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The Attentive Ear: THE ATTENTIVE EAR

The Attentive Ear
THE ATTENTIVE EAR

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Notes

table of contents
  1. Cover
  2. Series Page
  3. Title Page
  4. Copyright
  5. Contents
  6. Introduction. Sound Attentions
  7. Part I. Concentration
    1. Chapter 1. Colonial Concentration: Attention in Bengali Music Scholarship in 1885
    2. Chapter 2. The Attentive Eye / The Attentive Ear: Learning (and Unlearning) Focus in the Enlightenment
    3. Chapter 3. Attention and Value: Music Aesthetics as a “Science of Ought”
  8. Part II. Collectivity
    1. Chapter 4. Omniaudience and the History of the Good Listener: William Crotch’s Specimens of Various Styles of Music (1807)
    2. Chapter 5. Listening, Technique, and Attention
    3. Chapter 6. Listening in the Sĕrat Cĕnthini
  9. Part III. Ecstasy
    1. Chapter 7. Mystics and Skeptics: Joseph Segond’s Psychology of Prayer
    2. Chapter 8. Among the Aissawa: Music, Hypnosis, and Disruptions of Attention
    3. Chapter 9. Franz, Stumpf, Riemann, Kafka: Toward an Auditory Unconscious ca. 1883
  10. Part IV. Measurement
    1. Chapter 10. Salih Bey’s Sonometer: Synchronizing Audition in Ottoman Istanbul
    2. Chapter 11. The Attention Wave: Sound and Sense in Cycles ca. 1905
    3. Chapter 12. Attention in Musical Action: Theories of Attention in Early Music Psychology and Piano Pedagogy
  11. Contributors
  12. Index
  13. Acknowledgments

THE ATTENTIVE EAR

images

Sound, Cognition, and Subjectivity
in the Long Nineteenth Century

Edited by Francesca Brittan
and Carmel Raz

PENN

UNIVERSITY OF PENNSYLVANIA PRESS

PHILADELPHIA

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