Christian Thorau is Professor of Musicology at the University of Potsdam and author of Vom Klang zur Metapher - Perspektiven der musikalischen Analyse. He has held fellowships at the National Humanities Center, N.C. and at the International Research Center for Cultural Studies in Vienna. His research priorities include the popularisation of musicological knowledge, the history of music listening and the theory and practice of music analysis. Hansjakob Ziemer is Research Fellow at the Max Planck Institute for the History of Science and author of Die Moderne hören: Das Konzert als urbanes Forum, 1890-1940. Among his publications are articles on the cultural history of sound, emotions, listening, architecture and journalism.
Inhaltsangabe
* The Art of Listening and Its Histories: An Introduction * Christian Thorau and Hansjakob Ziemer * Section I: Listening Behaviors and Emotions * 1. Who Cares if you Listen? Researching Audience Behavior(s) in Nineteenth-Century Paris * Katharine Ellis * 2. The Well-Mannered Auditor: Zones of Attention and the Imposition of Silence in the Salon of the Nineteenth Century * James Deaville * 3. The Problem of Eclectic Listening in French and German Concerts, 1860-1910 * William Weber * 4. The Crisis of Listening in Interwar Germany * Hansjakob Ziemer * 5. Listening as a Practice of Everyday Life: The Munich Philharmonic Orchestra and Its Audiences in the Second World War * Neil Gregor * Section II: Listening Ideologies and Instructions * 6. Turning Liebhaber into Kenner: Forkel's Lectures on the Art of Listening, * c. 1780-1785 * Mark Evan Bonds * 7. Designated Attention: The Transformation of Music Announcements in Leipzig's Concert Life, 1781-1850 * Anselma Lanzendörfer * 8. Concert Listening the British Way?: Program Notes and Victorian Culture * Christina Bashford * 9. "What ought to be heard": Touristic Listening and the Guided Ear * Christian Thorau * Section III: Listening Spaces and Encounters * 10. Architectural Acoustics and the Trained Ear in the Arts: A Journey from 1780 to 1830 * Viktoria Tkaczyk and Stefan Weinzierl * 11. Amateurs and Auditors: Listening to the British Musical Festival, 1810-1835 * Charles Edward McGuire * 12. The Intimate Art of Listening: * Music in the Private Sphere during the Nineteenth Century * Wolfgang Fuhrmann * 13. Symmetries in Spaces, Symmetries in Listening: Musical Theater Buildings in Europe around 1900 * Gesa zur Nieden * 14. Music in the Air-Listening in the Streets: Popular Music and Urban Listening Habits in Berlin around 1900 * Daniel Morat * Section IV: Listening and Technologies * 15. From the Music-Telegraph to the Opera-Telephone-Listening to Music in the Late Nineteenth and Early Twentieth Centuries * Sonja Neumann * 16. First Re-Creations: Psychology, Phonographs, and New Cultures of Listening at the Beginning of the Twentieth Century * Alexandra Hui * 17. Between Personal Experience and Public Discourse: Reproduced Music and the Politics of Listening in the Twentieth Century * Axel Volmar * Section V: Towards an Art of Listening of the Twenty-First Century * 18. Capturing the Landscape Within: On Writing the History of Experience * James H. Johnson * 19. Listening and Possessing * Fred Maus * 20. Is Listening to Music an Art-or Not? * Wolfgang Gratzer * 21. "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 Concerts * Christiane Tewinkel
* The Art of Listening and Its Histories: An Introduction * Christian Thorau and Hansjakob Ziemer * Section I: Listening Behaviors and Emotions * 1. Who Cares if you Listen? Researching Audience Behavior(s) in Nineteenth-Century Paris * Katharine Ellis * 2. The Well-Mannered Auditor: Zones of Attention and the Imposition of Silence in the Salon of the Nineteenth Century * James Deaville * 3. The Problem of Eclectic Listening in French and German Concerts, 1860-1910 * William Weber * 4. The Crisis of Listening in Interwar Germany * Hansjakob Ziemer * 5. Listening as a Practice of Everyday Life: The Munich Philharmonic Orchestra and Its Audiences in the Second World War * Neil Gregor * Section II: Listening Ideologies and Instructions * 6. Turning Liebhaber into Kenner: Forkel's Lectures on the Art of Listening, * c. 1780-1785 * Mark Evan Bonds * 7. Designated Attention: The Transformation of Music Announcements in Leipzig's Concert Life, 1781-1850 * Anselma Lanzendörfer * 8. Concert Listening the British Way?: Program Notes and Victorian Culture * Christina Bashford * 9. "What ought to be heard": Touristic Listening and the Guided Ear * Christian Thorau * Section III: Listening Spaces and Encounters * 10. Architectural Acoustics and the Trained Ear in the Arts: A Journey from 1780 to 1830 * Viktoria Tkaczyk and Stefan Weinzierl * 11. Amateurs and Auditors: Listening to the British Musical Festival, 1810-1835 * Charles Edward McGuire * 12. The Intimate Art of Listening: * Music in the Private Sphere during the Nineteenth Century * Wolfgang Fuhrmann * 13. Symmetries in Spaces, Symmetries in Listening: Musical Theater Buildings in Europe around 1900 * Gesa zur Nieden * 14. Music in the Air-Listening in the Streets: Popular Music and Urban Listening Habits in Berlin around 1900 * Daniel Morat * Section IV: Listening and Technologies * 15. From the Music-Telegraph to the Opera-Telephone-Listening to Music in the Late Nineteenth and Early Twentieth Centuries * Sonja Neumann * 16. First Re-Creations: Psychology, Phonographs, and New Cultures of Listening at the Beginning of the Twentieth Century * Alexandra Hui * 17. Between Personal Experience and Public Discourse: Reproduced Music and the Politics of Listening in the Twentieth Century * Axel Volmar * Section V: Towards an Art of Listening of the Twenty-First Century * 18. Capturing the Landscape Within: On Writing the History of Experience * James H. Johnson * 19. Listening and Possessing * Fred Maus * 20. Is Listening to Music an Art-or Not? * Wolfgang Gratzer * 21. "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 Concerts * Christiane Tewinkel
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