Description
An idealized image of European concert-goers has long prevailed in historical overviews of the nineteenth and twentieth centuries. This act of listening was considered to be an invisible and amorphous phenomenon, a naturally given mode of perception. This narrative influenced the conditions of listening from the selection of repertoire to the construction of concert halls and programmes. However, as listening moved from the concert hall to the opera house, street music, and jazz venues, new and visceral listening traditions evolved. In turn, the art of listening was shaped by phenomena of the modern era including media innovation and commercialization.This Handbook asks whether, how, and why practices of music listening changed as the audience moved from pleasure gardens and concert venues in the eighteenth century to living rooms in the twentieth century, and mobile devices in the twenty-first. Through these questions, chapters enable a differently conceived history of listening and offer an agenda for future research.
Table of Contents
The Art of Listening and Its Histories: An IntroductionChristian Thorau and Hansjakob ZiemerSection I: Listening Behaviors and Emotions1. Who Cares if you Listen? Researching Audience Behavior(s) in Nineteenth-Century ParisKatharine Ellis2. The Well-Mannered Auditor: Zones of Attention and the Imposition of Silence in the Salon of the Nineteenth CenturyJames Deaville3. The Problem of Eclectic Listening in French and German Concerts, 1860-1910William Weber4. The Crisis of Listening in Interwar GermanyHansjakob Ziemer5. Listening as a Practice of Everyday Life: The Munich Philharmonic Orchestra and Its Audiences in the Second World WarNeil GregorSection II: Listening Ideologies and Instructions6. Turning Liebhaber into Kenner: Forkel's Lectures on the Art of Listening,c. 1780-1785Mark Evan Bonds7. Designated Attention: The Transformation of Music Announcements in Leipzig's Concert Life, 1781-1850Anselma Lanzendörfer8. Concert Listening the British Way?: Program Notes and Victorian CultureChristina Bashford9. "What ought to be heard": Touristic Listening and the Guided EarChristian ThorauSection III: Listening Spaces and Encounters10. Architectural Acoustics and the Trained Ear in the Arts: A Journey from 1780 to 1830Viktoria Tkaczyk and Stefan Weinzierl11. Amateurs and Auditors: Listening to the British Musical Festival, 1810-1835Charles Edward McGuire12. The Intimate Art of Listening:Music in the Private Sphere during the Nineteenth CenturyWolfgang Fuhrmann13. Symmetries in Spaces, Symmetries in Listening: Musical Theater Buildings in Europe around 1900Gesa zur Nieden14. Music in the Air-Listening in the Streets: Popular Music and Urban Listening Habits in Berlin around 1900Daniel MoratSection IV: Listening and Technologies15. From the Music-Telegraph to the Opera-Telephone-Listening to Music in the Late Nineteenth and Early Twentieth CenturiesSonja Neumann16. First Re-Creations: Psychology, Phonographs, and New Cultures of Listening at the Beginning of the Twentieth CenturyAlexandra Hui17. Between Personal Experience and Public Discourse: Reproduced Music and the Politics of Listening in the Twentieth CenturyAxel VolmarSection V: Towards an Art of Listening of the Twenty-First Century18. Capturing the Landscape Within: On Writing the History of ExperienceJames H. Johnson19. Listening and PossessingFred Maus20. Is Listening to Music an Art-or Not?Wolfgang Gratzer21. "Performer or listener, everybody in the concert hall should be devoted entirely to the music": On the Actuality of Not Listening to Music in Symphonic ConcertsChristiane Tewinkel
-
- 電子書籍
- 愛だから【タテヨミ】第6話 picco…
-
- 電子書籍
- 純愛特攻隊長！（５）
