Sensing Sound by Nina Sun Eidsheim

8202019 Sensing Sound by Nina Sun Eidsheim

httpslidepdfcomreaderfullsensing-sound-by-nina-sun-eidsheim 139

S E N S I N G

Singing amp Listening as Vibrational Practice

N I N A S U N E I D S H E I M



SENS ING

S O U N D



Sign Storage Transmission bull A series edited by Jonathan Sterne and Lisa Gitelman



NINA SUN EI DSHEIM

S E N S I N G

S O U N DSinging amp Listening as Vibrational Practice

Duke University Press bull Durham and Londonbull 2015



copy 2015 983118983145983118983137 983123983157983118 983109983145983140983123983144983109983145983149 All rihts reserved

Printed in the United States of America on acid-free paper

Desined by Courtney Leih BakerTypeset in Whitman and Gill Sans by Tsen Information Systems Inc

Library of Conress Cataloin-in-Publication Data

Eidsheim Nina Sun [date] author

Sensin sound sinin and listenin as vibrational practice Nina Sun Eidsheim

paes cm mdash (Sin storae transmission)

Includes biblioraphical references and index

983145983123983138983118 978-0-8223-6046-9 (hardcover alk paper)

983145983123983138983118 978-0-8223-6061-2 (pbk alk paper)

983145983123983138983118 978-0-8223-7469-5 (e-book)1 Sound 2 Sinin 3 Vibration 4 MusicmdashAcoustics and physics

I Title II Series Sin storae transmission

983149983148380798310943 2015

7811mdashdc23 2015022741

983107983151983158983109983154 983137983154983156 Vilde Rolfsen Plastic Bag Landscape Courtesy of the artist

Duke University Press ratefully acknowledes the support of the 983137983149983123 75 983152983137983161983123

Endowment of the American Musicoloical Society funded in part by the NationalEndowment for the Humanities and the Andrew W Mellon Foundation which

provided funds toward the publication of this book



IN MEMO RY OF amp D EDICATED TOHillary Elizabeth Brown (1971ndash2011) bull Nicolaacutes Arnvid Henao Eidsheim (2011ndash)



CONTENTS

Illustrations bull viii Acknowledments bull xi

Introduction bull 1

1 MUSICrsquo S MATERIAL DEPENDENCY

What Underwater Opera Can Tell Us about Odysseusrsquos Ears bull 27

2 THE ACOUSTIC MEDIATION OF VOICE SELF AND OTHERS bull 58

3 MUSIC AS ACTION

Singing Happens before Sound bull 95

4 ALL VOICE ALL EARS

From the Figure of Sound to the Practice of Music bull 132

5 MUSIC AS A VIBRATIONAL PRACTICE

Singing and Listening as Everything and Nothing bull 154

Notes bull 187

Biblioraphy bull 241

Index bull 261



11 Juliana Snapper sinin underwater bull 2812 Ron Athey on the Judas cradle bull 30

13 Juliana Snapper sinin upside down in Judas Cradle bull 38

14 Juliana Snapper sinin in bathtub bull 42

15 Snapper sinin in water tank bull 42

16 Snapper with two tenders bull 43

17 Eidsheim and Bieletto in pool bull 44

21 Audible and acoustic factors bull 67

22 Songs of Ascension Oliver Ranch Geyserville CA bull 73

23 Songs of Ascension Stanford University Palo Alto CA bull 76

24 Songs of Ascension Gugenheim Museum New York NY bull 76

25 Songs of Ascension Disney Hall Los Aneles CA bull 77

26 Map of Union Station Los Aneles CA bull 83



I LLUSTRATIONS

27 Overture of Invisible Cities Union Station bull 8428 Dancers durin performance of Invisible Cities bull 86

29 Invisible Cities rehearsal bull 86

210 Siner with cellphone audience with headset bull 88

31 SpeechJammer bull 98

32 Three Noisy Clothes costumesbull 106

33 Person bendin down person standin bull 107

34 Silhouettes of clothes bull 107

35 Early list of body movements Body Music bull 114

36 Early abandoned sketch Body Music bull 117

37 Draft of section of final iteration of Body Music bull 119

51 Wheel of Acoustics bull 166

52 Vibratory Model of the Human Body bull 173



ACKNOWLEDGMENTS

The process of conceivin and writin this book is a testament to its thesis thatsound does not exist in a vacuum but rather comes into existence throuh

particular and always already unique material iterations In the same way

any ideas expressed herein came about within a communal environmentmdash

whether throuh interactions with scholarly discourses and citational frame-

works or throuh conferences talks and personal communications Moreover

as I finally face the task of writin the acknowledments I realize that like the

rich phenomenon of music the ratitude I feel toward all the individuals and

institutions that supported me throuhout this process cannot adequately becaptured in words However for their tremendous support and enormously

helpful sugestions I do want to mention some individuals by name Needless

to say the idiosyncrasies that remain are mine

First many thanks to my editor Ken Wissoker for truly understandin and

trustin in this project Thanks also to Jade Brooks and Danielle Szulczewski

for expertly brinin the manuscript throuh the process and to Jeanne Ferris

for wonderful copy editin And to Jonathan Sterne and Joseph Auner for their

tremendous work in reviewin the manuscript and for revealin their identi-

ties to me to enable and expand the conversation

Special thanks to my colleaues in the Department of Musicoloy at the

University of California Los Aneles (983157983107983148983137) Olivia Bloechl Robert Fink Ray-

mond Knapp Elisabeth Le Guin Tamara Levitz David MacFayden Mitchell

Morris Jessica Schwartz Timothy Taylor and Elizabeth Upton and to raduate

students at 983157983107983148983137 and beyond (especially Alexandra Apolloni Robbie Beahrs

Natalia Bieletto Ben Court Oded Erez Hyun Kyon Chan Rebecca Lipp-

man Joanna Love Caitlin Marshall Andrea Moore Tiffany Naiman David

Utziner and Schuyler Whelden and to Breena Loraine Mike DrsquoErrico Jil-



xii bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

lian Roers Zachary Wallmark and Mandy-Suzanne Won for workin closely

with me on multiple projects Thanks are also due to the exceptional two men-

tors assined to me by the 983157983107983148983137 Council of Advisors Joseph Bristow and Anas-

tasia Loukaitous-Sideris to Joy Doan David Gilbert and David Gilbert at the

983157983107983148983137 Music Library to Barbara van Nostrand Olivia Diaz and the rest ofthe humanities administrative roup the 983157983107983148983137 Herb Alpert School of Music

staff and Assistant Dean of Humanities Reem Hanna-Harwell and Director of

Academic Personnel and Operations Lauren Na at 983157983107983148983137 who toether make

everythin possible

Colleaues I have spent loads of time with cookin up and carryin out

lare projects in the service of forwardin the conversation and possibilities

for expandin research discourse around voice include Annette Schlichter in

our collaborations convenin research roups (the 983157983107 Multicampus ResearchGroup [983149983154983143] titled Keys to Voice Studies Terminoloy Methodoloy and

Questions across Disciplines and the 983157983107 Humanities Research Center Resi-

dency Research Group entitled Vocal Matters Technoloies of Self and the

Materiality of Voice) and co-editin the forthcomin special issue of Postmod-

ern Culture on voice and materiality Jody Kreiman Zhaoyan Zhan Rosario

Sinorello and Bruce Garrett for bein willin to answer endless questions

about voice and vibration and for imainin what voice studies could one day

be at 983157983107983148983137 and Katherine Meizel for takin on the sinificant editorial andoranizational work of The Oxford Handbook of Voice Studies and its related con-

ference ldquoVoice Studies Nowrdquo with me

For enerously enain me in conversation and sharin resources at criti-

cal junctures I thank Shane Butler Paul Chaikin J Martin Dauhtry Joanna

Demers Emma Dillon Ryan Dohoney Emily Dolan Veit Erlman David Gut-

kin Juliana Hodkinson David Howes Brandon LaBelle Doulas Kahn Brian

Kane Alejandro Madrid Susan McClary Mara Mills Matthew Morrison

Jamie Niesbet Marina Peterson Benjamin Piekut Matthew Rahaim Juliana

Snapper Jason Stanyek Alexander Weheliye Amanda Weidman Rachel

Beckles Willson and Maite Zubiaurre

To Daphne Brooks for invitin me to be part of the Black Feminist Sonic

Studies Group and to its stellar lineup of Farah Jasmine Griffin Emily Lordi

Mendi Obadike Imani Perry Salamishah Tillet and Gayle Wald to members

of the 983157983107 983149983154983143 (especially Theresa Allison Christine Bacareza Balance Robbie

Beahrs Shane Butler Julene Johnson Patricia Keatin Sarah Kessler Peter

Krapp Jody Kreiman Caitlin Marshall Miller Puckette Annelie Rug Mary

Ann Smart James Steintraer and Carole- Anne Tyler) to the 983157983107 Humanities



983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xiii

Research Center Residency Research Group (Jonathan Alexander David Kasu-

nic Katherine Kinney Caitlin Marshall and Carole- Anne Tyler) to the Cornell

University Society for the Humanities (Eliot Bates Marcus Boon Duane Cor-

pis Miloje Despic Sarah Ensor Ziad Fahmy Brian Hanrahan Michael Jonik

Jeannette S Jouili Damien Keane Nicholaacutes Knouf Brandon LaBelle Eric LottRoer Moseley Norie Neumark James Nisbet Trevor Pinch Jonathan Skinner

Jennifer Stoever- Ackerman and Emily Thompson) and to participants invited

to the ldquoVocal Matters Embodied Subjectivities and the Materiality of Voicerdquo

symposium (Joseph Auner Charles Hirschkind Mara Mills Jason Stanyek

Jonathan Sterne and Alexander Weheliye)mdashthank you

Many of the ideas herein were first presented in talks and roundtables I

thank all of those who have enaed me in questions and conversation For

invitations to speak about voice and vibration I thank Ryan Doheney and HansThomalla and the Northwestern University School of Music Paul Sommerfeld

at Duke University and the members of the South Central Graduate Music

Consortium Stan Hawkins and the University of Oslo Zeynep Bulut and the

Institute for Critical Inquiry Berlin Daphne Brooks and the Princeton Cen-

ter for African American Studies Dylan Robinson Sherrie Lee and the Uni-

versity of Toronto Robbie Beahrs and Benjamin Brinner at the 983157983107 Berkeley

Department of Music Martha Feldman and David Levin at the University of

Chicao Neubauer Colleium for Culture and Society Catherine Provenzanoand J Martin Dauhtry at the New York University Jann Pasler and the 983157983107 San

Dieo Department of Music Konstantinos Thomaidis and Ben Macpherson

at the Centre for Interdisciplinary Voice Studies the Society for Ethnomusi-

coloy the American Musicoloical Society and the International Conference

Crossroads in Cultural Studies

While this project did not oriinate with my dissertation which treated

issues related to vocal timbre and race I would be remiss if I did not reconize

the intellectual influence of key people from my raduate student years and

on Jann Pasler Geore Lewis John Shepherd Miller Puckette Adriene Jenik

Geore Lipsitz Deborah Won Andy Fry Steven Schick Juliana Hodkinson

Jacqueline and Mark Bobak Paul Berkolds and the late Ernest Fleischmann

and James Tenney And much earlier the influence of Gayle Opaas Tor Strand

Atle Faeligroslashy and Anne-Brit Kra

I experience a special kind of ratitude for the amazin writin communi-

ties of which I am part For sustenance sanuine advice and ood lauhs my

thanks o to Sara Muriel Katherine Leslie Juliana Lauri Jessica Carrie

Julie Ray Sherie David Tracy Kathy Emily Tavishi and Joslashren Similarly to



xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

my spirited collaborators Elodie Blanchard Pai Chou Luis Fernando Henao

Alba Fernanda Triana and Sandro del Rosario And to Tildy Bayar Mandy-

Suzanne Won Jane Katz Shane Butler and Sara Melzer for intense readin

and commentin on part or all of this manuscript and especially to William

Waters for readin the entire manuscript multiple times at different staes ofcompletion

For the patchwork of contemporary family villae life that we have manaed

to stitch toether in the United States I am forever rateful to onkel Phillip

Lolly and Gary Olivia and Sophia Selene and Lauren April Bob and Lucas

Julie Tony and Seth Rosa in Los Aneles Lindsay and family in San Fran-

cisco Erle and Pegy in Arlinton Alba and Jose in Miami and Alexandra and

family in New York To our incredible family in Colombia Alba Lucia Karina

Luis Darienze and Laurita Adriana Enrique and Camila Mariluz Luna andLukas and especially to mi suegras Amparo and Gustavo por toda su paciencia

y gran ayuda ya que este libro fue en progreso Muchas gracias por todo And to our

equally patient and supportive family and friends in Norway Marianne med

familie Joslashren tante Aashild og mostemann Arve Sam Inrid Aurora Sun-

niva Lill Beate mamma og pappaog mormorTusen millioner takk

To Nicolaacutes for teachin me uncountable new vocal moves and a thin or

two about intermaterial vibrations and finally to Luisfermdashwhose practice of

patience kindness and love carries our family throuh every day

983137 983149983157983107983144 983109983137983154983148983145983109983154 983142983151983154983149 of parts of chapter 1 has appeared elsewhere in

ldquoSensin Voice Materiality and the Lived Body in Sinin and Listeninrdquo in

Senses amp Society 6 no 2 (2011) with permission from Bloomsbury Publishin

Plc and in Voice Studies Critical Approaches to Process Performance and Experi-

ence Konstantinos Thomaidis and Ben Macpherson editors (New York Rout-

lede 2015)

For permission to reproduce imaes I thank Marina Ancona Elodie Blan-

chard Miha Fras Stephanie BererThe New York TimesRedux Axel Koester

Kazutaka Kurihara and Koji Tsukada Maria Mikheyenko Jill Roers Dana

Ross Yuval Sharon Silvana Torrinha and Alba Triana

My research was supported by a 983157983107983148983137 Council of Research Grant a 983157983107 In-

stitute for Research in the Arts Performance Practice and Arts Grant a 983157983107983148983137

Research Enablin Grant the Miles Levin Essay award at the Mannes Institute

on Musical Aesthetics and a 983157983107983148983137 Center for the Study of Women Faculty

Research Grant In addition I received support from the Woodrow Wilson



983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv

Mellon Foundation the Cornell University Society for the Humanities the

Department of Musicoloy at 983157983107983148983137 the Office of the Dean of Humanities at

983157983107983148983137 and the 983137983149983123 75 983152983137983161983123 Endowment of the American Musicoloical So-

ciety funded in part by the National Endowment for the Humanities and the

Andrew W Mellon Foundation



INTRODUCTION

You may not remember the first time you heard the query or how many times you have heard it since ldquoIf a tree falls in the forest and no one is there to hear

it does it make a soundrdquo Usually people pose this conundrum to raise ques-

tions about reality and observation983089 However havin mulled it over for quite

some time I think that the questionrsquos import lies elsewhere If you were there

in the forest the sound of the fallin tree miht be one of your lesser concerns

Your attention miht be drawn to the darkenin of the sky as the reat tree

crashes down fillin your visual horizon You miht notice the eerie sounds

of birds as they flee perhaps you would squint as your eyes burned from thedust that whirled upward saturatin the air or you miht feel alarmed by the

thump of the tree crashin to the round throuh the branches of other trees

even brinin them down with it You miht simply be overwhelmed by the im-

pact of the thump vibratin throuh your body Conceivin of a fallin tree as

sound alone does not even bein to address the phenomena that are involved

The same applies to music sound sinin and listenin

For Clifford Geertz an ethnoraphic scene deserves a ldquothick descriptionrdquo

so that we can bein to tease out its intent and the meanin involved Writin

about an event so apparently unambiuous as the flick of an eye Geertz distin-

uished between a wink a twitch and the imitation of a wink983090 Analoously

just as an ethnoraphic interpretation miht fail to take account of the local

culture and context within which the event is takin place interpretin a sense

experience in terms of just one of the physical senses cannot take full account

of the eventrsquos complexities

The fact that the ldquothickrdquo event of the fallin tree elicits a question about

sound may be instructive in multiple ways speakin not only to issues in music

discourse and scholarship but also to a broader tendency reardin complex

sensory phenomena The question concernin the tree and the kinds of ques-



2 bull 983145983118983156983154983151983140983157983107983156983145983151983118

tions we ask concernin music are symptomatic of a propensity to reduce

thick events to manaeable sinifiers On the one hand this could be under-

stood simply as a eneral conitive stratey that enables us to deal with and

move throuh a complex world On the other hand it is nevertheless impor-

tant to be constantly aware of the ways in which shiftin forces and dynam-ics of power inscribe themselves onto the perspectives and processes of this

reduction

Sonic reductionsmdashthat is the tendency to constrain our understandin

of sound throuh previously defined referentsmdasharise from assumptions and

values concernin the usefulness of sound in constructin meanin983091 That is

we rely on the phenomena that we broadly conceptualize as sound to be stable

carryin out the work we need them to accomplishmdashfor example in some-

thin as commonplace as distinuishin between sound and noise or soundand music or noise and music (In chapters 2 3 and 4 I discuss in more detail

the kinds of work that we rely on sound to carry out) Certainty reardin a

iven sound and its meanin relies on the premise that a thick sonic event may

be reduced to a static one and in the process of this reduction we identify an

object a stable referent As a result the thick event of music is understood

throuh restricted and fixed notions such as pitch durational schemes forms

enres and so onmdashand thus the dynamic multifaceted and multisensorial

phenomenon of sound is often reduced to somethin static inflexible limitedand monodimensional Music then is most commonly experienced throuh

tropes or what I call the figure of sound983092 With this term I attempt to capture

the process of ossification throuh which I arue that an ever-shiftin rela-

tionally dependent phenomenon comes to be perceived as a static object or

incident It is precisely because the fiure of sound is by definition a natu-

ralized concept that inquiries into voice and music which are based on it are

similarly defined

Throuh reconceptualizin the voice as an object of knowledemdashand re-

latedly throuh investiatin voice and music as intermaterial practicesmdashwe

may bein to understand that voice and the states it has to offer are multi-

faceted and sometimes contradictory Thus I sugest that throuh the insihts

leaned from takin the voice seriously as an object of knowlede we may re-

lease music and sound from its containment within a limited set of senses and

fixed meanins Hence musicrsquos ontoloical status can be chaned from an ex-

ternal knowable object to an unfoldin phenomenon that arises throuh com-

plex material interactions

The methodoloical and theoretical implications of reconceptualizin the

voice as an object of knowlede include considerin sinin or other modes



983145983118983156983154983151983140983157983107983156983145983151983118 bull 3

of voicin as primarily analytical issues from the perspective of verbs rather

than nouns That is contra views of the voice as an aesthetic technical or

definitional catalyst I understand voice to offer an opportunity for question-

in processes that help create and perpetuate the object and idea of voice In

this understandin assumptions about the voice as a disembodied object oras representin a universal body no loner ain traction983093 By maintainin that

voice listenin sound and music are necessarily multisensory phenomena

and by roundin my investiation in pedaoical practicesmdashin sinin and

listenin bodiesmdashI not only make full use of the lessons learned in the area of

sound studies but I also open up the discipline to a broader understandin of

sound by askin fundamental questions about deeply inrained notions sur-

roundin its focus of study983094

Rather than reinforcin the fiure of sound I join a current swell of workthat seeks to find the nuance in and question such notions983095 More specifically

this book seeks to recover the dynamic multisensorial phenomenon of music

and to redirect thinkin about sound as object as with the fiure of sound

toward a reconception of sound as event throuh the practice of vibration

I undertake this project not merely as a linuistic corrective Rather I be-

lieve that how we think about sound matters and that reducin a dynamic

and multisensory phenomenon to a static monodimensional one has ramifi-

cations beyond our use of the concept and metaphor of the fiure of sound Myconcern is that this limitin conceptualization extends to and affects all who

enae with it That is if we reduce and limit the world we inhabit we reduce

and limit ourselves

My claim that sinin and listenin are better understood as intermaterial

vibrational practices may appear as a form of radical materiality as totalizin

as other metaphysical claims about voice includin voice as loos essence or

subjectivity However if there is a totalizin position it is not located within

the claim to materiality The ultimate thrust of this study does not lie in re-

definin and revaluin sound music noise or matter but concerns those who

sin and listen and those who are moved and defined throuh these practices983096

Thus if a totalitarian position is embraced it must lie in the relational sphere

In other words my desire to recover the thick event is fueled by the impulse to

understand more about the interal part that music plays in how we fore our

relations to one another



4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name

Rather than focusin solely on a phenomenonrsquos ontoloical status Geertz ad-

vised us to examine its import He asked ldquoWhat is it ridicule or challene

irony or aner snobbery or pride that in their occurrence and throuh theiraner is ettin saidrdquo983097 Reducin the thick event of music to a sinular sen-

sory mode aurality is driven by the hih value afforded to epistemoloymdashhow

to know based on the assumption that knowin is possiblemdashwithin academia

and beyond

I offer three examples First the requirements for knowin a iven phe-

nomenon favor particular kinds of measurements and objects that are avail-

able to be measured In music examples that come to mind include the fixin

of pitches the settin of tempi (for example throuh metronomes) and thefascination with music that falls into the Fibonacci sequence983089983088 Second in an

effort to build up areas of expertise the drive toward adherence to the fixed

referent has maintained divisions of knowlede within academia Academic

departments each claim a sinle perceived sense as their domain music has

claimed audition dance covers touch and movement art and art history focus

primarily on vision (althouh this has chaned as artists have broadly chal-

lened the confines of that domain) and so on Interestinly sound visual and

sensory studies have recently complicated these traditional domains indeedSensing Sound is enabled by these destabilizations Because musicrsquos areed-on

sensory domain is audition our vocabulary and orientation are therefore pri-

marily attuned and confined to that domain983089983089 Third academiarsquos call to teach

within these values shapes the knowlede it produces and perpetuates Per-

haps precisely because of the difficulty of knowin within these riid confines

there is a tendency to approach the material in a mode that seems possible

iven the limitations inherent in its definitions

In a radio interview the former poet laureate Billy Collins recently de-

scribed a similar disposition within the teachin and knowlede production

surroundin poetry

Itrsquos the emphasis on interpretation to the detriment of the less teach-

able maybe even more obvious or more [sic] bodily pleasures that poetry

offers But that mental and cerebral pleasure seems to be so dominant

that it leaves out other pleasures And the other pleasures are not so

teachable so they donrsquot require the intervention of a teacher The plea-

sure of rhythm The pleasure of sound The pleasure of metaphor Thepleasure of imainative travel All these pleasures that we experience in



983145983118983156983154983151983140983157983107983156983145983151983118 bull 5

a estalt fashion you know simultaneously as we experience a poem are

difficult to discuss really So the emphasis tends to be on what does the

poem mean983089983090

Applyin Collinsrsquos insiht to music scholarship and teachin we miht say

that it is easier or that it seems more scholarly to talk about pitch rhythm

form historical context and debates and meanin than it is to describe for ex-

ample the feelin and effect of bein transformed983089983091 It is also easier to quantify

such material than it is to convey its quality Adherence to such values directly

shapes musical discourse and teachin

Thus we see that the analysis interpretation and definition of music re-

veal as much about ourselves (and implicitly about the era of which we are

products) as about the music we name That is locatin music in the musical

workmdashwhich is broadly speakin the oranization of soundmdashand concen-

tratin our efforts on understandin this oranization of sound miht primarily

yield information about an epistemoloical paradim as opposed to ontoloy983089983092

This position has been challened One notable example of course is Christo-

pher Smallrsquos redefinition of music asmusicking a move desined to point to all

people involved in music makin and perceivin983089983093

The encompassin concept offered by Smallrsquos term is a model throuh which

I bein to map the complexities of sinin and listenin Similarly the idea of

transferrin creative authority from composer to listener resonates with Peter

Szendyrsquos recent theory of listenin as akin to ldquoarran[in]rdquo music983089983094 As I have

discussed elsewhere thinkin about music in this way even sugests a transfer

of the privilee of authorship to the listener983089983095 Furthermore the music theorist

Marion Guck put her finer on the same sore spot when she identified the false

assumption that analyzin a musical work or its composerrsquos intention alone

can capture the musical experience ldquoAs a theorist takin listenin rather than

composin as an analytical focus means that who countsmdashthe listenermdashis

different from theoryrsquos usual orientation What counts about the music is dif-ferent too Since I am interested in what the listenermdashusually Imdashexperience

throuh the sounds the point is not identifyin confiurations of notes but

showin how my experiences are elicited by the ways in which the confiura-

tions come toether for me and chane me as I respond to itrdquo983089983096 To advance the

viability of the listenerrsquos self-inquiry as an analytical focus we need to clarify

who we are as listeners and as such what we can accomplish In other words

to focus analytically on the listener allows us to read and interroate the im-

pact of a piece of music as it is experienced by a listener who is encultured ina iven way



6 bull 983145983118983156983154983151983140983157983107983156983145983151983118

Any ldquotheory about the listenerrdquo (to invoke the subtitle from Theodor

Adornorsquos controversial ldquoOn Popular Musicrdquo) describes the results of a pedaoy

arisin from and representin a set of values that has produced that listenin

practice rather than simply describin music loversrsquo ldquomass listenin habitsrdquo983089983097

But it is not only in formal pedaoy (for instance Heinrich Schenkerrsquos listen-in practice and that of the few composers he studied) that we can detect the

underlyin values that drive and direct listenin perspectives today983090983088 Every

listenin practice and its attendant theory arises from and reinforces a par-

ticular set of values

For example in his study of R T H Laennec who is credited with inventin

the stethoscope Jonathan Sterne observed that this technoloy and its allied

listenin practice initially developed out of restrictions values and attitudes

related to class and ender which called for a listenin device that createdphysical distance between doctor and patient983090983089 Jon Cruz observed that in the

abolitionist era a listenerrsquos political position on the subjective potential of Afri-

can American slaves could render the slavesrsquo voices as either ldquoalien noiserdquo or

ldquoculturally expressive and performin subject[s]rdquo983090983090 Both these examples speak

to Mark Smithrsquos observation that ldquosounds and their meanins are shaped by

the cultural economic and political contexts in which they are produced and

heardrdquo983090983091 However despite the varied nature of these observations and cri-

tiques they all depend on one assumption that has not been fully addressedthe presumption that we can make observations statements and judments

about the sound of music

In these paes I propose that sound the narrow loic throuh which our

concepts of music have been threaded and that lies at the center of musicrsquos

definition is merely a trope It is an empty concept in which we have none-

theless so thorouhly invested that it has produced a kind of tunnel vision We

have taken on a stance that rejects any challenes to the a priori idea or to fixed

knowlede983090983092 While this assessment may be viewed as extreme it follows from

the assumption that music is a thick event Understandin music as a fiure of

sound I sugest is merely one mode of thinkin about the phenomenon But

this is an idea with enormous currency and seeminly unstoppable momen-

tum Not only does it shape how we discuss conceive of and analyze music

but it also determines the ways in which we imaine we can relate to music

and the power we imaine it to wield in our lives This shapin in turn influ-

ences how we confiure our relationships to other humans throuh and with

music Indeed the way we conceive of our relationship to music could produc-

tively be understood as an expression of how we conceive of our relationship

to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7

To be sure in music we do experience somethin we call sound However

I wish to emphasize that this is but one iteration of a phenomenon that may

be defined much more deeply and broadly While sound is a vibrational field

to which we are particularly attuned by no means does it define or limit our

experience of music Nonetheless the conception of music as sound reularlyperpetuates a host of assumptions such as the notion that identity manifests

itself throuh vocal timbre a topic that I will discuss in chapter 3

The result of the stron directin hand of the fiure of sound is that when

we identify and name sounds we are not actin as free aents instead we are

acted on That is because we have allowed music discourse to rely so stronly

on the fiure of sound it pulls us toward certain ways of experiencin and

namin sound and limits our access to other ways As a consequence we are

not entirely free to experience sound idiosyncratically or to experiment un-restrictedly with that experience beyond areed-on names and meanins In

fact if such unbounded namin were carried out the resultin definition of

not only music but also sound itself miht not fall under conventional notions

of sound For example a iven phenomenon is under the fiure of sound

understood as the spoken sound b or p In contrast when released from the

fiure of sound the same phenomenon may be understood as an event that be-

cause of the amount of air it emits has a reater or lesser impact on the skin983090983093

Indeed if the namin of a iven phenomenon were uncoupled from the loic ofthe fiure of sound parameters that currently define this suite of phenomena

miht be considered not as fundamental but as merely marinal

My project arose from frustration with the ways in which in contemporary

musical discourse we fall short in thinkin and talkin about (and in devis-

in and interroatin performative and listenin practices around) sound by

relyin larely on judments about meanin and morality (for example ldquoshe

listens wellrdquo and ldquohe listens poorlyrdquo)983090983094 By critically assessin notions of sound

as perceived throuh the lens of a meanin-makin or sound-makin source

I try to capture the ways in which a vibrational force is reduced to statements

like ldquothis is the sound of a trumpetrdquo or ldquothis is the sound of a black manrdquo and

I attempt to broaden such perspectives Thus beyond this volume I envision

a move toward analytical models that simply and eleantly challene such re-

ductions and their impacts

Were Sensing Sound a historical study my task would be to directly address

how the vibrational material phenomenon as I understand it has been con-

ceptualized understood and acted on in disparate eoraphical and historical

contexts While that undertakin would be fascinatin and perhaps one for a

future date what I offer here is rather a contribution to the contemporary de-



8 bull 983145983118983156983154983151983140983157983107983156983145983151983118

bate in liht of recent currents in opera sound and sensory studies concern-

in how to conceptualize and analyze some of the music that is performed and

heard today by contemporary artists and audiences983090983095

Sensing Sound rejects the position that sound is a fixed entity and the idea

that perceivin sounds depends on what we traditionally refer as the auralmode This rejection trigers two pivotal questions First is the listenerrsquos or

musicianrsquos awareness of andor sensitivity to these multisensory sensations

essential to this rejection and to a possible alternative position (A related

question is would my arument need adjustment dependin on the answer to

this question) Second does my reframin of sound apply only to the particu-

lar and extreme repertoire treated here For me the answer to both of these

questions is a resoundin no The observations athered here reveal that in-

deed most people are unaware of the sensations or modes of what we refer toas sound and music Common musical discourses tend to steer perception and

analysis toward particular experiencesmdashespecially toward the auditory mode

I do not however invoke a Caeian move toward listenin to all sounds in-

cludin the sound of silence and the aesthetics of panaurality983090983096 On the con-

trary I maintain that not only aurality but also tactile spatial physical ma-

terial and vibrational sensations are at the core of all music Because the fiure

of sound produces a listenin practice and a subject position that can perceive

only within that mode it is challenin to imaine anythin outside it There-fore it is within these limits that I found my case studies

Musicrsquos Naturalized Cornerstones

Given that the fundamental concepts and vocabulary which we use routinely in

makin sense of music are thorouhly naturalized how can we possibly think

and experience beyond them The performance studies theorist Joseacute Esteban

Muntildeoz introduced a useful analytical tool for envisionin ways in which the

essentialized body and by extension the essentialized voice may rewrite or

decode itself This model has been useful in my efforts to think about extra-

paradimatic experience Buildin on the cultural theorist Stuart Hallrsquos encod-

in or decodin modes Muntildeoz defined ldquodisidentificationrdquo as ldquoa hermeneutic a

process of production and a mode of performancerdquo983090983097 Muntildeoz likened disiden-

tification to what Hall defines as the third and final mode of decodin in which

meanins are unpacked for the purpose of dismantlin dominant codes to re-

sist demystify and deconstruct readins sugested by the dominant culturemdash

that is as an oppositional reception Disidentification accordin to Muntildeoz is



983145983118983156983154983151983140983157983107983156983145983151983118 bull 9

an ldquoambivalent modalityrdquo the minority spectatorrsquos survival stratey that ldquore-

sist[s] and confound[s] socially prescriptive patterns of identificationrdquo983091983088

Disidentification which Muntildeoz exemplified throuh readins of dra per-

formances with explicit racial references is thus a performative stance under-

taken with deep knowlede of essentialized subject positions Throuh therewritin decodin or double performance of such subject positions the un-

spoken values that provide the contours akin to unerased text may surface

quotation marks appear around the essentialized subject position Throuh

purposeful foreroundin of the text layered throuh a series of rewritins

these meanins no loner simply hover in the backround passively con-

firmin what was thouht to be the subjectrsquos essential truth Instead they are

materialized and externalized and throuh this process we are finally able

to acknowlede them Moreover it is by first acknowledin the overarchina priori framework throuh which the world is comprehended that we can rec-

onize both essentialized subject positions and naturalized notions of sound

and their mutually reinforcin effects

While I am indebted to Hallrsquos and Muntildeozrsquos powerful work I also reconize

that their interventions (like most scholarship on race) remain within an orbit

wherein sins and sinifieds are relied on in social transactions In essence

they critique the power and effects of sins when used or interpreted unjustly

However both the critique and the solution they provide are spun from andlimited to the fiure of soundrsquos centrifual loic And it is with this loicmdash

instrumentalized throuh its areed-on parametersmdashthat musicrsquos naturalized

cornerstones are laid and cemented The fiure of sound has been so thor-

ouhly naturalized that our belief in its certainty is akin to our reliance on

ravitational force

I hope that this book will offer a convincin ldquoyesrdquo to a vibrational theory of

music (and to a subsumption of sound under vibration) and to an alternative

analytical framework to that offered by the fiure of sound In rapplin with

contemporary vocal performances that do not yield to analytical frameworks

premised on the fiure of sound I was emboldened to think about natural-

ized notions in music in new ways Rather than rejectin them as nonsensical

which was admittedly my first instinct I needed to allow the performances

themselves to show me how to approach them The performances had proved

unyieldin to familiar analytical frameworks not because they had failed in an

a priori way but because those techniques of analysis available to me had been

created to understand particular musicmdashmusic built on a different premise

than the performances I had at hand



10 bull 983145983118983156983154983151983140983157983107983156983145983151983118

Viewin music in this way carries some unsettlin consequences First it

sugests that traditional approaches constrain our understandin rather than

expandin it Second it asks that people who interact with are touched by and

seek to understand music approach an artificially bounded experience with-

out that familiar scaffoldin It asks anyone seekin to understand music to leto of the safety net of assumed certainty that is offered by reliance on musical

parameters and concepts and instead to enter the apparent chaos that follows

the rejection of preconceived cateories

If this was the sole effect of a vibrational theory of music its disruptions

would be destructive But approachin music as a vibrational practice offers

much more it reconizes and hence encouraes idiosyncratic experiences

of and with music Furthermore approachin music in this way takes into ac-

count its nonfixity and reconizes that it always comes into bein throuh anunfoldin and dynamic material set of relations

Therefore thouh unsettlin at first aumentin or replacin fixed musi-

cal cateories (and their attendant parameters endowed with value by a iven

culturally and historically specific situation) offers an openin It enables us to

reconize our interaction with and participation in music and our interaction

with and participation in the world in ways that we have always intuitively

reconized and always stronly felt but that we were seldom empowered (or

encouraed) to articulateIt bears mentionin that a license to take the materially and vibrationally

specific experiencemdashthe thick eventmdashas a startin point is the opposite of

self-centeredness Takin vibrational practice as a basis for knowlede build-

in around musicrsquos ontoloy and epistemoloy turns our attention from the

cateorical correctness or incorrectness of a iven description of music to the

ever-chanin relations that constitute music As in deconstructionrsquos sinify-

in chain the final meanin in vibrational practice is endlessly deferred More-

over by reconizin vibrational practice or the thick event as round zero

we are reminded to note and articulate our experiences of music in ways that

always keep in siht and in ear the ethical dimensions of sound music sin-

in and listenin983091983089

To fairly consider the performances at hand I enaed themes both cen-

tral and peripheral to the musicoloical debate As a result by addin multi-

sensory and material considerations to the powerful and effective work of Hall

Muntildeoz and others I approach what we have traditionally conceived as sound

from six interrelated transdisciplinary concerns the body the sensory com-

plex the sound the (performative and experiential) methodoloical orienta-

tion the analytical orientation and the metaphysical



983145983118983156983154983151983140983157983107983156983145983151983118 bull 11

I approach the body in and as performance and as it manifests itself to us

as a result of cultural construction and habituation I consider the sensory

complex of voice sound and music with similar mindful attention to the ways

in which that complex by definition is culturally structured And I keep in

mind that any information we miht lean throuh the sensory complex isthus shaped This perspective leads me to interroate the culturally informed

parameters of sound on which we rely That is does any music exist prior to

and independent of that which a culturally structured and informed sensory

complex ives rise to delivers and verifies Ormdashas the question of the fall-

in treersquos sound sugestsmdashis the music we can sense in any iven cultural

moment merely a reflection (or indeed a confirmation) of our limited ability

to perceive that moment983091983090 The process of respondin to these questions led

me to interroate musicoloical cornerstones musical parameters method-oloies and analysis

I also interroate one of musicrsquos fundamental parameters sound I do this

because the traditional understandin isolates sound from the thick event

of musicmdasha parameter from which we believe we can derive knowlede of

music and its effects In so doin I retreat from the assumption that music lies

uniquely in the sphere of sound Takin that assumption seriously I pay close

attention to the radations and impacts of vibration (as in sound) transmis-

sion (as in intermaterial flow) and transduction (as in conversion of wave formfrom say mechanical to electric) within historical and theoretical discourse

My study relies on a methodoloical orientation which arose from a concern

that I was trapped within my vocal traininrsquos culturally and historically shaped

and informed perceptual structures Hence my methodoloical orientation

includes attempts to disrupt said sensory complex by workin throuh vocal

and listenin practices that explicitly refuse to concern themselves with sound

makin or conventional aural-oriented listenin Moreover I turn my attention

to the question and issue of analysis specifically to self-consciously interro-

atin where we direct our analytical focus and with which methods we deci-

pher our material I also note that the metaphysical assumptions at the base of

musical inquiry arise in relation to questions about musicrsquos materiality or in-

effability Finally I should mention that as my references to Hall and Muntildeoz

have sugested my roundin orientation is informed by some of the critical

perspectives and insihts offered by scholarship on race and ender983091983091

My methodoloical orientation then is based on the premises that on the

one hand dominant concepts are (silently) instilled in the human body and

that on the other hand by testin a concept throuh its use in teachin the

conceptrsquos (unintended) consequences may be revealed By followin siners



12 bull 983145983118983156983154983151983140983157983107983156983145983151983118

who sin in ways or locations that do not fit into the dominant concepts of sin-

in we can bein to sense the outlines of these dominant conceptsmdashwhich

precisely because of their dominance are naturalized under more normal cir-

cumstances and hence are beyond the purview of our critical and analytical

focusThus I investiate underwater sinin and sinin that does not enae

the vocal cords in both theoretical and participatory modes To interroate the

possible connections between the practice of sinin and the concept of the

fiure of sound I follow that concept into the vocal instruction studio In doin

so I can ask When we use the concept of the fiure of sound how does a body

that is poised to make sounds react Furthermore what does the result tell

us about the viability of the concept I can also play with and test other con-

cepts of voice and sound The comparative results are concrete presented interms of how a voice student feels and performs based on the two types of in-

struction

I build on scholarship that has made reat strides toward a thorouh con-

sideration of the bodyrsquos role in musical experience983091983092 To summarize I think

about this work as havin two variants that attempt to accomplish separate yet

interrelated oals One variant mines the body as a site for valuable informa-

tion reardin the composition or performance situation and how the corpo-

real cultural formation and eneral environment (what is allowed and not al-lowed in terms of the body) informs what seems available as compositional and

performative possibilities Another variant larely consists of work by scholars

who were trained outside musicoloy but who are nevertheless serious schol-

ars of sound The latter considers how the full spectrum of sensory experience

contributes to our interpretation of sound and music Less has been done in

this area of research to address the musical repertoire in particular983091983093

I have found it useful to think about the body within the realm of sensory

studies and material scholarship To me this perspective removes perceived

barriers between music scholarship and the sciences and medicine It does

not distinuish between production and perception but sees them as creatin

each other The title of Jody Kreimanrsquos and Diana Sidtisrsquos roundbreakin book

Foundations of Voice Studies An Interdisciplinary Approach to Voice Production and

Perception articulates this cocreatin dynamic The authors reconize that the

analytical object that comes into relief is a direct consequence of the way in

which it is processed by our culturally formed sensory complex Consequently

an analysis of voice cannot concern only the so-called object but must also in-

clude the process that defines and reconizes it as such Thus the sensory and

the material o hand in hand Expandin our tool kit of perspectives to include



983145983118983156983154983151983140983157983107983156983145983151983118 bull 13

select aspects of what the sciences and medicine can offer moves us closer to

understandin voice sound and music and the sense we make of them

A major aspiration for this project is to sugest a framework for and offer an

example of analysis of voice and music that takes its analytical cues from the

vocal and musical event at hand rather than from a music-analytical framework developed with a particular repertoire (and different oals) in mind983091983094

Applyin these interlockin and mutually fulfillin perspectives I take inspi-

ration from scholars who enae in microhistories (that is in-depth historical

work on limited repertoires) and I adapt such a detailed approach to a close

analysis of previously excluded factors Hence my analytical orientation takes

the form of extendin methods and strateies from sound studies and sensory

studies and applyin them to issues arisin in contemporary opera studies

contemporary music and the emerin discipline of voice studies Examin-in aspects of the vocal or musical event beyond the normalized parameters

of traditional music analysis I extend perspectives offered by sound and sen-

sory studies to the multivalent simultaneous nuanced processes and effects

of lived music When I consider the shared sensory activities of sinin and lis-

tenin my emphasis is on microanalysis

This level of analysis shifts the focus on music to a finer-rained level than

that of pitch rhythm form and other commonly considered musical parame-

ters and I find that this approach resonates with aspects of Carolyn Abbatersquos work Drawin on Vladimir Jankeacuteleacutevitch Abbate arues that ldquomusicrsquos effects

upon performers and listeners can be devastatin physically brutal mysteri-

ous erotic movin borin pleasin enervatin or uncomfortable enerally

embarrassin subjective and resistant to the nosticrdquo983091983095 In other words our

actual experience with music is experienced rather than reasoned and inter-

preted ldquodrasticrdquo rather than ldquonosticrdquo However my response to the drastic

versus nostic dilemma to which she calls attention is first to develop a criti-

cal framework for dealin with the so-called drastic aspects especially one

that seeks to tease out the naturalized notions throuh which we understand

sound983091983096 Second I arue explicitly that we canmdashin fact we have a responsi-

bility tomdashattempt to understand the drastic in oranized analytical terms and

indeed in its entanlement with the terms set by the nostic

In so doin I draw on models developed by scholars who traverse the ter-

rain of music sound technoloy media and the senses For example Martha

Feldmanrsquos work on the castrato voice and Emily Dolanrsquos work on orchestral

timbre have already beun forin lines of inquiry about the couplin of shift-

in aesthetic sensibilities with the onset of new technoloies medical or other-

wise983091983097 And scholars workin on issues of technoloy and disability have by



14 bull 983145983118983156983154983151983140983157983107983156983145983151983118

necessity had to consider the intersection of dominant material structures of

perception and technoloical invention

Mara Millsrsquos historical work on the question of media the telephone and

deaf culture cannot but tell a story about the perceived limits and ideals of

the sensory complex and about the material implements created to bridesuch imained shortcomins983092983088 Veit Erlmannrsquos historical work on modern

aurality sugests that historically a particular type of epistemoloy has de-

fined reason in direct opposition to resonance983092983089 Alon the same lines is Joseph

Aunerrsquos work on musical modernism in the first half of the twentieth century

as marked by the sensitivity of the ldquophonometroraphrdquomdashEric Satiersquos term for

ldquoweih[in] and measur[in]rdquomdashthat is modernist sensibilities indelibly cre-

ated by ldquoears and minds remade by recordin phonoraphy player pianos and

the bureonin science of soundrdquo983092983090 Furthermore Alain Corbinrsquos influential work on nineteenth-century French villae bells and the ways in which their

physicality (includin patronsrsquo inscriptions) and sonic reach was an intimate

part of villaersrsquo interpretation of their sound has been a crucial model of a

powerful analysis983092983091

Buildin on these and additional important perspectives from disability

and media studies history and musicoloy my approach differs from the ma-

jority of items in the current onslauht of work by new materialists in that

I take a stance on the lived material body and that my primary motivationis to learn about the material relational dynamics leaned from feminist and

race studies983092983092 But when I lean toward a material approach that takes into ac-

count materialrsquos vibration I take my stronest cues from scholars such as Elisa-

beth Le Guin with her dedication to ldquocello-and-bow thinkinrdquo James Daviesrsquos

ldquoavowedly realistrdquo stance on the question of how ldquomusic acts in the cultivation

of bodiesrdquo and Peter Lunenfeldrsquos commitment to ldquomakerrsquos discourserdquo when

thinkin throuh diital and media practices983092983093 My perspective and motivation

are informed by my practice as a classically trained siner who has worked in

close musical collaboration with composers as well as in improvisational set-

tins My thinkin has also been informed by the contradictory ways my voice

has been read dependin on whether the listener has access to visual (Korean)

or sonic (Scandinavian accent) cues Furthermore my many years of learnin

about voice and listenin to voice as a voice teacher have left indelible imprints

on my theoretical orientation In my experience nothin forces me to come

to clarity about a iven topic concept or practice like havin to articulate it

in teachin

Additionally iven that most of the vocal apparatus is hidden from the naked

eye and that most vocal mechanisms are comprised of involuntary functions



983145983118983156983154983151983140983157983107983156983145983151983118 bull 15

also used for basic survival (such as breathin) teachin voice is a notoriously

elusive and challenin craft983092983094 Hence echoin the sayin you learn what you

teach my litmus test in reard to my knowlede about voice is whether or not

as a voice teacher I can help a person use his or her voice in a way that person

would like to In lare part what I know about voice and listenin and whatI employ in my theorizin is drawn directly from this experimental and ex-

periential practice983092983095 Therefore while the position communicated herein is in

intimate dialoue with and irreversibly influenced by theoretical perspectives

it has first and foremost been developed throuh my experience as a teacher

and student of voice and as a student of listenin and human relations I think

about this throuh the Norweian term haringndarbeid (meanin the work of the

hand)mdasha practice and concept that can broadly be translated as the domain

of doinFinally the entirely unintended theoretical implications of this project re-

sult in a stron position vis-agrave- vis the metaphysics of music In this way I par-

take in the conversation beun in the 1980s when musicoloy underwent a

tectonic shift with the onset of scholarship that self-consciously souht to in-

quire beyond positivistic values into music In Susan McClaryrsquos words posi-

tivistic scholarship was limited in its understandin music as ldquoa medium that

participates in social formation by influencin the ways we perceive our feel-

ins our bodies our desires our very subjectivitiesmdasheven if it does so surrep-titiously without most of us knowin howrdquo983092983096 Interal to that new conversation

was Smallrsquos notion of ldquomusickinrdquo a concept that has become key to analyses

of musical life and that as mentioned earlier has influenced my own thinkin

tremendously

Learnin from Small and others we miht think about the question of the

fallin tree by considerin the community that planted the forest and that

communityrsquos needs and hopes for that plot of land and what it yields We

miht consider too the dynamics amon the different social cultural and eco-

nomic circumstances represented by the people who come toether around

the landmdashfor example farm workers in relation to forest raners and forest

raners in relation to those usin the forest for recreation We miht ask ques-

tions about their varyin aspirations and their social and aesthetic needs and

desires New musicoloyrsquos perspective offers invaluable access to social class

cultural endered and economic dynamics

Smallrsquos project of rethinkin the social dynamics of music throuh the con-

cept of musickin may have its parallel in thinkin about music and sound as

the transmission of enery throuh and across material While Small expanded

the discussion from music as a ldquothinrdquo to music as an ldquoactivity somethin that



16 bull 983145983118983156983154983151983140983157983107983156983145983151983118

people dordquo includin perspectives from sound sensory and material studies I

pay attention to the microscopic material transformations that music helps to

usher into reality983092983097 And as Smallrsquos definition of music put the social at the hub

I hope that this discussion can expand the conversation further from thinkin

about music as a knowable aesthetic object to thinkin about it as transfer-able enery983093983088 Transferable energy here denotes enery pulsatin throuh and

across material and transformin as it adapts to and takes on various material

qualities it is at the crux of thinkin about music in the dimensions of nodes

of transmission and vibrational realizations in material-specific and dynamic

contexts

Situated within musicoloy and its intellectual trajectory I have found

that the concept of vibration considered in a musical context is useful when

puttin cross-disciplinary bodies of knowlede in dialoue983093983089 While the con-cept of the fiure of sound represents a disreardin of areas of knowlede

that fail to fit within prescribed frameworks vibration provides a route for

thinkin about fluidity and distribution that does not distinuish between or

across media and a portal for communicatin beyond physical boundaries For

example the political scientist Jane Bennett relied on an obscure treatise on

music in developin her aruments for the ldquopolitical ecoloy of thinsrdquo and the

ldquoactive participation of non-human forces in eventsrdquo983093983090 Toward that end she

theorized a ldquovital materialityrdquo runnin throuh and across bodies both humanand nonhuman983093983091 Like Bennett I am concerned with the material relationship

between humans and thins for which the practice of vibration is both meta-

phor and concrete manifestation And I see music not as a novel example of

vibration but as an everyday example of that tanible material relationship

akin to tree leavesrsquo movements manifestin the wind

Music as Nodes in a Chain of Transmission and Transduction

Thinkin about music throuh the practice of vibration brins up the limita-

tions of the paradim of music as sound as articulated by Rebecca Lippman

a participant in one of my raduate seminars ldquoBut if we think about this phe-

nomenon as vibration where does vibration bein and where does it endrdquo983093983092

With this question Lippman encapsulated the limitations of our conceptual-

ization of music when we operate with naturalized notions the set of ques-

tions and observations centralmdashperhaps nativemdashto one paradim often seem

forein and irrelevant to another For example within one paradim we would

consider a certain phenomenon to be sound and see it as bounded and know-

able with a distinct beinnin and end Yet within a different paradim we



983145983118983156983154983151983140983157983107983156983145983151983118 bull 17

would see the same phenomenon as vibration and understand it in the terms

of the enery in a bodyrsquos mass and its transmission transduction and trans-

formation throuh different materials983093983093 Furthermore while the first paradim

includes parameters such as duration that specifically imply beinnins and

endins these parametersmdashduration in particularmdashare less relevant in thesecond framework Within that framework relevant information comes from

inquiries into the relationships between materials and sensations indeed be-

tween the bodies involved Each paradim has its own loic and the parame-

ters and questions that yield knowlede in one are not necessarily productive

in the other Letrsquos compare the two frameworks

Fiure of sound Practice of vibration

mdash Remains the same independent mdash Shifts accordin to listener

of listener (fixed) (relational)

mdash Circumscribed mdash Always present

mdash Defined a priori mdash No a priori definition

mdash Oriinal copy mdash No assumed oriinal

no copy

mdash Juded accordin to fidelity mdash Nodes of transmission

to source observed

mdash Static mdash Dynamic

The fiure of sound is an entity whose existence depends on an objective

measurement For instance sound as a fiure demands a concrete definition

on a larer scale of bounded territory as does the round in a fiure-round

relationship If the smaller scale is for example pitch the bounded territory

is son Vibrations however are unbounded their relations are defined by

process articulation and chane across material In this paradim then the

phenomena that we conventionally reconize as notes makin up sons can-

not be limited to particular renditions or articulations What we observe and

label as sounds in the fiure of sound framework are considered simply as dif-

ferent points of transmissions in the practice of vibration framework If sin-

in and listenin both constitute the process of vibration across material they

are always presentmdashor more correctly always occurrin In short listenin

to makin and manifestin music is a vibrational practice

From the perspective of this practice it is the impetus the ure and the

rush to actionmdashindeed the vibrations that this presonic activity puts forthmdash

that make up sinin and music makin In other words sound is created and

shaped in the action and transmission of vibration millisecond to millisecond

A personrsquos body is also conditioned shaped and created within that time-



18 bull 983145983118983156983154983151983140983157983107983156983145983151983118

frame and the sounds it can produce are determinedmdashand limited onlymdashby

the rane of action and material transmission That is we participate in the

points of transmission for each of us there is no knowable music or sound be-

fore its sinular transmission throuh us While each iteration is unique we

exist as a sine qua non and the vibrational enery exists prior to the particulartransmission

This completely contradicts the fiure of soundrsquos drive to define sound ac-

cordin to an oriinal and to apply the question of fidelity to a source Further-

more without a drive to identify an object or sound bounded by a beinnin

and an end there is no assumed oriinal with which to compare and aainst

which to measure a iven fiure of soundrsquos relationship and potential leiti-

macy The evaluation of fidelity assumes a static object which is examined to

determine its relative loyalty and similarity to the source in contrast the prac-tice of vibration assumes a dynamic shiftin process of transmission983093983094 In other

words when there is no assumed fixed object the need to establish relative

fidelity to a static definition evaporates

As Lippmanrsquos question reveals the fiure of sound paradim assumes that

knowable and measurable thins form the basis of music A considerable

amount of music analysis derives its main enery from definin these objec-

tive elements and namin their relationships and structures While we under-

stand that definin pitches within scalar systems is contextually dependent within a particular discourse about a musical system we accept that a iven

analysis and its attendant listenin practice and judment do not question the

basic buildin blocks of the analysis (for example pitch) Within the sound

paradim a iven pitch operates as a stable index or sinifier While a rane of

values and beliefs is tied to the sinifierrsquos assumed relation to a iven sound

this framework impels us toward reconizin a iven iterationrsquos fixed relation-

ship a priori983093983095

This plays out dramatically in music a iven epistemic framework devel-

oped throuh a cultural system enables us to reconize and name say a G

In other words G is historically situated within a chromatic tempered scalar

system that is culturally bound to the Western tonal system Reconizin the

vibration that we name G also assumes reconition of the system within

which G is situated includin a number of possible systemsmdashfor instance

the assumption that it is part of the E-major scale but that it would be a forein

note (indeed the tritone) in a D-major scale Reconizin G also leaves out

the possibility that these vibrations play a part in other musical systems that

would not reconize them as G

However the paradim of the fiure of sound does not stop with the drive to



983145983118983156983154983151983140983157983107983156983145983151983118 bull 19

know and identify a pitched sound as the second scale deree of F major it is

bound up in the assumed meanin of this identity and it is often derived from

values and assumptions about identity that are deciphered from visual clues983093983096

The fiure of sound paradim so structures listenin to voices that it can lead

to appraisals such as ldquothis is the sound of a womanrsquos voicerdquo This appraisal isbased on perceived similarities and dissimiliarities between one sound and

anothermdashin this case on similarities to other human vocal sounds and on dis-

similarities to specifically menrsquos and childrenrsquos voices983093983097 By assumin an essen-

tial tie between a vocal timbre and a iven definition of race this paradim

can also lead to observations that are loaded with a presumption such as the

voice ldquosounded as if it was of a male blackrdquo983094983088 Listenin to voices throuh the

framework of sound can also carry multiple layers of appraisal for example

the observation that somebody is ldquotalk[in] whiterdquo983094983089 This judment has at leasttwo layers the idea of ldquotalkin whiterdquo assumes that the speaker is not white

and that the unexpected racialized vocal style is relevant only because of that

assumption (Just as the desination G can be applied in relation to many dif -

ferent scale systems the observation that a person is ldquotalkin whiterdquo can be ap-

plied aainst a backdrop of a number of different racial classification systems)

Ultimately the fiure of sound reduces soundrsquos bein and its attendant

listenin practices to soundrsquos relative relation to a rane of a priori ideas of

sound It also reduces the listener In this dynamic the listenerrsquos main task isto name the relationship between fiure and round the task revolves around

determinin a soundrsquos faithfulness to a iven set of assumptions Here bein

faithful entails such virtues as bein in tune and conveyin the a priori intent

and meanin of a particular sound composition or musical-cultural tradition

From the assumption of a defined nameable and knowable sound follows an

assumption of fidelity and a perceived moral obliation to consider each sound

in its fidelity to that a priori Robert Fink aptly describes these two processes

as ldquolistenin throuhrdquo a sound versus ldquolistenin tordquo that sound (for itself)983094983090 In

other words this model rests on the assumption that in the meetin between

a sound a voice and a music the respectful responsible and ethical way to

relate to the sound voice or music is throuh the capacity to reconize it and

know it

The practice of vibration in contrast relates a sound not to an a priori defi-

nition but to transmission Because propaation is never static and as a series

of continually unfoldin transmissions is not a matter of reconition and nam-

in the notion of fidelity accompanyin the fiure of sound is undermined If

there is nothin to which sound must remain loyal the notion of fidelity does

not retain its currency Then rather than limitin our conception of sinin



20 bull 983145983118983156983154983151983140983157983107983156983145983151983118

to the task of replicatin an ideal sound we miht row comfortable with the

notion that human existence and the activity that flows from a human bein

necessarily constitute a son Sinin beyond the ldquoshadowrdquo of the fiure of

sound then moves away from forcin us to mold our bodies to create an ex-

pected sound and toward acceptin the vibrations that pulsate from our ma-terial sonorous beins983094983091

Before discussin the larer ramification of this modulation from the fiure

of sound to the practice of vibration I should stress that I do not elevate vibra-

tion merely in an effort to move away from a perceived linuistic heemony

based on the fiure of sound My approach to the consideration of music as

a practice of vibration is not just a definitional adjustment nor simply a rhe-

torical attempt to allude to prelinuistic and presemiotic spaces or pre- and

posthistorical spaces In invokin vibration I am not makin a posthumanmove toward the subjectivity and aency of thins or away from human-made

sounds to theoretical vibrations of the spheres unrelated to and unencum-

bered by humans I reach toward vibration not to offer a mechanical orienta-

tion or to alin considerations of sound with science nor because I consider

music as entirely mechanistic somethin in the sphere of applied enineerin

rather than aesthetics

Instead my turnin to vibration is fueled by my interest in thinkin about

music as practice not object Music as vibration is somethin that crosses isaffected by and takes its character from any materiality and because it shows

us interconnectedness in material terms it also shows us that we cannot exist

merely as sinular individuals In this sense music as vibration is analoous to

social relations in a Marxist sense or ldquothe common oodrdquo which as the theo-

loian Jim Wallis cites from Catholic teachin is vital to the ldquowhole network of

social conditions which enable human individuals and roups to flourish and

live a fully enuinely human liferdquo983094983092 The ramifications of understandin music

as a practice of vibration are not limited to music discourse or music culture

as Wallis has sugested In contrast to the fiure of sound the fiure of vibra-

tion understands music as always comin into bein it renders music an event

of the common ood983094983093

This shift in orientation leads to major adjustments reardin epistemoloy

ontoloy and ethics First usin the illuminatin framework of the Dutch phi-

losopher and anthropoloist Annemarie Mol ldquoontoloy is not iven in the

order of thins but instead ontoloies are brouht into bein sustained

or allowed to wither away in common day-to-day sociomaterial practicesrdquo983094983094

Second when we deal with music sinin and listenin as events rather than

as objects the need for a specialized epistemoloy of sound evaporates Ques-



983145983118983156983154983151983140983157983107983156983145983151983118 bull 21

tions and methodoloies desined to lead to the ability to know and identify

the sonically knowable become uninterestin if there is nothin to reconize

and identify a priori nothin to know

And third this epistemoloical shift replaces the central tenets of musical

ethics and values movin from fidelity (questions of identity and difference) tocharity (concern for the material implications of our actions on others) Here

we consider the experience of music as one possible reister in the full rane

of material vibrational practice If we accept this position music necessarily

brins us into the territory of relationality and hence of political ontoloy

Thus what we conventionally consider audile listenin is only one of many

possible ways of articulatin and interactin with and throuh material rela-

tions

Naturally then music is only one of many areas in which adoptin the para-dim of the practice of vibration helps both equalize the roles and contribu-

tions of the different senses and point to an ethics that circumvents fidelity

For example a thouht model that I have followed and that has influenced me

throuhout this project is Aldo Leopoldrsquos classic essay ldquoLand Ethicrdquo first pub-

lished in 1949983094983095 In it and throuh his lifework Leopold introduced ethics as

the fundamental concept that should underlie all considerations of land and

water use includin our relationship to land and water While my project does

not explicitly arue for sound makin and listenin as ecoloical practices Ihave found in Leopoldrsquos philosophy of the human- land relationship a lucid

model for human- human relationships as they are rendered when sound is

understood as material transmission ldquoIn short a land ethic chanes the role

of Homo Sapiens from conqueror of the land community to plain member and

citizen of it It implies respect for his fellow members and also respect for

the community as suchrdquo983094983096 Leopoldrsquos text which is intensely relevant today

is valuable in thinkin about all relationships and stewardships into which

humans enter While readin the above excerpt in my mindrsquos ear I heard ldquoAp-

proachin sound music and voices as vibrational practice chanes the role

of Homo Sapiens from conqueror of the fiure of sound to plain member and

transmitter of a vibrational field It implies respect for his fellow members and

also respect for the community as suchrdquo

Leopoldrsquos meditation on our ethical relationship to the land resonates

with and underscores my convictions about ethical relations in the practice

of music Trappin music in the limited definition that follows from the fiure

of sound (that is a stable sinifier pointin to a static sinified) constitutes an

unethical relationship to music Accordin to my definition havin an ethi-

cal relationship to music means reconizin it as an always becomin field of



22 bull 983145983118983156983154983151983140983157983107983156983145983151983118

vibration and realizin that music consists not only of inanimate materials but

also of the materiality that is the human body Startin from Leopoldrsquos clear

vision about the human-land relationship and adaptin it to human-human re-

lationship with an understandin of music as material transmission lays bare

how we are interconnected ldquoItrsquos inconceivable to me that an ethical rela-tionship to [music] can exist without love respect and admiration and a hih

reard for [human] valuerdquo983094983097

Leopold reminded us that we do not possess the land rather we have been

entrusted with its stewardship983095983088 Similarly because a sound cannot be fixed

one cannot own a sound In our relationship to sound we are both in and of

vibrations We simultaneously create and experience vibrations sound and

music in the same moment both as performers and as listeners And it is pre-

cisely because vibrations do not exist separately from the materiality of thehuman body that we cannot objectify them983095983089 Sound voices music and vibra-

tion are under our stewardship as lon as we are part of their field of trans-

mission

Chapter Overview

My denaturalization of musicrsquos parameters and investiation into music as

a vibrational practice unfolds over five chapters Four of these chapters usetwenty-first-century American operasmdashenvisioned and created by a rich rane

of women composers and performersmdashto think throuh four naturalized ideas

about sinin listenin sound and music that commonly underlie musical

perceptions and discourses

mdashThe privilein of air as opposed to any other medium of sound

propaation

mdashThe predominant idea that soundrsquos behavior should be understood

in linear visual termsmdashThe presumption that sound is stable knowable and defined

a priori and

mdashThe assumption that music deals only in sound and silence

Each of these naturalized ideas typifies a flattenin of what I posit is a multi-

dimensional and contextually dependent phenomenon And each depends on

a priori definitions of sound

In the first four chapters I denaturalize these presumptions which are

the bedrock of many musical analyses and colloquial conceptions These

case studies arise from my enaement with multisensory scholarship sound



983145983118983156983154983151983140983157983107983156983145983151983118 bull 23

studies voice studies and opera studies I eneralize this analytical framework

in the bookrsquos final chapter considerin music as a vibrational event and prac-

tice In pursuin this line of inquiry I come to the understandin that because

music is not apart from us but of us it cannot be naturalized Hence my con-

cludin chapter makes it clear that my critique of fundamental sonic concep-tions is indeed a critique of their ethical implications

In chapter 1 ldquoMusicrsquos Material Dependency What Underwater Opera Can

Tell Us about Odysseusrsquos Earsrdquo I examine the underwater vocal practice of the

Los Anelesndashbased performance artist and soprano Juliana Snapper (b 1972)

and dispense with the idea that sound is stable and knowable before it is pro-

duced and perceived By no loner viewin air as the natural medium throuh

which sound materializes and by reconizin instead that airborne sound par-

takes of airrsquos distinctive features we come to appreciate the process of soundas a dynamic interactive comin into bein This chapter also applies Snap-

perrsquos insihts to a surprisin new readin of the sirens in Homerrsquos Odyssey

This is the first of three chapters that discourae the common understandin

of sound as merely aural and expose the associated deficiencies in current ana-

lytical techniques

In Chapter 2 ldquoThe Acoustic Mediation of Voice Self and Othersrdquo I deal

with spatial-relational and acoustic dimensions that are naturalized throuh

distinct sonic performative and listenin practices The two pieces I examineMeredith Monkrsquos (b 1942) 2008 Songs of Ascension (oriinally composed for

a sculptural tower with a double helix stairway and subsequently rearraned

for traditional performance venues) and the opera-for-headphones produc-

tion of Christopher Cerronersquos (b 1984) 2013 Invisible Cities (performed within

the bustle and everyday activity of Los Anelesrsquos Union Station but delivered

to audiences via headphones) show that most of the live music we hear in a

Western context is presented within an acoustic frame so naturalized that any

other acoustic settin is understood as wron rather than different I sugest

that a iven acoustic frame offers us more than simply poor or optimal sound

and that thus the naturalization of acoustics affects dimensions beyond our

experience of the sound per se That is I posit that acoustic and spatial speci-

ficity also participate in ivin form to the fiure of sound and that the acous-

tic mediation of sound and habituations related to it profoundly influence our

experience of self and others

In Chapter 3 ldquoMusic as Action Sinin Happens before Soundrdquo I posit that

sound is a subset of vibration and sugest that sinin and listenin are vital

exchanes of enery I interroate the basic principles of sinin and sound

production by examinin performance art pieces by Elodie Blanchard (b 1976)



24 bull 983145983118983156983154983151983140983157983107983156983145983151983118

and a chamber opera by Alba Fernanda Triana (b 1972) In these projects

sounds do not maintain static definitions based on numerical values (for ex-

ample 440 Hz) or sinifications (such as the note A) Instead sound is a dy-

namic element arisin throuhout the exchane that takes place durin sinin

and listenin This chapter denaturalizes sin- and discourse-based analyses ofsound proposin in their place a material sensory-based analysis that assumes

sound to be the result of an action rather than the action itself I compare this

perspectival shift to the sea chane that took place in art criticism in response

to Jackson Pollockrsquos work with the rise of what became known as action paint-

in critics had to move away from definin artistic work as a corpus of reified

objects (works) and instead define it in terms of the actions that miht have

produced such objects In this way chapter 3 questions the position and oriin

of the definition of workChapter 4 ldquoAll Voice All Ears From the Fiure of Sound to the Practice of

Musicrdquo concerns common assumptions about music and its definition One

major problem with the namin process in eneral is that the name becomes

an index for an experiential phenomenon Relyin on the index we become

several steps removed from the phenomenon itself includin its initial sin-

ular articulation the likelihood that we can experience another moment un-

mediated by prescribed parameters and meanins and even the name itself

For example althouh we are educated to believe that it is the form of anopera that moves us in actuality we are moved by multiple sinular and par-

ticular articulations within yet not reliant on the operatic form We listen for

opera arias and a particular operatic sonority we endorse and validate the ex-

periences we have in accordance with these predetermined cateories at the

expense of other experiencesmdashthat is even thouh other articulations that

do not fit the cateories miht also offer meaninful experiences Thus the

names and the fit between names and experiences become central This con-

stitutes the process of reification In chapter 4 I examine how this process is

performed in classical vocal pedaoy and I experiment with a teachin style

predicated on the assumption that sinin and music are material articulatory

processes This chapter proposes that articulatory actionmdashindeed eventsmdashis

at the core of both sinin and music983095983090

The fifth and final chapter ldquoMusic as a Vibrational Practice Sinin and

Listenin as Everythin and Nothinrdquo uses the four case studies and multi-

sensory perspectives offered by the precedin chapters to propose a model

for thinkin throuh selood and community In this model we are sound

Like sound which comes into bein throuh its material transmission human

beins are not stable and knowable prior to enterin into a relationship rather



we unfold and brin each other into bein throuh relationships Our potential

for reconizin and acceptin self and other rests on our ability and willinness

to be chaned by our encounters rather than merely by the potentially desir-

able qualities (or their absence) in others Hence for a relationship with sound

to take place we must be willin to take part in propaate transmit andmdashinsome casesmdashtransduce its vibrations From this it follows that entropy occurs

when we focus on the preconceived identity of another rather than on our own

ability (or inability) to undero chane I posit then a stron parallel between

how sound is realized or propaated throuh certain materialities and how we

as unique beins are bein realized throuh transmission and the reception of

another person who approaches us as a unique unrepeatable human bein983095983091



SENS ING

S O U N D






NINA SUN EI DSHEIM

S E N S I N G














983145983123983138983118 978-0-8223-6061-2 (pbk alk paper)



983149983148380798310943 2015

7811mdashdc23 2015022741










CONTENTS


Introduction bull 1




3 MUSIC AS ACTION






Notes bull 187


Index bull 261

















I LLUSTRATIONS















ACKNOWLEDGMENTS



























xii bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123








everythin possible






























983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xiii






































xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

























lede 2015)












983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118






















































NINA SUN EI DSHEIM

S E N S I N G














983145983123983138983118 978-0-8223-6061-2 (pbk alk paper)



983149983148380798310943 2015

7811mdashdc23 2015022741










CONTENTS


Introduction bull 1




3 MUSIC AS ACTION






Notes bull 187


Index bull 261

















I LLUSTRATIONS















ACKNOWLEDGMENTS



























xii bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123








everythin possible






























983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xiii






































xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

























lede 2015)












983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118




























































983145983123983138983118 978-0-8223-6061-2 (pbk alk paper)



983149983148380798310943 2015

7811mdashdc23 2015022741










CONTENTS


Introduction bull 1




3 MUSIC AS ACTION






Notes bull 187


Index bull 261

















I LLUSTRATIONS















ACKNOWLEDGMENTS



























xii bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123








everythin possible






























983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xiii






































xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

























lede 2015)












983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118






















































CONTENTS


Introduction bull 1




3 MUSIC AS ACTION






Notes bull 187


Index bull 261

















I LLUSTRATIONS















ACKNOWLEDGMENTS



























xii bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123








everythin possible






























983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xiii






































xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

























lede 2015)












983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118

































































I LLUSTRATIONS















ACKNOWLEDGMENTS



























xii bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123








everythin possible






























983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xiii






































xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

























lede 2015)












983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































ACKNOWLEDGMENTS



























xii bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123








everythin possible






























983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xiii






































xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

























lede 2015)












983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































xii bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123








everythin possible






























983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xiii






































xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

























lede 2015)












983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xiii






































xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

























lede 2015)












983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































xiv bull 983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123

























lede 2015)












983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983137983107983147983118983151983159983148983109983140983143983149983109983118983156983123 bull xv








INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































INTRODUCTION




























2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































2 bull 983145983118983156983154983151983140983157983107983156983145983151983118






reduction



















similarly defined














983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 3





















and limit ourselves














4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































4 bull 983145983118983156983154983151983140983157983107983156983145983151983118

The Music We Name






and beyond




















surroundin poetry









983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 5



poem mean983089983090




































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































6 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































to the world



983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 7







































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































8 bull 983145983118983156983154983151983140983157983107983156983145983151983118




































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 9























ravitational force















10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































10 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 11







































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































12 bull 983145983118983156983154983151983140983157983107983156983145983151983118













struction


























983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 13







































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































14 bull 983145983118983156983154983151983140983157983107983156983145983151983118


































in teachin





983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 15






















tremendously

















16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































16 bull 983145983118983156983154983151983140983157983107983156983145983151983118









contexts




























983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 17
















no copy


to source observed






















18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































18 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 19






























know it









20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































20 bull 983145983118983156983154983151983140983157983107983156983145983151983118







































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 21











tions




























22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































22 bull 983145983118983156983154983151983140983157983107983156983145983151983118














mission

Chapter Overview







propaation



a priori and










983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































983145983118983156983154983151983140983157983107983156983145983151983118 bull 23
















lytical techniques























24 bull 983145983118983156983154983151983140983157983107983156983145983151983118



















































24 bull 983145983118983156983154983151983140983157983107983156983145983151983118

















































Sensing Sound by Nina Sun Eidsheim

Documents

Transcript of Sensing Sound by Nina Sun Eidsheim