Listen: A History of Our Ears by Peter Szendy
By Peter Szendy
During this intimate meditation on listening, Peter Szendy examines what the position of the listener is, and has been, throughout the centuries. The function of the composer is apparent, as is the function of the musician, yet the place precisely does the listener stand in terms of the tune 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 let him to hear an individual hearing music), and wonders if it is attainable in alternative ways to express to others how we ourselves take heed to tune. How do we proportion our real listening to with others?Along the best way, he examines the evolution of copyright legislation as utilized to musical works and takes us into the court to ascertain assorted debates on what we're and aren't allowed to hear, and to witness the nice line among musical borrowing and outright plagiarism. eventually, he examines the new phenomenon of DJs and electronic compilations, and wonders how expertise has affected our conduct of listening and has replaced listening from a passive workout to an lively one, wherein it is easy to leap from tune to trace or play in simple terms chosen items.
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Additional info for Listen: A History of Our Ears
Example text
15 From a strictly legal point of view, we might speak rather of adaptations. The most famous example of deformation of a work, one related by Berlioz, is undoubtedly that of Castil-Blaze wreaking havoc on Weber’s Freischu¨tz. ’’ As Mozart’s Magic Flute had been, several years previously, when a certain Ludwig Wenceslas Lachnith had produced a French version of it under the title Les Myste`res d’Isis (1801). Berlioz, despite his indignation, gives a rather exact description of the deformations wrought by Lachnith: He stuck a few bars on to the end of the overture .
8 Nonetheless, despite all that our listenings, generally without knowing it, borrow from these notions of capital forged in the course of the history of the law of musicians, none of the voices we have encountered until now truly speaks about us: about what we do and, especially, what we have the right to do as we listen. But let us keep lending an ear, in this vast hearing room. In the midst of the loudest voices that forge and hammer out the laws or categories regulating musical life, some are more discreet: those of our predecessors, those of our ancestors, simple lovers of music.
The feelings I had while I entered the hall were succeeded first of all by a kind of stupor. I thought I was under the sway of a bad dream, the butt of a practical joke. . I had just heard a vocal and instrumental mess unprecedented in the musical annals of the countries I had till now traveled through. . Until then at least Weber’s score had been played in its entirety. The curtain rose for the third time. Instead of the third act, they gave scraps of the third act, scraps sewn together without the slightest concern for stage design, without the least musical feeling, a ridiculous potpourri.