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"Kursell, Julia"
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Reconstruction, Replication and Re-enactment in the Humanities and Social Sciences
No detailed description available for \"Reconstruction, Replication and Re-enactment in the Humanities and Social Sciences\".
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‘False Relations’: Hermann von Helmholtz's Study of Music and the Delineation of Nineteenth-Century Physiology
This article discusses the delineation between physiology and music theory in Hermann von Helmholtz's On the Sensations of Tone as a Physiological Basis for the Theory of Music (1863). It takes the phenomenon of ‘false relations’ as a point of departure to question the methodology Helmholtz devised to study music and hearing. The key to understanding this experimental method is the concept of ‘controlled deviation’, which is substantiated in two main sections. After providing some background information on the history of music theory, the first section explores ‘false relations’ within the context of physiological experimentation and hydrodynamics, the two most important areas of Helmholtz's scientific research. The second section of the article is centred on the experimental methods of Helmholtz as used in his investigation of vision and hearing. More specifically, it introduces notions of distortion, defamiliarization and deviation to distinguish levels of physiology that relate to the body and to cognition. As it turns out, music posed specific problems for the researcher. Beyond the ephemerality of sound, the malleability of hearing and of musical aesthetics proved even more of an obstacle for controlled experimentation. The article concludes with a discussion of Hugo Riemann, who continued to explore the central finding of Helmholtz, namely that the rules of music change due to the habits of the listener.
Journal Article
Listening to More Than Sounds: Carl Stumpf and the Experimental Recordings of the Berliner Phonogramm-Archiv
This article examines the \"Berliner Phonogramm-Archiv,\" founded after 1900 as part of the Institute of Psychology, University of Berlin. The Phonogramm-Archiv was connected to the emergence of several new disciplines and research domains, including experimental phonetics, Gestalt theory, music psychology, and comparative musicology. Of the archive's 30,000 phonographic recordings, some 100 were made for experimental purposes. One of them in particular, containing a moment of near silence, serves as a point of departure for relating these disciplines to the sound archive as a new technology and research tool. The barely audible sounds on this cylinder challenge phonographic recording as a technical device, and recall Carl Stumpf's inquiry into cognitive predispositions in listeners. Whispered vowels delineate the limitations of that research and of the archive itself. The article investigates how new research methodologies emerged out of the gap between recorded items and their various interpretations in different disciplines.
Journal Article
From Tone to Tune—Carl Stumpf and the Violin
This article investigates the work of philosopher and experimental psychologist Carl Stumpf with a focus on embedding his scientific perspective in a practice of musicianship. Stumpf wrote in an autobiographical essay from 1924 that he had considered becoming a professional violin player before taking up the study of philosophy. I claim that the practice of learning and playing this instrument sheds light on his concept of music, and at the same time signals its relevance for nineteenth-century musical aesthetics. To carve out the role of Stumpf’s musicianship, I propose a “psychoanalytic” approach of tone psychology in the sense of Gaston Bachelard. For this I read through Stumpf’s writings to trace the function and role of practices like analyzing tones and tunes, memorizing and notating pitch and melody, and using related tools and techniques like phonography. This is held against a reconstruction of his mentioning of the violin and of the context of violin pedagogy in the mid-nineteenth century. In so doing, I hope eventually to sharpen the notion of tone in Stumpf and thereby to contribute to a better understanding of his concept of complex qualities as opposed to the notion of Gestalt in the generation of his students.
Journal Article
A Third Note: Helmholtz, Palestrina, and the Early History of Musicology
This contribution focuses on Hermann von Helmholtz’s work on Renaissance composer Giovanni Pierluigi da Palestrina. Helmholtz used his scientific concept of distortion to analyze this music and, reversely, to find corroboration for the concept in his musical analyses. In this, his work interlocked with nineteenth-century aesthetic and scholarly ideals. His eagerness to use the latest products of historical scholarship in early music reveals a specific view of music history. Historical documents of music provide the opportunity for the discovery of new experimental research topics and thereby also reveal insights into hearing under different conditions. The essay argues that this work occupies a peculiar position in the history of musicology; it falls under the header of “systematic musicology,” which eventually emerged as a discipline of musicology at the end of the nineteenth century. That this discipline has a history at all is easily overlooked, as many of its contributors were scientists with an interest in music. A history of musicology therefore must consider at least the following two caveats: parts of it take place outside the institutionalized field of musicology, and any history of musicology must, in the last instance, be embedded in a history of music.
Journal Article
Experiments on Tone Color in Music and Acoustics: Helmholtz, Schoenberg, and Klangfarbenmelodie
In the mid-nineteenth century, Hermann von Helmholtz developed a new, mathematically formalized representation of the quality of tones, which he termed musikalische Klangfarbe. He did so at the price of excluding change from this representation and from the sounds he experimented with. Later researchers and composers discovered the cognitive and aesthetic side effects of this new concept. Experimental psychologist Carl Stumpf found that stable tones veil their source; their recognition strongly depends on their characteristic beginnings and endings. Arnold Schoenberg in turn used this effect to merge the sounds of musical instruments into new orchestral colors. On the basis of a three-part case study, I argue that nineteenth-century research in perception has deeply affected twentieth-century concepts of music, bringing to the fore the aesthetic quality of experimental situations.
Journal Article
Introduction: The Humanities and the Sciences
The humanities and the sciences have a strongly connected history, yet their histories continue to be written separately. Although the scope of the history of science has undergone a tremendous broadening during the past few decades, scholars of the history of the humanities and the history of science still seem to belong to two separate cultures that have endured through the past century. This Focus section explores what common ground would enable a study of the histories of the humanities and the sciences to investigate their shared epistemic objects, virtues, values, methods, and practices.
Journal Article