Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190693879.013.22
J. Daughtry
This chapter is an exploration of the embodied experience of “involuntary musical imagery” (a.k.a. “earworms”) and of the dynamics of the auditory imagination more broadly. It argues that imagined sounds regularly exhibit strange behaviors that audible vibrations cannot achieve and draws upon Husserl’s description of the living present and Sartre’s writing on intuition to construct a theory for why this might be the case. The second half of the chapter comprises a sustained attempt at a phenomenological description of a discrete experience of musical imagery. A brief epilogue muses on the similarities between imagined music and the memory of the dead, casting both as a kind of “haunting.” Throughout, the auditory imagination is presented as an ethnographic field site: a palimpsestic ecosystem of interconnection and difference within which the discrete experiences of individuals and groups matter.
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Pub Date : 2021-09-08DOI: 10.1093/oxfordhb/9780190693879.013.10
Helena Simonett
Based on ethnographic work among Indigenous people of northwestern Mexico and on Martin Heidegger’s philosophical writings on being and time, this chapter addresses the phenomenon of human-animal transformation as practiced by the Yoreme. Music and song evoke memories of other temporalities and experiences of transcendence and, thus, help skilled deer dancers to become the animal, a transformation that is perceived as real, not as symbolic. By opening themselves up to juyia annia (the enchanted world of the deer), the dancers are able to re-enactively engage with the mythological past. For Yoreme, this past is not what Robert Torrance would call an “inertial inheritance”; rather, it is constitutive of the future. For the community members present in the ceremonial fiesta, the dancer’s presentiation and remembrance of the deer world opens up a new possibility for human existence and allows them to understand themselves as a distinct people.
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Pub Date : 2021-09-08DOI: 10.1093/oxfordhb/9780190693879.013.16
K. Young
No thing makes a sound. All sounds are made by two things. They touch; they speak; they sing. We hear that most intimate connection between two entities rubbing up against each other. It is the things talking to themselves. We eavesdrop on the world. As we listen, we attune to our surroundings, sounding out what we do not see: the insides of things, things hidden behind other things, hidden things inside our own bodies. For the ear, things are no longer stuck to their physical locations: intimations of them arrive by air, running all the way around our bodies and passing right though them. These auditory communiques animate us from within even as they animate the world without. Hearing participates with the other senses in the sensuous epistemology that grants us knowledge of our world and ourselves.
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Pub Date : 2021-09-08DOI: 10.1093/oxfordhb/9780190693879.013.15
Deborah A. Kapchan
Where does affect reside in a phenomenology of perception? How should we understand ethics when bodies are close? What changes when we are distant? In this chapter, the author illustrates the “aesthetics of proximity,” degrees of spatio-temporal as well as spatio-tactile closeness between sounds and bodies, and the implications for an embodied ethics of response. Using Merleau-Ponty’s notion of the “flesh,” which he defines as an element (like water or fire), the author explores the relation of feeling and matter in close encounters, evoking Sufi sounds of worship in Morocco and France, as well as the Black Lives Matter movement during a global pandemic.
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Pub Date : 2021-08-11DOI: 10.1093/oxfordhb/9780190693879.013.13
D. Vanderhamm
This chapter employs a phenomenological framework to argue that virtuosity—often understood as individual musical excellence—is an intersubjective phenomenon that centers on skill made apparent and socially meaningful. Rather than locating virtuosity solely in a performer’s body, a piece’s demands, or a listener’s opinions, the author argues that it arises within the dynamic relationships—what Maurice Merleau-Ponty would call the “intentional threads”—that connect audiences, performers, and musical sound. Drawing on Edmund Husserl’s and Merleau-Ponty’s discussions of intersubjectivity, intercorporeality, and apperception, the author utilizes Ravi Shankar’s early reception in the United States as a case study in how audiences come to experience musical performances as virtuosic, despite their lack of background knowledge or musical understanding. A phenomenological approach to virtuosity reframes the issue not as one of objective measure or subjective opinion, but of intersubjective experience and value.
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Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780190693879.013.3
A. Duranti, Jason Throop, Matthew T. McCoy
The interaction among a group of musicians before, during, and after the performance of a jazz standard is analyzed to show the interdependence of jazz aesthetics and jazz ethics. The authors argue that what makes jazz distinct from other kinds of musical traditions is not just the ubiquity of improvisation in the genre but the vulnerability that jazz improvisation always generates—a vulnerability that is due to the genre’s reliance on both shared conventions and partly unpredictable individual choices. Analyzing video recordings of a university course on jazz organized to reproduce the setting of a jam session, the authors examine in detail the interactional assumptions and consequences of choices made by band members during the performance of “Softly, as in a Morning Sunrise.” The authors’ analysis shows how musicians position themselves to be responsive to one another as the song progresses, starting from an improvised “introduction” that sets the tempo, rhythm, and style of the song and continuing with smooth transitions from one solo to the next. Drawing from Erving Goffman’s ideas about the presentation of self and the phenomenology of Emmanuel Levinas, the authors examine the ethical implications of a musical “vacuum” that was created by one musician’s decision to wait to take his solo. In the interaction, the other musicians responded to the vacuum by assuming responsibility for the group’s performance and, more broadly, the performance of the jazz tradition, and this chapter uses their actions to illustrate how “jazz etiquette” operates as a practice that includes aesthetic, ethical, and practical concerns.
分析了一群音乐家在演奏爵士标准曲之前、期间和之后的互动，以显示爵士美学和爵士伦理的相互依存关系。作者认为，爵士乐与其他音乐传统的区别不仅在于爵士乐中无处不在的即兴创作，还在于爵士乐即兴创作总是产生的脆弱性——这种脆弱性是由于爵士乐依赖于共同的惯例和部分不可预测的个人选择。作者分析了一门大学爵士乐课程的录像，再现了一场即兴演奏的场景。作者详细研究了乐队成员在演奏《柔如晨曦》(soft, as in a Morning Sunrise)时所做选择的互动假设和后果。作者的分析表明，随着歌曲的发展，音乐家如何定位自己，以对彼此做出反应，从即兴的“介绍”开始，设定歌曲的节奏、节奏和风格，并继续从一个独奏到下一个独奏的平稳过渡。根据欧文·戈夫曼关于自我表现的观点和伊曼纽尔·列维纳斯的现象学，作者研究了音乐“真空”的伦理含义，这种真空是由一位音乐家决定等待独奏而产生的。在互动中，其他音乐家通过承担团队表演的责任来回应真空，更广泛地说，爵士传统的表演，本章用他们的行为来说明“爵士礼仪”是如何作为一种包括美学、道德和实践问题的实践来运作的。
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