The Orchestral Revolution

Abstract

The Orchestral Revolution explores the changing listening culture of the eighteenth and early nineteenth centuries. Delving into Enlightenment philosophy, the nature of instruments, compositional practices, and reception history, this book describes the birth of a new form of attention to sonority and uncovers the intimate relationship between the development of modern musical aesthetics and the emergence of orchestration. By focusing upon Joseph Haydn's innovative strategies of orchestration and tracing their reception and influence, Emily I. Dolan shows that the consolidation of the modern orchestra radically altered how people listened to and thought about the expressive capacity of instruments. The orchestra transformed from a mere gathering of instruments into an ideal community full of diverse, nuanced, and expressive characters. In addressing this key moment in the history of music, Dolan demonstrates the importance of the materiality of sound in the formation of the modern musical artwork. emily dolan is an associate professor of music at the University of Pennsylvania, where she has taught since 2006. She is a specialist in the musical culture of the eighteenth and early nineteenth centuries and her research focuses on the history of orchestration, instrumentality, and aesthetics, exploring the intersections between music, science, and technology.

A Non-Gendered Lens? Media, Voters, and Female Candidates in Contemporary Congressional Elections

“…19 Voters tend to assess men as assertive, active, and self-confident, whereas they identify women as compassionate, willing to compromise, and people-oriented. 29 And Deborah Jordan Brooks, analyzing a series of experiments, finds that women who act tough, get angry, or even cry on the campaign trail are not viewed any differently than men who do the same thing. 21 These patterns, argued to arise from social stereotypes of men and women, are relevant not only because they demonstrate the degree to which traditional gender roles and expectations permeate contemporary politics, but also because they can affect voters' support for candidates.…”

“…11 Nations with quotas tend to see a greater proportion of women in politics than nations without them (e.g., Dahlerup 2012;Krook 2009;McDonagh 2010). 48 Alexander andAnderson 2003;Brooks 2013;Dolan and Sanbonmatsu 2009;Huddy and Terkildsen 1993;Kahn 1996;Leeper 1991;Rosenwasser and Dean 1989;Sanbonmatsu 2003. Female candidates are also more likely to emerge and succeed in proportional party-list electoral systems (see Norris 1994, Rosen 2013, Tremblay 2012).…”

10. Diversity, Equity, Inclusion, and Racial Injustice in the Classical Music Professions

“…Yet arguments that stabilize "classical" by asserting its perennial quality 13 are unsurprisingly baffled by how to grapple with an ever-changing technological landscape. While these times seem overwhelmed by disagreement and change, it is worth remembering that very similar questions have been asked before (see, e.g., Dolan, 2013;Jackson, 2006;Bijsterveldt & Pinch, 2003). The challenge is how to avoid nostalgia for norms without falling into the fetish of the new, or newly mediated.…”

Haydn’s Impropriety

“…It is no coincidence that what I am reconfiguring as a resistance to appropriation-to the synoptic and integrating aspects of its form and process-has for late eighteenth-century repertoires typically been figured as the recuperation of materiality. Think, for example, of Emily Dolan's (2013) turn to orchestral timbre, Michael Spitzer's (2004) Rather, Haydn's improprieties reveal how the material is itself resistant to complete appropriation. Exappropriation lies in the interval between Haydn's idiosyncrasies and the raw materials of late eighteenth-century style, upon which his contemporaries also drew: specifically, in the cadence and its emergence from a process of liquidation.…”