acoustics
adam walker
artificial intelligence
aural
babbage
Category=NHD
Category=NHTB
celestina
charles burney
crystal palace
discovery
drama
eidouranion
empire
engines
entertainment
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
experience
frankenstein
great exhibition of 1851
history
innovation
knowledge
London
long 19th century
music
musical instruments
natural philosophy
noise
nonfiction
performance
performing arts
science
sound
spectacle
stage
technology
theater
truth
virtuoso
visual
wheatstone
Product details
- ISBN 9780226402079
- Weight: 510g
- Dimensions: 17 x 24mm
- Publication Date: 27 Jan 2017
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Hardback
Secure
checkout
Fast Shipping
Easy returns
What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways.Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney's ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.
James Q. Davies is associate professor of music at the University of California, Berkeley. He is the author of Romantic Anatomies of Performance. Ellen Lockhart is assistant professor of musicology at the University of Toronto.
