How do you listen to classical music?

[George]

The sound quality aside for a moment, they are just so incredibly comfortable.  Sometimes I will have them on for 4 or 5 hours at a time, with absolutely no discomfort.  They also came with a really great little "headphone rack" that attaches to anything you like (e.g., a shelf) to hang them on.  Just a swell little detail. 

--Bruce

Yes, they are the Lincoln Town Car of HP. 

I didn't get one of those racks, but I like to keep them free form dust in a bag anyway. 

[bhodges]

Yes, they are the Lincoln Town Car of HP. 

I like that analogy!  You should write them...they'll put you in an advertisement. 

--Bruce

[Renfield]

Yes, they are the Lincoln Town Car of HP. 

Everyone seems to adore the 595's! Personally, and even though I constantly have them "advertised" by a friend who uses them to listen to too much electronic music for his own good (), I'm currently using a pair of HD 280 Pro.

Their combination of precise and "un-biased" sound (very good for comparing recordings), and especially the fact that they are sealed (I live in a relatively busy neighbourhood and have very sensitive ears) both mean they serve me very well indeed, for the moment.

(Not to say I won't be getting a pair of 595's - or even 650's - when I move to a quieter environment. But they are good, the HD 280 Pro. )

[George]

Everyone seems to adore the 595's!

Personally, and even though I constantly have them "advertised" by a friend who uses them to listen to too much electronic music for his own good (), I'm currently using a pair of HD 280 Pro.

Their combination of precise and "un-biased" sound (very good for comparing recordings), and especially the fact that they are sealed (I live in a relatively busy neighbourhood and have very sensitive ears) both mean they serve me very well indeed, for the moment.

(Not to say I won't be getting a pair of 595's - or even 650's - when I move to a quieter environment. But they are good, the HD 280 Pro. )

To be clear, mine are HD 580s and I like them more than the 595s, in comfort and in sound. 

[loudav]

Can't believe I never noticed this thread before.

To Corey: I love your description of memory and anticipation, as that's exactly the thought-process I use. In the past, I've sometimes found myself distracted when trying to listen to music, and the two things I've found helpful to focus my concentration are exactly what you described. I engage in a process of trying to anticipate what is going to happen in each next moment, and I gather into my mind the events just passed to provide a context for what happens next. I'm not terribly literate musically, so both of these processes are inarticulatable in detail, but real nonetheless. The inchoate error signal between what has and does happen, or between what is expected and what does happen are indices of musical novelty. Thanks for (repeatedly) raising this issue.

And on the tangential topic of headphones, I've been delighted with the AKG K701 headphones, which beat hell out of the Sennheiser HD650s I had before--much nicer definition in midrange and treble!

[Kullervo]

Can't believe I never noticed this thread before.

To Corey: I love your description of memory and anticipation, as that's exactly the thought-process I use. In the past, I've sometimes found myself distracted when trying to listen to music, and the two things I've found helpful to focus my concentration are exactly what you described. I engage in a process of trying to anticipate what is going to happen in each next moment, and I gather into my mind the events just passed to provide a context for what happens next. I'm not terribly literate musically, so both of these processes are inarticulatable in detail, but real nonetheless. The inchoate error signal between what has and does happen, or between what is expected and what does happen are indices of musical novelty. Thanks for (repeatedly) raising this issue.

Thank you. I must note that Anthony Storr's book "Music and the Mind" has had a major impact on my view that listening to classical music is an act of (almost) instantaneous expectation and comparison. I realize this isn't a unique idea, but it was very influential to me and opened the floodgates so to speak in my appreciation of music.

[Solitary Wanderer]

Well, during the day while I'm working I listen on my computer [with a half decent system] and tend to go for lighter music as it usually serves as semi-background to my concentration on work.

The evenings [and weekends when I can spare the time] is my 'serious' listening on the A system which means my perfectly positioned chair, dimmed lights, no distractions and maximen concentration. My mind wanders at times, but I don't stress over that; I'll focus on different instruments, favourite parts that are approaching, anticipate the 'chills' I get at certain passages and note how my body and mind/emotions respond.

I rarely use headphones anymore since this dreaded tinnitus flared up about one year ago [acupunture and sessions with an osteopath is helping minimize this] and also because I've always preferred the acoustics of the room I'm in [my listening room has a very high ceiling and great sound

[max]

Thank you. I must note that Anthony Storr's book "Music and the Mind" has had a major impact on my view that listening to classical music is an act of (almost) instantaneous expectation and comparison. I realize this isn't a unique idea, but it was very influential to me and opened the floodgates so to speak in my appreciation of music.

I'm somewhat intrigued by your view "that listening to classical music is an act of (almost) instantaneous expectation and comparison."

I may be missing something, but I don't understand how this would cause you to appreciate classical music or specifically what you mean by it or what Anthony Storr would have meant by it.

Since I don't wish to assume anything, a clearer endorsement of this view would be appreciated.

[Valentino]

1) From my stereo, in deep concentration.
1b) As above, but Sennheisers instead of Sonus fabers.
1b) Not in concentration. Morning baroque...
2) In my car
3) From my computer, with some altec lancing speakers or the HD 580 P's again.

I never do iPod/Walkman. I prefer hearing the traffic while on my racing bike.

[Kullervo]

I'm somewhat intrigued by your view "that listening to classical music is an act of (almost) instantaneous expectation and comparison."

I may be missing something, but I don't understand how this would cause you to appreciate classical music or specifically what you mean by it or what Anthony Storr would have meant by it.

Since I don't wish to assume anything, a clearer endorsement of this view would be appreciated.

Coming from a background of light music, the focus of my listening was based mainly on "sounds" (i.e. timbres, noises, etc). I often found myself puzzled (and bored) by classical music in which the "sounds" were not the main focus. Storr's book helped me realize that "sound for the sake of sound" wasn't what most classical music is about (especially before 1900), and that listening in this way is a rather superficial way of appreciating music — whereas the form is what is important. I realized that once you have the form, the content will make itself known to you. Having a basic framework for listening to classical music made me able to appreciate it for what it is.

[loudav]

I'm somewhat intrigued by your view "that listening to classical music is an act of (almost) instantaneous expectation and comparison."

I may be missing something, but I don't understand how this would cause you to appreciate classical music or specifically what you mean by it or what Anthony Storr would have meant by it.

Since I don't wish to assume anything, a clearer endorsement of this view would be appreciated.

An example of what I mean in seconding the description: in the lead-in to a cadence I'm expecting certain harmonic progressions; these either do happen as expected, or there are subtle deviations from expectations, or the composer goes off in a completely novel direction. Likewise, the development section of a sonata movement steps off from the themes of the opening but then deviates from them in increasingly bold ways. Holding the themes of the opening in my mind, I have expectations that are in part fulfilled and in part countered. By comparing what has happened before, I have context for what does happen.

I find my listening is most focused when I'm doing this implicitly (without articulating specific expectations in my mind but nevertheless holding them in embryo, as it were) all the time, from moment to moment throughout a piece. The first part of a theme leads to expectations that illuminate the conclusion of the theme, the orchestration of one note leads to expectations concerning the orchestration of the next note, etc. This discipline makes the music more meaningful for someone like myself who has scant musical training, and it keeps my mind from wandering.