Music Listening, Music Therapy, Phenomenology and Neuroscience

(Nancy Kaufman) #1

Appendix


 2.03

 Experimental

 listening
 Bartok

11


24th listening: Can one deliberately change the relation between directionality foc
and surroundability?


LCB: I can decide to listen from my neck and my back side, then the music surrounds me the
whole time, and I see nothing in front of me.
It is possible to vary the relationship between directionality and surroundability deliberately**


B1: It is like watching a scene
B2: When the sunshine appears, I am on the stage with it, standing on the scaffolding


foc
25th listening: Focusing on the single sounds, especially the long, sustained sounds:
How is the inner dynamic of the sounds, the minute changes of timbre and volume?


Oboe and clarinet grow in volume after the attack, so do the accompanying strings.
However, the clarinet tone in A1 is very straight.


The single tone is forward-directed, it insists, attracts the attention of the listener, entrains the
listener who has to surrender to the tone.


EC’s afterthought: Ihde has described the attention-attracting power of the tone: ”In ordinary
affairs, we are so involved with entities within the fields, that we ”forget” he fields as a whole.”
(Ihde: ”Auditory Imagination” (1970/2007:204)


26th listening: Same question, focusing on the oboe in A2 foc


The oboe can change its timbre between dense and more open sound. Vibrato after the attack.


27th listening: Question: Variations in tempo? foc


A1: Rather static. The soloist plays laid back


A2: The oboe increases the tempo a little in phrases 1-2-3, calms down in the final phrase 4.


A3: Great ritardando, the music comes to a standstill in a tough way. The entries of the
accompaniment are delayed by and by.


EC’s afterthought 1: Further listenings can focus on large, overall tempo variations, or focus on
the rubato tempo variations within a single phrase of a melody.


EC’s Afterthought 2: Musical expression is based on small variations of tempo and volume


Appendix 2.02 Experimental listening Bartok Appendix


 2.03

 Experimental

 listening
 Bartok

12


28th listening: Open listening for pleasure open
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