A01=Thomas Tolley
Allgemeine Musikalische Zeitung
audience reception analysis
Author_Thomas Tolley
bis
Carlos III
Category=AV
Category=AVLA
Chopin
cross-disciplinary cultural studies
death
eighteenth-century aesthetics
Enlightenment art history
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
George III
Gluck's Opera
Gluck’s Opera
haydn's
Haydn's Music
Haydn's Opera
Haydn's Setting
Haydn's Works
Haydn’s Music
Haydn’s Opera
Haydn’s Setting
Haydn’s Works
Herschel's Telescopes
Herschel’s Telescopes
Hop Field
icons
La Resurrezione
late
Late Oratorios
Le Haydine
Les Horaces
Mrs Jordan
Mrs Papendiek
music
musical
musical pictorialism
oratorios
Phonurgia Nova
Salon Exhibitions
sensory perception theory
swieten
Tempore Belli
Thomson's Poem
Thomson’s Poem
Valentine Green
van
Van Swieten
Vice Versa
visual music interdisciplinary research
Younger Man
Product details
- ISBN 9781138275850
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 28 Nov 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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From c.1750 to c.1810 the paths of music history and the history of painting converged with lasting consequences. The publication of Newton's Opticks at the start of the eighteenth century gave a 'scientific' basis to the analogy between sight and sound, allowing music and the visual arts to be defined more closely in relation to one another. This was also a period which witnessed the emergence of a larger and increasingly receptive audience for both music and the visual arts - an audience which potentially included all social strata. The development of this growing public and the commercial potential that it signified meant that for the first time it became possible for a contemporary artist to enjoy an international reputation. Nowhere is this better illustrated than in the career of Joseph Haydn. Although this phenomenon defies conventional modes of study, the book shows how musical pictorialism became a major creative force in popular culture. Haydn, the most popular living cultural personality of the period, proved to be the key figure in advancing the new relationship. The connections between the composer and his audiences and leading contemporary artists (including Tiepolo, Mengs, Kauffman, Goya, David, Messerschmidt, Loutherbourg, Canova, Copley, Fuseli, Reynolds, Gillray and West) are examined here for the first time. By the early nineteenth century, populism was beginning to be regarded with scepticism and disdain. Mozart was the modern Raphael, Beethoven the modern Michelangelo. Haydn, however, had no clear parallel in the accepted canon of Renaissance art. Yet his recognition that ordinary people had a desire to experience simultaneous aural and visual stimulation was not altogether lost, finding future exponents in Wagner and later still in the cinematic arts.
