LEADER 04002nam 22006495 450 001 9910136114603321 005 20200424112023.0 010 $a0-226-33712-X 024 7 $a10.7208/9780226337128 035 $a(CKB)3710000000914926 035 $a(MiAaPQ)EBC4437721 035 $a(StDuBDS)EDZ0001557985 035 $a(DE-B1597)523383 035 $a(OCoLC)961183701 035 $a(DE-B1597)9780226337128 035 $a(EXLCZ)993710000000914926 100 $a20200424h20162016 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aHaydn's Sunrise, Beethoven's Shadow $eAudiovisual Culture and the Emergence of Musical Romanticism /$fDeirdre Loughridge 210 1$aChicago : $cUniversity of Chicago Press, $d[2016] 210 4$dİ2016 215 $a1 online resource (302 pages) $cillustrations, photographs 300 $aPreviously issued in print: 2016. 311 $a0-226-33709-X 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tIntroduction. Audiovisual Histories -- $tOne. From Mimesis to Prosthesis -- $tTwo. Opera as Peepshow -- $tThree. Shadow Media -- $tFour. Haydn's Creation as Moving Image -- $tFive. Beethoven's Phantasmagoria -- $tConclusion. Audiovisual Returns -- $tAcknowledgments -- $tNotes -- $tSelect Bibliography -- $tIndex 330 $aThe years between roughly 1760 and 1810, a period stretching from the rise of Joseph Haydn's career to the height of Ludwig van Beethoven's, are often viewed as a golden age for musical culture, when audiences started to revel in the sounds of the concert hall. But the latter half of the eighteenth century also saw proliferating optical technologies-including magnifying instruments, magic lanterns, peepshows, and shadow-plays-that offered new performance tools, fostered musical innovation, and shaped the very idea of "pure" music. Haydn's Sunrise, Beethoven's Shadow is a fascinating exploration of the early romantic blending of sight and sound as encountered in popular science, street entertainments, opera, and music criticism. Deirdre Loughridge reveals that allusions in musical writings to optical technologies reflect their spread from fairgrounds and laboratories into public consciousness and a range of discourses, including that of music. She demonstrates how concrete points of intersection-composers' treatments of telescopes and peepshows in opera, for instance, or a shadow-play performance of a ballad-could then fuel new modes of listening that aimed to extend the senses. An illuminating look at romantic musical practices and aesthetics, this book yields surprising relations between the past and present and offers insight into our own contemporary audiovisual culture. 606 $aMusic$y18th century$xHistory and criticism 606 $aMusic$y19th century$xHistory and criticism 606 $aMixed media (Music)$y18th century$xHistory and criticism 606 $aMixed media (Music)$y19th century$xHistory and criticism 606 $aMusic and technology$xHistory$y18th century 606 $aMusic and technology$xHistory$y19th century 610 $aJoseph Haydn. 610 $aLudwig van Beethoven. 610 $aaudiovisual culture. 610 $alistening. 610 $aromanticism. 610 $avisual technology. 615 0$aMusic$xHistory and criticism. 615 0$aMusic$xHistory and criticism. 615 0$aMixed media (Music)$xHistory and criticism. 615 0$aMixed media (Music)$xHistory and criticism. 615 0$aMusic and technology$xHistory 615 0$aMusic and technology$xHistory 676 $a780.9033 700 $aLoughridge$b Deirdre, $4aut$4http://id.loc.gov/vocabulary/relators/aut$0981014 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910136114603321 996 $aHaydn's Sunrise, Beethoven's Shadow$92238816 997 $aUNINA