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Learning to Listen : = Musical Hearing and the Construction of Musicality in the Nineteenth Century.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Learning to Listen :/
Reminder of title:	Musical Hearing and the Construction of Musicality in the Nineteenth Century.
Author:	Ballance, Sara Elisabeth.
Description:	1 online resource (290 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.
Contained By:	Dissertation Abstracts International78-12A(E).
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9780355271515

Learning to Listen : = Musical Hearing and the Construction of Musicality in the Nineteenth Century.
Ballance, Sara Elisabeth.

Learning to Listen :Musical Hearing and the Construction of Musicality in the Nineteenth Century. - 1 online resource (290 pages)

Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.

Thesis (Ph.D.)

Includes bibliographical references

This dissertation examines the construction of skilled musical listening in the nineteenth century through the interrelated lenses of musical aesthetics, pedagogy, and scientific inquiry. I argue that over the course of the century, the ability to hear music in detailed and analytical ways superseded skills of performance as a central hallmark of musicality. This contradicted earlier models of musicality that centered on the production of musical sound, and also revised eighteenth-century beliefs that a "musical ear" was a fixed characteristic that a person either had or did not. What developed during the nineteenth century was a nuanced definition of the musical ear, along with a belief that a person could, and must, develop one through systematic training. I show that these ideals of listening emanated in part from mid-century conservative musical aesthetics. However, they were also enabled by scientific advances in the study of sensation and perception and translated into practice through the emerging discipline of ear training.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355271515Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Learning to Listen : = Musical Hearing and the Construction of Musicality in the Nineteenth Century.
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500 $a Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.
500 $a Adviser: David C. Paul.
502 $a Thesis (Ph.D.) $c University of California, Santa Barbara $d 2017.
504 $a Includes bibliographical references
520 $a This dissertation examines the construction of skilled musical listening in the nineteenth century through the interrelated lenses of musical aesthetics, pedagogy, and scientific inquiry. I argue that over the course of the century, the ability to hear music in detailed and analytical ways superseded skills of performance as a central hallmark of musicality. This contradicted earlier models of musicality that centered on the production of musical sound, and also revised eighteenth-century beliefs that a "musical ear" was a fixed characteristic that a person either had or did not. What developed during the nineteenth century was a nuanced definition of the musical ear, along with a belief that a person could, and must, develop one through systematic training. I show that these ideals of listening emanated in part from mid-century conservative musical aesthetics. However, they were also enabled by scientific advances in the study of sensation and perception and translated into practice through the emerging discipline of ear training.
520 $a Throughout the project, I consider this new emphasis on analytical listening in the context of larger aesthetic and cultural concerns. In particular, I ask who was excluded from a definition of musicality based on idealized aurality. As the conceptual boundary between musical and unmusical shifted from the production of music to an internal, unseen process of perception, beliefs about listening reinforced the idea that true aesthetic creativity was determined by identity as much as skill. In particular, across multiple discourses, women were judged to be unmusical by their perceived inability to listen. In this way, I interpret musical listening in the nineteenth century as a historicized perceptual process that mediated between social, scientific, and aesthetic concerns.
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538 $a Mode of access: World Wide Web
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650 4 $a Pedagogy. $3 1148703
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710 2 $a University of California, Santa Barbara. $b Music. $3 1180012
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