Jesse Shepard’s sensational musical séances: psychical waves, hypnotic timbres, and the Spiritualist sensorium

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Nineteenth-Century Contexts-An Interdisciplinary Journal Pub Date : 2022-12-28 DOI:10.1080/08905495.2023.2161793
J. M. Andrick
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Abstract

One of the newly emerging areas of study in nineteenth-century Spiritualism centers on music and the sensory experiences generated by spirit-played instruments and attendee singing during séances (Ostrowski 2019; Raz 2021; Spinner 2021). Undoubtedly, the most remarkable of all musical Spiritualists was the enigmatic and sensational pianist/ vocalist christened Benjamin Henry Jesse Francis Shepard (1848–1927), known most famously as either Jesse Shepard or Francis Grierson, the latter bearing his mother’s maiden name which he assumed when undertaking a literary career in 1897. Shepard performed widely throughout Europe, America, and Australia in a period running from the late 1860s to his final return to the United States in 1913. The most thorough account of Shepard’s worldly excursions, the mansion built for him by Spiritualists in San Diego, and the favors he received from European royalty can be found in various works of the late Harold P. Simonson (1926–2011), the foremost Shepardian scholar (Simonson 1958, 1960, 1966). Though relatively forgotten today, Shepard was well known in his time as an astonishing pianist who allegedly played and sang through the psychical inspiration of deceased composers and operatic singers. Whether in Europe or America, Shepard stunned the small audiences that he preferred to perform before with musicales (i.e. musical performances generally held at private residences) never before witnessed, producing through a vocal range of high soprano to deep bass an eerie room-filling choral assemblage generating intensely vivid sensory impressions while his handsome features, curly locks, and long slender hands caused much comment and cross-gender admiration. David Howes and Constance Classen, among a number of scholars engaged in sensory studies, have explored the nature of sensation and the ways it relates to individual lives, social groups, and the wider culture through a probing analysis centered on the sensorium (Howes and Classen 2014). The sensorium can be understood as an assemblage of humans, non-humans, things, and atmospheres – a series of interconnected interior/ exterior, subjective/objective, intersensory stimuli affecting embodied humans either in solitary or collective settings. Viewed in this sense as a holistic system of synaesthetic perception, David Howes considers the sensorium to be a conceivably larger formulation than the mere sum of the five senses while others further indicate that spiritual and intuitive senses must be considered when exploring cultures of Spiritualist artistic sensoriums (Howes 2017, 165; 2019, 20; Fisher and 2006; McDaniel 2011; Fritz 2012). With the
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杰西·谢泼德的轰动音乐:精神波,催眠音色,和唯灵论的感觉
十九世纪唯灵论的一个新出现的研究领域集中在音乐和由灵魂演奏的乐器和观众在音乐会上唱歌产生的感官体验上(Ostrowski 2019;Raz 2021;Spinner 2021)。毫无疑问,所有音乐精神主义者中最杰出的是神秘而轰动的钢琴家/声乐家,名叫本杰明·亨利·杰西·弗朗西斯·谢泼德(1848-1927),最著名的名字是杰西·谢泼德或弗朗西斯·格里森,后者的娘家姓是他1897年从事文学事业时取的。从19世纪60年代末到1913年最后一次返回美国,谢泼德在欧洲、美国和澳大利亚进行了广泛的表演。关于谢泼德的世界之旅、精神主义者在圣地亚哥为他建造的豪宅,以及他从欧洲皇室那里得到的好处,最全面的描述可以在已故谢泼德最重要的学者哈罗德·P·西蒙森(1926–2011)的各种作品中找到(西蒙森1958、1960、1966)。尽管今天相对被遗忘,但谢泼德在他那个时代是一位令人惊叹的钢琴家,据称他是通过已故作曲家和歌剧歌手的精神灵感来演奏和演唱的。无论是在欧洲还是美国,谢泼德都用从未见过的音乐剧(即通常在私人住宅举行的音乐表演)震惊了他以前喜欢表演的小观众,通过高音到低音的声乐范围,产生了一个充满怪诞房间的合唱组合,产生了极其生动的感官印象,修长的双手引起了许多评论和跨性别的钦佩。在众多从事感官研究的学者中,David Howes和Constance Classen通过以感官为中心的探索性分析,探索了感觉的本质及其与个人生活、社会群体和更广泛文化的关系(Howes和Classen,2014)。感官可以被理解为人类、非人类、事物和氛围的集合——一系列相互关联的内部/外部、主观/客观、感官间刺激,在孤独或集体的环境中影响具体的人类。从这个意义上看,它是一个整体的通感系统,David Howes认为感官是一个比五种感官的总和更大的公式,而其他人则进一步指出,在探索精神主义艺术感官的文化时,必须考虑精神和直觉(Howes 2017165;2019,20;Fisher和2006;McDaniel 2011;Fritz 2012)。使用
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
46
期刊介绍: Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.
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