The document summarizes a lecture on public and private spheres of music. It discusses Jurgen Habermas's concept of the emergence of a public sphere in the 18th century coinciding with the rise of the middle class. The public sphere included public authority and commodity exchange, while the private sphere comprised civil society and domestic life. Gendered spheres also developed, with the public sphere associated with males and the private with females. Certain genres of music became associated with either the public concert hall or private domestic spaces like the home. The lecture discusses salons as intermediate spaces and how private musical spaces have evolved with technology like recordings and headphones.
The document summarizes a lecture on public and private spheres of music. It discusses Jurgen Habermas's concept of the emergence of a public sphere in the 18th century coinciding with the rise of the middle class. The public sphere included public authority and commodity exchange, while the private sphere comprised civil society and domestic life. Gendered spheres also developed, with the public sphere associated with males and the private with females. Certain genres of music became associated with either the public concert hall or private domestic spaces like the home. The lecture discusses salons as intermediate spaces and how private musical spaces have evolved with technology like recordings and headphones.
The document summarizes a lecture on public and private spheres of music. It discusses Jurgen Habermas's concept of the emergence of a public sphere in the 18th century coinciding with the rise of the middle class. The public sphere included public authority and commodity exchange, while the private sphere comprised civil society and domestic life. Gendered spheres also developed, with the public sphere associated with males and the private with females. Certain genres of music became associated with either the public concert hall or private domestic spaces like the home. The lecture discusses salons as intermediate spaces and how private musical spaces have evolved with technology like recordings and headphones.
Okay,now we'll start again。Apologies so。 We spent a lot of time talking about music。 In the concert hall,virtuoso performers。 Music in sacred spaces you'll remember like having to do with cathedrals etc。All of this music is part of what we can think of really as a kind of public sphere。
Mar Mitrovic Campos joined the meeting
Michelle Meinhart 0:36
So all of this music taking place that we've talked about before within a kind of public realm。Although there are different categories of public,perhaps we can say,but however,as you probably all know,first time,though,a lot of musical activity takes place in more private spaces,IE。What we can consider to be a private sphere or private spheres,right?
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Yik Chen joined the meeting
Michelle Meinhart 0:59
So let's talk for a little bit about what the public sphere is versus the private sphere。I。
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Michelle Meinhart 1:06
Anybody could just。
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Michelle Meinhart 1:10
Try and brainstorm or even define what the private sphere is。You might be able to do this,especially if you've already done the reading for this week。If you haven't,that's okay,but what do you think we mean by private sphere and feel free to just jump in? Yik Chen joined the meeting
Michelle Meinhart 1:34
Anyone? Okay,so this this,like dichotomy of public sphere versus private sphere is it is a concept or dichotomy that that was conceptualized by sociologist in the mid twentieth century and his name is Jurgen habermas。You may have heard of him。 He talked about this。He came up with this idea of this dichotomy,the public sphere and the private sphere in a book called the structural transformation of the public sphere。
Gene Raymond joined the meeting
Michelle Meinhart 2:11
Now he in the book is talking specifically about society in Western Europe。OK,so it's very a western centric idea,but as we know this classical music and this module is pretty much just very western centric。That's much of what you do here at Trinity in。
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Michelle Meinhart 2:31
So habermas in this book describes the emergence of a public sphere in the eighteenth century,so this news kind of spear sphere of life comes about in the eighteenth center,he says,which coincided with the Enlightenment and specifically the rise of a kind of middle class。 And breakdown of an older feudal system。 Had been common through the Middle Ages that or that was the that was the way that things ran economically in the Middle Ages,so breakdown the feudal system by the middle of the eighteenth century and we get the emergence of a middle class。 And this coincides then or this brings about then this idea of a private sphere。Habermas notes that in the public realm or the public sphere。
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Michelle Meinhart 3:21
That this was coextensive with kind of public authority or the people in charge。While the private sphere comprised civil society and the realm of like commodity,exchange and social labor。 Yik Chen joined the meeting
Michelle Meinhart 3:38
If this changes though,as we go through as we go through time。 In the eighteenth century,we're talking about the the public authority being like the state,you know,the government,the police,the ruling class of the aristocrats,right,and still the feudal authorities that exist like the church and nobility,and then the the other part of the public sphere arises at this time within what he says from an actual private realm。 Specifically in connection with literary activities。OK,so this this dichotomy of public versus private has been applied to many or applied by many people working in sociology and gender studies,but also throughout the humanities。It's kind of common language now to say public sphere or private sphere,and it's been particularly popular amongst cultural historians who study in the nineteen century,including people who look at music as the public and private spheres align really well with ideas of kind of gendered spheres and by extension,different genres of music。
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Roxanne Watts joined the meeting
Michelle Meinhart 4:40
The public sphere was thought of being very male dominated,um,while the private sphere um namely conceptualized to the idea of one's home or being in the home,this was the domain of women。So we get this sort of gendered spheres going on male and public on one side,female and private on the other。 Now in music,we can think of the public space of say the concert hall,which we looked at,right,or the cathedral versus the private space of the home and the music that might be going on there and that particularly takes off in the late eighteenth and nineteenth centuries。This idea of kind of creating music in the home,because now there's a middle class of people who can,who are educated enough and have a leisure time to to do music in the home,to own instruments,to buy sheet music and have the training and so on。 Now much of this music in the private sphere was done by women。Okay,doesn't mean that men never played and they only did。But it was expected that women of a certain class had some musical training and could entertain people within this private sphere space。A respectable woman。Never though,would go out and play,say in a concert hall,right?If she was of a certain class or go out and actually earn money from playing,that's something entirely different。
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Michelle Meinhart 6:03 So one interesting space we can think about though,is the the salon you may have heard of before。This is a kind of intermediary space。This is a space like where we talked about it。In the case of Schubert,right,and the kind of Schubert,tiyad and this these sorts of。 Musical parties almost going on within homes right where people would be invited。It's quite exclusive,meaning you needed an invitation or to kind of be part of this artistic circle,or you were just of a certain class and connected to the people of the home,and so it's usually like in nice houses really nice spaces to have music and guests and so on and this sort of like shubertiad or we can think of the salon。These were often organized by by women,but this is a kind of intermediary space between public and private,right?So my point is that this dichotomy,a public versus private is is not just either or that there is a kind of a liminality in between,it's。
Yik Chen joined the meeting
Michelle Meinhart 7:08
To think about this and music and the genres that we're going to look at today kind of fall in various places on this continuum。 So for this week,you're reading an essay by Wolfgang Furman called the intimate art of listening music in the private sphere in the nineteenth century。This is your compulsory reading to accompany this lecture。And so I'm going to use his concept of private here。I've talked about the sell on as I said,but I want to use his concept of the private。 Specifically to think about。 Maybe this。 The idea of the intimate as he talks about so we can think about this in the context of a physical space and environment that is intimate,we can think about this in terms of access。It's not everybody,of course,can enter this intimate space of the home。Access is about who's invited,right? And then also within related to this is the question of genre。 You know,and how the genre cut notes and is meant to delineate and reify,reinforce ideas of a private space,a certain genres being associated with a very kind of public space like the concert hall and certain genres coming about their cultivated,particularly in the nineteenth century that are associated with these private spaces。Because these private spaces are spheres or spaces for music are really just started taking off。 OK,what I want to think too,though going back to my previous slide,if this will work。 This this question here,private musical spaces today。 We're focused very much on。 The late eighteenth and nineteenth centuries today looking at some very canonical repertoire in these places,but I think something to maybe keep in the back of your mind is,well,what has happened to the idea of private musical space today,right?Because it's probably very,very。 That people are maybe hosting,you know,musical parties,live music in their home,right?But perhaps we need to think about the role of technology over the last century has played in creating soundtrack to a kind of private musical space,you know,in the bringing in a recordings to the home,right? And then even today,the more recently the the idea of private space is even is even perhaps more private and more different through the use of,you know,streaming technologies。But more specifically,you know the use of headphones or earbuds which,you know,create you literally your own private space that you can hear and enables you to block out the kind of public sphere of sound,whatever that may be given your your setting。 An author that I've put in the supplemental readings for this week。If you want to learn more and think about this idea of the private sphere and music and more modern times,the authors Tia de Nora,who's also sociologist but she focuses on music and her famous concept in the reading that I've that I've linked is is this music is technology the self and how we use music to code and create this kind of concept or to to sort of embody this idea of ourselves and their music through this private space and music that we can create while we go do things like travel。
Ching Wong joined the meeting
Michelle Meinhart 10:38
Commute,clean the house,you know,cook,do whatever。 Alright。 Are there questions? If I move in,move on。 No alright,let's keep going,so we're gonna have three case studies。 That are associated with the private sphere。 The first two in very traditional ways and quite canonical repertoire,and as I said,these are from the late eighteenth century through the nineteenth century,so this is the really the period that is that is prime for music making in domestic spaces or the private sphere。It coincides with the rise of the middle class,or sometimes you'll see the word bourgeois class,particularly in the Furman reading。That's the word he uses a lot。The rise of the middle class with interest in abilities and music。So all these people of this new sort of class that can do music and can do it at home。
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Michelle Meinhart 11:38
And then also,this is just the,you know,the period of time that is right before pre recording。 As well and that all starts to change and we when we do start to get recording at the beginning of the twentieth century。All right,we're gonna start off with hiding string quartet from the late eighteenth century,then we'll move to a Chopin nocturne from the eighteen thirties,and then we'll look at the Brahms cello Sonata number two from the late eighteen eighties。 OK so as I said,case study one is this is Frances of Hayden Franz Joseph hayden's drink quartet and e for that major opus thirty three number two,subtitled the joke from seventeen eighty one,and we're looking specifically at movement four so hide in string quartets are examples of chamber music,of course,that were written specifically for domestic recreation。Okay,they were written for kind of music in the private sphere,but of course,hayden's idea,the private sphere because of where he was working。 Differs a bit from,you know,say private sphere of of people in the middle nineteenth century and definitely for us today。 This is the image this image you see on the slide was used by the Viennese。 Music publisher who who put out his work?It's it。The publisher was named ataria and they did。They put out loads of chamber music in the mid seventeen eighties,and this was the sketch that that they used,okay? Now I think what's interesting is that。 And I'll come back to this slide that in this slide,we do see a woman here playing right and what we have here is clearly domestic chamber music。 But what we have here is also not exactly a string quartet,right?It's some kind of trio and we can see by the people here that these are these are well to do,right? They're probably upper middle class or even upper class。 And I think it's also important to note that that the the aristocracy in many ways,you know,they a lot of people,a lot of people near aristocracy could do music。They were trained in it,but they also didn't necessarily have to that they could afford to pay musicians to play for them。So some of this more kind of private music that we see is music that would have been being played by professionals in perhaps these domestic spaces of aristocrats,which sometimes were often quasi public。 Women were active participants。I should say in these kinds of trees,but usually in playing the piano as you see here。 They were equal to men in this sort of domestic setting of music making,sometimes they sang as well,but those were really about the only options at this time you had to sing or put a piano if you were a woman,so piano trio emerged and it's this really interesting way to think about it is that it's one of the few genres in which we can see men and women making music together。 Now。 We see in this string quartet,you know,it's modern example,all women。However,this string quartet during the time of Hayden was considered to be an all male ensemble,so women were not allowed really to play string instruments。I wouldn't say not allowed,but it was just discouraged。It was seen as it was seen,as you know,uncouth unladylike you'd have to contort your body in weird ways that made you look not pretty,so there was a kind of。 Soft ban on women playing in the string quartets,which is interesting given that they were written kind of for to be played in the home and women were seen as kind of primary domestic music makers。 Um,but during hayden's time,string quartet was thought of as being music amongst friends,um,played by the aristocracy in the upper middle class。It was performed for its own sake,it wasn't about entertaining really other people,as it was just being about the for the enjoyment of the players。Okay,and here we actually have Hayden here playing on the string quartet。 It was thought of as a kind of conversation amongst friends,you know,represented through these instruments,and they were written very much stylistically to emulate this idea of conversation。 There were thousands of quartets published in Vienna and Paris between seventeen seventy and eighteen hundred。So you know,Hayden,though,was often thought of as the father of the string quartet,but this is a genre that is being cultivated by lots of people at this time,and a Titan who kind of solidifies it and becomes the most famous composer of it。And we'll talk more about him in a minute,but it was still music that was being thought of as being for professionals,but also connoisseurs。Women were never to be seeing playing on these intimate。 Monkey sequels,as I said,because,and also that these were quite challenging to play,perform for its own sake in private residences。 Okay,so we get lots of descriptions from the period about。 These string quartz at playing one comes from Michael Kelly and he was a he was an Irish tenor and composer and theater manager,and。 Specifically,he managed King's theater in the theater royal jury lane here in London,and he went to Vienna and he wrote about what he saw and the music and things that he that he heard there and then then came back and published this work in in in Britain,he wrote about seeing string quartet and specifically hiding the players were tolerable。Not one of them excelled on the instrument he played,but there was a little science among them,which I dare say will be acknowledged when I name them。So this was the quartet that he saw。He was saying the players were tolerable,which I think is funny,so hiding on first violin。 Dinner's dwarf um before as well,a guy named von hall on the cello and on the tenor Viola or the Viola Mozart,so this would be quite a sight to see,and he notes,Michael Kelly notes that there were the poets custody and pasielo who were there。They were offered libretto's,and he wrote,I was there in a greater treat or a more remarkable one cannot be imagined。After the musical feast was over,we sat down to an excellent supper and became joyous and lively in the。
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Michelle Meinhart 18:19
Extreme。 So,this gives us a kind of sense of,you know,the ways that string quartets functioned at this time that leading composers were playing on them,playing their own music,and that these were being done in these kind of private spaces that were about kind of friendship and intermingling,and so on amongst like minded people。So just to say a little bit about hiding,I'm not going to give you loads of information about his life because you could go,you know,read it easily on Wikipedia。But here's a kind of。 Synopsis,if you want to go beyond this or Wikipedia,you could of course go to the Grove online and read a really long,you know,biographical entry about him。 But one of the key things I think to。 Take away that you should definitely know。Besides,he's kind of known as the father of the string quartet is that his career really represents this shift from the old musical patronage system to a kind of more freelance approach that we see happening under Beethoven a little bit later whom we talked about so hide in,of course,famously worked for a very powerful,Hungarian noble family called the Esther hazis and he enjoyed their patronage for decades。 Lived at their country estate,estraza and all the music that he wrote for them up until about seventeen seventy nine was their music that he did not own it,that he didn't own the rights。Copyright law was very different this time,but then in seventeen seventy nine,he got a different kind of contract and gained more independence and his music was allowed to kind of be published and released around Europe and he became really famous and famously came to London and seventeen,ninety and seventeen ninety five these big London trips。
Roman Bilan joined the meeting
Michelle Meinhart 20:09
And specifically wrote the London symphonies for for these so we see his career kind of starting to shift at this time,where he's earning his money through publication and these commissions right?So he wrote loads and loads of music of all the kind of the expected genres of the time from symphonies,concerto,string quartets and so on,all of which you can read there。 Um,here's a bit of the contract from his。The contract he had with the Ester has a family which you can read on your own。It's just talking about what his duties are。 I won't spend time on this now,but that's Esther hazi or Esther hazza。The palace,different parts of it here the concept space。 It had a salon,cut it for more private and intimate music making,and these kind of musical parties were talking about。 Okay,just in terms of um,his,his,his style,so with Hayden,it's all about,like,the kind of the。
Mar Mitrovic Campos left the meeting
Michelle Meinhart 21:21
What makes his music individual or kind of stylistically unique is the way he takes these kind of very maybe we would think of restricted forms like Sonata form concerto form,so on and mixes it with kind of unexpected things,so the way that he plays with forms to kind of play with our expectations。 And his music is known for being full of wit and humor as well。There's a lightness to his his,his music and an elegance。I guess he would say that,you know,makes it very different from,say,say Beethoven,which is much more dramatic in in tone。 Um major influence on him was one of JS box sons,of course,cpe buck and the keyboards Sonata is there。 Particularly and with the way that cpe Bach would experiment with this infants on style,where we're kind of getting a more kind of heightened expressivity,variation and development of musical ideas。 Got a bit more about hiding in his process here,way that he would compose。If you're interested,you can look through some of that,but it's interesting to note that improvisation was a big part of the way that that he that he worked as well and because improvisation was also something expected of performers at this time that they would be able to do as well as in many cases composed so somebody like hiding and Mozart composed,they performed and they improvised。This was just what you did as a as a as a leading musician。 Back then,okay,let's get into the actual quartet now。 For the approach on this one to kind of。 Think about you know these different,like modes analysis that some of you are considering for your podcasts,so the kind of mode of analysis that we're going to see here is very kind of musical analytical,all right?Because,and I think that's appropriate because with Hayden,he was very focused on ideas of musical form and musical style and ways to kind of play with these to tease us as listeners。I am viti's quartets were met to be a kind of musical conversation,the notes,the rhythms,the phrasing,all of these things were supposed to kind of emulate conversation,you know,a witty conversation amongst friends,so I think it's important we actually kind of take a look at the nuts and bolts of the music here,so this is。 Being written for these private spaces that went on to be published because of his growing fee。As I said earlier,it was published by artaria。 With the set of six quartets alright,so we're looking at the opus thirty three here。There were six of them are published。We're looking at number two and specifically we're going to focus on the fourth movement and they advertised ataria did as being composed and entirely new and special way。So what was new and special about it?Well,this sort of gallant style,the kind of what they were describing is classical counterpoint even。 That they that even we're going to look at some of them being monothermatic that he's playing with kind of musical form here。So they're advertising this is something new,you know that had not been done before,so our movements we could four standard movements that we would expect of a string quartet and it's really hiding that helped to standardize these that we could come to expect today。So an allegro moderato,which is in e flat and uses the Sonata allegro form second movement is a scare so also in e flat,but the form here we get a skirt so trio。 Okay,you know,Beethoven's often credited with with bringing in a but Hayden had been doing it as well。Actually,so then。 The third moment which is in b flat。We get a theme in variation and this is more of a kind of duet。 Going on。 For Viola and cello,and then the last movement is a presto。That's the one we're looking at,which is an e flat major and is kind of a Rondo。 And we'll be thinking about what this joke is。 Alright,let's hear just a little bit to kind of get us going。I'll try to play from here。 了。 Okay,So what is the joke?Who can tell us what the joke is? Don't be shy what?What is funny about this?What is the joke? Maybe it's too early on Monday morning for a joke。Jeremiah,yeah。
Jeremiah Beer 29:18
Hi um uh assume you can hear me?
Michelle Meinhart 29:20
Yeah,yeah,I can。
Jeremiah Beer 29:23
If by joke you mean,like what in the music could represent a joke?
Michelle Meinhart 29:28
Yeah。
Jeremiah Beer 29:30
The the motif that keeps going back that six,eight motifs that you hear just actually are on that page just before thirty。
Michelle Meinhart 29:38
Yeah。
Jeremiah Beer 29:38
Could could represent。 Like someone would would would go away,come back and then it would be like someone,so someone that keeps telling a joke,but then someone goes serious again,so you know that,that my,that motif in specific probably would represent the the the joke。
Michelle Meinhart 29:58
Yeah yeah,yeah。So this maybe the kind of the light heartedness of this of this motive。Yeah,that kind of keeps coming back sometimes not on its full entirety,and it gets broken up and。 Kind of almost becomes like almost like a peekaboo kind of thing。I don't know,I'll scare you。Your hand was up as well。Do you want to?
Oskar Osterling 30:19
Yeah,well,I mean what I think of as a joke are these。 Weird pauses in the music,so it's it's like,ohh,he this players aren't reading correctly or they're hesitating since。
Michelle Meinhart 30:24
Yeah yeah。 Mm hmm。 Oskar Osterling 30:33 A lot of these like comic elements,even having played Hayden in the music,there's a bunch of weird accents where maybe they shouldn't be,and just strange pauses。
Michelle Meinhart 30:43
Yeah,absolutely。Yeah,the silences and the pauses good,weak resolutions to the way that harmony kinda plays in。I mean,with the rhythm to kind of play with our expectations,because that's the sort of the thing here,that's that makes it maybe it would have been funny for people at the time who were very well versed in this kind of musical language and genre and form to hear these things,to hear the music,not do the things that supposed to right。 Do this theme kind of being obstinate and stopping and starting and getting these weird pauses coming in and out,and it does kind of create this peekaboo type effect,I think。 Also the like a larger kind of joke going on,I think,has to do with the form,you know,at first hearing we may think it's just a kind of rounded binary form,right? So here's kind of basically the whole musical material,so we get the main theme,and then you got this middle section was a lot more serious,right?And then the eight comes back。 It kind of seems like it's that the the refrain the the the the main part itself。 Is it is it is it around binary?So it doesn't really seem almost like we're we're in a in Rondo territory because we've had this kind of ternary thing going on already in the first theme,which is,which would be the refrain right in arundo?So that's in itself kind of like meant to be strange and would have seemed weird,I think to audiences。 So we would normally think of and also with a like a ternary form or minuet trio form like it's just kind of what he's done here。 It to look something like this,right? This is the typical kind of progression we would expect and thematic material。 Of a typical of a typical one。 We get this Rondo,though that has the refrain。That's in a rounded binary form as we've talked about。The framework is conventional that he's using,but the contents are are are not so he kind of like within just already within the refrain itself。We're getting these kinds of different things going on,and then the whole music。 In some ways starts to seem like a big rounded binary form。Some rounded binaries happening at the the kind of micro level。 Right or ternary food?When I think of it that way,it's happening it within the refrains,the micro level,but also kind of at the macro level as well。If we think of an A here,then you know a kind of you know b section here,but then it's actually kind of sounding mostly like A and then a return of the A and you get these episodes in between。 Also that the first episode。 It's not doing what we would expect of Rondo because this what should be AB section um is is going to um,a flat major or or the subdominant rather than five,which would be the expectation for music at the time so lid sners at this time,you know who are very educated in music。They would have heard this and thought what,what's going on here,right?So these are all things that are part of the joke going on and。 Is the coda to even kind of make the audience perhaps laugh even more。It's it's,it's confused the audiences and to kind of make fun of them as you hear。It's not because you wouldn't know when to applaud,right?This is the last movement,so we're coming up ready for the big finish,right?Especially for a big Rondo。We would expect there to be a big finish,but it kind of does Peters out and we get the theme broken up and we get this adagio。It's really strange。 It's also meant to poke fun at,you know,the kind of amateur musicians who were known or thought to be very kind of beat driven,you know,playing along with metronomes and so on,so we have the rhythm in this in the in the kind of breakup of the theme and so on and change in tempo there to kind of put fun at musicians in a way to kind of really try to test them out in a light hearted way。 So there's a number of ways that hide in here is is is making jokes and playing with audiences expectations。 And some of this might have be what the the publisher was talking about,with these quartets being,you know,the new that these were new and unconventional。 In in in many ways。 Here's a bit more detailed。 Analysis of the form。 What she can look at,here's the the very ending kind of the weird things going on to kind of highlight again,the weird rests,the break up,the theme,the change in the tempo,and so on。 Okay,so now let's move on to thinking about the impact that the increase in the number of amateur musicians had on,you know,music industry and composers。So because there were so many more amateur musicians coming about because of playing in the home and the rise of a middle class,this created demand for more music and music specifically that,you know,amateur people could could play,you know,not everybody can can can play,say Beethoven pathetic Sonata。So we needed some things that were a little bit easier but still enjoyable and challenging enough for。 So publishers,of course,responded to this,this need for this in the market as well as composers comp。 Now had another aspect of the music business from which they could make a profit with this growing middle class and music in the in the home and so over the course of the nineteenth century we see sheet music。 Growing and growing as an industry,particularly a market for amateur sheet music that。 Not just classical music but but loads and loads of popular music as well。Like,for instance,even the say the Stephen foster songs,and so on that we talked about。Or maybe that's next year I can't remember。 But but a wide wide variety of genres being put into cheap music and sold in this way from music in the home,in the kind of private sphere。 One of these that we'll talk about of a genre that emerges from this is is is the piano nocturne and the character pieces will get to in a second,but just to kind of to kind of conclude with with with Hayden around seventeen fifty and sixty。 We see composers finding more and more employment outside of a kind of,you know,just having a patron like Hayden did。But there's still many restrictions,so the Esther haze family like kind of putting a lot of restrictions on to hide and in terms of what money and work he could do outside of outside of their their estate,right? But the seventeen seventies and eighties we saw,we see a massive change in things from just a couple decades before where we're starting to see concert series being established for these same composers like Hayden or a single concert being commissioned,so this patroness system kind of loosening。 Up as as composers are becoming more and more driven by a kind of public sphere and public demand and comment at commercial aspect of music that is emerging。So the concert series,single concerts,commissions,public and subscription concerts,getting notoriety and cash through teaching and then also earning money through publishing,of course,as well。So all of these things now become part of hayden's world became part of Mozart's world and definitely part of Beethoven's world by this time period that would have two decades before been absolutely impossible。
Oskar Osterling left the meeting
Michelle Meinhart 38:56
Really world changing,so we have the rise of the kind of the freelance composer and musician this time。Okay?So case study two is chopin's not turn any flat major opus nine,number two,okay,so this might be a piece that many of you know I。
Jacob Ashcroft left the meeting
Michelle Meinhart 39:17
It's been used in adverts。It might have been if you did a levels in this country,it might have been on there。I'm not sure,but I want us to think about this very familiar piece within this idea of the private sphere today。Now the image you see on the slide here。 Is it kind of example of private sphere music making?We have lists here。Rossini's in this barelios is in this。This is a painting done by。 A man named Dan writer,this is George sand who was。 Chopin's。 Partner his lover who that was our pin name,and。 Also here is Victor Hugo um,who is here,who was the author of um Les Miserables。OK,so we have them all around the piano listening to lists here playing right,but they're all kind of looking off in the bus to Beethoven,who's kind of out here floating around like he's looking down from heaven or something。So this is a kind of private sphere music making in a sense that we get these kind of people in the know gathered together listening to this music and so on。But lists,of course,as we know from last term,was also。 A composer and a performer who was very much in the public sphere as well。So again,I want to drive home the point that it's not like people are in either or the private or the public or the private sphere,but there's a lot of fluidity and people kind of went in and out of both,particularly performers and composers。Okay,so you can think more about that painting find,maybe find a clear image on your own too,right?So what happens at the beginning of the nineteenth century?Really is this transformation of the piano as we see it? It became improved。The piano became improved by new technologies of the industrial revolution。 The range was extended to eighty eight keys said,going from looking like this to like this over like a fifty sixty year period in the nineteenth century,going from a wooden frame to a cast iron frame which is much stronger,this piano has thick,strong strings where these has pretty nimble weak strings。You don't get a lot of volume out of this thing,but this you of course do。We have pedals here,whereas here we don't,so the sustain and the soft pedal are here,but on the older piano we don't like what Beethoven and start would have been playing on。 Early in their lives on the piano becomes a more more associated with home music,making as it becomes more and more affordable。It will becomes affordable because it starts to be mass produced in factories。Not necessarily,you know,handcrafted anymore,so more and more people can afford it。It becomes a staple of middle class homes like you see here。If you are respectable and wanting to show that you are。 You know something in this in this world,then then you would have a piano,and your daughters would know how to play and sing and you would entertain people in this way,so that was expected。 With along with this the use of the piano in the home,of course,comes the need for like genuine genres of music to be played because not all play women like this one could just sit down。And as I said,play the pathetic Sonata or some kind of you know list piece like would it be?Look at like the the transit one of the transcendental aitudes right or own suspiro?Specifically,a lot of people cannot play that right?It's quite technical and difficult,but。 Many people can play some of the shorter character pieces that we might associate with the nineteen century,so a character piece is just a short piece for piano that。 Seeks to convey a mood,an atmosphere or a scene,so something extra musical,but it does not have words or a text。It might have a kind of little description at the beginning in some cases,but for the most part,no words,so the music is meant to evoke something extra musical very loosely usually,and the association is usually just by means of the title,and sometimes just a short inscription,and then just the general atmosphere of the piece。 So it's a bit different than this idea program music that we saw see with Symphony fantastic and the program symphonies specifically,but it's building upon that。It's building upon this idea that music can convey something else and that people became quiet。Intrigued by this idea,a music conveying something from outside the music itself,wanting something to for it to convey。 So composers who wrote character pieces in the eighteen thirties will Chopin。Obviously we're gonna talk about him,Felix mendelson,***** mendelson。 Claire Schumann,it was doing some,I mean Robert Schumann as well,so lots of composers,lots of composers doing this,including ones in in Britain and France as well,but it's really kind of in the French and German spheres that we see the most。All right,so a little bit about Chopin,I'm not gonna spend much time on biography because you can read the slide you can read on Wikipedia。You can read Grove online lots and lots of information there。 But obviously,you know he was Polish and a lot of his music was based off of Polish folk dances,or the kind of the sound of Polish folk dances,but he perhaps more than any of these other composers that I mentioned,is associated most with the private sphere because he himself didn't really like performing in public,he didn't really have a concert career,was quite introverted and and wrote music。 That,in some ways,you know,have become kind of war horses of the concert hall,like,say,the the four ballads,right?But you can share those skeptos and so on。 Why did that go away? Beer。 Wrote,these works that today have become very much associated with。 The concert hall and so on,but wrote a lot of music also in his time that is much shorter in in much less technically demanding and probably many of you panis will know these,so his character pieces would include the ballads that I mentioned。 The polynesians,the Mozart is these dances and so on,but also the scarecrows and even the a tubes,which are just studies,you know,but like lists a tudes,they often have a kind of extra musical element,right?But of these,probably the easiest pieces up here the most for amateurs would be the preludes and the nocturnes。Many of these other ones,when the Missouri isn't too hard。But some of these are quite technical,so these aren't all going to be,perhaps,music performed by just anybody in the home。 Um here at three sonatas for piano and also a cello piano Sonata to concertos,as he said,and some songs which are not very well known at all。Today most are in Polish,okay?So the nocturne e flat major you see the beginning of it here。As I said,this is a piece that many of you probably will have known。Nocturne as a word just means night peace,right?An animal that is nocturnal like,say,a mouse is up running around at night,so this is a this is a night piece,it's a piece that's meant to evoke。 Night time,you know,moonlight kind of。 Wistful melancholy maybe romantic sense of longing and and and so on,so it's a it's a。It's not a kind of like scary night or like animals screwing around at night in the nocturne sense,but it's a kind of like romantic with a capital r sense of night where there's a kind of mystery and moonlight and and lots of,you know,wistfulness and longing and and and and so on so in this like in the Spiro actually that we heard last term by。 We get this long kind of sweeping lyrical melody with the regular accompaniment。What's different here with the list is that the is much easier,right?It's just this,this kind of rocking regular accompaniment,whereas you remember in the list,which is much more concert piece,the hands were all over the place that you know it was using the full range of the piano,lots of kind of crosshounds to create the accompaniment and so on,so this is much simpler and therefore much more kind of geared towards that amateur domain of the private sphere。 In your reading for this week,Wolfgang Furman talks about。 close listening that was going on in the kind of private sphere and the in salon culture。 This is a sketch that he uses that he shows as an example of the kind of the way that the you know the the。 Regular sort of people,you know,the middle class would be listening to music now。What's significant is that。 In the in the in the public sphere,the concert hall。 Sphere that music often was not as closely listened to。There's a lot of。 Sort of a lot of people think that actually the rise of private or of a close listening comes out of the actual private sphere where people are quite intently,you know,listening as we see here and this is an example that you're that the author from your reading talks about here。This house music in the evening from eighteen forty。 So this is music does not turn that we're going is music aimed at this kind of intimate performance that we see here a close listening。Alright now another way we can think about this building upon the Furman,though,is by thinking about one of the other supplemental readings for this week,and this idea of the nocturne is not just only a private genre,but also one is a very feminine genre,right?Because these genres any spheres were very much constructed as gendered in the nineteenth century。So can an instrumental genre be gendered? According to Jeffrey kelberg,he's written many things but most pertinent for our purposes is his book Chopin at the boundary,sex,history and musical genre。So this is linked in our supplemental readings on Moodle for this week,so he talks about the nocturnes,he says。 He quotes a review of chopin's nocturnes,the opus fifteen ones,written in eighteen thirty four for the publication,the algamina musically saitong in eighteen thirty four,and so this is a quote from it that he that Jeffrey kolberg draws upon arguing that nocturnes were thought of as quite feminine,he says,or that this author JW finkes review he finks,says the nuttrins are really raveries of a soul fluctuating from feeling to feeling in the still of the night about。 Want to set down nothing but the outburst of a feminine heart after a sensitive performance of the same,these Nutter surely are my entire life okay?So that's one contemporary review of it making us want to kind of。 The person hearing it as a kind of outburst of a feminine heart,a feminine voice,a representation of a kind of feminine emotion,all right? Another critic from eighteen thirty six who was anonymous that karlberg cites is this,he says,the names of the creations not turns admit nothing else but offensively dark hue。It is the dream which celebrates its round dances with longing longing which choose pain on its own because it cannot find again the joy that it loves。For that reason,these new nocturnes you talk about Chopin ones like the old ones as different as they are from them well again,always be most attractive to all hearts inclined toward the feminine。So again,nocturn。 Invoicing kind of feminine emotion。 All right,and we see throughout reviews of music。 Of the early nineteenth century,this kind of gendering a genres and you could probably guess then that symphonies were often written about in very kind of masculine ways,whereas nut turns like this seen as a very kind of feminine emotion。 This is this idea of them being the kind of the voice of feminine emotion is heightened too by their place and their performance in these kind of very feminine spaces or spaces associated with women,the domestic sphere,and that they were often performed by women themselves。These were pieces that were,you know,respectable to play。They were,they could showcase your talent,but not too much。They didn't make you move around too much or contort your body in weird ways and say that like lists music would where you'd be doing hand crossing and having to make your hands really span,really big and so on。
Harry James joined the meeting
Michelle Meinhart 53:01
That these were meant to kind of show off your talent in a very eloquent but also still very kind of contained way。All right,so feminine and a number of different ways for people at the time。 And then we get this to,yeah,OK,So what?Kalberg says about these reviews in many of the passages,direct references to the perceived feminine quality and the nocturne were accompanied by other figural language。So besides using the term feminine in these reviews,we get lots of other words that are also at the time associated with women,right feelings,right?That's not just a kind of an association of the time,right?Feelings today,kind of in the cultural mindset still for。 Associated with women,right dreams。 Sentiment right the sentimental always is associated with femininity tenderness。All of these effective terms were linked to and Shirley and different degrees meant to complement the primary image of the feminine,and often when these analogous terms appeared and other criticism independent of any explicit citation of the feminine,they were understood as code words for overtly feminine imagery,right?So these reviews are full of language that's associating these pieces with women,okay?
Mar Mitrovic Campos joined the meeting
Michelle Meinhart 54:23
Just saying words like women and feminine。There's all these other words that are loaded,okay? That's the way we can think about these nocturnes。All right,let's hear a little bit。 Of this feminine feeling,right? Then he leaves a block too,just like the heightened。 And the competitor。 OK,I think interesting like interestingly like the Hayden too,that this is a piece that basically has one theme,right?This theme just repeats over and over。It gets different kind of accompaniment,different kind of harmonic inflection。There's nothing funny about it,but it's interesting that in this kind of idea of a private sphere,music that we're looking at today that we're getting this kind of monotheism going on and that's the norm for the nocturnes,really in general,is the kind of one theme that goes on and is varied,indifferent in different ways。Okay,pianist here was Rubenstein,and I forgot to mention on the previous recording at the hide,and that was the lenses,the famous lindsay's quartet。 Right,so we're running out of time,let me jump to the next。 So while in the hide in are are are kind of analysis or research methodology was very kind of musically orientated towards form,right in the notes,so music analysis and with the Chopin,I've done a real kind of,or I've used a kind of gendered analysis,right?That is using a secondary source。Obviously the kalberg,who has looked really intently at,you know?Primary sources from the period these reviews so in our third case study。 Our Brahms,Sonata for cello and piano and F major movement two we're going to be thinking about the kind of the genre as it transforms the idea of chamber music being transformed from a kind of private space to something much more public it,but it's still meaning to represent many of these emotions of the feminine,the feelings of the feminine that and the intimacy that we would associate with the private sphere that is just being kind of broadcasted now to a public space by the time of Brahms。 Okay,so this cello Sonata maybe many of you know it。 For that should take minimum four。Sorry。 Four minutes that we would expect we're looking at the second movement,which is this adagio affects you also where we get。 Kind of a clear evocation of something quite intimate,quite private,even though by the time of Brahms。 The genre like this of chamber music has become quite public。 Oops from site sorry so calmer I'm sorry Furman in your reading for today talks about this idea the of the intimate or private becoming public over the course of the nineteenth century。So between the time of,say,Chopin and Brahms。 We see it changing so,so he sells from and says my insistent on nineteenth century chamber musics embodying intimacy seems almost paradoxical,given that the public performance of chamber music became ever more widespread during that period gained an increasing audience。So while chamber music started out of something in the home,it gets this wider and wider audience in people who are performing it right,so it becomes increasingly public in many ways and then starts to actually be written more for the aim of public concerts rather than for people in the home。
Luciana Grant left the meeting
Michelle Meinhart 58:31 So circa nineteen hundred chamber music was written almost primarily for ensembles giving public concerts。Okay,Brahms as chamber music was very often performed in the concert hall,though it continued to be played by music loving dilettants and professionals in private chambers,but it seems that it was precisely through such historical dialectics that Brahms is music developed,particularly powerful sense of intimacy。So he argues in this reading that you should be reading for this week。The intimate,the idea of intimacy and music becomes a trope or a topic or a feature。 Of chamber music as it actually becomes more public and is being performed in concert halls through the nineteen century,it's no longer tied to a closed private space,but now chamber music like what we're going to hear is nostalgic for this more intimate space。 OK,so this is a very kind of different way or different angle。Looking at one of these kind of pieces from the private sphere,it's about now thinking about in terms of our research methodology,what it resonates,okay,what the piece resonates for listeners at the time。 Why is that doing that? That's weird。 So he's talking about this idea of the intimate happening within the chamber music and the Brahms movement specifically。 In the opening why it's not showing you this image that is very weird,but I can。We can look at it here in the opening that he's talking about。We get this kind of theme as he's saying,like,we've seen these kind of single there,it is these kind of these themes。 The gentle and subtle if complex exchange of the motive between the cello and piano demonstrates an intimate communication,which is not so much a dialogue as a close liaison between the musical actors。 Engaging in listening to each other with their ideas softly meshing together。 The score suggests in its very structure performance that realizes the ideal of two or more human beings acting in accordance with one another while preserving their individuality so the ideal of intimacy。 Furman says,so the music here is meant to。 Evoke this kind of intimacy between the two players,the cello and the piano,the way that the motive is tossed around。Okay,now it's probably no surprise,then that the most one of the most famous performances that of this was by a duo who were actually,you know,were very intimate。They were a married couple,very famous music couple and that was,of course,Jacqueline to pray and Daniel bambaum,who are known for this piece。Amongst other things they collaborated on。 So this really helps to kind of think about this drive home,this idea that what Furman is talking about this intimate and the kind of public display of this intimacy which we are now at the end of the nineteenth century nostalgic for and that perhaps even today,we still might have this sort of seem nostalgia for for these kind of more private closed spaces of intimate music making that just don't exist so much anymore。So。 Up on noodle and in the slides,as you can see,is this performance of this which you can listen to。 Play just a hair of it now to hear。 Just kind of get it in your ear。 There's the score。 OK so again listen to these pieces please on your own。You've got them linked on Moodle,you've got them but embedded in the slides,the videos,there's a scrolling score here you can use as well,so there's there's no excuse really,but I think to kind of sum up,so we've looked at here three pieces。
Wan Sherren left the meeting
Michelle Meinhart 1:04:00
Associated with the private sphere in different ways,two of which one of which will we should say,was written more for the kind of the private space of the aristocrat,right?But that over the course of the composers,career becomes transformed into something more public and that it's published and then is put out then for people to in fact,buy and play within their homes,right?So that's the Hayden,then we move to the Chopin another example of piece written this time specifically for kind of private sphere by a composer who didn't really like public performance was not into that。 But is writing for very serious music for this growing amateur market and that he himself would play as well。 But in the Brahms here we see。 Music written for the private sphere in a different way and that we see as chamber music now that is being written specifically for the concert hall,but music that is still meant to evoke a kind of intimacy or sense or sense of the private sphere。 That is kind of somehow thought to be lost by through industrialization and urban life of the of the late nineteenth century in Brahms time,and we see this really embodied here kind of perfectly。I think through this specific performance with Jacqueline dupree and Daniel berenbaum,who were like two of the most,you know,famous romantically involved musicians of all time,all right?
Grace Powell left the meeting
Michelle Meinhart 1:05:29
This all kind of starts to change this idea of private sphere。As I started out in the lecture,though,as we see a growing market for more and more popular music through coming music coming out of tin pan alley in New York,and of course,then recorded music coming into the home and not changing this idea of music in the private sphere,not for better or for worse,but just changing it in in in many,many many ways,the beginning of the twentieth century。And then,of course,how radio would go on to transform it even more,right? Through the nineteen thirties,when now music listening in the home of the private sphere is centered around this box。 Right and kind of broadcasts put out by outfits like the BBC or NBC in the US are varying other organizations,so we're now public entities are。 Music right in the sound that goes into the private space,and this in this sense,okay,so that is where I will stop for today。Thank you all very much for your attendance and remember no seminars this week。Do do the Furman reading that's your compulsory reading?Make sure you make a class notebook。 Reflection about it or some notes remember to be keeping on top of all of that and let me know if you have questions,I will see you all in lecture next week bye thank you。