Using the example of Amsterdam's Concertgebouw in the nineteenth century, Cressman shows how its design was in part intended to help discipline and educate concert audiences to listen attentively.
Using the example of Amsterdam's Concertgebouw in the nineteenth century, Cressman shows how its design was in part intended to help discipline and educate concert audiences to listen attentively.
Darryl Cressman received his PhD from the School of Communication at Simon Fraser University and is a lecturer in the Philosophy of Technology at Maastricht University. He has published articles on media theory and the philosophy of technology.
Inhaltsangabe
List of Illustrations Acknowledgements 1. The Concert Hall as a Medium of Musical Culture 2. Listening Attentive Listening and Musical Meaning 3. Patronage Class and Buildings for Music: Aristocratic Opera Houses and Bourgeois Concert Halls 4. Acoustic Architecture Before Science: Designing the Sound of the Concertgebouw 5. Frisia Non Cantat: The Unmusicality of the Dutch 6. Listening to Media History References Index
List of Illustrations Acknowledgements 1. The Concert Hall as a Medium of Musical Culture 2. Listening Attentive Listening and Musical Meaning 3. Patronage Class and Buildings for Music: Aristocratic Opera Houses and Bourgeois Concert Halls 4. Acoustic Architecture Before Science: Designing the Sound of the Concertgebouw 5. Frisia Non Cantat: The Unmusicality of the Dutch 6. Listening to Media History References Index
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