The article presents an analysis of the work of an American researcher, a specialist in the field of philosophy of science and technology, as well as the phenomenology of perception, Don Ihde, "Listening and Voice: Phenomenology of Sound", which was first published in 1976, and its second edition was published in 2007. expanded edition. In many ways, this book became the starting point for further research in related fields of sound studies: acoustics and physiology of hearing, theory of music and philosophy of sound. It was conceived as a prolegomenon to the ontology of listening. It is distinguished by the autobiographical style, the emphasis on the duality (the uniqueness and universality) of the sounding event, and the desire to arouse readers' interest in the non-presuppositional description of the auditory experience and the identification of its essential features. Focusing on the auditory experience involves restoring and reinterpreting the fullness, richness, and holistic nature of human sensory perception. In the polyphony of perceived and imagined sound, one can observe the relationship between focus and periphery, distance and resistance, harmony and dissonance. Inner speech, as a form of auditory imagination and a testament to self-presence, is characterized by its hiddenness and elusiveness. It is protected from others, as it is understood only by its owner. It is characterized by its conciseness and incompleteness, as well as its constant "change of tone," although it takes on a more elaborate form during moments of mental difficulty, eventually transitioning into a whisper. It is based on subjective self-observations, which may not fully capture its intricacies, but it serves as the modal core of imaginative auditory experiences, reflecting the voice of language in the world. Ihde noted that studying the phenomenology of sound in a book is itself a kind of functional contradiction, since the text is perceived visually rather than aurally. However, reading is often accompanied by a mental representation of the voice, just as a trained musician can hear music when reading a musical score. One of the goals of the book is to explore this phenomenon. He proceeded from the integrity, universality of auditory perception and the possibility of creative processing of the data obtained, and examined the specifics of figurative sound perception based on three interrelated approaches: the polyphony of experience, auditory imagination, and inner speech, which are presented as separate sections of this article.

Don Ihde; auditory dimension; listening; duality of sound; polyphony of sensations; auditory imagination; inner speech; auditory field; auditory horizons; horizon of silence; auditory space; voice and silence

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