Of Unity and Passion: The Aesthetics of Concert Criticism in Early Nineteenth-Century Vienna

Mary Sue Morrow
19th-Century Music, Vol. 13, No. 3 (Spring, 1990), pp. 193-206

Mozart and Viennese Concert Life

Mary Sue Morrow
The Musical Times, Vol. 126, No. 1710 (Aug., 1985), pp. 453-454

McConkey, K. M.,  & Perry, C. (1985). Benjamin Franklin and Mesmerism.   International Journal of Clinical and Experimental Hypnosis, 33, 122-130.

Clark, Mitchell (1995, Sept); Music as fragile as its material: The classical repertoire of the glass harmonica; Experimental musical instruments; Vol. 11, no. 1, pp. 14-15

Robertson went to his lectures

electric eve

The Bakken
A Library and Museum of Electricity in Life
3537 Zenith Avenue South
Minneapolis, MN 55416-4623, USA

Simon Schaffer, "Natural Philosophy and Public Spectacle in the Eighteenth Century," 21 (1983): 1-43.

"Extraordinary Experiment: Electricity and the Creation of Life in Victorian England"

"The Londond Lecturing Empire, 1800-50"

"Galvanism" 14 (1802): 364-68.

Studien zur Geschichte des Melodramas
by Edgar Istel 

p. 80 Reichardt, glass harmonia in Tod des Herkules

The Musical Glasses and Glass Harmonica

A. Hyatt King
Proceedings of the Royal Musical Association, 72nd Sess., (1945 - 1946), pp. 97-122

1773

p. 30

113-32

The Antecedents of Beethoven's Liederkreis

Luise Eitel Peake
Music & Letters, Vol. 63, No. 3/4 (Jul. - Oct., 1982), pp. 242-260

"the eyes see, the heart understands, space vanishes" Bornhardt lieder

• Entertainment in the Parisian Fairs in the Eighteenth Century

• Robert M. Isherwood
• The Journal of Modern History, Vol. 53, No. 1 (Mar., 1981), pp. 24-48

1887

Alfred Chapius and Edouard Gélis, Le monde des automates (Paris, 1928). pp. 340-1 on mechanical shadowplays.

on Chinese shadows, part of ecclectic entertainments including music. cited by Altick.

traces history of magic lantern. also shadow plays

Ranelagh Gardens in Chelsea - volcano, cyclops - gluck, haydn, giardini, handel

“For the Record: Adorno on Music in the Age of its Technological Reproducibility,” October 55 (Winter 1990): 23-47.
Prehistory of phonograph; Chladni’s experiments; connects Adorno’s ideas of gramphonoic inscription to other modernist notions concerning utopian forms of writing or expression, such as cinema as ‘universal language.’

• The Musical Analogy
• David Bordwell
• Yale French Studies, No. 60, Cinema/Sound (1980), pp. 141-156

music film analogy enables thinking about film as interplay of formal systems rather than represntation of real

"A disappointed society sought to recapture in technology the supernatural world it had lost." 241

Donald Jay Grout The Musical Quarterly, Vol. 39, No. 2 (Apr., 1953), pp. 320-322

Haydn Philomen and Baucis

Edgecombe, Rodney Stenning The Musical Representation of the Grotesque in Nineteenth-Century Opera

Deacon, Theodore Haydn with Strings Attached: Reviving an Esterházy hitMarionette Opera

Kallberg-recommended.

• Wordsworth's Context for Bartholomew Fair: Intimations of Burke on the Force of Material Objects

• A. B. England
• Studies in English Literature, 1500-1900, Vol. 30, No. 4, Nineteenth Century (Autumn, 1990), pp. 603-616

The Mirror of Literature, Amusement, and Instruction, 1822–47

pp. 24-33 for details on diorama-like Christmas displays, Berlin 1807-15. cited by Newcomb, "New light(s) on Weber's Wolf's Glen Scene"

• Herder's Essay on Shakespeare: "Das Herz der Untersuchung," A. Gillies, The Modern Language Review, Vol. 32, No. 2 (Apr., 1937), pp. 262-280

boulevard theatre décors

see melodrama entry, Monika Schwarz-Danuser. viours meanings of term melodrama, relevance of genre of mélodrame to opera more than just libretti

• Visions of Medea: Musico-Dramatic Transformations of a Myth

• Paolo Russo and Mary Ann Smart
• Cambridge Opera Journal, Vol. 6, No. 2 (Jul., 1994), pp. 113-124

pantomime traditions and melodramatic principle of contrast in Auber's La Muette de Portici

neumeyer and buhler articles "analytical and interpretive approaches..." good

problem of ordering the arts