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In this context, musicians and music-lovers typically view still, silent listening in a negative light, often interpreting it as a sign of ignorant or unengaged listeners. However, there are various reasons (including social policing) why some listeners might nevertheless adopt still, silent listening practices at performances of North Indian classical music. In the next section, I will consider how individual listeners inhabit this generally devalued mode of embodied listening.
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A diverse field of embodied listening behaviours can be observed at live performances of North Indian classical music. At a typical performance, some listeners sit still, perhaps with their eyes closed, silently attending to the music. They interact with the musicians and with each other throughout the performance and frequently comment out loud or gesture in response to the music. Indeed, evidence indicates that the gabinetes’ recordings fed off the live music experience of theatre-goers. The locations of both gabinetes and zarzuela theatres in Madrid around 1900 is in itself illustrative. At the time, nine zarzuela theatres were active in Madrid which programmed género chico exclusively or to a significant extent (Alhambra, Apolo, Comedia, Eslava, Lara, Martín, Novedades, Parish and Zarzuela), with up to four plays being programmed each day.
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Established in 2019, Trust App Ltd is a UK-based, venture backed computer vision technology company. As Napier observed, some musicians I interviewed also drew a link between closing one’s eyes and meditation. For example, the singer Urvashi described how ‘when I reach that state of meditative level of consciousness in my music, then once in a while I might just shut my eyes and go in deep within’.
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One perspective on the 23 genres singularly identified is that digitisation has brought about the personalisation of taste classification. Although Lena would consider these non-genred categories280, the self-naming of categories is evident in some of the genre titles expressed. Some are too specifically named, for example, 80s session player, Motown and female artist, whereas others are too generic – new music, composers and chart. However, seventeen of the 23 once only identified genres, such as grunge, grime, indie rock, punk and trip hop, would be widely recognised by most music consumers.
By asking listeners about their listening experiences, I highlight powerful intersections between embodied listening practices and (verbal) discourse on music. I show how individual listeners each mobilise the discursive resources available to them in order to make sense of their listening behaviours, preferences and experiences. Moreover, I argue that embodied ways of listening to North Indian classical music sustain particular musical ideologies. This chapter situates early commercial recordings made in Spain by local gabinetes liraspin casino casinò fonográficos between 1898 and 1905 in the aural landscape of their time. Such early recordings must be interpreted alongside the thriving theatrical culture that prevailed in Spain at the time, especially that of zarzuela – the preferred genre of theatre-goers and the best represented, according to available evidence, in catalogues of gabinetes fonográficos.