Music and the Sonorous Sublime in European Culture, 1680-1880 (eBook, ePUB)

Redaktion: Hibberd, Sarah

• Format: ePub

Produktbeschreibung

The sublime - that elusive encounter with overwhelming height, power or limits - has been associated with music from the early-modern rise of interest in the Longinian sublime to its saturation of European culture in the later nineteenth century and beyond. This volume offers a historically situated study of the relationship between music, sound and the sublime. Together, the authors distinguish between the different aesthetics of production, representation and effect, while understanding these as often mutually reinforcing approaches. They demonstrate music's strength in playing out the sublime as transfer, transport and transmission of power, allied to the persistent theme of destruction, deaths and endings. The volume opens up two avenues for further research suggested by the adjective 'sonorous': a wider spectrum of sounds heard as sublime, and (especially for those outside musicology) a more multifaceted idea of music as a cultural practice that shares boundaries with other sounding phenomena.

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Produktdetails

• Verlag: Cambridge University Press
• Erscheinungstermin: 28. Mai 2020
• Englisch
• ISBN-13: 9781108788342
• Artikelnr.: 62745940

Inhaltsangabe

Sonorous sublimes: an introduction Sarah Hibberd and Miranda Stanyon; 1.
Thunder or celestial harmony: French theological debates on the sonorous
sublime Sophie Hache; 2. 'A pleasing rape': John Dennis, music and the
queer sublime Matthew Head; 3. The idea of the past in eighteenth-century
British music Suzanne Aspden; 4. C. P. E. Bach and the neoclassical
sublime: revisions of a concept Keith Chapin; 5. Cherubini's Médée and
sublime vengeance Sarah Hibberd; 6. When does the sublime stop? Cavatinas
and quotations in Haydn's Seasons Elaine Sisman; 7. Counterfeits,
contraltos and consonance in De Quincey's sublime Miranda Stanyon; 8. The
consecration of sound: sublime musical creation in Haydn, Weber and Spohr
Benedict Taylor; 9. Commanding performances: opera, surrogation and the
royal sublime in 1848 Dana Gooley; 10. Wagner's sublime effects: bells,
cannon and the perception of heavy sound David Trippett.