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Curtain, Gong, SteamWagnerian Technologies of Nineteenth-Century Opera$
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Gundula Kreuzer

Print publication date: 2018

Print ISBN-13: 9780520279681

Published to California Scholarship Online: January 2019

DOI: 10.1525/california/9780520279681.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 16 October 2019

Gong

Gong

Chapter:
(p.109) 3 Gong
Source:
Curtain, Gong, Steam
Author(s):

Gundula Kreuzer

Publisher:
University of California Press
DOI:10.1525/california/9780520279681.003.0004

First imported to Europe in the 1780s, Chinese gongs (or tam-tams) are shown in this chapter to have migrated between commerce, science, theater, orchestra, technology, and stage prop. Their novel sound effect was adopted into opera in London and Paris for a range of music-dramatic situations that are discussed here as “gong topoi.” Yet the tam-tam’s unusually loud, non-pitched resonance challenged conceptions of musical tone, while its European dissemination required either costly imports or metallurgical experiments. By midcentury, Berlioz and Wagner were experimenting with more subtle playing techniques that might enhance their orchestration while masking the instrument’s metallic timbre. Less nuanced, the chapter proposes, were the theater practitioners who gratuitously struck the gong to enhance climaxes or cover stage noises, rendering it an all-purpose sound technology. Puccini’s Turandot consummated the tam-tam as audiovisual prop. Its loudness was subsequently reconciled with musical aesthetics in twentieth-century music, both popular and avant-garde.

Keywords:   Chinese gong, tam-tam, science, Hector Berlioz, Richard Wagner, timbre, noise, orchestration, Giacomo Puccini, Turandot, avant-garde, sound effect

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