Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The concept of communication
Discuss the concepts of interpersonal communication
Discuss the concepts of interpersonal communication
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The concept of communication
In a world that is steeped primarily in visual perception, auditory phenomena face an ongoing struggle for importance. The significance of sound, typically taken for granted, is underappreciated. This lack of appreciation of auditory phenomena has resulted in an overreliance on visual imagery and experience. Sartre’s look of the Other, Heidegger’s vision of Being, and the Appolonian visual world are just some of the examples of philosophy’s visually focused concepts. Focusing solely on sight during experience has resulted in inattentiveness to the “global fullness of experience” according to Ihde, and I believe that an appreciation of auditory phenomena is necessary for an accurate construction of reality in the phenomenological sense of embodiment. Although they do not directly address auditory phenomena, I believe it is possible to connect sounds to the sense of embodiment that arises from Husserl, Heidegger, and Merleau-Ponty.
Sound is a vibration or wave of air molecules caused by the motion of an object. The wave is a compression wave that travels through the air at a speed dependent on the temperature. Without movement there could be no sound. When an object moves or vibrates, the air molecules around the object also vibrate. Each molecule moves back and forwards only a tiny distance, but it is enough to cause the air particles to bump into each other. This creates areas where there are many molecules pushed close together (compression); and areas where molecules are spread far apart (rarefactions). These compressions and rarefactions move outwards away from the sound source in circles. A sound wave is created when a series of these pressure changes/waves move through the air. A sound wave contains energy, which in turn m...
... middle of paper ...
... May 2009. Web. 23 Mar. 2011. .
Pasnau, Robert. "What Is Sound?" The Philosophical Quarterly 49.196 (1999): 309-24. Wiley Online Library. University of St. Andrews, 7 Jan. 2003. Web. 01 May 2011. .
Pilotta, Joseph J. Interpersonal Communication: Essays in Phenomenology and Hermeneutics. [Pittsburgh, Pa.]: Center for Advanced Research in Phenomenology, 1982. Print.
Smith, David W. "Phenomenology (Stanford Encyclopedia of Philosophy)." Stanford Encyclopedia of Philosophy. Stanford Univeristy, 16 Nov. 2003. Web. 30 Apr. 2011. .
"sound." Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica, 2011. Web. 30 April. 2011. .
Husserl begins his critique of eidetic phenomenology by positing that consciousness does not have a direct relationship with itself; consciousness always leaves ripples behind. The temporal relationship between intentional acts and intentional objects was largely ignored; temporality must exist as a condition of possibility for intentionality itself (Zahavi 80). When analyzing a temporal object (such as a melody), Husserl finds that temporal consciousness contains not just the current temporal moment (or primal impression); it also contains a retention of the previous temporal moment and a protention of a future temporal moment (Smith 203). In consciousness of retention, one is aware of both the past tone and the past hearing of the tone; an analogous process occurs for retention (Smith 203). Time consciousness is complex; one is conscious of the melody and their own experience of the melody (Smith 204). Temporal consciousness is thus a flow of current retentions and original impressions that could not be pointedly doubted
11. Kim-Cohen, S. 2009. In the Blink of an Ear: Toward a Non-Cochlear Sonic Art
Morreall, J. (1982) ‘Philosophy and Phenomenological Research’, International Phenomenological Society, Vol. 42, No.3, pp. 407-415
Most people are familiar with the word "music", however they barely consider the definition of it. After carefully think, everyone has their own opinions on this term and it is hard to have an uniform criterion of music sounds. According to the text book, Michael B. Bakan states five propositions to define the music. The first one is about the tone and the second one talks about the music is organized in some way. The next two are claims that music is human organized and a product of human intention and perception. The last proposition argues music cannot separate from Western culture. Among these propositions, I think the music is a product of human intention and perception is most interesting and worth to discuss. So I assert that the most
If you put your finger gently on a loudspeaker you will feel it vibrate - if it is playing a low note loudly you can see it moving. When it moves forwards, it compresses the air next to it, which raises its pressure. Some of this air flows outwards, compressing the next layer of air. The disturbance in the air spreads out as a travelling sound wave. Ultimately this sound wave causes a very tiny vibration in your eardrum - but that's another story.
The human ability to perceive sound is often taken for granted and is erroneously considered, by most, to be secondary in importance to sight. It is true that our primary understanding of the world develops through sight, but sound is responsible for our ability to communicate with one another through both concrete and abstract means, as well as for defining the nuances that shape our surroundings. Without sound, humans would be alienated in their own uncertainty; unable to express the fears and aspirations which are common to our condition. Sound has the unique ability to transcend boundaries, cultures, and ideologies through speech, music, and the noises which we distinguish categorically through memory and experience. It is this transcendental quality of sound which Florian Henckel von Donnersmarck chose as a central theme in the film “The Lives of Others”. The film expresses beautifully the effect that music and language have upon our ability to feel empathy and compassion. The use of sound in the film explores the human potential for change and transformation from our basest instincts toward nobler causes.
Intro: In Steven Connor’s ‘Ears Have Walls: On Hearing Art’ (2005), Connor presents us with the idea that sound art has either gone outside or has the capacity to bring the outside inside. Sound work makes us aware of the continuing emphasis upon division and partition that continues to exist even in the most radically revisable or polymorphous gallery space, because sound spreads and leaks, like odour. Unlike music, Sound Art usually does not require silence for its proper presentation.
Noise is ubiquitous in our environment. (Pediatrics , 1997) It is undesirable sound, unwanted sound. Sound is what we hear. It is vibration in a medium, usually air. Sound has intensity, frequency and duration. The ability to hear sounds at certain frequencies is more readily lost in response to noise. (Pediatrics , 1997). The further you are from sound the less effect you hear it but the more closer you are to sound the louder it is.
The book is divided into four chapters: 1) Humanly Organized Sound, 2) Music in Society and Culture, 3) Culture and Society in Music, and 4) Soundly Organized Humanity. In chapter one, Blacking discusses the analysis of sound. He begins by describing music as humanly organized sound. His overarching theme is that “the function of tones in relation to each other cannot be explained adequately as part of a closed system” (30). In other words, music can’t be analyzed simply by one set of rules. This is because every single culture has a different system that they use to structure and compose their music. In order to adequately analyze a society’s music we have to study their “system.” We must learn what music means to them. Then, and only then, can we accurately and completely analyze what a particular type or piece of music means to a particular society and culture.
The unheard sounds came through, and each melodic line existed of itself, stood out clearly from all the rest, said its piece, and waited patiently for the other voices to speak. That night I found myself hearing not only in time, but in space as well. I not only entered the music, but descended, like Dante, into its depths (Ellison 7).2
...11). Sound Upon Sound: The Conversation. [Online] Available from Sound on Sight: http://www.soundonsight.org/sound-upon-sound-the-conversation/ [Accessed 05 February 2012]
D. W. Hamlyn - author. Publisher: Routledge & Kegan Paul. Place of Publication: Sensation and Perception: A History of the Philosophy of Perception. Contributors: London. Publication Year: 1961. Page Number: iii.
David, Edward E. Jr., John K. Pierce, and William A. Van Bergeijk. Waves, and the Ear. NY: Anchor Books. 1960. p- 34-50
Acoustics is a science that deals with the study of sound. It is known to be one of the branches of physics; studying oscillations and sound waves from the lowest to high frequencies. Acoustics is known to be one of the oldest sciences, and dates back to ancient times as people had the need to understand the nature of speech and hearing. The main reason acoustics was discovered and is one of the oldest sciences is because of the need for the knowledge of the sounds of music and musical instruments. Pythagoras, an ancient mathematician, was the first person to ever find out that tone height corresponds to the length of the sting or tube. While Aristotle, Pythagoras apprentice at the time, helped more to explain that an echo is created as the sound reflection from obstacles.
These simple forms of music expanded and the need to invent new instruments were created through knowledge of sounds. Modern science tells us that sound is simply energy created by vibrations from various medium. However in early human history, sound was believed to have mysterious power. These new instruments created forms of music that did not rely heavily on human voices.