A01=Deirdre Loughridge
aesthetics
audiovisual culture
Author_Deirdre Loughridge
ballad
beethoven
Category=AVLA
concert hall
creation
criticism
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
haydn
history
influence
innovation
interpretation
listening
magic lanterns
magnifying instruments
mixed media
music
nonfiction
opera
optical technology
peepshows
performance
phantasmagoria
popular science
romanticism
senses
shadow plays
sight and sound
street entertainment
telescopes
Product details
- ISBN 9780226337098
- Weight: 567g
- Dimensions: 16 x 24mm
- Publication Date: 06 Sep 2016
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Hardback
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The years between roughly 1760 and 1810, a period stretching from the rise of Joseph Haydn’s career to the height of Ludwig van Beethoven’s, are often viewed as a golden age for musical culture, when audiences started to revel in the sounds of the concert hall. But the latter half of the eighteenth century also saw proliferating optical technologies—including magnifying instruments, magic lanterns, peepshows, and shadow-plays—that offered new performance tools, fostered musical innovation, and shaped the very idea of “pure” music. Haydn’s Sunrise, Beethoven’s Shadow is a fascinating exploration of the early romantic blending of sight and sound as encountered in popular science, street entertainments, opera, and music criticism.
Deirdre Loughridge reveals that allusions in musical writings to optical technologies reflect their spread from fairgrounds and laboratories into public consciousness and a range of discourses, including that of music. She demonstrates how concrete points of intersection—composers’ treatments of telescopes and peepshows in opera, for instance, or a shadow-play performance of a ballad—could then fuel new modes of listening that aimed to extend the senses. An illuminating look at romantic musical practices and aesthetics, this book yields surprising relations between the past and present and offers insight into our own contemporary audiovisual culture.
Deirdre Loughridge reveals that allusions in musical writings to optical technologies reflect their spread from fairgrounds and laboratories into public consciousness and a range of discourses, including that of music. She demonstrates how concrete points of intersection—composers’ treatments of telescopes and peepshows in opera, for instance, or a shadow-play performance of a ballad—could then fuel new modes of listening that aimed to extend the senses. An illuminating look at romantic musical practices and aesthetics, this book yields surprising relations between the past and present and offers insight into our own contemporary audiovisual culture.
