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1
Sound studies: Critical concepts in media and cultural studies. Abingdon, Oxon: Routledge, 2012.
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2
Volmar, Axel. Experiencing High Fidelity. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.19.
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This chapter focuses on the shifting conceptions of how to listen to music in the age of sound recording. I start with reviewing Adorno’s concerns regarding a regression of listening and contrast these with new listening practices in the first half of the twentieth century. I show, then, how hi-fi enthusiasts in the Cold War era linked ideals of sophisticated music listening to recorded music and technical expertise. While the self-image of the cultivated yet technologically aware domestic listener greatly revalued the experience of skillful music listening, I show how societal change rendered normative ideals of listening increasingly unattractive late in the century. Relying on recent sound studies research and various historical sources, I offer a critical discussion of conceptions of skillful music listening and put this debate in the context of shifting self-conceptions among the middle classes as well as the power struggles this section of society faced.
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Listening for Basic Concepts. LinguiSystems, 1990.
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4
Solomon, Elena Vestri. Key Concepts: Listening Book 2. Houghton Mifflin Company, 2005.
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5
Key Concepts: Listening Book 1. Houghton Mifflin Company, 2005.
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6
Bashford, Christina. Concert Listening the British Way? Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.8.
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It is a well-known fact that the provision of printed program notes at concerts of classical music was a nineteenth-century phenomenon aimed at guiding listener experiences. This chapter discusses why those notes first proliferated in Britain and whether there was anything peculiarly British about them. Program notes took root in 1840s Britain, initially at highly serious chamber concerts. They explained the formal structure by aural sign-postings and embodied a significant attempt to shape listening practices in Victorian Britain in a distinctive way. Underpinning their successful spread were several interlocking economic, cultural, and musical factors. These included the rapid development of a sizeable public concert culture, the growth of audiences eager for the elucidation of high art, the Victorian desire to educate and guide (related to notions of tourism, industry, rationality, progress, and religious reverence), and the absence of a tradition of publishing in-depth reviews of music in British journals.
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Oxford Handbook of Music Listening in the Nineteenth and Twentieth Centuries. Oxford University Press, Incorporated, 2018.
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8
Tewinkel, Christiane. “Everybody in the Concert Hall should be Devoted Entirely to the Music”. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.7.
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This chapter discusses the extent to which representations of “improper” listening are found in popular and academic literature of German and U.S. origin, for the process of reception is highly susceptible to error and interference. Indeed, despite near-ideal conditions, concert-goers are as prone to molding their experience according to subjective predilections as any other type of listener. They may not even be listening at all, despite being physically present and dependent on the musical performance. This mode of behavior as a fact of (concert) life is sometimes mentioned in recent popular books on music but seldom appears in older books; nor has it been part of musicological accounts of symphonic concerts, although scholars such as James H. Johnson (1995) and Peter Gay (1995) speak extensively about disruptions in historical performances. The chapter considers changes in the assessment of such listening in recent years and contemplates causes for these shifts.
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Bull, Michael. Sound Studies: Key Concepts. Taylor & Francis Group, 2021.
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Bull, Michael. Sound Studies: Key Concepts. Taylor & Francis Group, 2023.
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11
Jones, R. D. To Whom It May Concern: Is Anyone Really Listening? Lulu.com, 2018.
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12
Solomon, Elena Vestri. Key Concepts Listening Book 2 + Cassettes Book 2. Houghton Mifflin Company, 2005.
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13
Thorau, Christian. “What Ought to be Heard”. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.9.
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The emergence of program notes and concert guidebooks in the second half of the nineteenth century in Europe and North America are symptoms of a culture of listening that shows many structural similarities between the practice of concert-goers and tourists. This chapter develops the cultural-historical argument that the tourist’s mode of discovering and appropriating the world established patterns of behavior that would soon enough make their entry into concert halls and opera houses. By analyzing the shared features between music listening and tourism, special focus has to be given to the markers that announce, promote, and explain the “musical sight.” Characteristic for the new auditory paradigm of “touristic listening” is a practical, work-focused knowledge that frames, guides, and canonizes the listening experience.
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Ziemer, Hansjakob. The Crisis of Listening in Interwar Germany. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.13.
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This chapter analyzes why concert reformers in interwar Germany associated practices of listening with the notion of crisis and how this notion was affected by political, social, and economic changes. It also asks whether this period was, indeed, a watershed in the history of music listening. Starting with Adorno’s various descriptions of listening in crisis, the chapter traces the discourses and practices of listening in his hometown of Frankfurt am Main in order to show how manifest and perceived notions of crisis were used to legitimize traditions of listening and to invent strategies to counter their alleged decline. Using journalistic accounts and other contemporary sources, this chapter aims to reconstruct the perspectives of listeners and situate concert-hall experiences in their historical and cultural context.
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Frank, Grace W. Follow Me! 2: Listening Activities to Teach Classroom Language & Concepts. LinguiSystems, 1991.
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16
Macey, William H., and Alexis A. Fink, eds. Employee Surveys and Sensing. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190939717.001.0001.
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This volume comprises 27 chapters focused on the design and execution of employee survey programs. These chapters reflect the latest advances in technology and analytics and a pervasive emphasis on driving organizational performance and effectiveness. The individual chapters represent the full range of survey-related topics, including design, administration, analysis, feedback, and action-taking. The latest methodological trends and capabilities are discussed including computational linguistics, applications of artificial intelligence, and the use of qualitative methods such as focus groups. Extending beyond traditional employee surveys, contributions include the role of passive data collection as an alternative or supplement in a comprehensive employee listening system. Unique contextual factors are discussed including the use of surveys in a unionized environment. Individual contributions also reflect increasing stakeholder concerns for the protection of privacy among other ethical considerations. Finally, significant clarifications to the literature are provided on the use of surveys for measuring organization culture, strategic climate, and employee engagement.
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Millie, Julian. Hearing Allah's Call. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501713118.001.0001.
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For many Muslims throughout the world, oral preaching provides the most accessible and enjoyable medium for learning about Islam and its meanings for everyday life. This is true in Indonesia’s West Java province, where almost 98% of the population of around forty-three million practices Islam. Despite its popularity, Indonesia’s Islamic elites are concerned about the value of preaching. They see that Islam provides directives and motivations towards progress in areas of social and political concern, but argue that this progress will not be achieved if Muslims are satisfied with the pleasing artifice of clever preachers. Millie spent fourteen months in the company of some of West Java’s most successful Islamic preachers, but also spent time with critics of listening. He described and explores a dichotomy between Islamic speech which succeeds because it is shaped to suit listeners’ social realities, and discourses about Muslim subjectivity that connect media consumption with aspirations for social and political progress, and which portray listening as anachronistic and inefficacious. This detailed analysis sheds light on a question that is increasingly important in efforts to understand contemporary Muslim societies: What is the place of pious listening in the complex societies of today?
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Tkaczyk, Viktoria, and Stefan Weinzierl. Architectural Acoustics and the Trained Ear in the Arts. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.14.
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This chapter shifts perspective from the history of architectural acoustics (as a branch of physics) to the history of architecture and practices of listening from around 1780 to 1830. In this period, operas, concerts, and spoken theater pieces, traditionally performed in the same venue, were increasingly regarded as separate genres, each related to a specific sonic reverberation time. As this chapter illustrates using acoustic data from major venues, this separation corresponded with ever-diverging concepts of acoustic design and the acoustic properties of new buildings. The shift occurred, first, because of the emergence of a bourgeois theater and music culture and, second, due to a fundamental epistemic shift in acoustic theory when sound reflection began to be thought of as a phenomenon related to energy, time, and building materials. The audience was conceived of as a group of genre-specific listening experts who paid attention to sound dying away over time.
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Horton, Julian. Listening to Topics in the Nineteenth Century. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0026.
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This chapter evaluates issues in the topical analysis of nineteenth-century music, paying close attention to the persistence of eighteenth-century topics in changed social and cultural-political contexts, the emergence and function of new topics after 1800, and attendant shifts in the values of pedagogy and musical listening. The article develops these issues in two analytical case studies: an investigation of the role topics play in Schumann’s reevaluation of the piano concerto, as embodied in the first movement of his Concerto Op. 54; and an analysis of the Finale of Bruckner’s Symphony No. 7 relating topical discourse to the work’s Viennese reception, as instantiated in the reviews of Eduard Hanslick, Gustav Dömpke, and Max Kalbeck.
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Weber, William. The Problem of Eclectic Listening in French and German Concerts, 1860–1910. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.4.
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Between 1820 and 1870, European musical culture changed. Previously, a certain type of program had dominated the musical sphere: contemporary works spanning various genres including opera. In the 1870s new actors emerged. A learned world of classical music came into being, focusing on orchestral and chamber pieces, with less of a connection to opera. New kinds of songs, increasingly termed “popular,” began to make their mark in roughly similar European venues. In these contexts, listening practices reflected radically different social values and expectations. But did mixed programming remain in some concert performances? Did listeners demonstrate eclectic musical tastes? Taking examples from Paris, Frankfurt, Leipzig, and Berlin, this chapter shows how links were made between contrasting repertoires by the importation or adaptation of works. A process that seems at first to have been an exception turns out to have been a conventional system of exchange.
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Voegelin, Salomé. Listening to Noise and Silence. Bloomsbury Academic, 2010. http://dx.doi.org/10.5040/9781501382901.
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Listening to Noise and Silence engages with the emerging practice of sound art and the concurrent development of a discourse and theory of sound. In this original and challenging work, Salomé Voegelin immerses the reader in concepts of listening to sound artwork and the everyday acoustic environment, establishing an aesthetics and philosophy of sound and promoting the notion of a sonic sensibility. A multitude of sound works are discussed, by lesser known contemporary artists and composers (for example Curgenven, Gasson and Federer), historical figures in the field (Artaud, Feldman and Cage), and that of contemporary canonic artists such as Janet Cardiff, Bill Fontana, Bernard Parmegiani, and Merzbow. Informed by the ideas of Adorno, Merleau-Ponty and others, the book aims to come to a critique of sound art from its soundings rather than in relation to abstracted themes and pre-existing categories. Listening to Noise and Silence broadens the discussion surrounding sound art and opens up the field for others to follow.
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Fuhrmann, Wolfgang. The Intimate Art of Listening. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.3.
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This chapter looks into the ways forms of domestic music making encouraged certain modes of listening. Musical intimacy develops and is nurtured among close friends or lovers in a social space of openness and trust. Such an intimate space unfolds in the physical staging of bourgeois private settings: in the typically cozy and cushioned interior of the nineteenth century, often enhanced by dimming lights, as witnessed by documents from the Mendelssohn family, among others. Such a setting allows musicians and listeners alike to indulge freely in “true” musical values. Musicians shun outward virtuosity and listeners concentrate on the music, often developing emotions, associations, and so on in close interdependence with the music. Listening intensely to music arguably originated in such settings, and it was only later transferred to public audiences, such as in the chamber concert. Musical intimacy could also encourage confidential discussion about music, as found in Johannes Brahms’s correspondence.
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Key Concepts 1: Listening, Note Taking and Speaking Across the Disciplines. Houghton Mifflin Company, 2005.
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Key Concepts 2: Listening, Note Taking and Speaking Across the Disciplines. Houghton Mifflin Company, 2005.
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25
Shelley, John, and Elena Vestri Solomon. Key Concepts 2: Listening, Note Taking and Speaking Across the Disciplines. Houghton Mifflin Company, 2005.
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26
Gregor, Neil. Listening as a Practice of Everyday Life. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.5.
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Why, and how, did Germans listen to symphonic music during the Second World War? This chapter focuses on wartime Munich, where there was a strong increase in performances owing to expanded demand by listeners. Most work on concert-hall life in this period echoes clichéd claims regarding the relation between culture and barbarism; this chapter seeks instead to explore the everydayness of the practice, which embodied a social habit that remained fundamentally unchanged from before the war and continued unchanged after it. One might speak in this context of the “regime of listening” that governed behavioral norms in the Western concert hall more generally. In this sense, the chapter argues that it is easier to make sense of how and why Germans listened to music during the war if we worry less about their nationality and concentrate more on the connection of this phenomenon to sensory cultures in the period more broadly.
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Waltham-Smith, Naomi. The Sound of Belonging. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.003.0001.
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This chapter establishes the theoretical frame for the book: a nexus a belonging-as-membership and belonging-as-ownership. Developing theories of musical style and convention, it argues that listening exposes this double relation of belonging and that this relation appears with particular acuity in the instrumental music of Haydn, Mozart, and Beethoven. This opening chapter introduces the idea of listening as exappropriation and sets out the various guises in which this concept will materialize in the chapters ahead. It concludes by locating this politics of listening alongside the concepts of revolution, restoration, and resistance.
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Cecchetto, David. Listening in the Afterlife of Data. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022534.
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In Listening in the Afterlife of Data, David Cecchetto theorizes sound, communication, and data by analyzing them in the contexts of the practical workings of specific technologies, situations, and artworks. In a time he calls the afterlife of data—the cultural context in which data’s hegemony persists even in the absence of any belief in its validity—Cecchetto shows how data is repositioned as the latest in a long line of concepts that are at once constitutive of communication and suggestive of its limits. Cecchetto points to the failures and excesses of communication by focusing on the power of listening—whether through wearable technology, internet-based artwork, or the ways in which computers process sound—to pragmatically comprehend the representational excesses that data produces. Writing at a cultural moment in which data has never been more ubiquitous or less convincing, Cecchetto elucidates the paradoxes that are constitutive of computation and communication more broadly, demonstrating that data is never quite what it seems.
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Fishkin, James S. Democracy When the People Are Thinking. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198820291.001.0001.
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Democracy requires a connection to the “will of the people.” What does that mean in a world of “fake news,” relentless advocacy, dialogue mostly among the like-minded, and massive spending to manipulate public opinion? What kind of opinion can the public have under such conditions? What would democracy be like if the people were really thinking in depth about the policies they must live with? This book argues that “deliberative democracy” is not utopian. It is a practical solution to many of democracy’s ills. It can supplement existing institutions with practical reforms. It can apply at all levels of government and for many different kinds of policy choices. This book speaks to a recurring dilemma: listen to the people and get the angry voices of populism or rely on widely distrusted elites and get policies that seem out of touch with the public’s concerns. Instead, there are methods for getting a representative and thoughtful public voice that is really worth listening to. Democracy is under siege in most countries. Democratic institutions have low approval and face a resurgent threat from authoritarian regimes. Deliberative democracy can provide an antidote. It can reinvigorate our democratic politics. This book draws on the author’s research with many collaborators on “Deliberative Polling”—a process he has conducted in twenty-seven countries on six continents. It contributes both to political theory and to the empirical study of public opinion and participation, and should interest anyone concerned about the future of democracy and how it can be revitalized.
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Ellis, Katharine. Researching Audience Behaviors in Nineteenth-Century Paris. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.2.
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This chapter starts by revisiting a now-familiar text: James H. Johnson’s book Listening in Paris (1995). On the basis of concert and opera reviews, images, and the paratexts of concert programs, Ellis reframes Johnson’s question “When did audiences fall silent?” as “Where and why did audiences fail to fall silent?” Multilayered answers show how (1) many of the noisier phenomena of the eighteenth century resurfaced in new guises from the 1850s onward; (2) the democratization of art music took place in contexts that could not always impose “religious” listening; and (3) there was a resurgent demand, possibly concomitant, for music as pure entertainment in venues where silence was neither required nor expected. The chapter argues that although attentive listening was a gold standard during the latter two-thirds of the nineteenth century in Paris, practice rarely lived up to such expectations, and it was in effect a niche activity.
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Geisel, Ted. One Fish, Two Fish Listening Pack. Random House Books for Young Readers, 1995.
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McGuire, Charles Edward. Amateurs and Auditors. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.10.
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Between 1810 and 1835 the British musical audience expanded from the nobility and the gentry to include members of the middle classes. Using the contemporary musical festival as a case study, this chapter examines how the accommodation of this larger, more intellectually diverse audience led to an early manifestation of the modern concert-listener. This development is explored in terms of factors that aided in the creation of a physical or intellectual “listening space.” These aspects include physical structures (stages, galleries), educational structures (histories of musical festivals, commentaries for training listeners), and linguistic structures (new terms to describe listening processes). As this chapter reveals, these structures solidified a common listening experience for the larger audience, while reinforcing class distinctions within it.
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Morat, Daniel. Music in the Air—Listening in the Streets. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.15.
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The history of music listening has focused mainly on art music and the cultivated listeners of the educated classes. But the nineteenth century saw not only the rise of concert music and its middle- and upper-class audiences, it also witnessed the “popular music revolution” in European and North American cities and metropolises. By drawing on the example of turn-of-the-century Berlin, this chapter explores the place of popular music within modern urban leisure culture. The chapter investigates the different venues and locations in which popular music was performed and consumed (dance halls, café terraces, amusements parks, street corners, and so on). Then it focuses on the ways in which popular music was listened to and appropriated by urbanites and how these urban-listening habits facilitated the process of mental adaptation to big-city life and the development of a metropolitan mentality.
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Millie, Julian. The Listening Audience Laughs and Cries, the Writing Public Thinks. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501713118.003.0006.
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The second part of the book commences with Chapter Six. It analyses the connections Indonesian Muslims make between preaching styles and subjectivities, and the norms of citizen subjectivity that shape these connections. Chapter Six explores a progressive critique of preaching routines, describing a competition in which contestants write about the Qur’an. This was specifically conceived by a Bandung activist concerned about the negative effects of listening on Indonesia’s democratic future. Rationales for the project reveal authoritative conceptions of how Islam should properly be mediated.
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Snyder, Bob. Memory for music. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0010.
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This article focuses on musical memory: on how adult listeners form mental representations of music, and on how those representations affect music listening. It is divided into three sections, which will outline general concepts of memory, address research and theory about musical expectations, and consider listeners' ability to remember various aspects of music. The study of memory in music listening is relatively recent, although the scientific study of human memory dates back to the end of the nineteenth century. The ways in which mind and brain are used in the perception and comprehension of music appear to be much in line with the way they are used in processing in other domains, although there are theories proposing that music is partly modularized in cognition and brain organization.
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Moreda Rodríguez, Eva. Inventing the Recording. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552063.001.0001.
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Inventing the Recording: The Phonograph and National Culture in Spain, 1877–1914 focuses on the decades in which the recording went from technological possibility to commercial and cultural artifact, and it does so through the analysis of a specific and unique national context: Spain. It tells the stories of institutions and individuals in the country, discusses the development of discourses and ideas in close connection with national concerns and debates, and pays close attention to original recordings from this era. The book starts with the arrival in Spain of notices about Edison’s invention of the phonograph in 1877, followed by the first demonstrations (1878–1882) at the hands of scientists and showmen. These demonstrations greatly stimulated the imagination of scientists, journalists, and playwrights, who spent the rest of the 1880s speculating about the phonograph and its potential to revolutionize society once it was properly developed and marketed. The book then moves on to analyze the “traveling phonographs” and salones fonográficos of the 1890s and early 1900s, with phonographs being paraded around Spain and exhibited in group listening sessions in theaters, private homes, and social spaces pertaining to different social classes. It finally covers the development of an indigenous recording industry dominated by the so-called gabinetes fonográficos: small businesses that sold imported phonographs, produced their own recordings, and shaped early discourses about commercial phonography and the record as a commodity between 1896 and 1905.
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Patico, Jennifer. The Trouble with Snack Time. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479835331.001.0001.
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In the wake of school lunch reform debates, heated classroom cupcake wars, and worries about childhood obesity, children’s food is a locus of anxiety and “crisis” in the United States. What does the feeding of children—and adults’ often impassioned, worried talk about the foods children eat—say about middle-class parents’ understandings of what it means to parent well, and about the kinds of individuals they feel compelled to create in their children? How are these understandings reflective of a larger political economic moment, and how do they reinforce existing forms of social inequality? This book takes up those questions through in-depth ethnographic research in “Hometown,” an urban Atlanta charter school community. Embedding herself in school events, after-school meetings, school lunchrooms, and private homes, the author observed how children’s food was a locus for fundamental moral tensions about how to live, how to present oneself, and how to be protected from harm in a neoliberal environment. Middle-class parents took responsibility for protecting their children from an industrialized food system and for cultivating children’s self-management in food and other realms; yet they did so in ways that ultimately and unintentionally tended to reinforce class privilege and the effects of social inequality. Listening closely to adults’—and children’s—food concerns and contextualizing them both very locally and vis-à-vis a broader political economy, this book interrogates those unintended effects and asks how the “crisis” of children’s food might be reimagined toward different ends.
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Sterry, Alexis. From Babbling to Black Belt: Boost Your Child's Speaking, Focus, and Listening Skills with Martial Arts Concepts. Independently Published, 2017.
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Sloan, Nate, and Charlie Harding. Switched On Pop. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190056650.001.0001.
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Switched On Pop: How Pop Music Works, and Why It Matters illuminates the essential musical concepts behind two decades of chart-topping songs. The book moves through close studies of sixteen modern pop classics by artists from Beyoncé to Zedd, each chapter bringing out key aspects of a particular song as well as introducing core concepts such as rhythm, melody, harmony, form, and timbre. As the book progresses, more complex concepts such as syncopation, counterpoint, rhyme, and modulation are covered, culminating in an examination of genre, identity, and musical meaning. Accessible prose and engaging illustrations break down pop hits and musical ideas in clear, jargon-free language, and point toward a new way of listening to the modern soundtrack of pop.
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Bonds, Mark Evan. Turning Liebhaber into Kenner. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.6.
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Johann Nikolaus Forkel’s Ueber die Theorie der Musik (1777) is one of the earliest music guides aimed specifically at listeners. Nature, he argues, is not the best guide for listening; only a thorough knowledge of the elements of music will help music lovers understand what they hear. Forkel promises to elevate amateurs to the level of connoisseurs. An unpublished manuscript of Forkel’s university lectures based on Ueber die Theorie der Musik allows us to reconstruct his vision of the ideal listener in greater detail. These lectures advocate a fundamental shift in the relationship between the listener and the musical work. Forkel speaks repeatedly of the demands made by music on its audiences and the listener’s responsibility to understand the work. The idea that a concert audience member might have a responsibility to develop a skill that can be refined and developed marks the beginning of a new and fundamentally modern attitude toward the art of listening.
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Hagen, Trever. Living in The Merry Ghetto. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190263850.001.0001.
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Living in the Merry Ghetto reframes how people use music to build resistance. To do so, Hagen addresses the social context of illegal music-making in Czechoslovakia during state socialism, asking “How Do Aesthetics Nurture Political Consciousness?”. He tells the story of a group of rock ’n’ rollers who went underground after 1968, building a parallel world from where they could flourish: the Merry Ghetto. The book examines the case of the Czech Underground, the politics of their music and their way of life, paying close attention to the development of the ensemble the Plastic People of the Universe. Taking in multiple political transitions from the 1940s to the 2000s, the story focuses on non-official cultural practices such as listening to foreign radio broadcasts, seeking out copied cassette tapes, listening to banned LPs, growing long hair, attending clandestine concerts, smuggling albums via diplomats, recording in home-studios, and being thrown in prison for any of these activities. Drawing on ethnographic interviews with Undergrounders, archival research, and participant observation, Hagen shows how these practices shaped consciousness, informed bodies, and promoted collective action, all of which contributed to an Underground way of life.
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Järviluoma, Helmi, and Noora Vikman. On Soundscape Methods and Audiovisual Sensibility. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.019.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Soundscape concepts have been employed for more than 20 years to enrich audiovisual studies. They have also been debated extensively. This chapter addresses soundscape as shifting, processual, historical, and produced in contingent situations. It focuses on a specific aspect of methodology that is useful for considering how to advance research on the audiovisual: methods in motion. Soundscape studies have stressed that researchers sometimes need to leave the “laboratory” and venture into fieldwork. Some of the recent developments in the “marriage” of soundscape and audiovisual studies are described, with three goals: (1) to direct attention to soundscape studies as the art and scholarly study of listening, (2) to introduce the sensory memory walk, and (3) to introduce the listening walk. Sound studies are increasingly employed as a basis for developing multisensory methodologies of studying times, spaces, and materialities to relocate sensate users of space at the center of the researcher’s attention.
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Lanzendörfer, Anselma. Designated Attention. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.11.
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During the nineteenth century, new ideas about how to listen to music were developed. This chapter analyzes concert programs from the Leipzig Gewandhaus from the late eighteenth century through the mid-nineteenth. It looks at one aspect that has been largely ignored: the actual form that the announcements of music in concert programs took. Designations of musical pieces began to provide more and more information, specifying details such as composers’ name, key, running number, tempo and mood markings, and programmatic titles. This development was asynchronous and uneven, encompassing some composers and genres much earlier and more thoroughly than others. This chapter argues that the designations of works of music in concert programs—for a long time the medium closest to the actual listening experience—can be studied as an important factor that shaped (and shapes) music perception (e.g., the prestige effect of “the Ninth” and aesthetic hierarchies).
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Browner, Tara, and Thomas L. Riis, eds. Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.001.0001.
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Only since the 1970s have the variety of American musical styles and sounds have been allowed to stand on their own two feet in the academic world. Recent efforts to place American music-making within new or heretofore neglected contexts are diverse and inevitably shift our consciousness about music’s meaning and impact in culture. This volume contains a series of commentaries or glosses, chapters about American music broadly understood that seek especially to explore four critical factors beyond the the familiar categories defined by repertory or biography alone: the impact of performance; the role of patronage in the creation of musical objects and events; personal identity; and how larger cultural/ethnographic contexts (community values, ethnic markers, and social relations) determine certain musical results. A related concern in many of the chapters is the way music is disseminated within listening communities—how it was made “popular”—and how it continues to exert a lasting influence across the rest of the globe. The topics to be found here are wide ranging and include many genres and perspectives (hymnody, concert music, jazz, country music, hip-hop, Tin Pan Alley, and Broadway song and dance, among other types), but each chapter is focused on specific performers, patrons, works, conditions, or institutions within its cultural context.
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Kielian-Gilbert, Marianne. Disabled Moves. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.38.
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If music and music experience are more than internal representation and symbol manipulation, how might one flesh out and understand their multidimensionality? This essay describes “disabled moves” toward that question by imagining and disturbing what it might mean to think and be through the variant body. First, it considers the implications of the unexamined and assumed centricity of the abled body and the kinds of material-bodily-mental interventions that might unfix or jostle (musical) identity with respect to that centricity. Second, it considers the potential and limitations of medical and aural metaphors in Ethel Smyth’s Concerto for Horn, Violin and Orchestra (1926–1927). Third, it stages musical “theatres of madness,” juxtaposing descriptive listening accounts of Marta Ptaszyńska’s “Thorn Trees” from her Concerto for Marimba and Orchestra, to suggest a multidimensional approach to analysis that works with side-by-side encounters and the critical potential and desire for change.
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O'Brien, John. Keeping It Halal. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691197111.001.0001.
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This book provides a uniquely personal look at the social worlds of a group of young male friends as they navigate the complexities of growing up Muslim in America. The book offers a compelling portrait of typical Muslim American teenage boys concerned with typical teenage issues—girlfriends, school, parents, being cool—yet who are also expected to be good, practicing Muslims who don't date before marriage, who avoid vulgar popular culture, and who never miss their prayers. Many Americans unfamiliar with Islam or Muslims see young men like these as potential ISIS recruits. But neither militant Islamism nor Islamophobia is the main concern of these boys, who are focused instead on juggling the competing cultural demands that frame their everyday lives. The book illuminates how they work together to manage their “culturally contested lives” through subtle and innovative strategies, such as listening to profane hip-hop music in acceptably “Islamic” ways, professing individualism to cast their participation in communal religious obligations as more acceptably American, dating young Muslim women in ambiguous ways that intentionally complicate adjudications of Islamic permissibility, and presenting a “low-key Islam” in public in order to project a Muslim identity without drawing unwanted attention. Closely following these boys as they move through their teen years together, the book sheds light on their strategic efforts to manage their day-to-day cultural dilemmas as they devise novel and dynamic modes of Muslim American identity in a new and changing America.
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Boudreau, J. Donald, Eric J. Cassell, and Abraham Fuks. Phase I—The Person. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199370818.003.0015.
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The remaining chapters are detailed expositions of the four phases of the Physicianship Curriculum. This chapter introduces Phase I. Encompassing 8 months of curricular time, this phase is dedicated to the nature of persons and personhood. We define these complex entities and begin our teaching with reference to living, healthy people. We describe the five broad subject areas of this phase. It is in this initial phase that students begin learning the clinical method, including observation, attentive listening, and the spoken language of medicine. Students are introduced to case-based teaching, and they have their first encounters with patients. The chapter provides examples of weekly schedules and outlines the materials and concepts that are addressed. Last, it describes specific educational strategies.
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Trainer, Sarah, Alexandra Brewis, and Amber Wutich. Extreme Weight Loss. NYU Press, 2021. http://dx.doi.org/10.18574/nyu/9781479894970.001.0001.
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With accelerating obesity and chronic disease rates worldwide, weight loss has emerged as a central concern in medical and public health efforts to improve health. Managing weight is also a very personal concern for many individuals in their effort to conform to thin social body norms in countries like the United States. Surgical weight-loss techniques (bariatric surgeries) currently are the most effective means to lose massive weight quickly, but they are not uncontroversial. This book reflects four years of ethnographic study by three anthropologists, listening to and learning from patients undergoing bariatric surgeries in a large hospital system in the US. The key theme of this book is “weight” as a physical, emotional, and social phenomenon. Extreme weight can be a trigger for prejudice, stigma, and rejection in the United States today, and the transformation of people’s bodies in the wake of surgery and weight loss is potentially physically and socially profound. By focusing on what happens before, during, and after bariatric surgery, this book examines the complex ways in which body weight now defines many aspects of daily US life. It also highlights the work people are willing to do to meet difficult-to-achieve social expectations.
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Théberge, Paul. The Sound of Nowhere. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0015.
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This chapter traces the development of reverb in music production. Reverberation implicates acoustic space with musical and social places; thus, genres can come to be associated with different locations (e.g., Gregorian chant with cathedrals, orchestras with large concert halls). Sound recordings relocate music to other locales, however, superimposing the reverberant characteristics of one space upon another. Since the 1930s, audio-recording engineers increasingly disengaged recorded sounds from their acoustic environments and replaced them with artificial reverb: through the use of chambers, plates and digital devices, popular recording practices create a complex, multilayered musical space. The chapter traces these developments and links them to contemporary listening practices associated with headphone use, arguing that reverb serves to create an imaginary sonic space for the mobile listener.
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Fantl, Jeremy. Against Closed-Minded Engagement (in Some Situations). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807957.003.0007.
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This chapter argues that in many situations in which you shouldn’t engage open-mindedly with salient counterarguments, you shouldn’t engage closed-mindedly, either. Closed-minded engagement can give credibility to views you know are false, demeaning, or dangerous. Furthermore, in many cases in which you are closed-minded toward a counterargument, if you engage you have to take either of two risky choices. Either you honestly represent your attitudes (as in the activist strategy known as “Nonviolent Communication”), in which case you run the risk of being ineffective. Or you risk being a “concern troll”: you fail to honestly represent yourself as closed-minded (as in the activist strategy employed by the “Listening Project”). In that case you run the risk of problematically exploiting misconceptions your interlocutors have about you in order to get them to change their attitudes. In many situations, this precludes the permissibility of closed-minded engagement.