Still, silent listening in India: the meanings of embodied listening practicesCitation formats

Standard

Still, silent listening in India: the meanings of embodied listening practices. / Alaghband-Zadeh, Chloe.

Listening to music: people, practices and experiences. ed. / Helen Barlow; David Rowland. Open University Press, 2017.

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

Alaghband-Zadeh, C 2017, Still, silent listening in India: the meanings of embodied listening practices. in H Barlow & D Rowland (eds), Listening to music: people, practices and experiences. Open University Press.

APA

Alaghband-Zadeh, C. (2017). Still, silent listening in India: the meanings of embodied listening practices. In H. Barlow, & D. Rowland (Eds.), Listening to music: people, practices and experiences Open University Press.

Vancouver

Alaghband-Zadeh C. Still, silent listening in India: the meanings of embodied listening practices. In Barlow H, Rowland D, editors, Listening to music: people, practices and experiences. Open University Press. 2017

Author

Alaghband-Zadeh, Chloe. / Still, silent listening in India: the meanings of embodied listening practices. Listening to music: people, practices and experiences. editor / Helen Barlow ; David Rowland. Open University Press, 2017.

Bibtex

@inbook{7fbf75e016004680a97d2b3be8967800,
title = "Still, silent listening in India: the meanings of embodied listening practices",
abstract = "With this chapter, I explore the social meanings of embodied ways of listening to North Indian classical music. I focus especially on still, silent listening, a mode of listening that has been neglected in scholarship in this context. This scholarly neglect reflects the fact that most North Indian classical musicians and listeners tend either not to discuss this form of listening or else to cast it in a negative light, preferring instead to celebrate more active, noisy ways of listening to music. However, by not considering the full range of listening practices at North Indian classical performances, scholars have not theorised how competing value systems shape different ways of listening within a single performance environment. Here, I consider how certain North Indian classical musicians and listeners invest still, silent listening with positive significance. I argue that embodied modes of attending to music are implicated in social negotiations over prestige and status. Moreover, embodied listening demeanours have the power to reproduce musical ideologies.",
author = "Chloe Alaghband-Zadeh",
year = "2017",
month = "7",
language = "English",
editor = "Helen Barlow and David Rowland",
booktitle = "Listening to music: people, practices and experiences",
publisher = "Open University Press",
address = "United Kingdom",

}

RIS

TY - CHAP

T1 - Still, silent listening in India: the meanings of embodied listening practices

AU - Alaghband-Zadeh, Chloe

PY - 2017/7

Y1 - 2017/7

N2 - With this chapter, I explore the social meanings of embodied ways of listening to North Indian classical music. I focus especially on still, silent listening, a mode of listening that has been neglected in scholarship in this context. This scholarly neglect reflects the fact that most North Indian classical musicians and listeners tend either not to discuss this form of listening or else to cast it in a negative light, preferring instead to celebrate more active, noisy ways of listening to music. However, by not considering the full range of listening practices at North Indian classical performances, scholars have not theorised how competing value systems shape different ways of listening within a single performance environment. Here, I consider how certain North Indian classical musicians and listeners invest still, silent listening with positive significance. I argue that embodied modes of attending to music are implicated in social negotiations over prestige and status. Moreover, embodied listening demeanours have the power to reproduce musical ideologies.

AB - With this chapter, I explore the social meanings of embodied ways of listening to North Indian classical music. I focus especially on still, silent listening, a mode of listening that has been neglected in scholarship in this context. This scholarly neglect reflects the fact that most North Indian classical musicians and listeners tend either not to discuss this form of listening or else to cast it in a negative light, preferring instead to celebrate more active, noisy ways of listening to music. However, by not considering the full range of listening practices at North Indian classical performances, scholars have not theorised how competing value systems shape different ways of listening within a single performance environment. Here, I consider how certain North Indian classical musicians and listeners invest still, silent listening with positive significance. I argue that embodied modes of attending to music are implicated in social negotiations over prestige and status. Moreover, embodied listening demeanours have the power to reproduce musical ideologies.

M3 - Chapter

BT - Listening to music: people, practices and experiences

A2 - Barlow, Helen

A2 - Rowland, David

PB - Open University Press

ER -