Tuning forks as time travel machines: pitch standardisation and historicism

Gribenski, Fanny

doi:10.1080/20551940.2020.1794628

Cited by 3 publications

(1 citation statement)

References 14 publications

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“…Considering music as a practice also draws the quality of the music itself into focus, requiring us to consider musical embodiment in ways that were passed over in previous work. Taking the case of pitch and tonality in Western art music, what immediately seems rendered fixed by institutionalization (Weber 2010) is considerably more fluid in practice (Gribenski 2020). Improvising traditions, like jazz, have an even higher degree of spontaneity, with players taking liberties on key, melody, harmony, instrumentation, tempo, and duration, which presents even more pressing challenges for music coordination and the embodied work of playing (Berliner 1994; Faulkner and Becker 2009).…”

Section: Sociological Approaches To Making Musicmentioning

confidence: 99%

Hearing Like a Musician: Integrating Sensory Perception of Self into a Social Theory of Self-Reflexivity

Maslen

2022

Soc Psychol Q

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In Mead’s philosophy, we develop and present ourselves in anticipation of an audience, taking the role of other to “see” ourselves as we will be seen. But what we see when we take the position of other is not in fact what the other sees of ourselves. It is only the visible side of our experience that the other can grasp, leaving hidden our interior experiences. This article speaks to this conundrum left by Mead’s writing, presenting the training of musicians as a strategic site for showing why we need to go beyond Mead in social psychology, adding what Merleau-Ponty shows us of how we work on the invisible side of our experience. This research examines how classical music teachers work with students to deliberately transform their inner experience of their sound to align their self-perception with how others perceive them.

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Section: Sociological Approaches To Making Musicmentioning

confidence: 99%