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• W4327882570 abstract "Reviewed by: Emily Dickinson’s Music Book and the Musical Life of an American Poet by George Boziwick Nicole Panizza Boziwick, George. Emily Dickinson’s Music Book and the Musical Life of an American Poet. U of Massachusetts P, 2022. 266 pp. $29.95. Consideration of the role that music plays within a poet’s life and work is, by any standards, an arguably complex task. When the poet’s literary, historical, and cultural legacy invites closer reflection, the challenge is somewhat magnified. Whilst scholarship based on Emily Dickinson’s life and work remains fluid and buoyant, the study of her relationship to, engagement with, and employment of musical reference and practice remains surprisingly scant. Despite a sustained and consistent growth in musical settings and performances of Emily Dickinson’s literary canon, there has long been a need to address, reveal, and determine Dickinson’s own musical world. Emily Dickinson’s Music Book and the Musical Life of an American Poet affords a unique opportunity to close this gap. A significant area of my own research—as a music practitioner, scholar, and Americanist—focuses on Emily Dickinson’s relationship to music, with specific reference to its function as metaphor and philosophical thought, Dickinson’s own forays in musical praxis, and the way in which her writing(s) continue to inspire musical creativity, response, and production. Whilst this work has primarily embraced the study and performance of musical settings of Dickinson’s poetry, letters, epigrams, and recipes (!), I have also been increasingly drawn to Dickinson’s music book. Indeed, it has been through this very personal folio that my interest in Dickinson’s broader “musical life” has been activated, shaped, and nurtured. Concurrently, I have greatly admired George Boziwick’s contributions to Dickinsonian scholarship and his long-standing commitment to the study and performance of music as experienced by Dickinson. These contributions have been [End Page 150] instrumental in providing new frameworks that offer deeper understanding of the music that Dickinson encountered (in her home, local church, community and, occasionally, further afield), and a context from which we may more meaningfully appreciate her approach to (and use of) musical reference. It is, therefore, with great interest and anticipation that I have welcomed Boziwick’s latest offering. His renowned expertise in this critical field of Dickinson studies promised fresh perspectives of both previous and existing scholarship. I was delighted to discover that this volume does not disappoint. One of the key strengths of this study is the way in which Boziwick creatively situates Dickinson’s music book as a conduit for a more in-depth investigation of her musical training, interests, and experience. Whilst the observation of Dickinson’s life and work from a cultural/ethnographic perspective is neither new, nor novel, the application of her music book as a principal investigative tool is all but non-existent. Via Boziwick’s meticulous examination, the reader is afforded a rare opportunity to observe the way in which all 107 pieces of published sheet music “animate and position Dickinson as a key observer of her culture and her world, well beyond her town of Amherst, Massachusetts” (x). In this sense, we experience Dickinson’s “gaze” as primarily foregrounded by musical impetus and sensibility, inviting new and innovative ways of observing Dickinson and the cultural practices that defined the world in which she lived. As I journeyed through this book, I became increasingly drawn to, and impressed by, Boziwick’s innate skill in weaving a broad yet detailed ecosystem based on historical fact and context. The complex and multi-faceted nature of this research requires the author to evidence not only a substantial grounding in Dickinson-centric research but also (and perhaps most crucially) a comprehensive understanding of music across cultural, social, and historical paradigms. As a distinctive methodology-of-choice, Boziwick successfully opens additional corridors of entry by providing critical information that complements and extends the core research material. This is enhanced by his innovative use of quoted fragments (often drawn from Dickinson’s literary oeuvre)—provocative prompts that serve as both a headline for each chapter and as a steering device within the chapters themselves. Examples such as “I go to singing school..." @default.
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• W4327882570 title "Emily Dickinson’s Music Book and the Musical Life of an American Poet by George Boziwick" @default.
• W4327882570 doi "https://doi.org/10.1353/edj.2022.0011" @default.
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