This article considers questions relating to the performance practice of listening to music in early modern contexts. The evidence of paintings by Pieter Lastman, Gerard ter Borch and Hendrik Sorgh, poetry by Robert Herrick, William Shakespeare and Edmund Waller, and accounts of performances by Francesco da Milano, Nicola Matteis and Queen Elizabeth I all help to bring into focus questions of attentiveness, affective response and analogical understanding. The source material also interestingly raises the possibility of occasionally understanding the act of listening within a frame of erotic relationship modelled on Laura Mulvey’s well-known concept of the ‘male gaze’.

中文翻译：

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寻找历史的倾听者

本文考虑与在早期现代语境中听音乐的表演实践相关的问题。Pieter Lastman，Gerard ter Borch和Hendrik Sorgh的绘画证据，Robert Herrick，William Shakespeare和Edmund Waller的诗歌，以及Francesco da Milano，Nicola Matteis和Queen Elizabeth的表演说明，我全都致力于使注意力问题成为关注点、情感反应和类比理解。有趣的是，原始材料还提出了在以劳拉·马尔维 (Laura Mulvey) 著名的“男性凝视”概念为模型的色情关系框架内偶尔理解聆听行为的可能性。