Abstract

There have been significant changes in the ways in which humans experience music from the time of the publication of Gadamer’s Truth and Method in 1960 until today. While music was formally listened to in “earthier” formats, whether that be through live concerts or huddled around vinyl record players, we now live in a digital age in which music is largely experienced through what we can refer to as more “liquidated” formats, such as music streaming services or smart speakers and similar modalities in which the music is plugged into an easily accessible system whose very accessibility makes the music easily disposable. Using concepts from Gadamer’s hermeneutics, I think through what it means for music to be in these various formats. While certain modes of musical experience allow for the possibility of auditory Ereignis, that is, a musical event so full of meaning that it is capable of transforming one’s world, others more easily relegate the experience of music to episodic insignificance, that is, as lacking inner coherence. Ultimately, I argue that it matters how we experience music and in which contexts, since those very choices can render the musical elements of our lives as meaningful or meaningless.