Table Of ContentCopyright Page
Copyright Page
The Oxford Handbook of Music Listening in the 19th and 20th Centuries
Edited by Christian Thorau and Hansjakob Ziemer
Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018
Copyright Page
(p. iv)
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Library of Congress Cataloging-in-Publication Data
Names: Thorau, Christian. | Ziemer, Hansjakob.
Title: The Oxford handbook of music listening in the 19th and 20th
centuries / edited by Christian Thorau and Hansjakob Ziemer.
Description: New York, NY : Oxford University Press, [2019] |
Includes bibliographical references and index.
Identifiers: LCCN 2018009730 (print) | LCCN 2018011318 (ebook) |
ISBN 9780190466978 (Updf) | ISBN 9780190466985 (Epub) |
ISBN 9780190466961 (cloth) | ISBN 9780190466992 (companion website)
Subjects: LCSH: Music—Social aspects—History—19th century. | Music—Social
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aspects—History—20th century. | Concerts—History—19th century. |
Concerts—History—20th century.
Classification: LCC ML3916 (ebook) | LCC ML3916.O968 2018 (print) | DDC
781.1/709—dc23
LC record available at https://lccn.loc.gov/2018009730
1 3 5 7 9 8 6 4 2
Printed by Sheridan Books, Inc., United States of America
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Illustrations
Illustrations
The Oxford Handbook of Music Listening in the 19th and 20th Centuries
Edited by Christian Thorau and Hansjakob Ziemer
Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018
Illustrations
(p. ix)
I.1. Concertpublikum (Concert audience) 4
I.2. Auf dem Stehplatz in einem [Arthur] Nikisch Concert (Standing-room audience at
an [Arthur] Nikisch Concert in Berlin) 6
I.3. Klangweltwunder (Sound wonder of the world) 18
1.1. P.-S. Germain, Salle des Concerts du Conservatoire 39
1.2. Salle Herz, Paris 44
1.3. Le concert Musard aux Champs-Elysées 47
1.4. Jules Pelocq, Le concert aux Champs-Elysées 48
1.5. Jules Pelocq, Représentation d’un ballet dans un café-concert des Champs-
Elysées 49
2.1. George du Maurier, “The Latest Fashion in Music at Home” 63
3.1. Concert program for the Salle Herz 81
3.2. Concert program for the Grand Casino de Paris 83
3.3. Concert program for the Singspiel-Halle (or Salon Variété), Hôtel de Saxe,
Leipzig 86
6.1. Forkel, Commentar 148
7.1. Gewandhaus program, January 29, 1807 173
7.2. Gewandhaus program, April 2, 1829 175
7.3. Gewandhaus program, January 22, 1829 176
8.1. Extract from Ella’s analytical notes for the Musical Union 190
8.2. Extract from the program booklet for a Crystal Palace Saturday Concert 192
8.3. Quartet Party at the Musical Union 196
8.4. Bound copy and opening of John Murray’s 1879 Handbook for Travellers in
Switzerland 197
9.1. Carl Spitzweg, English Tourists in the Roman Campagna 208
10.1. Interior view of the Theater an der Wien 233
10.2. Floor plan of the main floor of the new Schauspielhaus in Berlin 240
10.3. Concert hall of the Schauspielhaus in Berlin 241
10.4. Auditorium of Symphony Hall, Boston 242
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Illustrations
(p. x) 11.1. View of the Magnificent Box Erected for Their Majesties in Westminster
Abbey . . . at the Commemoration of Handel (1792–1803) 260
11.2. The audience at the 1823 Yorkshire Grand Musical Festival 261
11.3. Detail of York Minster Interior Structure, Rear Gallery 263
11.4. Interior of Birmingham Town Hall 269
12.1. Ferdinand Victor Eugène Delacroix, study for the portrait of Frédéric Chopin
and George Sand 285
12.2. Ferdinand Victor Eugène Delacroix, Frédéric Chopin 286
12.3. Ferdinand Victor Eugène Delacroix, George Sand 286
13.1. Pibaraud, Interior of the Théâtre du Châtelet 314
13.2. Montanari, Auditorium of the Teatro Costanzi 315
13.3. Onofre Alsamora, performance of Bellini’s Norma in the Gran Teatre del Liceu
316
14.1. Berliner Konzert-Anzeiger (Berlin Concert Advertiser) 339
14.2. “Concert Garden at the Turn of the Century” 340
14.3. Heinrich Zille, advertisement for sheet music 343
14.4. Heinrich Zille, “The newest Gassenhauer” 345
15.1. Ludwig Hohlwein, Telephonische Übertragung (Telephonic broadcast) 358
15.2. Service map of the broadcast network in Bavaria showing the Leitungsrund
spruchnetz in Bayern 359
15.3. Großleistungverstärker für die telephonische Opernübertragung (High-pow
ered amplifier system used for the Opera-Telephone) 361
15.4. After a painting by Albert Gräfle, Die Intimen bei Beethoven 366
16.1. Tone Test oral instructions 374
16.2. Tone Test response card 375
16.3. Finger-tapping device 379
16.4. Mood Change Chart 384
18.1. James Abbott McNeill Whistler, The White Girl 424
18.2. Fernand Khnopff, Listening to Schumann 425
18.3. Jean-Baptiste-Camille Corot, Interrupted Reading 429
18.4. François Auguste Biard, The Salon at 4:00 p.m. 430
18.5. Wassily Kandinsky, Impression III. Concert 431
21.1. Illustration for a text on types of concert-goers 484
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Tables, Charts, and Music Examples
Tables, Charts, and Music Examples
The Oxford Handbook of Music Listening in the 19th and 20th Centuries
Edited by Christian Thorau and Hansjakob Ziemer
Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018
Tables, Charts, and Music Examples
(p. xi)
Table
11.1. Middle-Class Attendees at the 1828 Yorkshire Grand Musical Festival Morning
(Sacred) Concerts in York Minster 258
Charts
7.1. Percentage of symphonies announced along with their key in relation to the re
spective absolute number of symphonies being performed 170
7.2. Percentage of symphonies announced with both their key and their running
number in relation to the respective absolute number of symphonies being per
formed 171
9.1. Semiotic model of a tourist attraction 215
Music Examples
12.1. Brahms, Sonata for Violoncello and Piano in F major, op. 99, Adagio affettuoso,
mm. 1–19 294
12.2. Brahms, Sonata for Violoncello and Piano in F major, op. 99, Adagio affettuoso,
mm. 31–44 295
(p. xii)
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Acknowledgments
Acknowledgments
The Oxford Handbook of Music Listening in the 19th and 20th Centuries
Edited by Christian Thorau and Hansjakob Ziemer
Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018
Acknowledgments
(p. xiii)
THIS book grew out of a dialogue between the two editors—a musicologist and a histori
an by training—as well as with a number of scholars from various disciplines. Many of
them took part in the international conference “The Art of Listening: Trends and Perspec
tives of a History of Music Listening” in 2012 that took place at Radialsystem V—Space
for Arts and Ideas in Berlin, Germany, which proved to be a congenial location to reflect
on the transformations of music listening through the centuries. We thank its co-founder
and co-director, Folkert Uhde, for this collaboration and Janine Wiesecke (Max Planck In
stitute for Empirical Aesthetics, Frankfurt am Main) for her assistance in organizing this
conference, which drew more than a hundred participants, some of whom joined this
book project. This handbook benefited from the inspiration and critical feedback of many
of our colleagues over a long period of time, and we thank the authors for their openness
and readiness to enter a dialogue about the history of listening, and—not least—for their
patience. In particular, we thank Katharine Ellis, Daniel Morat, and Viktoria Tkaczyk for
continuously supporting this book since the beginning, offering their advice and thoughts
on the conception of the book. We are also very grateful to Mark Evan Bonds and Neil
Gregor, who read an earlier draft of the introduction to this volume and offered insightful
feedback and food for thought. Our volume also benefited from the anonymous reviewers
of Oxford University Press who commented on the conception and the individual chapters
at two different stages which helped to further shape the project.
This book would not have been possible without the support of our home institutions—the
University of Potsdam and the Max Planck Institute for the History of Science—and the
Deutsche Forschungsgemeinschaft as well as the Ernst Schering Foundation, which gen
erously provided funding for the initial conference event. We thank Kristyna Comer in
particular for her careful, meticulous, and patient support in editing and managing the
manuscript. We also thank Urte Brauckmann for her expertise and help in obtaining per
missions as well as Kate Sturge and Kerry McCarthy for their advice and assistance with
translation. At Oxford University Press, we thank Suzanne Ryan and Lauralee Yeary for
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Acknowledgments
their continuous encouragement, advice, and support during the long process of bringing
this volume together. (p. xiv)
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Contributors
Contributors
The Oxford Handbook of Music Listening in the 19th and 20th Centuries
Edited by Christian Thorau and Hansjakob Ziemer
Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018
Contributors
(p. xv)
Christina Bashford, University of Illinois at Urbana-Champaign
Mark Evan Bonds, University of North Carolina at Chapel Hill
James Deaville, Carleton University
Katharine Ellis, University of Cambridge
Wolfgang Fuhrmann, Universität Leipzig
Wolfgang Gratzer, Universität Mozarteum Salzburg
Neil Gregor, University of Southampton
Alexandra Hui, Mississippi State University
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Contributors
James H. Johnson, Boston University
Anselma Lanzendörfer, Hochschule für Musik und Darstellende Kunst Frankfurt
am Main
Fred Everett Maus, University of Virginia
Charles Edward McGuire, Oberlin College and Conservatory
Daniel Morat, Freie Universität Berlin
Sonja Neumann, Deutsches Museum Munich
Gesa zur Nieden, Johannes Gutenberg-Universität Mainz
Christiane Tewinkel, Universität der Künste Berlin
Christian Thorau, Universität Potsdam
Viktoria Tkaczyk, Max Planck Institute for the History of Science, Berlin
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Contributors
Axel Volmar, Universität Siegen
William Weber, California State University, Long Beach
Stefan Weinzierl, Technische Universität Berlin
Hansjakob Ziemer, Max Planck Institute for the History of Science, Berlin
(p. xvi)
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