- 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
How do people relate to the music they value? Listening is a central relation, but there are many others. As Charles Keil observed, people may find music, be invaded by music, use music, participate in music, and so on. This chapter explores a relation that may be called possessing music or owning music. Theodor W. Adorno and Simon Frith both emphasized such relations in the context of their very different accounts of mass-media music. A psychoanalytic approach, drawing on the ideas of Melanie Klein and D. W. Winnicott, clarifies the nature of these relations. A close reading of ethnographic interviews from the collection My Music shows some of the specific forms that such relations can take, which are different for every individual.
Music, University of Virginia
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