Listening and Voice: A Phenomenology of Sound

Listening and Voice: A Phenomenology of Sound

Listening and Voice: A Phenomenology of Sound

Listening and Voice: A Phenomenology of Sound

Excerpt

I have attempted to put this investigation in as straightforward and simple a fashion as possible. For this reason, although I have undertaken extensive studies in related fields such as the physiology of hearing, acoustics, and musical theory, references to these are implicit.

Except in the introductory remarks the same implicitness remains the case with the giants of the phenomenological tradition. I have forsworn any lengthy discussions of Husserl, Heidegger, Merleau-Ponty, Ricoeur, or Sartre; although all may be seen by the perceptive reader to be lurking beneath the surface.

Moreover, I have also chosen to describe things autobiographically to make the narrative even more straightforward. Because of this I run the risk that the book may be taken as merely autobiographical when its presumption is at least a bit more pretentious. It is intended as a prolegomena to an ontology of listening with suggestions for the implications of a philosophy of sound. And, in fact, while the style of the illustrations here is autobiographical, the investigations themselves took place over seven years and involved classroom investigation and much intersubjective research. In some instances studies in empirical psychology also suggested inquiry in a more phenomenological vein. Thus the danger of taking the studies as being mere assertions should be avoided. They should be taken as exercises in the application of a stricter phenomenological use of variations which have in every instance been cross- checked with other persons' experiences.

It has been my hope that my adoption of this style may gain more than it loses by giving a sense of doing a phenomenological investiga-

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