Nineteenth-Century Opera and the Scientific Imagination
Herausgeber: Trippett, David; Walton, Benjamin
Nineteenth-Century Opera and the Scientific Imagination
Herausgeber: Trippett, David; Walton, Benjamin
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Explores the rich and varied interactions between nineteenth-century science and the world of opera for the first time.
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Explores the rich and varied interactions between nineteenth-century science and the world of opera for the first time.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 398
- Erscheinungstermin: 22. August 2019
- Englisch
- Abmessung: 250mm x 175mm x 26mm
- Gewicht: 866g
- ISBN-13: 9781107111257
- ISBN-10: 1107111250
- Artikelnr.: 55303566
- Verlag: Cambridge University Press
- Seitenzahl: 398
- Erscheinungstermin: 22. August 2019
- Englisch
- Abmessung: 250mm x 175mm x 26mm
- Gewicht: 866g
- ISBN-13: 9781107111257
- ISBN-10: 1107111250
- Artikelnr.: 55303566
1. 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.
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.
1. 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.
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.