Elena Madrussan - Musical Listening between Everyday Reality and Sensitive Experience скачать в хорошем качестве

Elena Madrussan - Musical Listening between Everyday Reality and Sensitive Experience

Prof.in Dr.in Elena Madrussan (Torino, ITA) Musical Listening between Everyday Reality and Sensitive Experience. On the Aesthetic Education of Young People Panel on September 16th, 2022 as part of the 6th International Symposium on Phenomenological Research in Education: Realities. Phenomenological and pedagogical perspectives. Introduction by Malte Brinkmann. Prof. Brinkmann's homepage: https://hu.berlin/aew_eng Blog: http://paed.ophen.org/?lang=en Symposion on Phenomenological Research in Education: https://hu.berlin/sym_phen_ed Abstract: A renewed form of worldview would seem to be created, especially from the everyday life of young people, through listening to music, at least when the music itself and the lyrics are experienced as meaningful in terms of their content and not simply as entertainment. The meaningful (non-stereotypical) experience of listening, in the vast field of popular music, offers interesting points for pedagogical investigation. Taking this as an assumption and focusing on aesthetic education in particular, the meaningful experience of listening to music immediately brings with it a number of implications. On the one hand, the sociological analysis of how subjects are conditioned by their social environment in the structuring of taste (Bourdieu) and, also, of how the informal education of the music industry guides listening precisely from the socio-cultural attitudes, thus promoting a formative action on the personality of the listeners (Frith). These perspectives assume the heterodetermination of the subject by preconfigured factual ‘realities’, measurable through quantitative and qualitative parameters. On the other hand, there is the phenomenological analysis of what makes human experience what it properly is: the subjective ‘taste’ of worldly life, the original and pre-categorial perception of the relationship between subject and world (Merleau-Ponty) and the sensitive experience of music through the category of the ‘ineffable’ (Jankélévitch). These perspectives assume reality as the result of a reciprocal relationship between the factual and the subjective, guided by the intentionality of the conscience and the reasons why subjects choose to involve themselves directly in such a particular experience. Hence, possibilities of somatization and re-signification come into play, on the part of the subject, not only of the experience of listening in itself, but also, overall, of its own identity profile. (de Certeau; Barthes). It follows that the formation of the aesthetic personality, as far as listening is concerned, does not depend primarily on the socio-cultural conditioning of the environment to which one belongs nor on the wiles of the market, but is constituted as a search for the missing: the poetic, the expressive, the shared, the meaningful. In this framework, formal education with a phenomenological matrix may play a key role in several aspects that affect the perception of reality and the narratives that relate to it: from focusing on the mechanisms of heterodirection that give shape to taste to becoming aware of the dynamism between these and one’s own action on meanings; from the emergence of desires and representations that collide with one’s own subjectivity to the search for their diachronic meaning in the course of one’s existence; from the need to escape from reality as a temporary self-withdrawing and an end in itself to the adventure of imagination as a creative dimension of the search of possibilities and alternative views to one’s own (Madrussan). Therefore, the sensitive experience of music, together with the formation of the personality that derives from it, activate relationships of meaning between the heard, the perceived and the imagined, thus creating physiognomies of realities in which it is possible to recognize and transform the factual into the projectual.