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"Mit den Ohren denken": A critical t...

Hall, Mirko Manfred.

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"Mit den Ohren denken": A critical theory of dialectical listening.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"Mit den Ohren denken": A critical theory of dialectical listening./
Author:	Hall, Mirko Manfred.
Description:	142 p.
Notes:	Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 2171.
Contained By:	Dissertation Abstracts International67-06A.
Subject:	German literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3220005
ISBN:	9780542735097

"Mit den Ohren denken": A critical theory of dialectical listening.
Hall, Mirko Manfred.

"Mit den Ohren denken": A critical theory of dialectical listening. - 142 p.

Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 2171.

Thesis (Ph.D.)--University of Minnesota, 2006.

My thesis explores how a self-reflective mode of music might offer its listeners strategies for actively participating in cultural creativity, critique, and resistance. It investigates how music and other acoustic phenomena are a distinct form of historical, political, and socio-cultural knowledge. As a reservoir of untapped cultural-revolutionary potential, these phenomena are capable of transforming human consciousness in the service of emancipatory interests. In examining how music may foster new sites for listening subjectivity, I draw upon the philosophical insights of Friedrich Schlegel, the foremost philosopher of Early German Romanticism; Walter Benjamin and Theodor W. Adorno, two key theoreticians of the Frankfurt School; and Blixa Bargeld, the singer of the Berlin avant-garde band "Einsturzende Neubauten". These thinkers promote the pursuit of emancipatory self-knowledge through active moments of "dialectical listening" [Vieira de Carvalho]: a concentrated and differentiated perception of sound that engenders "Bildung". They further privilege an aesthetic of defamiliarization, which valorizes the semantic inexhaustibility of acoustic signifiers, the critical-negative potentialities of music's formal apparatus, and the social truth of marginalized acoustic phenomena. They are convinced that music's organizational structure and choice of sounds---when intentionally situated within critical aesthetic practices---can potentiate the listener's capacity for critical, self-reflective thought and neutralize instrumental reason's unrelenting reification of sound.

ISBN: 9780542735097Subjects--Topical Terms:

699188
German literature.

"Mit den Ohren denken": A critical theory of dialectical listening.
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245 1 0 $a "Mit den Ohren denken": A critical theory of dialectical listening.
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500 $a Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 2171.
500 $a Adviser: Jochen Schulte-Sasse.
502 $a Thesis (Ph.D.)--University of Minnesota, 2006.
520 $a My thesis explores how a self-reflective mode of music might offer its listeners strategies for actively participating in cultural creativity, critique, and resistance. It investigates how music and other acoustic phenomena are a distinct form of historical, political, and socio-cultural knowledge. As a reservoir of untapped cultural-revolutionary potential, these phenomena are capable of transforming human consciousness in the service of emancipatory interests. In examining how music may foster new sites for listening subjectivity, I draw upon the philosophical insights of Friedrich Schlegel, the foremost philosopher of Early German Romanticism; Walter Benjamin and Theodor W. Adorno, two key theoreticians of the Frankfurt School; and Blixa Bargeld, the singer of the Berlin avant-garde band "Einsturzende Neubauten". These thinkers promote the pursuit of emancipatory self-knowledge through active moments of "dialectical listening" [Vieira de Carvalho]: a concentrated and differentiated perception of sound that engenders "Bildung". They further privilege an aesthetic of defamiliarization, which valorizes the semantic inexhaustibility of acoustic signifiers, the critical-negative potentialities of music's formal apparatus, and the social truth of marginalized acoustic phenomena. They are convinced that music's organizational structure and choice of sounds---when intentionally situated within critical aesthetic practices---can potentiate the listener's capacity for critical, self-reflective thought and neutralize instrumental reason's unrelenting reification of sound.
590 $a School code: 0130.
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