David Trippett
Dados Biográficos
| ID | 1462339 |
|---|---|
| NOME | David Trippett |
| PRENOMES | David |
| SOBRENOME | Trippett |
| ASSINATURA | TRIPPETT D |
| AFILIAÇÕES | University of Cambridge |
| ORCID | 0000-0002-1252-0324 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 11 |
| TOTAL DE CITAÇÕES | 2 |
| TOTAL COMO AUTOR | 9 |
| TOTAL COMO EDITOR | 2 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2013 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2026 |
| ÍNDICE H | 1 |
Thing and Form
Early nineteenth-century attempts to visualize sound waves are traceable across experimentalists from William Swan and John Tyndall to Helmholtz, Jules Lissajous, and Édouard-Léon Scott de Martinville. A combination of optical and graphic methods proliferated during the 1850s and 1860s, all of which relied—directly or indirectly—on the isochrony of the pendulum. Léon Foucault’s 1851 pendulum experiment to demonstrate the imperceptible rotation of…
Liszt's Hands, Marie's Stammbuch, and the Technology of Relational Inscription
The tradition of collecting quotes, mottos, signatures, and musical miniatures in Stammbücher and Albumblätter offers a site of gift exchange where “the thing received is not inactive” (Mauss), but inscribes networks of social relationships, presence, musical encounters and memory. Liszt engaged this tradition in hotel visitor books, but perhaps most notably in the Stammbuch he gave to Marie von Hohenlohe in 1847, and curated for over a decade. T…
Primal Listening
Approaches to different listening practices rarely extend beyond human ears. During the nineteenth century, anatomists’ fascination with non-human hearing emerged in tandem with the professionalization of comparative anatomy. This existed in tension with the professionalization of European music criticism, where the only model for listening was human. Theories of sensationalism, developed particularly in Feuerbach’s and Marx’s writings on the hum…
Wagner in Context
Melody
Melody is a fundamental concept in Western musical thought; it connotes the form and affective power of successive sounds in motion, perceived as an aesthetic unity. Yet for many writers, melody does not exist as an autonomous form, and for those who credit its existence, few agree on what it is, or how it functions in relation to harmonic voice leading and phrase rhythm. This chapter examines the historical emergence of a theory of melody in the…
Nineteenth-Century Opera and the Scientific Imagination
An Uncrossable Rubicon
In 1850, after five years of planning, Liszt began composing music for his Italian opera, Sardanapalo , after Byron. It was central to his ambition to attain status as a European composer, but he abandoned the project halfway through. La Mara (1911), Humphrey Searle (1954) and others declared the manuscript fragmentary and partially illegible, but in 2016 this verdict was categorically overturned when work began on an edition of what Liszt notate…
Music and the Transhuman Ear
Sensations of listening in Helmholtz’s laboratory
Adorno, Theodor (Ludwig) W[iesengrund] (United States)
Wagner's Melodies
Adorno, Theodor (Ludwig) W[iesengrund] (United States)
Wagner's Melodies
Sensations of listening in Helmholtz’s laboratory
Music and the Transhuman Ear
An Uncrossable Rubicon
In 1850, after five years of planning, Liszt began composing music for his Italian opera, Sardanapalo , after Byron. It was central to his ambition to attain status as a European composer, but he abandoned the project halfway through. La Mara (1911), Humphrey Searle (1954) and others declared the manuscript fragmentary and partially illegible, but in 2016 this verdict was categorically overturned when work began on an edition of what Liszt notate…
Nineteenth-Century Opera and the Scientific Imagination
Melody
Melody is a fundamental concept in Western musical thought; it connotes the form and affective power of successive sounds in motion, perceived as an aesthetic unity. Yet for many writers, melody does not exist as an autonomous form, and for those who credit its existence, few agree on what it is, or how it functions in relation to harmonic voice leading and phrase rhythm. This chapter examines the historical emergence of a theory of melody in the…
Wagner in Context
Liszt's Hands, Marie's Stammbuch, and the Technology of Relational Inscription
The tradition of collecting quotes, mottos, signatures, and musical miniatures in Stammbücher and Albumblätter offers a site of gift exchange where “the thing received is not inactive” (Mauss), but inscribes networks of social relationships, presence, musical encounters and memory. Liszt engaged this tradition in hotel visitor books, but perhaps most notably in the Stammbuch he gave to Marie von Hohenlohe in 1847, and curated for over a decade. T…
Primal Listening
Approaches to different listening practices rarely extend beyond human ears. During the nineteenth century, anatomists’ fascination with non-human hearing emerged in tandem with the professionalization of comparative anatomy. This existed in tension with the professionalization of European music criticism, where the only model for listening was human. Theories of sensationalism, developed particularly in Feuerbach’s and Marx’s writings on the hum…
Thing and Form
Early nineteenth-century attempts to visualize sound waves are traceable across experimentalists from William Swan and John Tyndall to Helmholtz, Jules Lissajous, and Édouard-Léon Scott de Martinville. A combination of optical and graphic methods proliferated during the 1850s and 1860s, all of which relied—directly or indirectly—on the isochrony of the pendulum. Léon Foucault’s 1851 pendulum experiment to demonstrate the imperceptible rotation of…
Musicology and Musical Analysis (7 obras) · Art (5 obras) · Diverse Musicological Studies (4 obras) · History (4 obras) · Musical (4 obras) · Literature (3 obras) · Melody (3 obras) · Opera (3 obras) · Philosophy (3 obras) · Aesthetics (2 obras)