Historical Apparatus Research Articles

The Art and Science of Acoustic Recording: Re-enacting Arthur Nikisch and the Berlin Philharmonic Orchestra’s landmark 1913 recording of Beethoven’s Fifth Symphony

The Art and Science of Acoustic Recording was a collaborative project between the Royal College of Music and the Science Museum that saw an historic orchestral recording from 1913 re-enacted by musicians, researchers and sound engineers at the Royal College of Music (RCM) in 2014. The original recording was an early attempt to capture the sound of a large orchestra without re-scoring or substituting instruments and represents a step towards phonographic realism. Using replicated recording technology, media and techniques of the period, the re-enactment recorded two movements of Beethoven’s Fifth Symphony on to wax discs – the first orchestral acoustic recordings made since 1925. The aims were primarily to investigate the processes and practices of acoustic sound recording, developed largely through tacit knowledge, and to derive insights into the musicians’ experience of recording acoustically. Furthermore, the project sought to discover what the acoustic recordings of the past do – and don't – communicate to listeners today. Archival sources, historic apparatus and early photographic evidence served as groundwork for the re-enactment and guided its methodology, while the construction of replicas, wax manufacture and sound engineering were carried out by an expert in the field of acoustic recording. The wax recordings were digitised and some processed to produce disc copies playable on gramophone, thus replicating the entire course of recording, processing, duplication and reproduction. It is suggested that the project has contributed to a deeper understanding of early recordings and has provided a basis for further reconstructions of historical recording sessions.

The History of the Creation, Premiere, and Prohibition of Dmitri Shostakovich's Thirteenth Symphony

The research subject of this article is Dmitri Shostakovich's “Thirteenth Symphony”—one of the most monumental symphonic canvases of the twentieth century, reflecting in its essence the chronicle of historical vicissitudes that took place in the Soviet Union. After a number of compromised compositions in the late 1940s and 1950s, forcibly written ("Songs about Forests," the Eleventh Symphony, numerous miniatures), the Thirteenth Symphony made a splash in musical and near-musical circles, as many perceived it from a polemic angle with the Stalinist regime. The reader's attention is focused on the fact that in it, the composer resorts to a veiled polemic with the current government, and the figurative world of the symphony is a direct reaction of Shostakovich not only to the events to which the opus is dedicated ("Babi Yar," the words of E. Yevtushenko) but also on the reality surrounding him. The semantic contexts of the work are examined through the prism of biographical data about the composer, as a result of which a wide documentary and historical apparatus are involved—the memoirs of Shostakovich's colleagues and contemporaries, his own statements addressed both to the symphony in question and to the broad historical and cultural context of the era. It is in the broad contextual approach that the scientific novelty of the article is seen. In addition, it presents analytical material that allows a deeper understanding of the essence of the work as a whole and the reasons why the symphony was banned at the time.

The History of the Creation, Premiere, and Prohibition of Dmitri Shostakovich's Thirteenth Symphony

The research subject of this article is Dmitri Shostakovich's “Thirteenth Symphony”—one of the most monumental symphonic canvases of the twentieth century, reflecting in its essence the chronicle of historical vicissitudes that took place in the Soviet Union. After a number of compromised compositions in the late 1940s and 1950s, forcibly written ("Songs about Forests," the Eleventh Symphony, numerous miniatures), the Thirteenth Symphony made a splash in musical and near-musical circles, as many perceived it from a polemic angle with the Stalinist regime. The reader's attention is focused on the fact that in it, the composer resorts to a veiled polemic with the current government, and the figurative world of the symphony is a direct reaction of Shostakovich not only to the events to which the opus is dedicated ("Babi Yar," the words of E. Yevtushenko) but also on the reality surrounding him. The semantic contexts of the work are examined through the prism of biographical data about the composer, as a result of which a wide documentary and historical apparatus are involved—the memoirs of Shostakovich's colleagues and contemporaries, his own statements addressed both to the symphony in question and to the broad historical and cultural context of the era. It is in the broad contextual approach that the scientific novelty of the article is seen. In addition, it presents analytical material that allows a deeper understanding of the essence of the work as a whole and the reasons why the symphony was banned at the time.

National History and Generational Memory

This article explores a recent stage of the national project in Taiwan as reflected in comic books. It compares historical comics and graphic memoirs as lieux de mémoire (according to Pierre Nora) and as stories that define Taiwan, situated between the historical apparatus and cultural memory (in Marita Sturken’s terms). It argues that the memoirs’ higher potential appeal is based on their relevance to contemporary concerns, on building links between the wu nianji 五年級 (fifth-grader) generation and present-day youth, and on depicting history as recoverable through elements of everyday life. The article also highlights borrowings from existing discourses of national history in the analyzed memoirs and their new contributions thereto: a focus on the postwar period; a strong generational consciousness; an idea of historical continuity as embodied in present everyday life; a nonantagonistic approach to national history that transcends ethnic and political divides and positions Taiwan in the midst of global flows; and a nonelite view of Taiwan’s most recent history grounded in popular culture.

Políticas ambientais: uma avaliação dos desafios e das perspectivas do município de Ijuí/RS

O presente artigo tem como objetivo a análise das políticas ambientais a partir de uma avaliação dos desafios e das perspectivas do município de Ijuí/RS, desta forma, contribuindo para as discussões sobre a admissão da avaliação no ciclo das políticas ambientais em âmbito municipal, debatendo desafios e expectativas que se apresentam. Neste sentido, é realizado um aparato histórico da evolução da avaliação, proporcionando discussões de conceitos, classificação e maneiras da avaliação e finalmente a avaliação de políticas ambientais, com base nos pressupostos de que instrumentos desenvolvidos para a análise de políticas sociais permitem ser adaptadas para aferir políticas ambientais, e ferramentas da área ambiental além disso podem contribuir para a evolução do campo de estudo. A pesquisa classifica-se em relação aos objetivos como descritiva, em relação aos procedimentos como estudo de caso, teve abordagem qualitativa, e a coleta de dados deu-se através de análise documental e entrevista informal utilizando-se do modelo proposto por Mickwitz (2003). As conclusões demonstram que a demanda na Secretaria Municipal do Meio Ambiente é cada dia mais crescente devido a maior fiscalização e a necessidade de cumprimento da legislação ambiental. Em um primeiro momento, talvez as políticas públicas ambientais sejam tidas apenas como obrigações, mas é importante avaliar critérios relativos a participação da comunidade e dos Conselhos na tomada de decisões e ações relacionadas as políticas públicas no setor de meio ambiente.

Dramatic Justice: Trial by Theater in the Age of the French Revolution by Yann Robert

 Reviews and careful close readings, strategies which all require reliably edited and accurately contextualized sources. is new edition provides these to an impeccable standard. Whereas the accuracy and richness of its historical apparatus certainly owe a lot to the recent rediscovery of the Du Châtelet family archives, the profound historical indexing of each letter could not have been achieved without the evaluation of a vast array of contemporary literary sources. e editors’ work results in a lively and multifaceted picture of the colliding political, social, and intellectual realities in early eighteenth-century France, against which Du Châtelet’s œuvre can be contextualized and judged. is allows readers to assess her intellectual achievements as well as their socio-historical limitations. e edition is completed by a historical introduction, concordances, a timeline, brief biographies of all correspondents, alphabetical and chronological lists, and a name index. e editors’ choice to provide both texts and tools in a user-friendly way will certainly be welcomed by readers. However, unlike Besterman, the editors of these volumes have made the questionable decision to exclude all uncatalogued letters, even in cases where, as in the inferred letters of the Besterman edition (all of them from or to Voltaire), their existence was testified by mentions or even quotations from Du Châtelet herself. However, notional sources are a problem in any historical discipline. Perhaps a more appropriate place for them would be a digital catalogue. As the digitization of cultural archives progresses rapidly, we hope that Du Châtelet’s work may soon benefit from such a project, as a companion piece to these two fine volumes. B S E Dramatic Justice: Trial by eater in the Age of the French Revolution. By Y R. Philadelphia: University of Pennsylvania Press. . viii+ pp. $.; £. ISBN ––––. Yann Robert offers original perspectives on French revolutionary justice and the significant transformation in the relation between representations of justice in the theatre and actual legal proceedings that occurred in the latter half of the eighteenth century. Current scholarship’s interpretations regarding theatre and law, as Robert summarizes them, take the view that theatre of the period moved increasingly towards an illusionism that vacated its efficacious and interventionist relationship to current events. Judicial processes, on the other hand, rejected the appearance of theatricality by moving away from the spectacularized royal figure and towards disembodied legal text. rough his incisive history of the intellectual, symbolic, and practical exercise of justice in the years before and during the Revolution, Robert offers an alternative to the political lens that informs these prevailing narratives. rough the clarity of a tripartite structure, he illuminates (a) the dramatization of justice or ‘judicial theater’; (b) the theatricalization of justice or ‘justice as theater’; and (c) the Revolution’s fraught position regarding the need for transparency in justice and the fear of theatricality. Diderot’s Le Fils naturel () demonstrates a mode of judicial theatre in which MLR, .,   genuine and spontaneous re-enactment prevails over the rehearsed fabrication of representation. In Robert’s analysis, Diderot models the proper conduct of legal proceedings as a process that is ‘unpredictable, collective, more cathartic than punitive ’ (p. ). Le Fils naturel, Robert writes, ‘allows its participants to interact with a transgression, judge and even revise it according to present values and beliefs (not eternal laws), and in doing so move beyond it’ (p. ). Tracing the argument for judicial theatre, Robert draws on Aristophanes, Palissot, Mercier, Rousseau, and Rétif de La Bretonne to explore how the era grappled with the troubling implications of theatre as tribunal, showing that the idea ‘proved to be highly malleable and prone to reflect the ideological worldviews of its advocates’ (p. ). Turning from judicial theatre to theatricalized justice, Robert explores how changes in judicial practices provoked fears that ‘crystalized around, challenged, and transformed three central characters in legal proceedings: lawyers, judges, and spectators’ (p. ). Reforms in legal counsel and hearings revived the classical figure of the ‘lawyer-actor’ and recast judges as spectators. From the anxiety provoked by such theatricalizations was reborn the nostalgic notion of a private, domestic form of justice, one that could be presided over by fathers and rendered without public...

Kant’s Metaphysics of Morals in Pushkin’s The Captain's Daughter [Kapitanskaya dochka

The author argues that A. Pushkin chose Kantian philosophy as the social-philosophical, as well as aesthetic, guide for the moral-legal and political tools to solve the burning issues of Russian society. The paper sets out to prove that there is every reason to consider Pugachev’s History [Istoriya Pugacheva] and The Captain’s Daughter [Kapitanskaya dochka] as a unique duology, where the same subject is interpreted by means of the historical apparatus (reliant on documents) and art, with a much wider scope. Kant’s influence manifests itself in Pushkin’s works starting from the ode Liberty [Volnost] to The Captain’s Daughter. It is stated that the poet structured his duology according to Kant’s The Metaphysics of Morals. In Pugachev’s History, Pushkin focuses on the problems of law. He follows Kant in claiming that substitution of natural law with a state of lawlessness was exactly what drove the Yaik Cossacks, and then peasants from the whole of the Volga region, to rebellion. The Captain’s Daughter, on the other hand, focuses on moral issues, in line with the structure of Kant’s most mature work on practical philosophy.

Unpacking Pat Parker: Intersections and Revolutions in “Movement in Black”

This article explores Pat Parker's poem “Movement in Black.” It examines the ways in which she emblematizes intersectionality and simultaneity as forms of revolution in struggles of self and society. It begins with a theoretical and historical apparatus to contextualize Parker as an artist and activist. Then it offers a literary analysis of the poem, focusing on themes of time and space, marginalization and movement, difference and power, visibility and invisibility, and history and memory. It argues that Parker uses autobiographical writing to fuse personal and political sites of resistance.

A Critical Edition of Ezra Pound’s Pisan Cantos: Problems and Solutions

If for no other reason the fact that all published editions of the Pisan Cantos have been unable to execute Ezra Pound’s instructions for the insertion of Greek and have omitted over fifty sets of Chinese characters that he directed his publishers to include would be sufficient cause to re-edit the poem. But the case for a new edition is stronger than that. Owing to the extraordinary conditions of its composition and transmission, approximately five hundred corruptions of Pound’s typescript text survived into the poem’s first English and American publications. Pound’s typescript of the Pisan Cantos was prepared during his incarceration in the US Army Disciplinary Training Center (DTC) an American military prison camp near Pisa during the summer and autumn of 1945, and was the product of the harsh conditions of his imprisonment (his wavering memory following a mental breakdown, his lack of books, and the many errors he inevitably produced typing at odd hours on unfamiliar typewriters). Just as seriously, many of Pound’s emended carbons never reached his editors at New Directions and he was forced during his continued incarceration in the U.S. to delegate responsibility for many kinds of correction he would normally have made himself. He was also denied access to his originals at every stage proofing. Although there can never be a definitively “corrected edition” of the Pisan Cantos because Pound made inconsistent emendations on different typescript leaves and kept his publishers in the dark about which instances of idiosyncratic spelling, quotation, and punctuation he wished them to correct, this does not mean that an edition cannot be established that eliminates the corruptions that later crept into the text and that carries out Pound’s implicit and explicit expectations for producing the poem, many of which his first editors never fully understood. A critical edition based on the typescripts Pound produced at Pisa and including a complete historical apparatus is currently in preparation with Oxford University Press and will not only achieve these aims but also make it possible to understand the deficiencies of the poem’s currently circulating texts.

Implementing History and Philosophy in Science Teaching: Strategies, Methods, Results and Experiences from the European HIPST Project

This paper presents a rationale for utilizing HPS to teach physics and the NoS developed in the course of a project funded by the European Union. A core feature of this approach is formed by the development of historical case studies for the use in lessons. Furthermore, the learners’ perspectives are explicitly taken into account. Teaching methods comprise student-centered activities as creative writing for understanding science and scientists and role-play activities. Emphasis is laid on experimental work which is performed with the help of true-to-the-original replications of historical apparatus, especially built for this purpose. A new characteristic for NoS learning is introduced, namely the reflection corner giving the opportunity to explicitly discussing the relationship between history, knowledge acquisition, and the application of scientific findings. In order to make use of the special skills, creative potentials and experiences of teachers a symbiotic strategy for the development and evaluation process of the teaching material was adopted where a close and long-standing cooperation between science teachers and science educators could be established. On this basis the German partners were able to complete numerous case studies from the fields of mechanics, electricity, magnetism and heat.

Brahms and the German Spirit (review)

Brahms and German Spirit. By Daniel Beller-McKenna. Cambridge, MA: Harvard University Press, 2004. [xi, 243 p. ISBN 0-674-01318-2. $49.95.] Illustrations, music examples, index, notes. Daniel Beller-McKenna has set out to correct what he sees as deficiency in Brahms scholarship of post-World War II period, namely failure to acknowledge composer's patriotism-his Germanness-because of fear that his reputation and reception of his music might be tainted with Nazi-style nationalism; thus universalistic assessments of his compositions are strategy (p. 4) to separate him from German culture. Beller-McKenna's approach is to situate Brahms's life and work in context of German romantic and cultural nationalism, and to emphasize role played by folk music and religion in this larger context. In introduction, Beller-McKenna not only explains his reasons for writing book, but deals with concept of the Volk as source of German culture-high and low, but one in which our modern perception might be blurred by distinct brand of volkisch nationalism that emerged from new racist theories and ideologies during late nineteenth (p. 11). He illustrates Brahms's romanticized view of Volk and his use of old materials in an analysis of Geistliches Wiegenlied, op. 91 no. 2, which couples old tune Josef, lieber Josef mein with Emanuel Geibel's translation of Spanish poem (also set by Hugo Wolf), demonstrating that for Brahms the archaic and volkisch cannot be separated from religious (p. 29). In chapter 2, Religion, Language, and Luther's Brahms is described as a typical product of post-Romantic secularization of German culture (p. 31), who strongly identified with [the] secularized and cultural brand of Lutheranism (p. 32). Beller-McKenna summarizes earlier nineteenth-century historiography of German language, and relationship between language and Luther's translation of Bible. He describes Brahms's own copy of Bible, in which he made copious annotations, suggesting that details of sacred texts composer later set may have been influenced by details of this edition, and continues with detailed account of notebook into which Brahms copied number of Biblical texts, portions of which he later set in opp. 74 no. 1, 109, 110, no. 1, and 121. Beller-McKenna concludes that for Brahms, all of these texts bound up with (p. 64); in particular he emphasizes those that refer to house as metaphor for Solomon's temple, which is in turn metaphor for nation. This chapter is valuable for its wealth of primary information; readers will find plenty of food for thought, even if they might not accept author's conclusions. The third chapter is centered on Ein deutsches Requiem, op. 45, first on texts and music that emphasize themes of comfort and nostalgia usually associated with work. However, Beller-McKenna argues that it also to small group of Brahms's sacred works that access major vein of religiously inspired political thinking of day: apocalyptic anticipation of new German Reich (p. 77). His analysis of sixth movement concludes that the C major fugue . . . marks apocalyptic moment in [the work]. It belongs neither to earthbound time nor to divine eternity; it is pure state of transition between two (p. 93). But Brahms is expressing not Christian apocalypse but rather deep sense of arrival that was part of German national spirit in years leading up to 1871 (p. 94). In this discussion in particular, notwithstanding historical apparatus and perceptive musical analyses, author seems to be reaching for new-and ultimately unconvincing-explanation for work. The Triumphlied, op. 55 has had an unfortunate history: begun in 1870 at outbreak of Franco-Prussian War, and enthusiastically performed in Germany after victory of 1871, its fate in twentieth century was understandably that it be ignored, if not suppressed. …

OED, MED, AND: The Making of a New Dictionary of English

It is intended to publish by 2010 a new edition of the Oxford English Dictionary in which the whole etymological and historical apparatus of entries, untouched since the early twentieth century, will be comprehensively re-done, with the aim of bringing the treatment of the pre-1500 part of the language up to the standard now found in the later period. To this end a new programme of reading is being instituted for the period of Early Modern English, yet no corresponding programme is envisaged for Middle English in the mistaken belief that, as a general rule, it will be sufficient simply to ‘borrow’ the requisite material from the Middle English Dictionary and the Dictionary of the Older Scottish Tongue , supplemented as necessary by recourse to the Französisches Etymologisches Wörterbuch and the Anglo-Norman Dictionary . The present article puts this plan to the test, using first-hand evidence.

Examination questions based on historical apparatus

In my sophomore-level electricity and magnetism course, I have been using questions based on historical apparatus. This note presents three examples.

Slides of the Charles King Collection of Historic Apparatus

Slides of the Charles King Collection of Historic Apparatus

Slides of the Charles King Collection of Historic Apparatus

AnaesthesiaVolume 38, Issue 9 p. 839-839 Free Access Slides of the Charles King Collection of Historic Apparatus First published: September 1983 https://doi.org/10.1111/j.1365-2044.1983.tb12247.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume38, Issue9September 1983Pages 839-839 RelatedInformation

Slides of the Charles King Collection of Historic Apparatus

Slides of the Charles King Collection of Historic Apparatus

Preservation of historic apparatus

Preservation of historic apparatus

“Atomic Physics”

To attempt an intelligible outline of atomic physics on a film which takes about 11 hours to show is no mean task; this, however, is what G.-B. Instructional Ltd. have done in the film “Atomic Physics”, and it can be said at once that it is done very well. Prof. G. I. Finch, of the Imperial College of Science and Technology, London, gave guidance during the early stages of production, and the advice of Dr. J. D. Cockcroft, Prof. R. E. Peierls and Prof. O. Frisch was obtained. Prof. A. Einstein, Dr. Cockcroft and Prof. Frisch recorded interviews which appear at appropriate places in the film. In addition, the producers were given facilities to use historical apparatus and to photograph modern research equipment to illustrate the development of the theme; among those contributing in this way are mentioned the Royal Society, Royal Institution, Science Museum, Cavendish Laboratory, Imperial College, Research Laboratories of the G.E.C. (England), Messrs. Kodak and Cinema Television. Extracts of films of J. J. Thomson speaking on the electron, and of Lord Rutherford speaking on atomic structure, are included. The Atomic Scientists' Association arranged for one of its members to give technical guidance throughout the film.

Jubilee of the Discovery of the Electron

The fiftieth anniversary of the discovery of the electron was recently marked in Cambridge by an open meeting of the Philosophical Society at which a lecture on the history of the Cavendish Laboratory was given by Dr. Alex. Wood in that Laboratory. Dr. Wood was himself a research student under Sir J. J. Thomson and has been closely associated with the teaching work of the Cavendish Laboratory since 1905. His lecture was illustrated by exhibits of historical apparatus used by Clerk Maxwell, Rayleigh, Thomson and Rutherford. Among guests present were Dr. G. F. C. Searle, who as a boy was shown round the Laboratory by Clerk Maxwell shortly after it was built; Mr. J. E. Rolph, who was appointed as laboratory assistant by Lord Rayleigh in 1881; Mr. F. J. Lincoln, who was a laboratory assistant for fifty-three years, including forty-two years as steward; Sir William Dampier, who as W. C. D. Whetham joined the Laboratory in the very early days of Sir J. J. Thomson's professorship; and Lady Thomson, who as Miss Paget was a research student, in 1889 and was married to J. J. Thomson in 1890.

Historic Apparatus and Headquarters of the Manchester Literary and Philosophical Society destroyed in Air Raid

Journal of the Society of Dyers and ColouristsVolume 57, Issue 3 p. 86-86 Historic Apparatus and Headquarters of the Manchester Literary and Philosophical Society destroyed in Air Raid First published: March 1941 https://doi.org/10.1111/j.1478-4408.1941.tb02137.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume57, Issue3March 1941Pages 86-86 RelatedInformation