In hearing, one may pay regard by degrees of attention or fail to take interest altogether.
Listening, on the other hand, implies intent as well as attention. One focuses, increasing perceptual acuity, associating experience, knowledge, emotion and memory with the auditory event; perhaps one considers its orientation in space, its component parts, and its potential meanings.
The composition of what is generally called music is almost solely concerned with this latter context, and with intensifying listening in the percipient. The composition of atmospheres, however, is focused on both aspects of aural perception, that is to say, with the passive engagement of hearing as well as with active listening awareness, neglecting neither.
From an artistic perspective, each may contribute to an aesthetically balanced sound work in much the same manner as each is engaged in everyday consciousness.
Listening, on the other hand, implies intent as well as attention. One focuses, increasing perceptual acuity, associating experience, knowledge, emotion and memory with the auditory event; perhaps one considers its orientation in space, its component parts, and its potential meanings.
The composition of what is generally called music is almost solely concerned with this latter context, and with intensifying listening in the percipient. The composition of atmospheres, however, is focused on both aspects of aural perception, that is to say, with the passive engagement of hearing as well as with active listening awareness, neglecting neither.
From an artistic perspective, each may contribute to an aesthetically balanced sound work in much the same manner as each is engaged in everyday consciousness.
