The musical writings of scientist Hermann von Helmholtz (1821-94)
have long been considered epoch-making in the histories of both
science and aesthetics. Widely regarded as having promised an
authoritative scientific foundation for harmonic practice,
Helmholtz can also be read as posing a series of persistent
challenges to our understanding of the musical listener. Helmholtz
was at the forefront of sweeping changes in discourse about human
perception. His interrogation of the physiology of hearing threw
notions of the self-possessed listener into doubt and conjured a
sense of vulnerability to mechanistic forces and fragmentary
experience. Yet this new image of the listener was simultaneously
caught up in wider projects of discipline, education and liberal
reform. Reading Helmholtz in conjunction with a range of his
intellectual sources and heirs, from Goethe to Max Weber to George
Bernard Shaw, Steege explores the significance of Helmholtz's
listener as an emblem of a broader cultural modernity.
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