I was just listening to music: what an incredible test for popular music studies! I must add that as soon as the music started and I put myself in a comfortable position in the bed, or after a short while, I felt like I was dozing, or in that state which is best described to me by the Italian word dormiveglia (more or less, ‘sleeping vigil’). And I wasn’t going to dance, nor to feel my body invaded by low frequency vibrations, nor to be gratified by my status in a peer group or by my subcultural identity. Or like when I prepare myself for other pleasurable experiences, through different senses.Ģ So I was expecting pleasure, from a sensorial experience, based on my ears (in a dark room, or – better – in a dark cabin). Like when I prepare breakfast or lunch, and pick up things out of the fridge, put some water to boil, and so on. It’s obvious, then, that I was preparing myself for a pleasurable experience: that was my aim. Why shuffle mode? I wanted to be surprised, just a little: I know by heart the song sequences in all Shadows albums I have. Why the Shadows? Probably I wished to listen to something familiar, but also something that I hadn’t been listening to for a while probably I needed music with even, homogeneous sound and duration probably I just wanted to exclude too much variety. So I opened my Mac, unfolded my headphones and plugged them in, launched iTunes, selected all my Shadows pieces, then clicked on ‘play’ and ‘shuffle mode’. The bed in the cabin was narrow and a bit short. It was the first night in my summer holidays, on board a car ferry sailing from Italy to Greece.
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1 This article is based on a shorter (unpublished) paper that was presented at the Study Day “Analysi (.)ġ Franco Fabbri : I couldn’t sleep 1 : maybe I had eaten too much or I was too excited.It tries to demonstrate that understanding any music event demands to unfold and reconstruct multiple layers of perceptual, emotional, analytic and performative experiences, present and past, which seem to be inscribed both in our bodies and in our minds. The paper is an expanded version of the correspondence that was initiated by that listening act. Then, Fabbri sent a brief report about that experience to García Quiñones, who was moved to ask questions about how that music was listened to in the early 1960s, and decided to listen to The Shadows (almost) for the first time. Probably due to his semi-hypnotic state, the experience struck deeply, as he shifted back to his teens, when he first listened to The Shadows and started playing their instrumental pieces. The paper was suggested by a listening experience by Fabbri, who one night, unable to sleep while travelling, listened for three hours (in shuffle mode, with headphones) to a large portion of his collection of mp3 files of Shadows’ recordings. Both authors have interests in listening models, music analysis, and cognitive and emotional responses to music. Marta García Quiñones doesn’t play guitar and had few chances to listen to records by The Shadows until recently. Like many guitarists in the early 1960s, Franco Fabbri started his career trying to copy the style of Hank B.
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Il tente de démontrer que la compréhension de tout événement musical exige de reconnaître et de reconstruire multiples strates d’expériences diverses : perceptives, émotionnelles, analytiques et performatives, présentes et passées, qui semblent être inscrites à la fois dans nos corps et dans nos esprits. Cet essai est une version élargie de la correspondance initiée par cet acte d'écoute. Fabbri a envoyé ensuite un bref rapport sur cette expérience à Marta García Quiñones, qui lui a posé des questions sur la façon dont cette musique était normalement écoutée dans les années 1960, et elle a décidé d'écouter le groupe (presque) pour la première fois. Probablement en raison de son état semi-hypnotique, l'expérience l’a profondément frappé, lorsqu’il s'est mentalement déplacé à l’époque de son adolescence, quand il a écouté les Shadows pour la première fois et a commencé à jouer leurs morceaux instrumentaux. À l’origine de cet essai, une expérience d'écoute faite par Fabbri, qui, une nuit d’insomnie en voyage, a écouté pendant trois heures (en mode aléatoire, avec casque) une grande partie de sa collection de fichiers mp3 d'enregistrements des Shadows. Les deux auteurs s’intéressent aux modèles d'écoute, à l’analyse musicale, et aux réponses cognitives et émotionnelles à la musique. Marta García Quiñones ne joue pas de la guitare et jusqu'à une date récente avait eu peu d’occasions d'écouter les disques des Shadows.
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Comme beaucoup de guitaristes des années 1960, Franco Fabbri a commencé sa carrière en essayant de copier le style de Hank B.