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From the Greek, nostalgia functions as a longing to return home, both a “sentiment of loss and displacement.” In his Imagined Homelands, Jason Rudy argues that poems written by British emigrants to colonial landscapes employ a “form that itself enacts a nostalgic looking-backward, to the songs of childhood, the sounds of home.” While songs of childhood are relatively rare in the ouevres of both Elizabeth Bowen and Richard Wagner, the “sounds of home” provides a structural mode of analyzing the spatial and social constructions of various houses and their concomitant social authority. Indeed, the central preoccupation of both Bowen’s and Wagner’s magnificent oeuvres should be understood to be one of belonging and homelessness. The works of Bowen and Wagner evince a Lukcsian obsession with the concept of “transcendental homelessness‚” providing an impermanent representation of the home that undermines the stability of the past and the future of the individual. By exploring the formal construction of Danielstown and Bowen’s Court, on the one hand, and the gods’ Walhalla in both Das Rheingold and Götterdämmerung, Hunding’s hut in Die Walküre, and the hall of the Gibichungs in Götterdämmerung, this paper seeks to explore the intersection of sound, community, and home in these works. If, to borrow from Katie Trumpener, the Empire becomes a place in miniature, then the nostalgic construction and representation of the home allows us to understand the way in which music enables the imagining of citizenship.