- Copyright Page
- Tables, Charts, and Music Examples
- The Art of Listening and Its Histories: An Introduction
- Researching Audience Behaviors in Nineteenth-Century Paris: Who Cares if You Listen?
- The Well-Mannered Auditor: Zones of Attention and the Imposition of Silence in the Salon of the Nineteenth Century
- The Problem of Eclectic Listening in French and German Concerts, 1860–1910
- The Crisis of Listening in Interwar Germany
- Listening as a Practice of Everyday Life: The Munich Philharmonic Orchestra and Its Audiences in the Second World War
- Turning <i>Liebhaber</i> into <i>Kenner</i>: Forkel’s Lectures on the Art of Listening, ca. 1780–1785
- Designated Attention: The Transformation of Music Announcements in Leipzig’s Concert Life, 1781–1850
- Concert Listening the British Way?: Program Notes and Victorian Culture
- “What Ought to be Heard”: Touristic Listening and the Guided Ear
- Architectural Acoustics and the Trained Ear in the Arts: A Journey from 1780 to 1830
- Amateurs and Auditors: Listening to the British Musical Festival, 1810–1835
- The Intimate Art of Listening: Music in the Private Sphere During the Nineteenth Century
- Symmetries in Spaces, Symmetries in Listening: Musical Theater Buildings in Europe ca. 1900
- Music in the Air—Listening in the Streets: Popular Music and Urban Listening Habits in Berlin ca. 1900
- The Opera-Telephone in Munich: A Short History
- First Re-Creations: Psychology, Phonographs, and New Cultures of Listening at the Beginning of the Twentieth Century
- Experiencing High Fidelity: Sound Reproduction and the Politics of Music Listening in the Twentieth Century
- Capturing the Landscape Within: On Writing the History of Experience
- Listening and Possessing
- Is Listening to Music an Art in Itself—or Not?
- “Everybody in the Concert Hall should be Devoted Entirely to the Music”: On the Actuality of Not Listening to Music in Symphonic Concerts
Abstract and Keywords
Between 1810 and 1835 the British musical audience expanded from the nobility and the gentry to include members of the middle classes. Using the contemporary musical festival as a case study, this chapter examines how the accommodation of this larger, more intellectually diverse audience led to an early manifestation of the modern concert-listener. This development is explored in terms of factors that aided in the creation of a physical or intellectual “listening space.” These aspects include physical structures (stages, galleries), educational structures (histories of musical festivals, commentaries for training listeners), and linguistic structures (new terms to describe listening processes). As this chapter reveals, these structures solidified a common listening experience for the larger audience, while reinforcing class distinctions within it.
Charles Edward McGuire, Oberlin College and Conservatory
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