What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways.Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney's ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.

Romantic Anatomies of Performance takes as its subject the great virtuoso performers of the nineteenth century, examining the ways in which they thought of their own extraordinary gifts, the ways their contemporaries envisioned them, and how they have been imagined by history. It looks at the pianists and singers--Chopin, Rubini, Malibran, Nourrit, Donzelli, Thalberg, Liszt, and Sontag--who plied their trade in the leading musical centers of nineteenth-century Europe: London and Paris. Focusing on this musical circuit, J.Q. Davies engages with historians of culture and science in thinking about these cosmopolitan figures, whose emergence as international musical stars confronts issues of music and the body, particularly in period physiology, physiognomy, and sciences of the mind. Davies illustrates how musicians styled themselves onstage, how they trained, and how they presented their virtuosic physical abilities to contemporaries in light of competing traditions of healthy vocal and pianistic presentation. The book argues that debates about music are often actually debates about what counts as expression--not only emotional, but also physical expression.

What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways.Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney's ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.

Romantic Anatomies of Performance takes as its subject the great virtuoso performers of the nineteenth century, examining the ways in which they thought of their own extraordinary gifts, the ways their contemporaries envisioned them, and how they have been imagined by history. It looks at the pianists and singers--Chopin, Rubini, Malibran, Nourrit, Donzelli, Thalberg, Liszt, and Sontag--who plied their trade in the leading musical centers of nineteenth-century Europe: London and Paris. Focusing on this musical circuit, J.Q. Davies engages with historians of culture and science in thinking about these cosmopolitan figures, whose emergence as international musical stars confronts issues of music and the body, particularly in period physiology, physiognomy, and sciences of the mind. Davies illustrates how musicians styled themselves onstage, how they trained, and how they presented their virtuosic physical abilities to contemporaries in light of competing traditions of healthy vocal and pianistic presentation. The book argues that debates about music are often actually debates about what counts as expression--not only emotional, but also physical expression.