
Listen
Description
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Along the way, he examines the evolution of copyright laws as applied to musical works and takes us into the courtroom to examine different debates on what we are and aren't allowed to listen to, and to witness the fine line between musical borrowing and outright plagiarism. Finally, he examines the recent phenomenon of DJs and digital compilations, and wonders how technology has affected our habits of listening and has changed listening from a passive exercise to an active one, whereby one can jump from track to track or play only selected pieces.
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Persons
Peter Szendy is David Herlihy Professor of Humanities and Comparative Literature at Brown University and musicological advisor for the concert programs at the Paris Philharmonie. His books include Of Stigmatology: Punctuation as Experience; All Ears: The Aesthetics of Espionage; Apocalypse-Cinema: 2012 and Other Ends of the World; Kant in the Land of Extraterrestrials; Hits: Philosophy in the Jukebox; and Listen: A History of Our Ears..
Jean-Luc Nancy (Foreword By)
Jean-Luc Nancy (1940-2016) was Distinguished Professor of Philosophy at the Universite Marc Bloch, Strasbourg. His wide-ranging thought runs through many books, including The Literary Absolute, Being Singular Plural, The Ground of the Image, Listening, Corpus, The Disavowed Community, and Sexistence.
Charlotte Mandell (Translator)
Charlotte Mandell has translated more than forty books and is the recipient of numerous awards.
Content
- Intro
- Contents
- Foreword: Ascoltando
- Prelude and Address: ''I'm Listening''
- Chapter 1 Author's Rights, Listener's Rights (Journal of Our Ancestors)
- Plagiarism and the obligation of truth
- 1757: Music and notes (at the foot of the page)
- 1835: A great change in our customs
- 1853: A listener in court
- 1841: Our portrait in a cartoon
- Chapter 2 Writing Our Listenings: Arrangement, Translation, Criticism
- Ever since there have been works...
- Functions of arrangement
- Liszt and the translators
- The original in suspense
- Arrangement at work (Liszt, second version)
- Schumann the critic
- Decline of arrangement (Why is music so hard to understand?)
- Chapter 3 Our Instruments for Listening Before the Law (Second Journal Entry)
- The First trial of mechanical music (Verdi on the boards)
- Music in Braille
- The phonograph in court
- Rights for reproduction and radio broadcast
- Stravinsky, Schoenberg, and pirates
- The Furtwängler ruling and subsidiary laws
- Trademarking a sound (Harley-Davidson in the sonic landscape)
- On the right to quotation in music (John Oswald, the listener)
- Chapter 4 Listening (to Listening): The Making of the Modern Ear
- Types of listening (Adorno's Diagnosis)
- ''Listening, I follow you'' (Don Giovanni)
- Polemology of listening (Berlioz and the art of the claque)
- Ludwig van (1): attention
- Ludwig van (2): deafness
- Schoenberg: ''to hear everything''
- Epilogue: Plastic Listening
- Ludwig van (3): A dialogue with Beethoven
- Ludwig van (4): The ''second practice'' of track markers
- Ludwig van (5): The prostheses of authenticity
- Hearing listening: summation of listening(s)
- Notes
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