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Haas teaches YHC “Listening 2.0”

January 24, 2011

By Dillon Sutherland, Staff Writer

This past Thursday, the Fine Arts Department featured its first event of the semester.  Dr. David Haas, renowned professor of musicology at the University of Georgia, came to Young Harris to speak.  He gave a lecture entitled ‘Listening 2.0.’  This concept that he proposed means not simply listening to music, but looking at it analytically and understanding it.

“Listening 2.0 isn’t easy,” Dr. Haas said. “It can be as hard as actually playing an instrument.”

The speech he gave on the idea contained many points and encouraged listeners to ask themselves key questions.  These include questions such as what the pace is, what kind of atmosphere the music is best for, what primary and secondary sounds are and what word or phrase describes the music.

“I like to expand the menu of listening,” said Dr. Haas. “People often resist change.  [Listening 2.0 isn’t something you always have to do]; it’s a choice.  You can switch back and forth between listening normally and listening 2.0.  Anyone can do it.  Music is like a human.  You can look at the surface or you can dig deeper.”

Most of the 30 people in attendance were music majors that are required to attend such events, but there was a small handful of others that were interested in the speaker enough to attend the event.

There were some technical difficulties with the computer and Young Harris College’s internet connection, but everyone seemed to enjoy themselves. Dr. Haas gave a good speech and added some comic relief with silly video clips of music.

“I found it really interesting,” said Landon Lovell, a sophomore music major from Blairsville. “I did a lecture last week on music history and wish I could do it again with the information Dr. Haas gave.  I also enjoyed it because he is quite the accomplished pianist.”

Dr. Haas teaches courses that focus of Russian music at the University of Georgia.  He focuses on composers such as Rachmaninoff and Tchaikovsky.  He is the author of the book, Leningrad’s Modernists, and he is also the editor and translator of a 20th- century work of Russian Opera criticism titled Symphonic Etudes.

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