Western knowledge has traditionally looked upon the world but, says Attali, ‘the world is not for beholding. It is for hearing’ (Attali, 1985, p. 3). In Western historical and cultural constructions of the senses, prominence has been given to the visual sense (Classen, 1993). Sight as the sense of science separates the viewer from the viewed and gives an illusion of objectivity. The visual basis of this objectivity is grounded in a very particular view of the world, a kind of ‘eye-mindedness’, which has certain limitations and conditions imposed by the characteristics of vision (Classen, pp. 6–7). The previous chapter invoked Berger and Mohr’s (1995) ‘another way of telling’ to discuss the use of video technology and yet almost entirely considered this as a visual methodology. In this chapter we approach the days with a kind of ‘ear-mindedness’, considering the video material as ethnomusicologists might, replete with sound and body rhythm. This angle too will have its own conditions and limitations, but has the potential to reveal alternative descriptions and versions.
KeywordsMusical Activity Dance Movement Musical Event Musical Practice Musical Interaction
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