Skip to main content

The Attentive Ear: SOUND IN HISTORY

The Attentive Ear
SOUND IN HISTORY

  • Show the following:

    Annotations
    Resources

  • Adjust appearance:

    Font
    Font style
    Color Scheme
    Light
    Dark
    Annotation contrast
    Low
    High
    Margins
  • Search within:
    • My Notes + Comments
    • Notifications
    • Privacy
  • Project HomeThe Attentive Ear
  • Projects
  • Learn more about Manifold

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

SOUND IN HISTORY

Emma Dillon, Series Editor

Annotate

Next Chapter
THE ATTENTIVE EAR
PreviousNext
Copyright © 2026 University of Pennsylvania Press
Powered by Manifold Scholarship. Learn more at
Opens in new tab or windowmanifoldapp.org