Question: Gotthold Schwarz is of a voice type whose term arose when?

<P0-S0> A voice type is a particular human singing voice identified as having certain qualities or characteristics of vocal range, vocal weight, tessitura, vocal timbre, and vocal transition points ("passaggio"), such as breaks and lifts within the voice. <P0-S1>  Other considerations are physical characteristics, speech level, scientific testing, and vocal register. <P0-S2>  A singer's voice type is identified by a process known as voice classification, by which the human voice is evaluated and thereby designated into a particular voice type. <P0-S3>  The discipline of voice classification developed within European classical music and is not generally applicable to other forms of singing. <P0-S4>  Voice classification is often used within opera to associate possible roles with potential voices. <P0-S5>  Several different voice classification systems are available to identify voice types, including the German "Fach" system and the choral music system among many others; no system is universally applied or accepted. <SEP> <P1-S0> A bass-baritone is a high-lying bass or low-lying "classical" baritone voice type which shares certain qualities with the true baritone voice. <P1-S1>  The term arose in the late 19th century to describe the particular type of voice required to sing three Wagnerian roles: the Dutchman in "Der fliegende Holländer", Wotan/Der Wanderer in the "Ring Cycle" and Hans Sachs in "Die Meistersinger von Nürnberg". <P1-S2>  Wagner labelled these roles as "Hoher Bass" ("high bass")—see fach for more details. <SEP> <P2-S0>  Based in Leipzig, he started as a member of the Thomanerchor and has conducted the Gewandhausorchester. <P2-S1>  He is the 17th Thomaskantor after Johann Sebastian Bach. <P2-S2> Gotthold Schwarz (born 2 May 1952 in Zwickau) is a German bass-baritone singer and conductor. <SEP> <P3-S0> Metahistorical Romance is a term describing postmodern historical fiction, defined by Amy J. Elias in "Sublime Desire: History and Post-1960s Fiction." <P3-S1>  Elias defines metahistorical romance as a form of historical fiction continuing the legacy of historical romance inaugurated by Sir Walter Scott but also having ties to contemporary postmodern historiography. <P3-S2>  In particular, in metahistorical romance, poststructuralist play invokes the "historical sublime" as defined in the work of Hayden White. <P3-S3>  Metahistorical romance--such as Thomas Pynchon's novel "Mason & Dixon"--attempts to recuperate the sublime untouchability of the past, to reach History and know it, but paradoxically in the context of the political. <P3-S4>  As with the Kantian sublime, the postmodern historical sublime is not the grasp of the sublime object itself but a kind of ironic awareness of the inaccessibility of the sublime object. <P3-S5>  There is a yearning that resembles the yearning for mystical knowledge at the core of the search for the historical sublime, and thus the concept ties contemporary historical fiction to a literary history (that of the historical novel), a type of historiography (postmodern, post-"Annales" historiography), and a spiritual questing. <P3-S6>  Elias argues that the postmodern imagination confronts the historical sublime rather than represses it; confronts it as repetition and deferral; seeks sublime History but simultaneously has lost faith in the storytelling needed to do so; and consequently has ties to, but reverses the dominant of, the traditional Anglo-American historical novel. <P3-S7>  The term "metahistorical romance" also builds upon work by Linda Hutcheon, whose term "historiographic metafiction" described the ironic stance of contemporary historical fiction.