Davies, James Q. (Editor)
Lockhart, Ellen (Editor)
University of Chicago Press
Physical Details: 256 pages
Language: English
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.
...MoreReview Marlene L. Eberhart (2018) Review of "Sound Knowledge: Music and Science in London, 1789-1851". British Journal for the History of Science (pp. 525-527).
Review Benjamin Wardhaugh (2018) Review of "Sound Knowledge: Music and Science in London, 1789-1851". Isis: International Review Devoted to the History of Science and Its Cultural Influences (pp. 186-187).
Chapter James Q. Davies; Ellen Lockhart (2017) Introduction: Fantasies of Total Description. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 1).
Chapter Sarah Hibberd (2017) Good Vibrations: Frankenstein on the London Stage. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 175).
Chapter Ellen Lockhart (2017) Transparent Music and Sound-Light Analogy ca. 1800. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 77).
Chapter Emily I. Dolan (2017) Music as an Object of Natural History. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 27).
Chapter Gavin Williams (2017) Engine Noise and Artificial Intelligence: Babbage’s London. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 203).
Chapter Myles W. Jackson (2017) Charles Wheatstone: Musical Instrument Making, Natural Philosophy, and Acoustics in Early-Nineteenth-Century London. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 101).
Chapter Deirdre Loughridge (2017) Celestial Mechanisms: Adam Walker’s Eidouranion, Celestina, and the Advancement of Knowledge. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 47).
Chapter Flora Willson (2017) Hearing Things: Musical Objects at the 1851 Great Exhibition. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 227).
Chapter James Q. Davies (2017) Instruments of Empire. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 145).
Chapter Melissa Dickson (2017) Charles Wheatstone’s Enchanted Lyre and the Spectacle of Sound. In: Sound Knowledge: Music and Science in London, 1789-1851 (p. 125).
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