016, I founded a consortium of freely-available projects called Sounding Victorian which explore aesthetic sound (literature, music) in nineteenth-century Britain. Its member projects include Sounding the Salon, which Sophie Fuller and I co-lead, Sounding Childhood (PI, Alisa Clapp-Itnyre), Sounding Swinburne (PI, Michael Craske), and Sounding Tennyson, which is under my directorship. We are building these projects in collaboration with the Walter J. Ong, S.J., Center for Digital Humanities at Saint Louis University. Sounding Tennyson is also the inaugural project in Tennysons Archive: Digitising the Work of the Tennysons, Plural, the first digital grouping of Tennyson items. My engagement with the latter includes working with Ewan Jones on the Tennyson collection hosted by the Cambridge Digital Library.
Along with Katharine Ellis, I edited an essay collection, Words and Notes in the Long Nineteenth Century (Boydell & Brewer, 2013), which draws together word-music scholarship by musicologists and literary scholars who work on nineteenth-century Britain, France and Germany. The collection was nominated for the Ruth A. Solie Award for outstanding collection of essays, American Musicological Society.
All articles are single authored, except where indicated.
Ewan Jones and Phyllis Weliver. “‘The Princess’ and the Tennysons’ Constructions of Childhood.” The Edinburgh Companion to Literature and Music. Ed. Delia da Sousa Correa. Edinburgh University Press, forthcoming.
“Liberal Dreaminess and The Golden Stairs of Edward Burne=Jones (1833–1898).” The British Art Journal 17.3 (Spring 2017): 55–63.
“Disciplining the Masses through Tonic Sol-fa, or ‘the science of music’.” BRANCH: Britain, Representation, and Nineteenth-Century History. Extension of Romanticism and Victorianism on the Net. Web. July 2013.
“The Prima Donna, Amateur Violinist, and Opera Chorus: Music as ‘Event’ in Wilkie Collins’s Man and Wife.” Forum for Modern Language Studies 48.2, special issue on Opera and the Novel (April 2012): 178–94.
“Musical Diplomacy and Mary Gladstone’s Diary.” Republished essay, revised and extended for Music and Institutions in Nineteenth-Century Britain. Ed. Paul Rodmell. Aldershot: Ashgate, 2012. 121–42.
“A Score of Change: Twenty Years of Critical Musicology and Victorian Literature.” Literature Compass 8.10 (October 2011): 776–94.
“Wilde, Music, and the ‘Opium-Tainted Cigarette’: Disinterested Dandies and Critical Play.” This is an Accepted Manuscript of an article published by Taylor & Francis Group in Journal of Victorian Culture 15.3 on 10 Dec 2010, available online at: http://www.tandfonline.com/doi/abs/10.1080/.VAzzW3x0zIU#.VAzzd3x0zIU
“George Eliot and the Prima Donna’s ‘Script’.” The Yearbook of English Studies 40.1–2, themed issue on The Arts in Victorian Literature. Special eds Catherine Maxwell and Stefano Evangelista (June 2010): 103–20.