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"""Vanishing Sensibilities stages uncanny encounters with historical familiars: we hear the rustle of their voices, sense the aura of their secret histories and desires. By refusing to take her subjects at face value, Kristina Muxfeldt grants them a more humanly plausible range of tone and intent."" --Scott Burnham, Scheide Professor of Music History, Princeton University ""Over the last fifteen years, Kristina Muxfeldt has emerged as a voice of reason in debates concerning meaning in 19th-century music. Vanishing Sensibilities brings several of those articles together in a volume that advances a more ambitious argument than could be set forth in separate essays. In her superb discussions of operas and songs by Schubert, Schumann's Frauenliebe songs, and works by Beethoven, Muxfeldt demonstrates the kinds of insights available only through the painstaking reconstruction of the composer's own context."" --Susan McClary, Professor of Music, Case Western Reserve University ""Worth the effort to discover Muxfeldt's rich, new ideas...Recommended."" --Choice ""Muxfeldt often succeeds in unraveling the complexities and nuances of the past and is unafraid to lose herself in the largely uncharted terrain of the nineteenth century."" --Notes ""Besides the refined prose, meticulous and up-to-date research, and excellent apparatus...the book is captivating above all because of its unpretentious yet sophisticated hermeneutic dialogic structure."" --Goethe Yearbook ""The author's pleasure in and passion for her subject(s) is manifest in every carefully crafted, softly provocative chapter...Vanishing Sensibilities is dedicated to Charles Rosen. Muxfeldt shares his keen sense of poetic and musical vitality and eye for significant details, as well as the gift of asking probing questions of the material in hand. I can imagine no finer memorial."" --Nineteenth-Century Music Review ""A deeply insightful book and a rewarding read...Muxfeldt introduces Technicolor to the subject of musical meaning, wonder- fully illuminating the hazy landscape of hermeneutic studies."" --Journal of the American Musicological Society ""Kristina Muxfeldt's book is therefore warmly recommended not only to all who are interested in Beethoven, Schubert, or Schumann and their times, but also to everyone who finds music more fascinating when it heard as part of a history of mentality and cultural history, and not least also to those who study or teach music history and who will find here a rich collection of compellingly discussed examples."" --Schubert-Perspektiven"

<br> Vanishing Sensibilities stages uncanny encounters with historical familiars: we hear the rustle of their voices, sense the aura of their secret histories and desires. By refusing to take her subjects at face value, Kristina Muxfeldt grants them a more humanly plausible range of tone and intent. --Scott Burnham, Scheide Professor of Music History, Princeton University <br><p><br> Over the last fifteen years, Kristina Muxfeldt has emerged as a voice of reason in debates concerning meaning in 19th-century music. Vanishing Sensibilities brings several of those articles together in a volume that advances a more ambitious argument than could be set forth in separate essays. In her superb discussions of operas and songs by Schubert, Schumann's Frauenliebe songs, and works by Beethoven, Muxfeldt demonstrates the kinds of insights available only through the painstaking reconstruction of the composer's own context. --Susan McClary, Professor of Music, Case Western Reserve University <br>

Vanishing Sensibilities stages uncanny encounters with historical familiars: we hear the rustle of their voices, sense the aura of their secret histories and desires. By refusing to take her subjects at face value, Kristina Muxfeldt grants them a more humanly plausible range of tone and intent. Scott Burnham, Scheide Professor of Music History, Princeton University

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Kristina Muxfeldt is a musicologist on the faculty of the Jacobs School of Music, Indiana University. She specializes in music history, and the intersections of analysis, biography, and reception, especially the cultural and social environment around early nineteenth-century music in Vienna. She taught previously at Yale University and has held visiting appointments at the University of Illinois, Princeton University, and the University of Notre Dame.

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