By Erik Wallrup

Listening in keeping with temper might be what most folk do once they take heed to track. we wish to participate in, or perhaps be a part of, the rising international of the musical paintings. utilizing the assets of musical background and philosophy, Erik Wallrup explores this tremendous obscure and elusive phenomenon, that's held to be primary to musical listening to. Wallrup unfolds the untold musical historical past of the German note for a "mooda (TM), Stimmung, which within the nineteenth century was once ample within the musical aesthetics of the German-Austrian sphere. Martin Heideggera (TM)s much-discussed philosophy of Stimmung is brought into the sphere of tune, permitting Wallrup to grasp totally the opportunity of the idea that. temper in tune, or, to be extra designated, musical attunement, shouldn't be obvious as a weird form of emotionality, yet that which constitutes essentially the connection among listener and tune. Exploring temper, or attunement, is critical for a radical knowing of the act of hearing track.

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Extra info for Being Musically Attuned: The Act of Listening to Music

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When Wackenroder speaks about strain, he does not mean the effort of combining notes into symmetries; instead he means the endeavour to keep the mind open to the movements of music, to participate in it. Participation means to be a part of the music, not to re-enact it or to co-operate with it. The activity of mind in the second mode seems to be much easier to understand. The music tunes the mind of the listener into its mood, and, being in the mood of music, the mind starts to work, thoughts are born and imagination is activated.

Precisely this characteristic – imaginative force – is the most common trait in Romantic texts on music, sometimes turning to literature and architecture when finding parallels for the musical experience, sometimes being free phantasy. But it is not a free play of imagination. There is a framework or, to use a term better adapted for our context, a tuning of imagination in the Stimmung. 67 The Bonds, Music as Thought, pp. 36–7. Cf. Riley, op. , and James H. Johnson, Listening in Paris: A Cultural History, 65 66 Berkeley: University of California Press 1995.

P. 251). Trans. slightly revised: 61 62 Clarke renders Stimmung with ‘impressions’. Being Musically Attuned 34 music ‘opens up’ the sphere of the sublime. ’65 Bonds has a point in saying so, but at the same time he excludes other elements of the text, all those elements that imply the tuning of the listener through a Stimmung. In fact, Hoffmann says that he has been penetrated, durchgedrungen, by the symphony; we have seen that the music holds the listener in its grip, and is even violent. One could argue that these examples are only sediments of an older mode of listening, that Hoffmann was not able to free himself from the past when he tried to develop a new position for the listener.

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