This paper introduces two ongoing projects where audio augmented reality is implemented as a means of engaging museum and gallery visitors with audio archive material and associated objects, artworks and artefacts. It outlines some of the issues surrounding the presentation and engagement with sound based material within the context of the cultural institution, discusses some previous and related work on approaches to the cultural application of audio augmented reality, and describes the research approach and methodology currently engaged with in developing an increased understanding in this area. Additionally, it discusses the project within the context of related cultural and sound studies literature, presents some initial conclusions as a result of a practice-based approach, and outlines the next steps for the project.

Musical biography is a topic that is constantly referred to in scholarship but rarely interrogated sufficiently critically. However, it has particular relevance to the study of nineteenth-century music. The Romantic construction of a genius-composer figure and the transcendence of the musical work are powerful and enduring concepts that are grounded in nineteenth-century musical biography. Perhaps more significantly, both nineteenth-century music and biography take the exploration of the subjectivity of the individual as a point of creative departure, encouraging readers and listeners to conceive of life and work as related. Yet this relationship has been a source of contention as much as fascination to musicologists and biographers. 1 The last decade or so has seen a revivified interest among scholars in tackling the unique problems and opportunities presented by musical biography: the focus of this special issue.The fascination with the self as a literary subject, or rather the emergence of modern autobiography, began in the later eighteenth century. It coincided with the rise of romanticism, and the related concerns of the exaltation of genius, the development of modern individualism, and the newfound importance placed on subjective experience. 2 These aesthetic concerns also affected ways of listening to music in the first half of the nineteenth century. Listeners began to hear music as a form of autobiographical expression, and writings about music began to read life into work and vice versa. 3 At the same time, composers experimented with strategies that

This article brings the concepts of intertextuality and subjectivity into dialogue in order to advance our understanding of both and to generate new readings of two pieces that are rich in intertextual relationships and also raise complex questions about subjectivity: Liszt's Deux Polonaises. I argue that, not only are intertextuality and subjectivity codependent, intertextuality also influences the way subjectivities behave and their characteristics. Furthermore, the performer has a fundamental influence on how subjectivities are expressed, challenging our understanding of who retains authorial control. The Deux Polonaises are also related to a literary intertext: Liszt's F. Chopin, written in the wake of Chopin's death. This book offers fascinating insight into the potential meanings behind the intertextual references and the play of subjectivities within the pieces, and connects the Deux Polonaises to the emotive historical and political context of their composition. It opens up multiple meanings that are related to contemporary conceptions of the polonaise, and the symbols of Polish cultural Romanticism with which the genre was intertwined.

This chapter focuses on depictions of the creative process in a particular type of biographical source: biopics of classical and popular composers. Biopics reach broader audiences than traditional musicological texts and provide a window into how the creative process is understood in the popular imagination. This chapter outlines the main motifs that are usually associated with music creative processes in film. It compares depictions of classical composers with popular musicians, arguing that over time the two have converged as popular musicians have begun to be treated as artists rather than professional entertainers. Simultaneously, the chapter analyzes some of the cinematic conventions that are commonly used in the depiction of the creative act, particularly visual techniques such as flashbacks and overlays, and the manipulation of the soundtrack. These techniques idealize the creative act as a product of the mind, emphasizing its subconscious aspects rather than the practical techniques of composition.

Liszt had an impressively forward-looking awareness of public relations and had a range of means for altering his image as required. He managed to project diverse identities that were sometimes embraced by the public, and sometimes questioned. These "contradictions" in Liszt's character have been the subject of much confusion and debate in Liszt literature, and one aspect particularly has scholars still perplexed-Liszt's national identity. Writers have come down on all sides of the debate, declaring Liszt was "really" Hungarian, French, German, or "cosmopolitan." Alan Walker, for example, is adamant that "Liszt was Hungarian in thought and word and deed."' Recently, Dana. Gooley has suggested that Liszt used different national identities as a means of winning over concert audiences,^ but the role of language in projecting these identities has so far been overlooked. This article will examine how Liszt adjusted his use of languages throughout his life to gain acceptance into certain groups and to manipulate the way he was perceived by others.To define the context against which Liszt employed his linguistic strategies, the article begins by briefly examining nineteenth-century perceptions of the relationship between national identity and language. It then maps Liszt's fluctuating proficiency and frequency of use of a number of languages onto his biography to discover what prompted these changes in his linguistic identity. The second half of the article undertakes a detailed investigation of Liszt's