In this essay, I argue for a hearing of and listening for Benjamin’s concept of aura as an attributed and aural quality that is situated in the various intertwining contexts of performers, performances, and audience members. As an example, I consider specifically how the music performance of trumpet player Miles Davis comes to life for me in the spaces and the gaps that surround the various contextual clues I gather. This essay offers an example and reading of aura that can be extended to the criticism and understanding of music performances as events that happen in and beyond context.
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