Contributor
Trippett, David, 1980- editor.
ImprintCambridge, United Kingdom ; New York, NY : Cambridge University Press, 2019.
Imprint2019
Descriptionxv, 381 pages : illustrations, music ; 26 cm
Note:Introduction : The laboratory and the stage / David Trippett and Benjamin Walton -- Part I. Voices. Pneumotypes : Jean de Reszke's high pianissimos and the occult sciences of breathing / James Q. Davies ; Vocal culture in the age of laryngoscopy / Benjamin Steege ; Operatic fantasies in early nineteenth-century psychiatry / Carmel Raz ; Opera and hypnosis : Victor Maurel's experiments with Verdi's Otello / Céline Frigau Manning -- Part II. Ears. Hearing in the music of Hector Berlioz / Julia Kursell ; From distant sounds to Aeolian ears : Ernst Kapp's auditory prosthesis / David Trippett ; Wagner, hearing loss and the urban soundscape of nineteenth-century Germany / James Deaville -- Part III. Technologies. Science, technology and love in late eighteenth-century opera / Deirdre Loughridge ; Technological phantoms of the Opéra / Benjamin Walton ; Circuit listening / Ellen Lockhart -- Part IV. Bodies. Excelsior as mass ornament : the reproduction of gesture / Gavin Williams ; Automata, physiology and opera in the nineteenth century / Myles W. Jackson ; Wagnerian manipulation : Bayreuth and nineteenth-century sciences of the mind / James Kennaway ; Unsound seeds / Alexander Rehding.
Bibliography Note:Includes bibliographical references (pages 335-374) and index.
Note:Scientific 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.--Book jacket.
