Das Publikum der Oper

Walter, Michael

doi:10.1007/978-3-476-03615-5_12

Cited by 2 publications

(2 citation statements)

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“…In the 18th and 19th centuries, the opera was not only a typical form of artistic expression, but also a relevant factor in social and political life (Johnson, 1995; Müller, Ther, Toelle, & zur Nieden, 2010; Ther, 2006; Walter, 1997). Opera performances, ceremonial cantatas and musical tournaments were more than cultural events and public entertainments: the ruling elites used them to make politics “by sensorial means”, operas and festivals funded by and performed at the princely courts were “acoustic demonstrations of government” (Werr, 2010).…”

Section: What Is the Intention Of The History Of Listening And What Mmentioning

confidence: 99%

The sound of history and acoustic memory: Where psychology and history converge

Müller

2012

Culture & Psychology

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Historians have reconstructed the past mainly by the study of texts; only recently have they turned their attention to the analysis of images. They have abstained almost entirely, however, from using their ears when exploring the past: they have been content with the sound of silence. This can be explained in part by the scarcity of authentic acoustic sources which have existed only for the time period since about 1900. Historical studies focusing on the function of listening in the past, the soundscapes of earlier epochs and the significance of acoustic signals are rare. This article attempts to sketch the social and cultural meaning of listening and the impact of our perception of sounds on our view of the world; it shows what historians can hear of the past and what remains inaudible; it discusses the effects of the inaudibility of the past on our historical understanding; and finally it presents some new perspectives for historical research dealing with the history of listening, with historical soundscapes and their meaning.

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Section: What Is the Intention Of The History Of Listening And What Mmentioning

confidence: 99%

The sound of history and acoustic memory: Where psychology and history converge

Müller

2012

Culture & Psychology

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“…In addition, the archbishop of Vienna was displeased with the pseudo-religious themes apparent in the opera, since he believed they might suggest that miracles certified by the Church were not entirely what they were made out to be. 44 Schubert encountered censorial troubles with some of his opera projects as well. Fierabras, composed to a libretto by Joseph Kupelwieser, was only approved in 1823 after all references to Spain and France had been deleted.…”

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confidence: 99%