john cartwright scientific demos at Lyceum. played glass armonica

p. 56

p. 20

Munhall, Edgar. "Savoyards in French Eighteenth Century Art." 87:1 (Feb 1968). cited by Leppert, Arcadia

on consolidating role of Guckkasten technologies in construction of enlightenment culture, pp 5-44. says Bickpunkst most significant effect of Guckkasten. cited by Muenzer Wandering Obelisks

Did People Listen in the 18th Century?

William Weber
Early Music, Vol. 25, No. 4, 25th Anniversary Issue; Listening Practice (Nov., 1997), pp. 678-691

interpreting images

IX. O raree-show, O pretty-show ...

Charles Minart le picard; Michel le Clerc né a Dourdan

Mélodies urbaines : La musique dans les villes d'Europe (XVIe-XIXe siècles)

journal index

lists primary sources

Der Fall Berglinger. Stufen einer romantischen Biographie am Beispiel Wackenroder

Karlheinz Schlager
Archiv für Musikwissenschaft, 29. Jahrg., H. 2. (1972), pp. 115-123
p. 122

Oper “Le Bon Vivant Oder die Leipziger Messe”

vol. 2 p. 109ff

Studies in Music [Canada]; Vol. VIII (1983) 77-92. Music examples.

16 Dec 1792 - Philidor ad
1801 - Robertson ads

music, Schröpfer

V, p. 409 - Reichard's letter 16 Dec 1808, published 1810 in Vertraute Briefe geschriben auf einter Reise nach Wien, only antecedent to Hoffmann's review that situates Beethoven's music as a progression beyond the works of Haydn and Mozart (Bonds, Listening, 131)

need Appendice de l’appendic ou Ma Nuit de Noël, 1797
V 88-9 Vorschule der Asthetik explicitly evokes Plato's Caves providing model for Hoffmann, according to cited by mark evan bonds

very informative review of Tina Hartmann's book

on public amusements

bibliography

Charlton cites on Gretry

Allgemeine deutsche Bibliothek 40 (1780) (Baumann German Opera)

phantasmagoria 1803

"Entrez, entrez..."

cited by Mervyn, Phantasmagoria

Does this contain Abhandlungen vom physikalischen Aberglauben und der Magie (Halle, 1778)? First to suggest painting ghost against black background (Mervyn, Phantasmagoria, 51)

Knew Schröpfer.  Was first true professional practitioner of ghost-projection in context of stage performance. (Mervyn, Phantasmagoria)

AB Marx

contains significant articles on London musical life.

1818-28. contains significant articles on London musical life

edited by Ludwig Rellstab, provided essentially a conspectus of musical events and publications

about the source

Creation:

1805  Erster [I] Jahrgang, Nro. 2  p.5-8.

1805  Erster [I] Jahrgang, Nro. 37  p.147-48.

1805  Erster [I] Jahrgang, Nro. 38  p.151-52.

1806  Zweiter [II] Jahrgang, Nro. 6  p.23-24.

1806  Zweiter [II] Jahrgang, Nro. 29  p.116.

1806  Zweiter [II] Jahrgang, Nro. 43  p.172.

most detailed and useful account of Beethoven reviews in their Romantic and semantic contexts, says David Charlton (1989)

traces Hoffmann's critical language to well-worn critical vocabulary (says Rumph, A Kingdom Not of This World: The Political Context of E. T. A. Hoffmann's Beethoven Criticism, by Stephen Rumph

19th-Century Music 1995)

chapter 20 on Hoffmann's asserted connections b/t music/musical sounds, colors, lights

Yearbook 1 (1962) Landon "Marionette Operas and the Repertoire of the Marionette Theatre at Esterhaz Castle"

Yearbook 11 (1980) Robert Green "Haydn's and Regnard's 'Il Disttrato': A Re-examination"

"I am victorious, I am Queen"

digitized

Faujas-de-St.-Fond, cit. 1741-1819.

18 (Autumn 1995) - Schuchard, "Wiliam Blake and the Promiscuous Baboons: a Cagliostrean Seance Gone Awry"

Loutherbourg's spectral transformations and evocations of exotic sublime for hit patomime Omai - cited by Iain McCalman in Romantic Metropolis.

cited by Mesmerized.

Jonathan Miller, "Going unconcious" - on what unconcious could mean in Victorian England. cited by Mesmerized.

From National Museum from Musical Clock to Street Organ of the Nationaal Museum van Speelklok tot Pierement

Haydn-Niemecz organ clock

transparencies 1799

Peepshow box Martin Engelbrecht 1750

Phantasmagorian magic lantern

libretto

p. 84ff.

Wenzel Müller

joachim Perinet

also authoer of Natural magic, or various accounts of fortune-tellers and the magic arts (1783, Berlin)

Schwärmer und Schwindler zu Ende des achtzehnten Jahrhunderts /

Eugen Sierke

German  Book vi, 462 p. ; 20 cm.

Charlton on déclamation and relation of words to music in 1760s (to complement his book on Gretry)

Conjuring: How the Virtuoso Romantic Learned from the Enlightened Charlatan

Barbara Maria Stafford
Art Journal, Vol. 52, No. 2, Romanticism (Summer, 1993), pp. 22-30

commonality between enlightened and romantic

cites Power of Charlatan

vol. 1 read by German Romantics according to The Power of the Charlatan

over all volumes - explains Laterna magica, described electrical, magnetic, optical, chemical, mechanical tricks

tricks described = tricks performed by traveling exhibitors at fairs, according to tPotC

intro to vol. 1 - "Magic, in its widest sense, is thus the art of producing phenomena which appear to exceed the natural forces of a human being."

unheimlich?

on Castle Spectre, pp. 572-3

ghost of Angela's mother music

first German opera called "Romantisch-komische"

Baumgarten, Zemire und Azor, "Romantisch-komische Oper," 1775

Das Mondenreich, Operette 3 Akte (1769 Berlin) produced by Döbbelin

text by Johann Christian Frischmuth, entirely in verse

music lost, composer unknown

1819

Bauman (1985) says principal study of Benda's melodramas, along with Jan van der Veen's

Berlin and Leipzig, 1906

jahrmakrt, puppeteer

monuments in context of nature, history in 18th c.

Wandering among Obelisks: Goethe and the Idea of the Monument
Clark S. Muenzer
Modern Language Studies, Vol. 31, No. 1, Remembering Goethe: Essays for the 250th Anniversary (Spring, 2001), pp. 5-34

history of genre

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

Paola Bertucci; Giuliano Pancaldi (Editors).Electric Bodies: Episodes in the History of Medical Electricity. (Bologna Studies in History of Science, 9.) 298 pp., illus., index. Bologna: Alma Mater Studiorum, Università di Bologna, 2001.

available through borrow direct

• The Dream-Visions of Jean Paul and Thomas De Quincey
• Author(s): Frederick Burwick
• Source: Comparative Literature, Vol. 20, No. 1 (Winter, 1968), pp. 1-26
• Publisher: University of Oregon
• Stable URL: http://www.jstor.org/stable/1769803

see letter 1468 for mozart requiem

i, 197 (aut. 1808) for magic in stage works 

• Wolfhard Weber
• Reviewed work(s): Karl Marx: Die technologisch-historischen Exzerpte by Hans-Peter Müller
  Karl Marx: Exzerpte über Arbeitsteilung, Maschinerie und Industrie by Rainer Winkelmann
• Technology and Culture, Vol. 25, No. 3 (Jul., 1984), pp. 648-651

 pp. 587-606

 recommended by Tresch for 1800 transformation

 
Beethoven Opus 8la “Les Adieu” Sonata horn fifths

Organic Form and the Binary Repeat, by Michael Broyles
The Musical Quarterly © 1980

on idea of instrumental music as untexted vocal music, pp. 348-9