Music Listening, Music Therapy, Phenomenology and Neuroscience

Appendix

 2.04

 Experimental

 listening
 Webern

6

** indicates a significant change in the way of listening, similar to the change between states of

multistability in visual phenomena, described in Ihde (1977) Experimental Phenomenology.

22nd listening: What is foreground, what is background? foc

I now hear S1 in a different way, as a new kind of sound. It is no longer flimsy, the first violin is

foreground, in a leading position. **

The image of the music gains depth, The first violin is in front, the others further behind.

The overall picture is clarified, order prevails over chaos

EC’s afterthought: The virtual musical space can change from two-dimensional: flat, to three-

dimensional: with depth

23rd listening: Instruction: Listen for coherence and interruptions foc

The interruption in S3 is a crater!

S1 and S2 are coherent, S3 is characterized by clefts, S4 is coherent, with a little comma

24th listening: In S3, listen for coherence and interruptions foc

LCB: It is possible to argue for coherence as well as for interruption.

The fragments in S3 are connected as a large whole. The same can be said about S4.

This provides a new way of listening **

Listening for flow and interruption is different from listening for depth, foreground and background.

EC’s afterthought: Spatial versus temporal focusing

EC: Refers to Husserl’s model: RETENTION – NOW – PROTENTION (Ihde 1976/2007:92-93)

and draws a possible 3-dimensional system of coordinates of the virtual musical space:

x-axis: time: temporal coherence and interruption

y- axis: pitch height: high - low

z-axis: depth: foreground – background

LCB: Musical mass and volume is something impalpable

LCB: Sound has a direction, it creates space. You rapidly produce coordinates

Appendix 2.03 Experimental listening Webern