- Copyright Page
- Tables, Charts, and Music Examples
- The Art of Listening and Its Histories: An Introduction
- Researching Audience Behaviors in Nineteenth-Century Paris: Who Cares if You Listen?
- The Well-Mannered Auditor: Zones of Attention and the Imposition of Silence in the Salon of the Nineteenth Century
- The Problem of Eclectic Listening in French and German Concerts, 1860–1910
- The Crisis of Listening in Interwar Germany
- Listening as a Practice of Everyday Life: The Munich Philharmonic Orchestra and Its Audiences in the Second World War
- Turning <i>Liebhaber</i> into <i>Kenner</i>: Forkel’s Lectures on the Art of Listening, ca. 1780–1785
- Designated Attention: The Transformation of Music Announcements in Leipzig’s Concert Life, 1781–1850
- Concert Listening the British Way?: Program Notes and Victorian Culture
- “What Ought to be Heard”: Touristic Listening and the Guided Ear
- Architectural Acoustics and the Trained Ear in the Arts: A Journey from 1780 to 1830
- Amateurs and Auditors: Listening to the British Musical Festival, 1810–1835
- The Intimate Art of Listening: Music in the Private Sphere During the Nineteenth Century
- Symmetries in Spaces, Symmetries in Listening: Musical Theater Buildings in Europe ca. 1900
- Music in the Air—Listening in the Streets: Popular Music and Urban Listening Habits in Berlin ca. 1900
- The Opera-Telephone in Munich: A Short History
- First Re-Creations: Psychology, Phonographs, and New Cultures of Listening at the Beginning of the Twentieth Century
- Experiencing High Fidelity: Sound Reproduction and the Politics of Music Listening in the Twentieth Century
- Capturing the Landscape Within: On Writing the History of Experience
- Listening and Possessing
- Is Listening to Music an Art in Itself—or Not?
- “Everybody in the Concert Hall should be Devoted Entirely to the Music”: On the Actuality of Not Listening to Music in Symphonic Concerts
Abstract and Keywords
This chapter analyzes why concert reformers in interwar Germany associated practices of listening with the notion of crisis and how this notion was affected by political, social, and economic changes. It also asks whether this period was, indeed, a watershed in the history of music listening. Starting with Adorno’s various descriptions of listening in crisis, the chapter traces the discourses and practices of listening in his hometown of Frankfurt am Main in order to show how manifest and perceived notions of crisis were used to legitimize traditions of listening and to invent strategies to counter their alleged decline. Using journalistic accounts and other contemporary sources, this chapter aims to reconstruct the perspectives of listeners and situate concert-hall experiences in their historical and cultural context.
Hansjakob Ziemer, Max Planck Institute for the History of Science, Berlin
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