A basic model for the practical progression of intensive listening in a class
- Listen.
- Listen once more.
Talk together in pairs, describe what you have heard. - Listen a third time, listening for something your dialogue partner has told you.
Talk together again.
Short general discussion: The tutor asks all groups, collecting their impressions and
descriptions on the whiteboard or a flip chart (it is a good idea to keep the results on paper
for later use). - The tutor asks one clear and simple question.
Listen and talk together in pairs. Short general discussion. - The tutor asks another clear and simple question.
Listen and talk together in pairs. Short general discussion. - The tutor asks a third question.
Listen (dialogue may not be necessary at this stage). Short general discussion. - The listeners talk together in pairs and formulate questions for the next listening.
Collection of all questions.
8...This progression represents a simple practical introduction to performing phenomenological varia-
tions. From a phenomenological point of view, it is relevant to notice the importance of listening twice
before describing or judging the music. Two open listenings without comments or reactions elimi-
nates or weakens the “natural attitude”, which might otherwise result in a spontaneous rejection of
unfamiliar music.^41
It is important that the music excerpt is short enough to be retained in working memory. This ensures that
the listener achieves a certain degree of “ownership” of the music after the second listening, no matter if
he or she likes the music or not. The dialogue situation allows spontaneous and informal verbalization of
the listening experience and, importantly, implies a certain measure of tolerance and respect for the dia-
logue partner’s observations and reactions. Usually, all participants have a lot to say in this situation.
Mutual respect is the basis for the third listening, “listen for something your dialogue partner has told
you.” This way of listening is an opening towards a phenomenological attitude, listening for unnoticed
aspects of the music.
41 Judy Lochhead, who is a U.S. musicology professor, reported this kind of experience in teaching university students.
In spite of her explanations of the developments and structures of twentieth century music, students could still not hear
the music as anything other than noise. (Lochhead 1995, p. 35). Lochhead overcame the students’ resistance by showing
movies of performances and composers.