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Haydn's music has been performed continuously for more than two hundred years. But what do we play, and what do we listen to, when it comes to Haydn? Can we still appreciate the rich rhetorical nuances of this music, which from its earliest days was meant to be played by professionals and amateurs alike? With The Virtual Haydn, Tom Beghin-himself a professional keyboard player-delves deeply into eighteenth-century history and musicology to help us hear a properly complex Haydn. Unusually for a scholarly work, the book is presented in the first person, as Beghin takes us on what is clearly a very personal journey into the past. When a discussion of a group of Viennese sonatas, for example, leads him into an analysis of the contemporary interest in physiognomy, Beghin applies what he learns about the role of facial expressions during his own performance of the music. Elsewhere, he analyzes gesture and gender, changes in keyboard technology, and the role of amateurs in eighteenth-century musical culture. The resulting book is itself a fascinating, bravura performance, one that partakes of eighteenth-century idiosyncrasy while drawing on a panoply of twenty-first-century knowledge.
Performance practice (Music) --- Keyboard instrument music --- Keyboard instruments --- History --- Analysis, appreciation. --- Performance. --- Haydn, Joseph, --- haydn, piano, classical music, musicology, history, appreciation, physiognomy, facial expressions, emotion, 18th century, performance, gender, gesture, composition, keyboard technology, musical culture, amateurs, audience, reception, sonatas, vienna, performing arts, female performers, nonfiction, biography, profile, composer.
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Recordings are now the primary way we hear classical music, especially the more abstract styles of "absolute" instrumental music. In this original, provocative book, Arved Ashby argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, Ashby sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This erudite yet concise study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life.
MP3 (Audio coding standard) --- Sound --- Music and technology. --- Performance practice (Music) --- Music --- Sound recordings --- Absolute music. --- MPEG Audio Layer 3 (Audio coding standard) --- Digital audio --- Digital sound recording --- Digital electronics --- Technology and music --- Technology --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Audio discs --- Audio recordings --- Audiorecordings --- Discs, Audio --- Discs, Sound --- Disks, Sound --- Phonodiscs --- Phonograph records --- Phonorecords --- Recordings, Audio --- Recordings, Sound --- Records, Phonograph --- Records, Sound --- Sound discs --- Audio-visual materials --- Abstract music --- Social aspects. --- Recording and reproducing --- Digital techniques. --- History --- Philosophy and aesthetics. --- Digital techniques --- Standards --- Philosophy --- Philosophy and aesthetics --- Schnabel, Artur, --- Gould, Glenn --- Schnabel, Arthur, --- Gūrudo, G. --- Gūrudo, Guren --- Gould, Glenn, --- Gold, Glen --- Criticism and interpretation. --- Absolute music --- Music and technology --- Acoustics --- Continuum mechanics --- Mathematical physics --- Physics --- Pneumatics --- Radiation --- Wave-motion, Theory of --- Social aspects --- Recording and reproducing&delete& --- Gould, Glenn Herbert, --- Gulʹd, Glen, --- 78.85 --- 78.81 --- 78.77.9 --- 78.86.2 --- 78.29.1 --- absolute instrumental music. --- aesthetics. --- art music. --- classical music. --- contemporary world. --- historical. --- listening to music. --- live arts. --- mechanical reproduction. --- music criticism. --- music critics. --- music historians. --- music history. --- music recordings. --- music scholars. --- music. --- musical contexts. --- musical culture. --- musicology. --- nonfiction. --- performing arts. --- recording technology. --- recordings and sound. --- socially progressive. --- students and teachers.
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When people attend classical music concerts today, they sit and listen in silence, offering no audible reactions to what they're hearing. We think of that as normal-but, as Darryl Cressman shows in this book, it's the product of a long history of interrelationships between music, social norms, and technology. Using the example of Amsterdam's Concertgebouw in the nineteenth century, Cressman shows how its design was in part intended to help discipline and educate concert audiences to listen attentively - and analysis of its creation and use offers rich insights into sound studies, media history, science and technology studies, classical music, and much more.
Concerts. --- Recitals (Music) --- Amusements --- Music --- Performance --- Concertgebouw (Amsterdam, Netherlands) --- ARCHITECTURE --- HISTORY --- Concerts --- Annals --- Auxiliary sciences of history --- Architecture, Western (Western countries) --- Building design --- Buildings --- Construction --- Western architecture (Western countries) --- Art --- Building --- General. --- Western. --- History --- Design and construction --- 1800-1899 --- Netherlands --- The Netherlands --- Pays-Bas --- Países Baixos --- Holland --- Spanish Netherlands --- Pays-Bas espagnols --- Austrian Netherlands --- Pays-Bas autrichiens --- Oostenrijkse Nederlanden --- Southern Netherlands --- Pays-Bas méridionaux --- Zuidelijke Nederlanden --- Niderlandy --- Belanda --- Nederland --- Koninkrijk der Nederlanden --- Reino dos Países Baixos --- Royaume des Pays-Bas --- Kingdom of the Netherlands --- Países Bajos --- Holanda --- Nederlân --- Hulanda --- Beulanda --- Niderland --- Niderlande --- هولندا --- مملكة هولندا --- Mamlakat Hūlandā --- Olanda --- Payis-Bâs --- Países Baxos --- Aynacha Jach'a Markanaka --- Nirlan --- Niderland Krallığı --- Kē-tē-kok --- Landa --- Kerajaan Landa --- Нидерландтар --- Niderlandtar --- Нидерландтар Короллеге --- Niderlandtar Korollege --- Нідэрланды --- Каралеўства Нідэрланды --- Karaleŭstva Nidėrlandy --- Nederlands --- Niadaland --- Holandija --- Kraljevina Holandija --- Izelvroioù --- Нидерландия --- Niderlandii︠a︡ --- Кралство Нидерландия --- Kralstvo Niderlandii︠a︡ --- Països Baixos --- Нидерландсем --- Niderlandsem --- Нидерландсен Патшалăхĕ --- Niderlandsen Patshalăkhĕ --- Nizozemsko --- Paesi Bassi --- Regnu di i Paesi Bassi --- Iseldiroedd --- Nederlandene --- Niederlande --- Kéyah Wóyahgo Siʼánígíí --- Nižozemska --- Kralojstwo Nederlandow --- Madalmaad --- Ολλανδία --- Ollandia --- Hollandia --- Κάτω Χώρες --- Katō Chōres --- Βασίλειο των Κάτω Χωρών --- Vasileio tōn Katō Chōrōn --- Nederlando --- Reĝlando Nederlando --- Paisis Bajus --- Herbehereak --- Herbehereetako Erresumaren --- هلند --- Huland --- Niðurlond --- Háland --- Paîs Bas --- Neerlande --- Ísiltír --- Ríocht na hÍsiltíre --- Çheer Injil --- Çheer y Vagheragh --- Reeriaght ny Çheer Injil --- Tìrean Ìsle --- Hò-làn --- Недерлендин Нутг --- Nederlendin Nutg --- 네덜란드 --- Nedŏllandŭ --- Hōlani --- Nederlandia --- Pais Basse --- Regno del Paises Basse --- Нидерландтæ --- Niderlandtæ --- Нидерландты Къаролад --- Niderlandty Kʺarolad --- Konungsríkið Holland --- הולנד --- Holand --- ממלכת ארצות השפלה --- Mamlekhet Artsot ha-Shefelah --- Walanda --- Hollandi --- Нидерландла --- Niderlandla --- Нидерландланы Королевствосу --- Niderlandlany Korolevstvosu --- Néderlandzkô --- Нидерланд --- Iseldiryow --- Ubuholandi --- Ubuhorandi --- Nederilande --- Нидерланддар --- Niderlanddar --- Uholanzi --- Ufalme wa Nchi za Chini --- Нидерландъяс --- Niderlandʺi︠a︡s --- Нидерландъяс Корольув --- Niderlandʺi︠a︡s Korolʹuv --- Peyiba --- Holenda --- Keyatiya Nederlandan --- Payises Bashos --- פאייסיס באשוס --- Nīderlandeja --- Batavia --- Regni Nederlandiarum --- Nīderlandes Karaliste --- Nyderlandai --- Nyderlandų Karalystė --- Paixi Basci --- Paes Bass --- Ulanda --- Holland Királyság --- Keninkryk fan 'e Nederlannen --- Reino di Hulanda --- Холандија --- Кралство Холандија --- Kralstvo Holandija --- Pajjiżi l-Baxxi --- Hōrana --- Недерлатт --- Nederlatt --- Оцязорксши Недерлатт --- Ot︠s︡i︠a︡zorksshi Nederlatt --- Нидерландын Вант Улс --- Niderlandyn Vant Uls --- Tlanitlālpan --- Huēyitlahtohcāyōtl in Tlanitlālpan --- Eben Eyong --- Nederlaand --- オランダ --- Oranda --- オランダ王国 --- Oranda Ōkoku --- Ulanna --- Nethiland --- Nederlande --- Holandska --- Holland (Kingdom) --- Batavian Republic --- United Provinces of the Netherlands --- Theaters --- Theater architecture --- Architecture --- Opera-houses --- Playhouses (Theaters) --- Theatres --- Arts facilities --- Auditoriums --- Centers for the performing arts --- Music-halls --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- History and criticism. --- Planning. --- Amsterdam. --- Amstelredam --- Amsteldam --- Amstelodamum --- Amstelaedamum --- Gemeente Amsterdam --- Amstelredamum --- Amsterodamum --- Amisterdam --- Ambsterdam --- Amsterdam --- Vroedschap --- Bureau voor Pers, Propaganda en Vreemdelingenverkeer --- Public Relation Office --- Presseamt --- Städtisches Presseamt --- Amsterdam musical culture. --- Concert halls. --- attentive listening. --- media history. --- sound studies.
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