Gerhard Lock (Tallinn University, Estonian Academy of Music and Theatre)
The following has a reference to
Gerhard Lock (2011). On concepts of listening as embodied, active and creative process within a changing sonic environment. In Proceedings of the 7th International Scientific Conference „Problems in Music Pedagogy“, September 22–24, 2011 Daugavpils University (Latvia).
http://lapas.du.lv/pmp/7_pmp_programme.html
According to Kleinberg-Levin (2011: 1) „the human body is a system of capacities: seeing, hearing, walking, standing, gesturing. And once these enactments of embodiement are understood as capacities, it imediately becomes a question of their potentialities, their posibilities for further development, further cultivation, taking them beyond the stage of growth that their mere biological endowment attains.“ Further he points out that our ways of seeing and hearing (etc.) can be subject to learning processes. As embodied creatures, human beings are depend on their phenomenological abilities with their existential-ontological meaning – in particular, gestures, walking, and standing.
Of course, sound should not be treated as detached from visual or bodily-performative sources and experience. Sound is always physically produced from some performing or moving source and spreads through both air and bodies in waves. Performance is the first and most important connection between sound and body movement not only in the realm of musical performance but also in the field of dance, where music evokes movement and movement produces sound and music.
Listening is connected to bodily experience while tapping along, snipping fingers, moving heads etc. And listening belongs to the most important requirements for the temporal arts (music and dance).
According to the Estonian writer Erkki Luuk (2006: 74) one can not clearly define the boarders between experimental music and soundart. The situation for performance art (in Estonian: action art) and modern dance seems to be similar. Each of these art forms have traditionally acknowledged central mainstreams, but there are also developments which crosses boarders, are located between several fields having multiple features or are even completely ambiguos. Luuk (2006: 75) points out that whatever music is sound and whatever dance is action, but not the other way around, because sound is the medium of music and action is the medium of dance. If we think about standstill, which is opposed to movement, but is as well part of action, Luuk considers action as a broader category than movement. Similarily isn‘t silence sound but part of acoustical phenomena. Acoustical phenomena and action itself are therefore the basic elements of temporal arts.
(Excerpt from Lock 2011: 184–185)
