Haydn’s Sunrise, Beethoven’s Shadow: Audiovisual Culture and the Emergence of Musical Romanticism

University of Chicago Press
Free sample

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.
Read more
Collapse

About the author

Deirdre Loughridge is assistant professor in the Department of Music at Northeastern University.
Read more
Collapse
Loading...

Additional Information

Publisher
University of Chicago Press
Read more
Collapse
Published on
Sep 6, 2016
Read more
Collapse
Pages
304
Read more
Collapse
ISBN
9780226337128
Read more
Collapse
Read more
Collapse
Read more
Collapse
Language
English
Read more
Collapse
Genres
History / Modern / 18th Century
Music / General
Music / Genres & Styles / Classical
Music / History & Criticism
Technology & Engineering / History
Read more
Collapse
Content Protection
This content is DRM protected.
Read more
Collapse
Read Aloud
Available on Android devices
Read more
Collapse
Eligible for Family Library

Reading information

Smartphones and Tablets

Install the Google Play Books app for Android and iPad/iPhone. It syncs automatically with your account and allows you to read online or offline wherever you are.

Laptops and Computers

You can read books purchased on Google Play using your computer's web browser.

eReaders and other devices

To read on e-ink devices like the Sony eReader or Barnes & Noble Nook, you'll need to download a file and transfer it to your device. Please follow the detailed Help center instructions to transfer the files to supported eReaders.
Over three decades, Paul Griffiths's survey has remained the definitive study of music since the Second World War; this fully revised and updated edition re-establishes Modern Music and After as the preeminent introduction to the music of our time. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reformation of compositional technique and in John Cage's development of zen music; in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies; in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that haven't yet stopped unfolding. This constant expansion of musical thinking since 1945 has left us with no singular history of music; Griffiths's study accordingly follows several different paths, showing how and why they converge and diverge. This new edition of Modern Music and After discusses not only the music of the fifteen years that have passed since the previous edition, but also the recent explosion of scholarly interest in the latter half of the twentieth century. In particular, the book has been expanded to incorporate the variety of responses to the modernist impasse experienced by composers of the 1980s and 1990s. Griffiths then moves the book into the twenty-first century as he examines such highly influential composers as Helmut Lachenmann and Salvatore Sciarrino. For its breadth, wealth of detail, and characteristic wit and clarity, the third edition of Modern Music and After is required reading for the student and the enquiring listener.
Winner of the 2007 Otto Kinkeldey Award from the American Musicological Society and the 2007 Deems Taylor Award from the American Society of Composers, Authors, and Publishers.

Divas and Scholars is a dazzling and beguiling account of how opera comes to the stage, filled with Philip Gossett’s personal experiences of triumphant—and even failed—performances and suffused with his towering and tonic passion for music. Writing as a fan, a musician, and a scholar, Gossett, the world's leading authority on the performance of Italian opera, brings colorfully to life the problems, and occasionally the scandals, that attend the production of some of our most favorite operas.

Gossett begins by tracing the social history of nineteenth-century Italian theaters in order to explain the nature of the musical scores from which performers have long worked. He then illuminates the often hidden but crucial negotiations opera scholars and opera conductors and performers: What does it mean to talk about performing from a critical edition? How does one determine what music to perform when multiple versions of an opera exist? What are the implications of omitting passages from an opera in a performance? In addition to vexing questions such as these, Gossett also tackles issues of ornamentation and transposition in vocal style, the matters of translation and adaptation, and even aspects of stage direction and set design.

Throughout this extensive and passionate work, Gossett enlivens his history with reports from his own experiences with major opera companies at venues ranging from the Metropolitan and Santa Fe operas to the Rossini Opera Festival at Pesaro. The result is a book that will enthrall both aficionados of Italian opera and newcomers seeking a reliable introduction to it—in all its incomparable grandeur and timeless allure.

If you drive into any American city with the car stereo blasting, you’ll undoubtedly find radio stations representing R&B/hip-hop, country, Top 40, adult contemporary, rock, and Latin, each playing hit after hit within that musical format. American music has created an array of rival mainstreams, complete with charts in multiple categories. Love it or hate it, the world that radio made has steered popular music and provided the soundtrack of American life for more than half a century.

In Top 40 Democracy, Eric Weisbard studies the evolution of this multicentered pop landscape, along the way telling the stories of the Isley Brothers, Dolly Parton, A&M Records, and Elton John, among others. He sheds new light on the upheavals in the music industry over the past fifteen years and their implications for the audiences the industry has shaped. Weisbard focuses in particular on formats—constructed mainstreams designed to appeal to distinct populations—showing how taste became intertwined with class, race, gender, and region. While many historians and music critics have criticized the segmentation of pop radio, Weisbard finds that the creation of multiple formats allowed different subgroups to attain a kind of separate majority status—for example, even in its most mainstream form, the R&B of the Isley Brothers helped to create a sphere where black identity was nourished. Music formats became the one reliable place where different groups of Americans could listen to modern life unfold from their distinct perspectives. The centers of pop, it turns out, were as complicated, diverse, and surprising as the cultural margins. Weisbard’s stimulating book is a tour de force, shaking up our ideas about the mainstream music industry in order to tease out the cultural importance of all performers and songs.
“[A] tale of power, perseverance and passion . . . a great story in the hands of a master storyteller.”—The Wall Street Journal
 
The Pulitzer Prize–winning author of Peter the Great, Nicholas and Alexandra, and The Romanovs returns with another masterpiece of narrative biography, the extraordinary story of an obscure German princess who became one of the most remarkable, powerful, and captivating women in history. Born into a minor noble family, Catherine transformed herself into empress of Russia by sheer determination. For thirty-four years, the government, foreign policy, cultural development, and welfare of the Russian people were in her hands. She dealt with domestic rebellion, foreign wars, and the tidal wave of political change and violence churned up by the French Revolution. Catherine’s family, friends, ministers, generals, lovers, and enemies—all are here, vividly brought to life. History offers few stories richer than that of Catherine the Great. In this book, an eternally fascinating woman is returned to life.
 
“[A] compelling portrait not just of a Russian titan, but also of a flesh-and-blood woman.”—Newsweek
 
“An absorbing, satisfying biography.”—Los Angeles Times
 
“Juicy and suspenseful.”—The New York Times Book Review
 
“A great life, indeed, and irresistibly told.”—Salon
 
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY
The New York Times • The Washington Post • USA Today • The Boston Globe • San Francisco Chronicle • Chicago Tribune • Newsweek/The Daily Beast • Salon • Vogue • St. Louis Post-Dispatch • The Providence Journal • Washington Examiner • South Florida Sun-Sentinel • BookPage • Bookreporter • Publishers Weekly

BONUS: This edition contains a Catherine the Great reader's guide.
©2020 GoogleSite Terms of ServicePrivacyDevelopersArtistsAbout Google|Location: United StatesLanguage: English (United States)
By purchasing this item, you are transacting with Google Payments and agreeing to the Google Payments Terms of Service and Privacy Notice.