Music Listening, Music Therapy, Phenomenology and Neuroscience

Appendix 2.05 Experimental listening Hawkins (^6)
24th listening: Open open
I imagined the band playing together
25th listening:
EC: I will point out two tones which I feel convey particular glimpses of happiness herm
LCB: Oh, really?
26th listening: Sax solo: Are there small tempo changes? foc
I don’t hear any tempo changes. The solo moves very flexibly and elegantly, some movements
take longer time. He avoids accentuated beats
27th-28th listening: What is the relationship between soloist and accompaniment? foc
The soloist turns and twists, usually avoids the accentuated beat, but not always.
He may hit the third beat.
29th listening: EC: I hear the soloist playing in the rhythm of the breath,
and the accompaniment playing in the rhythm of the pulse. What do you think? foc
LCB: It makes sense
30th listening: In the single phrase, what is the itinerary to the target tone? foc
Never the same itinerary. In a few cases, three ”run-ups” precede the target tone.
31st listening: Why do we hear that this music has swing? foc
It is a result of collective interplay. We hear sounds in movement, and the relationships are
continuously changing, never the same.
EC’s afterthought: This experimental listening shows how differences in personal contexts
determine or influence the initial interpretation and understanding of the music’s meaning.
It also shows that interpretation can change as a result of repeated listening, and that
intersubjective exchange of opinions and impresssions can contribute to the change of
interpretation and understanding.
Appendix 2.04 Experimental listening Hawkins