Listen: A History of Our Ears
In this intimate meditation on listening, Peter Szendy examines what the role of the listener is, and has been, through the centuries. The role of the composer is clear, as is the role of the musician, but where exactly does the listener stand in relation to the music s/he listens to? What is the responsibility of the listener? Does a listener have any rights, as the author and composer have copyright? Szendy explains his love of musical arrangement (since arrangements allow him to listen to someone listening to music), and wonders whether it is possible in other ways to convey to others how we ourselves listen to music. How can we share our actual hearing with others?Along the way, he examines the evolution of copyright laws as applied to musical works and takes us into the courtroom to examine different debates on what we are and aren't allowed to listen to, and to witness the fine line between musical borrowing and outright plagiarism. Finally, he examines the recent phenomenon of DJs and digital compilations, and wonders how technology has affected our habits of listening and has changed listening from a passive exercise to an active one, whereby one can jump from track to track or play only selected pieces.
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Arrangement Translation Criticism
Chapter 3 Our Instruments for Listening Before the Law Second Journal Entry
The Making of the Modern Ear
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absolute music adaptation Adorno arrangement auditory Bach become Beethoven Benjamin Berlioz Busoni Butor called Carl Dahlhaus Castil-Blaze clairvoyance claque claqueurs Commendatore composer composition concert court critical deafness deﬁnitive difﬁculties Don Giovanni ears fact ﬁdelity ﬁeld ﬁgure ﬁlm ﬁnally ﬁnd ﬁrst French hear heard Hector Berlioz history of listening idea Igor Stravinsky interpretation invention Kagel kind language Lester Young letter listener’s Liszt means mechanical reproduction melody ment Mozart musical listening musicians notation notes notion opera opus orchestral organ organology original Paris performance phonograph piano plastic play possible precisely published question quotation record reﬂection regime of listening Romanticism Rossini Schoenberg Schumann score seems sense Siege of Corinth sonorous sound speak Stabat Mater Stravinsky structural listening symphony theater Tia DeNora tion trans transcription translation typology voice Wagner Walter Benjamin Weber’s words writes Zacharias