Cities are Alive with the Sound of Music: Saengerfest and the Transformation of Urban Public Music in Nineteenth-century America

This article examines the development of outdoor public music in American cities during the nineteenth century and develops three primary arguments. Organized and recreational forms of public music – such as musical festivals and outdoor band concerts – became commonplace and integral to city life during the second half of the nineteenth century. Second, German-American singing festivals (Saengerfests) were major public events during the mid-nineteenth century and helped create this recreational public music culture by demonstrating how organized and recreational public music could enhance city life and suggesting to commentators and public officials that it could serve as a tool of reform. Third, public music – such as occurred during Saengerfests – helped bridge social divisions and made American cities more socially fluid, even at a time when some aspects of civic life were becoming more divided and contentious.     

Romanticism,music, nationalism

In manifold ways, the stylistic and performative features and evolving genre conventions of nineteenth‐century ‘classical’ music reflect the increasing grip of nationalism on cultural attitudes in Europe. Conversely, music could become an important medium for the expression and dissemination of nationalist ideals. A cross‐national, European‐wide survey of this interpenetration between musical and ideological developments is applied towards a tentative typological outline of ‘musical nationalism’.     

National stereotypes and music

Music became a marker of national identity in nineteenth‐century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national? What political and cultural circumstances contributed to the development of national styles and facilitated the emergence of resonant topographies? What was the relationship between music as cultural practice and nineteenth‐century national thought as discursive space? These questions are addressed with a particular focus on verbunkos, which came to be characteristic of Hungarian national style, and on the Rákóczy March which became famous thanks to Berlioz's Faust. This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music.     

Music and Physics: A Cultural,Interdisciplinary History

This essay investigates the triangular exchange among physicists, musicians, and instrument makers in nineteenth‐century Germany by proffering a material, cultural, and interdisciplinary history. It does so by analyzing four concrete examples of such exchanges: the relationship between musical automata and virtuosi, the reed pipe as an object of music and scientific measurement, the history of standardizing performance pitch, and the attempts to measure musical virtuosity. The goal of the essay is to suggest ways in which interdisciplinary cultural histories, which take the scientific content seriously, can be an improvement upon purely disciplinary histories.     

Minerva Scientifica: the owl that flies at dawn - women scientists,women composers

ABSTRACT

Under the leadership of soprano Frances M Lynch, Minerva Scientifica deploys sung theatrical performances to encourage, celebrate and demonstrate the achievements of women in science and music. Based on collaborative discussions between practising female scientists and contemporary classical composers, the events staged by Minerva Scientifica are receiving high acclaim not only as educational and musical experiences for general audiences, but also for enhancing scientists’ appreciation of their own work. Adopting a historical approach, this article first explores the relationships between three pairs – women and science, music and science, women and music – before giving a more detailed account of the project’s evolution since 2011.     

Into the Crater: The Mine Attack at Petersburg

In concentrating on spiritualism’s mediums and intellectual captains, scholars have paid little attention to the movement’s meaning to average séance‐goers. An investigation of spiritualism in nineteenth‐century California and Nevada – and especially in San Francisco – shows that mediums offered their patrons a valuable social product by tying together religion with entertainment and therapy. In doing so, spiritualists created a cultural technology of ‘spirit materialization’ that prefigured the electronic technology of spirit materialization in the twentieth century – telephone, film, radio, television. Spiritualists also helped create a therapeutic culture that prefigured psychotherapy. In reconciling Americans to the transience of nineteenth‐century social life, in offering them new conceptions of family and community, and by setting the stage for modern therapeutic culture and mass entertainment, Spiritualism became both a bridge to modernity and part of the infrastructure of modernity. The tension between religion, therapy, and entertainment, however, propelled spiritualism in contrary directions and ensured that it would not retain its popularity in the twentieth century.     

The origins of the entertainment industry: the operetta in late nineteenth-century Italy

Abstract

How does a new successful musical genre impose itself, define its audiences and repertoires and eventually replace older genres? The essay examines the case of operetta from its French origins to the specific diffusion in the Italian entertainment system. Here the popularity of the ‘little opera’ coming from France and later from Vienna grew along with a new system of theaters, politeama and café chantants. They were run by a new generation of entrepreneurs and publishers such as Sonzogno, interested in diffuse new forms of musical leisure. The rising of the Italian operetta found strong resistance from the traditional opera world at the turn of the nineteenth century, when the distinction between artistic music and music as entertainment was being consolidated and we can find a sort of passing of the baton between opera and operetta as the major popular musical genre.     

Ancients and moderns in medieval music theory: from Guido of Arezzo to Jacobus

ABSTRACT

Medieval discourse about both the theory and practice of music featured much debate about the views of moderni and antiqui from when Guido of Arezzo devised a new way of recording pitch in the early eleventh century to the complaints of Jacobus in the early fourteenth century about new forms of measured music in the ars nova. There was also a shift from a Boethian notion that practical music was a manifestation of cosmic music, towards a more Aristotelian model, that privileged music as sensory experience. That this could have a profound effect on human emotion was articulated by Johannes de Grocheio writing about music c. 1270 and Guy of Saint-Denis soon after 1300 about plainchant. Jacobus, writing in the 1320s, was troubled by this shift in thinking about music not as reflections of transcendent realities, but as sounds of human invention that served to move the soul. He argued that musical patterns should reflect a transcendent harmony that was both cosmic and celestial.     

“Kontakte” – Reflexionen naturwissenschaftlich‐technischer Innovationsprozesse in der frühen Elektronischen Musik Karlheinz Stockhausens (1952–1960)

“Kontakte” – Reflections of Innovative Processes in Science and Technology in Karlheinz Stockhausen's Early Electronic Music (1952–1960). The following article will give an overview of the interdependence of aesthetic and scientific/technical developments in German composer Karlheinz Stockhausen's early works of electronic music. It is an outline of the major steps in his artistic evolution between the works “Etude (Musique concrète)” and “Kontakte”, their relation to innovations in psychoacoustic and sound‐studio technology as well as the impact, that the works from that period had on the fundamental changes in musical aesthetics during the course of the 20th century.     

The unbearable weight of music: The intermezzo

The affordances of musical experience, its capacity to become our mode of being-in-the-world, especially in ritual situations, can be turned against us into an aversive sonic attack that bends the social arc into a liminality without end, a time in between that goes nowhere. And when this happens, we have entered the realm of music torture, a relatively recent innovation in that dark art that was ushered into the world in full force at the beginning of the 21st century. Music became part of a regime of no-touch torture inflicted upon detainees in the ‘global war on terror’, itself a war without end. In this article, the author argues for an ontomusicology that understands music as ritual and ritual as music – in this case, ritual that inverts Victor Turner’s notion of communitas, with all of its attendant modes of being-with, into a solitary mode of existence with no hope of escape, a musical ritual torture, a perpetual intermezzo.     

The Perception of Music

Abstract

The author recently described elsewhere a computer program which would transcribe classical melodies played on an organ console into the equivalent of standard musical notation. This program was the fruit of a prolonged effort to understand how Western musicians succeed in making sense of music, in discerning rhythm and the tonal relation hip between notes. The interest of the problem arise from the fact that no two performance of the same piece of music are ever identical so that the listener has to discriminate between those variation of timing and pitch which are structurally significant and those which are merely expressive. In order to under land the ability of some musician to reproduce the cores of music that they hear it is necessary to develop a formally precise theory of rhythm and tonality – a theory which is couched in terms reminiscent of Chomskyan linguistics. But it is also necessary to consider how the listener builds in his mind a representation of the rhythm and tonality of performed music, and succeed in assigning to each note an appropriate place in the developing structure. In this review the relevant areas of musical theory are reviewed, and where necessary extended; and it is suggested that computational models of the kind described can be of great value as vehicle for the expression of precise ideas about our cognitive and perceptual processes.     

文中子的《乐论》与《乐记》

《续六经》之一的《乐论》,表述了文中子的音乐理论,《乐论》虽已失传,但从其他典籍可以考知其梗概。文中子看到了音乐在整个社会进程中的作用,它不仅能体现王道,而且是时代的体温计,他的乐理理论其实是秉承了孔子的乐理思想。在经过从汉到隋之前儒学的衰落之后,文中子的乐理思想也是他重振儒学的有机组成部分。     

The nation in the region: flamenco and canzone napoletana as national icons in modern Spain and Italy (1880–1922)

Although the relationship between music and nationalism has been at the centre of recent cross‐disciplinary research, many areas remain unexplored. Among them are forms of ‘national music’ that nest overlapping identities, functioning simultaneously as vehicles of regional, ethnic, urban, global and diasporic belongings. This article focuses on the national dimension of these multilevel identities, concentrating on the swings and transmigrations between the national and the regional. It compares two Mediterranean traditions which, particularly between the late nineteenth and early twentieth centuries, have served as multilevel identifiers of national and regional belongings: flamenco and canzone napoletana (Neapolitan song). I argue that, besides geographically bounded identities, both genres were constructed as ‘national’ primarily abroad, rather than in their home countries, thus contributing to a theory of the ‘international’ dimension of ‘national’ music. In the case of flamenco, I focus on the irradiation centre of the time, Paris, although the modern notion of musical Spanishness was first associated with national identity in Russia. The canzone consolidated its international position mostly through the Italian diaspora, achieving a much wider reach than is ordinarily thought, both nationally and globally.     

Transatlantic Correspondence and ‘Mobile Knowledge’ in Alexander von Humboldt's Exploratory Travels to Hispanic America

Summary

This article focuses on the relevance of Alexander von Humboldt's correspondence in the formation of transatlantic scientific networks at the beginning of the nineteenth century. Apart from connecting Humboldt with scientists and scholars worldwide, his correspondence turned out to be a fundamental tool for assuring the material conditions and the social and scientific connections he needed to carry out his research on the Spanish colonies and to simultaneously diffuse his achievements on the European side of the Atlantic. His contact with Hispanic American scientists and with the local elites enabled him to build a broad social network, gaining access to key material, human and intellectual resources. The letters sent to scientists, scientific institutions and noblemen in Europe, for their part, kept Humboldt's European correspondents informed about his activities in Hispanic America, contributing to the validation of his work before the scientific community and the fulfilment of the duties resulting from the political and institutional support he received both before and during his travels. This stresses the importance of strategic social groups and their cooperation in the framework of exploratory travels as a means to gaining access to resources in the peripheries. It also reveals the scientist's dependence on all those who supported his research: kings, barons, botanical gardens, universities, and academies.     

The Curse of Civilised Woman: Race,Gender and the Pain of Childbirth in Nineteenth‐Century American Medicine

Accounts of the easy, painless childbearing of ‘primitive’ non‐white women in comparison to their ‘civilised’ white counterparts were ubiquitous in early modern travel literature. In the nineteenth‐century United States, such narratives were increasingly taken up in medical and scientific literature, catalysing the production of new forms of knowledge about race and bodies. This article analyses several key medico‐scientific theories produced to explain racialised parturient pain and argues that this knowledge dynamically interrelated with both racial ideas and racial practice in nineteenth‐century society. The shifting character of this knowledge implicated changing ways of defining race, including the anchoring of racial identity in the physical body; the role of the physician as an arbiter of racial truth; and the imbrication of gender in racial classifications. Moreover, knowledge produced to explain racialised parturient pain – for instance, about race‐specific sensory physiology, muscular mechanics and skeletal anatomy – circulated within numerous social institutions, among them slavery; gynaecologic and obstetric care; medical experimentation; anti‐abortion crusades invoking the spectre of ‘race suicide’; and eugenic projects. In this way, medical discourse on the gendered body of the parturient was enrolled in the changing articulation of race across the nineteenth century.     

Endangered musical heritage as a wicked problem

The issue of the widespread decline and loss of musical heritage has recently found increasing prominence in ethnomusicological discourse, and many applied projects from grassroots to international levels strive to support genres perceived to be under threat. Much recent literature on the subject features rhetoric that draws on metaphors from ecology, including, for example, the ideas of music ‘ecosystems’, ‘endangerment’ and ‘sustainability’. Offering an alternative (though not contradictory) perspective, I here characterise the widespread loss of musical heritage as a ‘wicked problem’– one with complex interdependencies, uncertainties and conflicting stakeholder perspectives, which defies resolution more than some of the ecological metaphors arguably imply. By drawing on theoretical notions of ‘wickedness’ from social policy planning and other areas, I aim to bring interdisciplinary insights to the discussion of strategies to mitigate the global threat to music as intangible cultural heritage. Offering three ‘stories’ about the problem of music genres ‘at risk’ and critiquing each of these stories against the theory of wicked problems, I explore the implications of this conceptualisation for heritage scholars, music researchers, policy-makers and other cultural stakeholders, in terms of moving us closer to realising effective, resilient and innovative approaches to the problem at hand.     

Liverpool’s Cotton Importers c. 1700 to 1914

Liverpool’s first cotton importers dealt in a range of commodities and this pattern continued until the late eighteenth century. As the British cotton industry grew and new sources of raw cotton – particularly the United States – emerged, some merchants specialized increasingly in cotton in the early decades of the nineteenth century. By the end of the century, the largest importers of cotton dealt in little besides cotton. The growing prosperity of Liverpool’s cotton trade drew companies from elsewhere in the United Kingdom to Liverpool to participate in this trade. By the mid nineteenth century, several key cotton importing houses had originated in the United States; by the end of the nineteenth century the largest importers there. The manner of importing cotton changed. At first, importers had to send a ship out with a captain or supercargo with broad instructions about what to freight the ship with. As communications improved, importers were able to control their purchases of cotton more closely. In the nineteenth century, a significant amount of cotton was imported through Liverpool by merchants acting on a commission basis but this form of importing declined in the later decades of the century.     

Formt die Technik die Musik? Montageästhetik zu Beginn des 20. Jahrhunderts

Does technology shape music? Aesthetics of assembly at the beginning of the 20^th century. This article deals with the relationship between assembly in production technology and similar processes in musical composition. Can composers like Eric Satie, Igor Strawinsky or George Antheil, who used assembly methods in some of their compositions, be called assemblers? The authors point out that all three composers used assembly methods in different ways and with different purposes. Applying a theoretical approach inspired by media studies they come to the conclusion that the conditions under which musical works using assembly methods are shaped do not originate in technology but in the aesthetic convictions of the composer. Apart from assembly methods there are many other compositional principles the composer relies on. Technology may inspire music but does not determine the musical outcome.