veit erlmann - courses

Listening across the Ages

Rob Wegman, ed.: Music as Heard. Special issue Musical Quarterly 83, 3/4 (available in full text)

The Origins of Attentive Listening

James Johnson: Listening in Paris: A Cultural History. Berkeley: University of California Press,1995

"Absolute" Music

Michael Steinberg: Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music. Princeton: Princeton University Press, 2004

The Antinomies of Listening in a Bourgeois World

Leon Botstein: Time and Memory: Concert Life, Science, and Music in Brahms' Vienna, Walter Frisch, ed., Brahms and his World. Princeton: Princeton University Press, 1990: 3-22

ibid.: The Demise of Philosophical Listening: Haydn in the Nineteenth Century, Elaine Sisman, ed., Haydn and His World. Princeton: Princeton University Press: 255-85

Against Structural Listening

Rose Subotnik: Toward a deconstruction of structural listening: A critique of Schoenberg, Adorno and Stravinsky, Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press, 1991

New Modes of Listening?

Andrew dell’Antonio, ed.: Beyond Structural Listening: Postmodern Modes of Hearing. Berkeley: University of California Press, 2004

Distraction - Pro and Contra

Ola Stockfelt: “Adequate Modes of Listening,” Keeping Score: Music, Disciplinarity, Culture, edited by David Schwartz, Anahid Kassabian and Lawerence Siegel. Charlottesville: University of Virginia Press, 1997: 129-146

Anahid Kassabian: Ubiquitous Listening and Networked Subjectivity, Echo: A Music-centered Journal 3/2, 2001

Steven Connor: Feel the Noise: Excess, Affect and the Acoustic, Gerhard Hoffmann and Alfred Hornung, eds., Emotion in Postmodernism. Heidelberg: Universitätsverlag Carl Winter, 1997: 147-62

The Ear Cross-Culturally

Veit Erlmann, ed.: Hearing Cultures. Essays on Sound, Listening and Modernity. New York: Berg Publishers, 2004

Musical Listening Cross-Culturally

The World of Music, Special Issue 41/1, 1999: “Hearing and Listening in Cultural Contexts”

What do Buganda Hear?

Listening to Ganda amadinda, essays by G.Kubik, P.Cooke, U.Wegner, and K.Agawu

Tarab

A. Jihad Racy: Making Music in the Arab World: The Culture and Artistry of Tarab. Cambridge: Cambridge University Press 2003

Jonathan Shannon: “Emotion, Performance and Temporality in Arab Music: Reflections on Tarab,” Cultural Anthropology 2004


		home \| cv \| courses
	listening	home \| cv \| courses
	listening	publications \| research \| music \| archive
		lecture series \| news \| contact

	The ear, in the Western tradition, is often considered to be the "second sense." Closely linked to notions of subjectivity, passivity and interiority, hearing is said to have fallen behind vision as the key sensory motor of modernization. But this secondary role of the ear is not only the result of specific historical and cultural configuration (and as such not universally shared by all cultures), it can equally be shown that hearing has been implicated in the drama of modernity from the very start.

	Listening across the Ages Rob Wegman, ed.: Music as Heard. Special issue Musical Quarterly 83, 3/4 (available in full text) The Origins of Attentive Listening James Johnson: Listening in Paris: A Cultural History. Berkeley: University of California Press,1995 "Absolute" Music Michael Steinberg: Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music. Princeton: Princeton University Press, 2004 The Antinomies of Listening in a Bourgeois World Leon Botstein: Time and Memory: Concert Life, Science, and Music in Brahms' Vienna, Walter Frisch, ed., Brahms and his World. Princeton: Princeton University Press, 1990: 3-22 ibid.: The Demise of Philosophical Listening: Haydn in the Nineteenth Century, Elaine Sisman, ed., Haydn and His World. Princeton: Princeton University Press: 255-85 Against Structural Listening Rose Subotnik: Toward a deconstruction of structural listening: A critique of Schoenberg, Adorno and Stravinsky, Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press, 1991 New Modes of Listening? Andrew dell’Antonio, ed.: Beyond Structural Listening: Postmodern Modes of Hearing. Berkeley: University of California Press, 2004 Distraction - Pro and Contra Ola Stockfelt: “Adequate Modes of Listening,” Keeping Score: Music, Disciplinarity, Culture, edited by David Schwartz, Anahid Kassabian and Lawerence Siegel. Charlottesville: University of Virginia Press, 1997: 129-146 Anahid Kassabian: Ubiquitous Listening and Networked Subjectivity, Echo: A Music-centered Journal 3/2, 2001 Steven Connor: Feel the Noise: Excess, Affect and the Acoustic, Gerhard Hoffmann and Alfred Hornung, eds., Emotion in Postmodernism. Heidelberg: Universitätsverlag Carl Winter, 1997: 147-62 The Ear Cross-Culturally Veit Erlmann, ed.: Hearing Cultures. Essays on Sound, Listening and Modernity. New York: Berg Publishers, 2004 Musical Listening Cross-Culturally The World of Music, Special Issue 41/1, 1999: “Hearing and Listening in Cultural Contexts” What do Buganda Hear? Listening to Ganda amadinda, essays by G.Kubik, P.Cooke, U.Wegner, and K.Agawu Tarab A. Jihad Racy: Making Music in the Arab World: The Culture and Artistry of Tarab. Cambridge: Cambridge University Press 2003 Jonathan Shannon: “Emotion, Performance and Temporality in Arab Music: Reflections on Tarab,” Cultural Anthropology 2004
		© veit erlmann