Abstract
Imprisonment is characterized by the visual impenetrability of the environment and the omnipresent danger. Therefore, in this context, hearing is a key sense of orientation and survival.
Upon arriving to prison, the convict learns special listening techniques, and thus his hearing attention is redistributed. As a result, the prisoner's hearing changes and he finds himself in a new mode of hearing and listening.
This affects his experience within an acoustic environment and it also changes his approach to listening to music in general. Capacity of auditory attention and overall negative emotions significantly influence the levels of musical experience.
These are related to the so-called current thought-action repertoire, which allows one to perform cognitively demanding activities - such as listening to complex jazz music. However, its level is "narrowed" due to the prison atmosphere.
The sounds of the prison environment, capable of transmitting affect among its inhabitants, create a predominantly negative acoustic atmosphere. And in this situation, the desired effect of listening to music becomes unattainable for some convicts.