'A Girl's Own Music: Domestic art music and the identity of the Irish young lady in the long nineteenth century'

爱尔兰在漫长的世纪的复杂历史反映在它的音乐活动中。虽然女性在这一时期的经历已经在社会历史中被描绘出来，但还没有重要的音乐学参与。尽管在过去的几十年里，爱尔兰以女性为中心的音乐学奖学金显著增加，但大部分研究都强调公共环境中的个人：专业表演者，作曲家和组织者。可以说，这只反映了少数女性的音乐经历。忽视了国内音乐，我们忽视了女性音乐生活的一个重要方面。这个研究项目旨在揭示十九世纪爱尔兰的年轻女性如何与家庭艺术音乐互动;家庭音乐，这大多被忽视了。它探讨了宗教、阶级和身份的其他方面等社会影响如何影响音乐教学的方式，以及音乐作为使女性适婚或为她们提供家庭教师或私人音乐教师等职业的手段的重要性。这项研究随后旨在揭示妇女在上层和中产阶级的爱尔兰家庭的十九世纪的总体目标，有助于更包容的爱尔兰的音乐史。这个项目的主要研究问题包括：宗教和阶级如何影响一个年轻女子的互动或介绍/艺术音乐？此外，她与艺术音乐的互动如何反映她的身份？从这里，我们可以尝试建立什么样的作用，国内艺术音乐在19世纪爱尔兰的年轻女性的生活中发挥，如何性别影响与音乐的关系，以及如何在爱尔兰妇女的音乐经验相比，其他地方的妇女类似的背景。除了遵循爱尔兰第一个关于女性音乐的大型项目，爱尔兰的女性与音乐（沃森，奥康纳马德森和Beasaung，2022年），我的研究将建立在现有的专业女性音乐家和音乐机构的研究基础上，如博桑的2015年对19世纪女性声乐曲目的研究和奥康纳马德森的2010年对都柏林音乐女性的研究。我将通过探索私人和教育音乐活动的巨大网络来补充和扩展这项工作，这些活动形成了女性公共音乐外观的基石和背景。我的研究还将提供有关这些妇女起源的宗教，阶级和政治背景的重要背景。通过在音乐学框架内发展这些关于女性教育的讨论，该项目将促进对音乐传统的了解，并有助于更广泛地了解这一时期的教育和社会因素。通过分析几个“水平”的较高和中产阶级人口的音乐，我的研究将揭示爱尔兰社区的艺术音乐的关系已基本上未公开，如新兴的盖尔天主教中产阶级。将这些经验与其他国家的妇女进行比较，将探索共同的文化标志，同时表明爱尔兰背景下存在的独特复杂性。这项研究不仅有助于更好地了解爱尔兰，十九世纪妇女的国内艺术音乐，但它将突出爱尔兰社会在这一时期的内部运作及其对社会流动性，宗教，身份和性别的观点。这不仅将使爱尔兰的音乐学家受益，也将使历史、政治、性别研究和教育学者受益。这一拟议项目以关键的主要来源为中心。这将包括报纸、期刊出版物、学校音乐会节目、教学材料、学校记录、供私人或室内使用的出版乐谱、信件和通信。报纸等材料包含有用的主要证据，包括学校音乐会的报道，

The complex history of Ireland in the long nineteenth century is reflected in its musical activities. While the experiences of women in this period have been charted in social history, there has yet to be significant musicological engagement. Despite the last few decades seeing a significant rise in musicological scholarship in Ireland centred around women, much of this research has emphasised individuals in public contexts: professional performers, composers, and organisers. This arguably reflects only a minority of female musical experiences. By overlooking domestic music, we have ignored a crucial aspect of female musical life. This research project aims to uncover how young women in nineteenth-century Ireland interacted with domestic art music; music made in the home, which has mostly been overlooked. It explores how societal influences such as religion, class and other facets of identity impacted the ways in which music was taught and its significance as a means of making women marriageable or providing them with a profession such as becoming a governess or private music teacher. This research subsequently aims to uncover the music played by women in the upper and middle-class Irish homes of the nineteenth century with the overall aim of contributing to a more inclusive musical history of Ireland. Key research questions of this project include: How did religion and class impact a young woman's interaction or introduction with/to art music? Moreover, how did her interactions with art music reflect her identity? From here we can attempt to establish what role domestic art music played in the lives of young women in nineteenth-century Ireland, how gender influenced relationships with music and how the musical experiences of women in Ireland compare to women of similar backgrounds elsewhere. In addition to following the first large-scale project on women's music in Ireland, Women and Music in Ireland (Watson, O'Connor Madsen & Beasaung, 2022), my research will build on existing studies of professional women musicians and musical institutions such as Beausang's 2015 study of women's vocal repertoire in the 19th century and O'Connor Madsen's 2010 research on musical women of Dublin. I will complement and extend this work by exploring the vast network of private and educational musical activity that formed the bedrock and background for women's public musical appearances. My research will also provide crucial context regarding the religious, class and political backgrounds from which these women originated. By evolving these discussions of female education within a musicological framework, this project will both advance knowledge of musical traditions and contribute to a broader understanding of educational and societal factors of this period. Through analysing the music played by several 'levels' of higher and middle-class populations, my research will uncover Irish communities whose relationship with art music has been largely undisclosed such as the emerging Gaelic Catholic middle class. Comparison of these experiences with women in other countries will explore shared cultural markers while simultaneously indicating the unique complexities present in the Irish context. This research will not only contribute to a better understanding of the domestic art music of Irish, nineteenth-century women, but it will highlight the inner workings of Irish society in this period and its perspectives on social mobility, religion, identity and gender. This will not only benefit musicologists in Ireland but also scholars of history, politics, gender studies and education. This proposed project centres on key primary sources. This will include newspapers, periodical publications, school concert programmes, pedagogical materials, school records, published scores for private or chamber use, letters, and correspondences. Materials such as newspapers contain useful primary evidence including reports of school concerts, advertisements for