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8 terms

ErdayBaller

Types of Listeners

STUDY

PLAY

Listener Categories
1.Casual Listener
2. Referential Listener
3. Critical Listener
4. Perceptive Listener
Casual Listener
1. Likes having music playing
2. Filling the Environment with Sounds
Musical Relaxation
1. Air from Suite No. 3 in D Major
Referential Listener
1. Relate to Music based on past experiences, and memories of a person, event, or feeling
Symphony Fantastique
…..
Idee Fixee
the theme of the beloved
Critical Listener
1. Primary objective to identify what is wrong with a performance
Perceptive Listener
1. Asks the Following Questions
:What is it in the music that makes me feel this way?
: Is it the way the performer is interpreting the music?
:Is it because of the volume or speed at which it is played?
:Is it because it is sung, played but instruments, or because it has a good balance of unity and variety?
: Is it a combination of both?
:If so, what combination is at work?
2. Tries to remember the following
: When and where the music was heard recently
: What other works from the performer she is familiar with
3. Is aware of the quality of the performance but:
Goes beyond the technical aspects to seek appreciation and understanding of the work
4. Furthermore
:Attends concerts regularly and listens with concentration
:uses appropriate musical vocab, not lay terms like mellow or upbeat to describe music
:Tries to develop an awareness of different musical styles and realizes that there are significant and valid differences among these styles. Is open to all kinds of music.
:Realizes that music is created for many different purpose and by many different kinds of people
:Really tries to understand the music and what makes it interesting before passing judgment
:Would never decide that she does not like a certain kind of music without having listened to it.
:Tries to learn something about the music before listening to a live or recorded performance of it
: Is aware of the fact that a piece of music, regardless of style, might take some time to reveal its structure, meaning and beauty , and is therefore prepared to reserve judgment until she has heard it many times.
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Types of Listeners

 
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14 terms

sjthomas4

Types of Listeners

STUDY

PLAY

4 types of listeners
Casual Listener
Referential Listener
Critical Listener
Perceptive Listener
1897
gramophone was invented
1925
electric phonograph was invented
1979
personal stereo tape player was invented
1998
digital players were invented
The Musical Experience of Performer, Composer, Listener (1972)
Roger Sessions states that, until fairly recently, composers probably did not intend for their works to be heard in a concert or performance setting, but rather to be played or sung as part of a social or religious occasion in which the center of attention was something other than the music itself.
With exceptions of:Concert spirituel in Paris and the Salomon concerts in London (1790)
concerts were not open to the general public; rather, they were intended for the private enjoyment of wealthy and royal patrons. In the 19th century, when the feudal system of government in Europe collapsed, a growing number of people started purchasing access to orchestral concerts by subscription. While music continued to be performed mainly in the royal courts or aristocratic homes, the growing merchant and middle classes began to take pleasure in musical entertainment, and they viewed concert attendance as a form of social advancement.
Casual Listener
The Casual Listener
In his own words…

"To listen is an effort, and just to hear is no merit. A duck hears also."

Igor Stravinsky (1882-1971)

This type of listener likes having music playing, filling the environment with sounds.

Johann Sebastian Bach
Suite No. 3 in D major, BWV 1068: Air
Born: 21 March 1685
Died: 28 July 1750
Period: Late Baroque
Country: Germany

In a hectic world, people often try to find relaxation through music. Music becomes a wash of sound that soothes nerves, calms the spirit, and in some cases, even aids the practice of meditation. A piece frequently used for this purpose is the Air from Suite No.3 in D major by J. S. Bach, an orchestral work characterized by its slow, carefully modulated pace. In general, slow movements tend to be relaxing. Tuning in to a favorite soothing piece of music may dispel tension and frustrations and help unwind after a stressful day.

Referential Listener
Sometimes music may remind people of past events, or it may bring to mind particular images, feelings, or situations.
Program Music
Composers are aware of the associative power of music and sometimes intentionally title their compositions to bring certain connections to mind.
Absolute Music
music that is not associated with a particular story, image, object, or event
Symphonie Fantastique
young, lovesick musician in the throes of a desperate, impossible passion takes a large dose of opium with the intention of killing himself. Instead, he has wild hallucinations
The first movement represents the passion of the lovesick musician. In it, the beloved is represented by a musical theme that appears in every movement, reccurring as an obsession or idée fixe—an idea that continually haunts the artist. About this movement Berlioz wrote:

The author imagines that a young musician, afflicted with that moral disease that a celebrated writer calls "the surge of passions," sees for the first time a woman who embodies all the charms of the ideal being of whom he has dreamed, and he falls hopelessly in love with her. Through a bizarre trick of fancy, the beloved image always appears in the mind’s eye of the artist linked to a musical thought whose character, passionate but also noble and reticent, he finds similar to the one he attributes to his beloved.
In the second movement, A Ball, the artist sees his beloved across the room, and the initially calm waltz evolves into a mad swirl. Berlioz wrote:

The artist finds himself in the most varied situations—in the midst of THE TUMULT OF A FESTIVITY, in the peaceful contemplation of the beauties of nature; but wherever he is, in the city, in the country, the beloved image appears before him and troubles his soul.
The third movement, Scenes in the Fields, depicts a peaceful country scene in which the artist’s intoxicated mind is tinged with dark suspicions that his beloved is not being faithful to him. Berlioz wrote:

Finding himself in the country at evening, he hears in the distance two shepherds piping a ranz des vaches in dialogue. The pastoral duet, the scenery, the quiet rustling of the trees gently disturbed by the wind, certain hopes he has recently found reason to entertain—all these come together in giving his heart an unaccustomed calm, and in giving a brighter color to his ideas. He reflects upon his isolation; he hopes that soon he will no longer be alone…But what if she were deceiving him!…This mixture of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the ADAGIO. At the end, one of the shepherds again takes up the ranz des vaches; the other no longer replies…The distant sound of thunder…solitude…silence.
(The term ranz des vaches refers to a Swiss cattle herder’s song, a type of folk song also used by other composers.)

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