By Peter Szendy, Charlotte Mandell
During this intimate meditation on listening, Peter Szendy examines what the function of the listener is, and has been, during the centuries. The function of the composer is obvious, as is the function of the musician, yet the place precisely does the listener stand on the subject of the song s/he listens to? what's the accountability of the listener? Does a listener have any rights, because the writer and composer have copyright? Szendy explains his love of musical association (since preparations permit him to hear anyone hearing music), and wonders if it is attainable in alternative routes to exhibit to others how we ourselves hearken to track. How do we proportion our real listening to with others?Along the way in which, he examines the evolution of copyright legislation as utilized to musical works and takes us into the court docket to ascertain diversified debates on what we're and are not allowed to hear, and to witness the advantageous line among musical borrowing and outright plagiarism. ultimately, he examines the new phenomenon of DJs and electronic compilations, and wonders how know-how has affected our behavior of listening and has replaced listening from a passive workout to an energetic one, wherein one could leap from song to trace or play simply chosen pieces.
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Additional info for Listen: A History of Our Ears
Hence the musical theoretician Je´roˆmeJoseph Momigny proposed, in his Cours complet d’harmonie et de composition released among 1803 and 1806, an ‘‘analysis’’ of the String Quartet in D Minor via Mozart (K. 421), which consisted particularly in grafting phrases (here, a discussion among Dido and Aeneas) onto the instrumental words, so one can clarify their metric constitution, but in addition their ‘‘true expression. ’’14 there's during this a type of smooth identical of the medieval trope, as once they grafted phrases to sure lengthy melismata (like these within the Alleluia), so as to cause them to more straightforward to memorize, or to lead them to clearer. 15 From a strictly criminal perspective, we'd communicate relatively of variations. the main recognized instance of deformation of a piece, one similar via Berlioz, is surely that of Castil-Blaze wreaking havoc on Weber’s Freischu¨tz. In his Memoirs (chapter 16), Berlioz speaks of a Freischu¨tz that used to be ‘‘mutilated, vulgarized, tortured and insulted in one thousand methods through an arranger,’’ by means of a ‘‘veterinary musician. ’’ As Mozart’s Magic Flute were, numerous years formerly, while a definite Ludwig Wenceslas Lachnith had produced a French model of it below the identify Les Myste`res d’Isis (1801). Berlioz, regardless of his indignation, supplies a slightly distinctive description of the deformations wrought by way of Lachnith: He caught a number of bars directly to the top of the overture . . . , became the soprano a part of a refrain right into a bass aria, including a number of bars of his personal; transplanted the wind tools from one scene WRITING OUR LISTENINGS ................. 16740$ $CH2 11-21-07 08:10:30 playstation (( forty five web page forty five to one other; replaced the air and adjusted the instrumental accompaniment in Sarastro’s excellent aria; synthetic a tune out of the slaves’ refrain, O cara armonia; and switched over a duet right into a trio. (Memoirs, sixty one) Lengthening, remix, trope, vocal redistribution . . . : these kind of interventions of the arranger objective at facilitating the communique, that's to claim the movement, of the paintings out of the country, in French opera homes. Berlioz areas those deformations at the similar point as these played on theatrical works via translators-adaptors, utilizing an analogy that Liszt, many years later, could take in and provides a completely varied import: Mozart was once assassinated by way of Lachnith; Weber, through Castil-Blaze . . . ; Molie`re and Corneille have been reduce via unknowns, familiars of the The´aˆtre-Franc¸ais; Shakespeare, ultimately, remains to be played in England, in types through Cibber and a few others. sixteen After having been variation, parolisation, translation (in the weakest experience of a French version), after creating a prior or overseas paintings comply with the flavor of the day in a intended nationwide tradition (like the musical counterpart of what Antoine Berman calls ‘‘ethnocentric translation’’), association for Berlioz might serve the functionality of upkeep: for him it might be an issue, whilst he turns into an arranger in flip, of averting the worst. association guarantees a philological and normative functionality, as testified by means of this episode of the Memoirs, which we have now already learn partly, the place Berlioz tells why he authorised paintings at the Freischu¨tz (chapter 62): the sensation which had suggested me to insist at the renovation of Weber’s paintings in its integrity, a sense which many might name fetishism, got rid of all pretext for the manipulations, derangements, suppressions, and corrections, which another way could were eagerly made (345; emphasis mine).