Music Listening, Music Therapy, Phenomenology and Neuroscience

Appendix

 2.03

 Experimental

 listening
 Bartok

2

5th listening: Question: Background in the slow sections? foc

A1: Falling surfaces, luminous in the beginning. Repetition of the two first surfaces, harmonic

change the second time. Surfaces unite with foreground in the last chord.

A2: Background: In the beginning one sustained tone, continues downards

New question: What do you hear, pitch or harmony?

A3: Not foreground and background, but statement and response.

Heaviness both in melody and accompaniment. A touch of birdsong.

New question: How many layers?

New task: Listen for background in the dancing sections

6th listening: Open listening open

Sustained tones create continuity, especially from A1 to B1

Increasing tranquillity and fullness, calming effect

7th listening: Open listening open

I experience the layers visually

New tasks: Listen for the vibrato, especially in flutes. Listen for the ”shaking” movement in B2

8th listening: Open listening open

Only two layers in A1. Three or more layers in the dancing sections B1 and B2.

Luminous quality in A2. Multi-layered last chord in A3.

New questions: When does a harmony merge completely, when do you hear separate tones?

What do you retain in your memory by now?

9th listening: Question: Background in B1 and B2? foc

B1: three layers: jumping melody, sustained bands of tones, precise pizzicato rhythm in strings

B2: lively melody in piccolo flutes, animating bass, subdued background in the beginning, then

intensified trills on offbeats. An extra voice added in the final chord

New tasks and questions: Describe the melodic lines. What characterizes the quality of a

pizzicato? Listen for small tempo variations, rubato. What harmony in the final chord?

Appendix 2.02 Experimental listening Bartok