16 Adequate Modes of Listening OLA sTocKFELT “Tosa evening, | am ttly exhaustod, but can fal snk into the sot and ‘ei The rar 0 the engines and he ie tom the vers a almost deaening. ‘Under normal reumstaces, eos hese sounds, ut now they ge he ‘marvelous canteen ta have mad have haby ot pet tows une ‘ected and sur estas ta reed mo oun around and aruda ay the heat, fom oe to ofc ae fom argo fo aor. even tough | had my reservation and was ready to dopa in be orig. Gatween ts zz and noe tom flow passengers, maa indica! fue tones fd thei nay tm, {ones that uther com ny pression tat rave Ely reached place wher "can reas takos a fw mrtos belo Ucn even muster the stnten fis to whats actuy being played: she fest movement of Maza Symonony 0. 40th "Great G-inor"in an rangement or fue snot and sore nd toc ‘72Up. The fut soem olaly unengage: 28 do the cher muscans, when tis ‘ven posible fo dtingich what they are Paying, Moreover the anger ha Iltoted tho movement quite batall-inngeeaclons ae simpy aber. As on ‘81 wasn tering closely, twas perc miso lor be stato, a ow sa be both rato aditrasted and nett a at hoe ay mere ‘What doe it ean io wea good mus he a? | 0 + sudo cute ‘ester indutiahzed ation ada frm amore ores hemegensou el se rates rca Ewcpon andor Aaa at ne nA nan popr muse. Trough tn phonograph eco ral, and flo, ‘Sotho muses toa great extent catered across ho entre wor" Each hea [Bg poreon who ston 0 fo rao, watches TV goes othe moves, oes dancin, fens inverauais goes supermarkets, parcates in pares, has Dl up has ten loed (n oar 0 beable te hare her or hs pocaptons of sound) to utd up an apprese competence in Vansaing nd using the music inves: ls nat searn nom joudspeckrs a amost very ving space. Such crm fence resuts rot primary fem any formalzea scheaing but kom ifort (tera leamng processes as wo teach cules which lhe sound hat ebb rcaugescrosm hw modam eyecape al evry nian ofthe dy shoul be use Aed tether and undorstond ae muse and whch shou be understood as Semebing dea: ntcn arent typos of mie corel weh when acy and (Sich sucute; wc typeof ramutcal nearing ata 6 aoe p05 of ‘Sluran tort musa contests The masemeca musa masa (te ‘et sence of re pase) has hence become somhing ofa nonverbal Ingua anes, on common tural Yepedoe varsceningvadioal cur, css and ge toutes Alongside tis commen culural compence, many ste’ so Ihe fone or sveral more lass protied sabatures wah a more speilzed smuscallanguage. ‘Al the some time, th same atnars have he compence to seth sae ‘ype ot mani, evan the same proce cl mus, navy fret ways nc metuatone. The sympheny tia the concet Ma oon earphones can ove an ‘Stonomeus invamustal experience, tiring one's mood ote highest tension “ant siting ot terest tte Won ay tea gue the same toners & ‘mi passat, axed separation ore noe oe seat Nhe moves (ke the ue of Mozarts Smghory ro. 0's fst movement e James Bong fn) oF ‘on tleson (Aa the man theme rom ew sare reverent be ioducton alert the 1967 wo ce hockey championship In Verna), pars th same Work may aan doaigae te partone and environments shown according 10 Catogorar of clas an ctrl ae. Ard onthe erage in rah out wae th ras canbe shut of he same mute may Sonate an annoying Maro ‘Steps na gvn auton dapende mally on howto toner chooses ston Ita which mado of string he or she chooses to covey or adopt. Ary Sis cholo sneer tay ee nor aoe, Inpan, every mose o stening demancs a sigcat ogre of corostence onthe fat ofthe Istorer (adhe competence wal ot be ss by beng shared by ‘map and no ister can hae an nie reperore of modes of itonng. The ‘Tode a itoing a stoner can apts inthis way ated byte empetonces "modes of string thal ha or she possesses or can devel Ina en seuion la tocol» 091 par ot evry mode of etening is nary immediate way adaptable to ‘rary poof sound etre or even fo every ype ot muse wor 1 In pa. ‘rrt modes ot ietening are nae ways more orl frm eeenected Spec tstoingstuatons. For exarpe to dance Gunga symphony conca iprateay ergonsblo because oe fred Seas) is toconmita ga atreach ot tanto dahoarkon—io very song and prtled sounds, orto musa witha ‘Special ynicane fr he ntene Olan terse leo conaseusto So: ntdogece ot har oan shoe of mode! ateng. an are mace alot [haptechosen made ieteing ctorentshuntons elation oer Wp Steourdstuctves (| “ody one can hea lost ry sve usin any sureurdng ar any ‘stusten’ The sound ot ig opra encotles can be fod orto & wedsufing ‘ar an he sound oar srgad gut cant ooba td: ne cat ‘Steno march must nto bats and Salon mus nthe mountains. This al atlas sil qe novel Not that ong ag, one was ciged ogo he oper {o hor oper, ard th oy way to hear te gular was teat raber coe 1 the ‘ote Vous muses! shies wore imply bound te speticenvronment ‘tnd apd elotonship botwoon the prema and he Ieener och ale of musi, even can make an appearance almost anywher {odey fe shapedin cone eaton flow erionmerts- I each geno, fn env ronment few stations of iteing, mae up he constaave oars Ti {one "The atance between musiean and audonce, between spectator and Spon; te overall mension ofthe eves ae fen undamra iret the dain fag, ana oan pie to partir, ne ight won Wa Indetorminng what rey oul expect abou ober reso gore; on ow You ‘re seated saye mote abut he mii ta wibo performed than a poster does. ‘Soch an enwrenmen can be concretely tangle, mea concer al, plas i dare, ch but Ray alo bo mote Se localize. Ludepeakors ‘onattute 8 sort of mise environment st a8 one can say thal In crain cote {ents rade oternge” nthe own ight consute a musical enronment—not {angi asa church but ot ss ea Fe recently producod works of muse, tho eo-pece and gane-specte ‘envrnmerts have oon boon etal. Max ha sfonde for perfomance In ' cont hal has been prosued lor the concert hal sation. For muse manly fargote toward pay on cr srocs, one can, for nstance se sal speaks fat ‘Suna car etree ding theming. For works of mus thal have exited for 2 ‘ongor tina, however. th Ceropany canbe enero: hs ls the case fF ‘camp nen tga x recomiarty dance muse speed nh conce haltora coated pubs engages aostotccoterplaton, nese isances he ‘hanged sation of string has oan greater or sser changes inthe work of muse as sound ard especaly the percoved wk ol msi” For cach musi goo, a ruber String stone in a given tore ‘stuaon cont he gene-specte eaten boteeen most andtstene Thee ‘etrmine he genre dian prepay ad tela aon beeen muse Sr ‘Stenr tat ere prsumodt th omaton ae meal syie—in he cores: Ing te arranging. the peorrance te programming of he muse. hee chosen {Deal hese gome-nornatve string stuetons ‘Geno-nermativelstringstuatone ae not abslue but are perpetually ‘changing a tandom withthe Bangs say. inthe same way tat musa flea change. The pirat moze roms of la dfteenthcontryconnossoure, ‘overample, ergandere a ttalyefernt lasonchp bomecn the lta sr themuse om hase staring te opera hal or eaten ha lost tat Inti ten sted Wem those charstete ofthe Bourget sain and rosa ‘aa These fret stusens hence comaea "mace posite erent pes ‘lmuscal performance (hn spe of fact ha the works bog porornad might ‘be kenteal en papa). The siuatons, and tho diferent perermances, alo ‘Concoqueriy, each geno also has a numberof gonronormatve modes of Jetanng. and oven ose have changod over ima in reakeranpa covesperdg to ses of mune, to chokes of stale of Be sien to the onrerarmatve shiatonsofistnig, ant a sais oscil factors The rete, active aRe.co Simsicans to muse samace of sina hats prods (a soa eter) cam: fon 10 aos al forms of "music" (or stance, oe also aunts atone ‘ruse composers as poorming musisan), Ofer nomaive made o een, Ihe the nomatve user stuasens, can amest become dating charactors or ‘er goree ef muse "have chosen to cal 9ah ering sa gore-nermatve itoring stuaton tnt stuatorassocaied gorenomatve mado aitonng adequate toning ‘Adequate tong hance eccars when one tens 10 mule according fo he ox ‘ona ofa ven soc sunton and according oto predominant sococatural ‘orvarons of he suboutre to whch he musi belongs ‘A ae, gnre comprises several pes of adequate Istering. The person who performs musi Isters wih a fern ype of cancenbaton than do peop ‘ho esp Istonng but both peso eing can erly be adequate oe ‘etre. Both hoe who aro caught yin the mse and dance wily outon the Soot nd theo who stand cosa tothe stago and concatate, ssmiing ad hg ‘he vitosy of he sl utara shew adequate aude ta Bue eck concer ‘nthe other rand, someone who lean back and wth ht-losed eyes as 1 ‘otow total ad themate nson relatos, and Sssousne ie peta not ‘toning adequate.‘Ser, andbetween te cutual expressions and the constuction feo) ‘Akdonomeus rts strings nthe ony adequate to Covel nds eat poopa have lstred aces ore msc aroma ‘of erent ways, eventhough nota trese mode of itening wore cared on lormaized fasion io the presen. Trae has never Boon ey one adele ‘ionomos teing in ealstonce~dsagreemert between dierent nacre Schools can be seen as oppostens beeen diferent autonomous scecuocy 1s thot can, pera by spitting har, be sad fo consul alleen Musa ‘eres wehin he rame fone an the same musica se “Analysis ofa musa gre, fa wokin a musi gene, must conan an ‘be asad on anys of he Istoningadogusto lo that gone of emu a tis ‘experienced as adequate the gave nthe normative string stushors, whan ‘equato move of Istering. sequtaexramuscal contains, an sega ‘smutaneous activites isa prbequt fo the ponsbay analysing the “igh” piece of musk. Homever for anaes of everyday muse string th ot alaays enough, Analysis of music in everyday stoning tutions mst be ‘based on tening adequate he gen siualon Such soequacy not dle ‘ied bythe muse se nando ae or by tho gon wit we the mus hfe wat ctu or by tho gore to which primary belongs today ba rather Dye ocaon of tho musi te pects etuton. Ta! econ dtemnes, ot insane, ho can fil the rol f “rane” "he mal eommuncason han.” When aalyzng background muse ta ages @ pores uno a Specie stuaton. one might orem develop a sag) of making the muse Understandable as tis meant be made undarandaieby ta wranger ad pee ‘farmer An anayals based ona one-sidoa, concent, sforomeus ienng ‘llbe an analysis ofthe wrong cect even to musi anayzed orgy wa ‘aie for such e mode of lnterng. Tie consis rary creates speci ‘methodological prebioms, inasmuch as an adoqatlyacaped “backround far ‘ering’ mates coranaousrelesve consciousness irvosable. An ena ust {harfore begin rom such shits between mode of etning,bowoen freee and backgrund Hence we must develop our competence rte o contol he veo, ae tne shifts beeen, fren modes cnn toler types bund rents ete same way tha we must ston to the urban soundscape amuse" merder 'o-make more human, hereby developing be corvetence to raw Up aetve ‘908 forthe “composite of a more human Seund eronment we must 82 + aus cume mien fool van use Fees Bee mt avy oro mare conexant A = Grenasecine ae toore" Notes. corre tte Fo sn seman nd Src are a oh ie o te Fearn aet cal mira Soe Pup Tas. Ko £0 Second Ter state tes ot etn Porc nie tan Moa cinstoctet + 99