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OverviewScientific thinking has long been linked to music theory and instrument making, yet the profound and often surprising intersections between the sciences and opera during the long nineteenth century are here explored for the first time. These touch on a wide variety of topics, including vocal physiology, theories of listening and sensory communication, technologies of theatrical machinery and discourses of biological degeneration. Taken together, the chapters reveal an intertwined cultural history that extends from backstage hydraulics to drawing-room hypnotism, and from laryngoscopy to theatrical aeronautics. Situated at the intersection of opera studies and the history of science, the book therefore offers a novel and illuminating set of case studies, of a kind that will appeal to historians of both science and opera, and of European culture more generally from the French Revolution to the end of the Victorian period. Full Product DetailsAuthor: David Trippett (University of Cambridge) , Benjamin Walton (University of Cambridge)Publisher: Cambridge University Press Imprint: Cambridge University Press Dimensions: Width: 18.30cm , Height: 2.10cm , Length: 26.30cm Weight: 0.940kg ISBN: 9781107111257ISBN 10: 1107111250 Pages: 396 Publication Date: 22 August 2019 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: In stock  We have confirmation that this item is in stock with the supplier. It will be ordered in for you and dispatched immediately. Table of Contents1. Introduction: the laboratory and the stage David Trippett and Benjamin Walton; Part I. Voices: 2. Pneumotypes: Jean de Reszke's high pianissimos and the occult sciences of breathing James Q. Davies; 3. Vocal culture in the age of laryngoscopy Benjamin Steege; 4. Operatic fantasies in early nineteenth-century psychiatry Carmel Raz; 5. Opera and hypnosis: Victor Maurel's experiments in suggestion with Verdi's Otello Céline Frigau Manning; Part II. Ears: 6. Hearing space in the music of Hector Berlioz Julia Kursell; 7. From distant sounds to Aeolian ears: Ernst Kapp's auditory prosthesis David Trippett; 8. Wagner, hearing loss, and the urban soundscape of late nineteenth-century Germany James Deaville; Part III. Technologies: 9. Science, technology and love in late eighteenth-century opera Deirdre Loughridge; 10. Technological phantoms of the opéra Benjamin Walton; 11. Circuit listening Ellen Lockhart; Part IV. Bodies: 12. Excelsior as mass ornament: the reproduction of gesture Gavin Williams; 13. Automata, physiology and opera Myles Jackson; 14. Wagnerian manipulation: Bayreuth and the sciences of the mind James Kennaway; 15. Unsound seeds Alexander Rehding.Reviews'There is an interesting discussion of whether opera was beneficial or dangerous for the mentally ill. This exploration of the intersection of two important aspects of 19th-century Western life will interest scientists and musicians alike.' R. Pitts, Choice 'There is an interesting discussion of whether opera was beneficial or dangerous for the mentally ill. This exploration of the intersection of two important aspects of 19th-century Western life will interest scientists and musicians alike.' R. Pitts, Choice 'There is an interesting discussion of whether opera was beneficial or dangerous for the mentally ill. This exploration of the intersection of two important aspects of 19th-century Western life will interest scientists and musicians alike.' R. Pitts, Choice Author InformationDavid Trippett is University Senior Lecturer at the University of Cambridge. His first monograph, Wagner's Melodies (Cambridge, 2013), examines the cultural and scientific history of melodic theory in relation to Wagner's writings and music. He recently co-edited the Companion to Music in Digital Culture (Cambridge, forthcoming) and produced a critical reconstruction of Liszt's opera, Sardanapalo for the Neue Liszt Ausgabe, which he orchestrated for Schott. Benjamin Walton is University Senior Lecturer at the University of Cambridge, and a Fellow of Jesus College. His monograph, Rossini in Restoration Paris: The Sound of Modern Life (Cambridge) was published in 2007, and a collection of essays entitled The Invention of Beethoven and Rossini (2013) was co-edited with Nicholas Mathew. From 2014–18 he was co-editor of Cambridge Opera Journal. Tab Content 6Author Website:Countries AvailableAll regions |
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