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“All Voice; All Ears: From the Figure of Sound to the Practice of Music” is concerned with common assumptions about music and its definition. One major problem with the naming process in general is that the name becomes an index for an experiential phenomenon. Relying on the index, we become several steps removed from the phenomenon itself. For example, we listen for “opera,” “arias,” and a particular “operatic” sonority; we endorse and validate the experiences we have in accordance with these predetermined categories at the expense of other experiences, even though other articulations that do not fit the categories might...

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