OXFORD UNIVERSITY PRESS

The Oxford Handbook of Sound and Imagination, Volume 1

ISBN : 9780190460167

Price(incl.tax): 
¥28,710
Author: 
Mark Grimshaw-Aagaard; Mads Walther-Hansen; Martin Knakkergaard
Pages
808 Pages
Format
Hardcover
Size
171 x 248 mm
Pub date
Sep 2019
Series
Oxford Handbooks
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Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.

Index: 

Contributor Affiliations
Acknowledgments
Introduction
MARK GRIMSHAW-AAGAARD
MADS WALTHER-HANSEN
MARTIN KNAKKERGAARD
PART I. FOUNDATIONS
Chapter 1. Imagining Sound as the Absolute: The Case of Sarangadeva
SAAM TRIVEDI
Chapter 2. The Sensation of Sound and Imagination in a Historical Perspective
SVEN HROAR KLEMPE
Chapter 3. Imagining the Sounds Themselves
MALCOLM RIDDOCH
Chapter 4. Auditory Imagination. A Phenomenological Perspective
DANIEL A. SCHMICKING
Chapter 5. The Necessity of Vagueness and Ambiguity to the Imagining of Sound
MARK GRIMSHAW-AAGAARD
Chapter 6. Listening and/as Imagination
MARCEL COBUSSEN
Chapter 7. Imagination, Multimodality, and Sound
JOAQUIM BRAGA
Chapter 8. Some Anticipatory, Kinesthetic, and Dynamic Aspects of Auditory Imagery
TIMOTHY L. HUBBARD
PART II. SOCIETY AND IDENTITY
Chapter 9. Into the Sounds of War: Imagination, Media, and Experience
MICHAEL BULL
Chapter 10. Shifting Metaphors in the Conceptualization of Musical Knowledge and Learning
PETTER DYNDAHL
Chapter 11. Fantasy Control: Implications for Distributed Imagination and Affect Attunement in Music and Sound
ULRIK VOLGSTEN
Chapter 12. Musical Preferences and the Imagined Self
ALEXANDRA LAMONT
Chapter 13. Burmese Spirit Worship: Music as a Medium for the Transformation of Self
JUDITH BECKER
Chapter 14. Opera and the South African Political
CHRISTOPHER BALLANTINE
Chapter 15. Noise and Tranquility at Stonehenge: The Political Acoustics of Cultural Heritage
ODD ARE BERKAAK
Chapter 16. The Sonic Abject: Sound and Violence in the Legal Imagination
VEIT ERLMANN
Chapter 17. Building Worlds Together with Sound and Music: Imagination as an Active Engagement Between Ourselves
KAI TUURI AND HENNA-RIIKKA PELTOLA
Chapter 18. Sonic Branding: From Brand Image to Brand Imagination
CLARA GUSTAFSSON
Chapter 19. Radio Imaginaries: Music, Space, and Broadcasting in the 1950s
MORTEN MICHELSEN
PART III. LANGUAGE
Chapter 20. Audio Inside the Mind: The Poetics of Sound
SEAN STREET
Chapter 21. The Acoustic Imaginations of East Asia
KERIM YASAR
Chapter 22. Imagining Sonic Stories
VINCENT MEELBERG
Chapter 23. Sound Quality, Language, and Cognitive Metaphors
MADS WALTHER-HANSEN
Chapter 24. Speech, Sound, Technology
JOHANNES MULDER AND THEO VAN LEEUWEN
Chapter 25. Divergent Images of Early Sound Experience during Infancy and Early Childhood
MICHAEL FORRESTER
PART IV. IMAGE
Chapter 26. The Aural Dimension in Comic Art
MARCO PELLITTERI
Chapter 27. Sound, Museums, and the Modulation of the Imagination
WILLIAM WHITTINGTON
Chapter 28. Cinema as Social Knowledge. The Case of the Beatles in the Studio
FRANCOIS RIBAC
Chapter 29. Concerning the Iconic Signification of Music in Cinema
MICHAEL CHANAN
Chapter 30. Embodied Listening: A Moving Dimension of Imagination
MARTINE HUVENNE
Chapter 31. The Listener's Choice: The Sounds of Music, Meanings, and Measurements
OLA STOCKFELT
PART V. SPACE AND PLACE
Chapter 32. Imagining Acoustic Spaces Through Listening and Acoustic Ecology
BARRY TRUAX
Chapter 33. Presence, Environment, and Sound and the Role of Imagination
MARK GRIMSHAW-AAGAARD
Chapter 34. Music Places: Imaginative Transports of Listening
JUDY LOCHHEAD
Chapter 35. Beacons of Sound
MARTIN KNAKKERGAARD
Chapter 36. The Sound of an Endless Column: How Music Imagines Unimaginable Space
ZOHAR EITAN AND HILA TAMIR-OSTROVER
Chapter 37. Auditory Mirrors: About the Politics of Hearing
SABINE SANIO
Chapter 38. What You Hear is Where You Are
LINDA-RUTH SALTER
Chapter 39. Bridging the Other-Real: Video Game Sound and the Imagination
TOM A. GARNER
Index

About the author: 

Mark Grimshaw-Aagaard is Obel Professor of Music at Aalborg University, Denmark. He has published widely across subjects as diverse as sound, biofeedback in computer games, virtuality, the Uncanny Valley, and IT systems and also writes free, open source software for virtual research environments (WIKINDX). Mark is series editor for the Palgrave Macmillan series Studies in Sound, and his books include the anthologies Game Sound Technology & Player Interaction (2011) and The Oxford Handbook of Virtuality (OUP 2014), and, with co-author Tom Garner, a monograph entitled Sonic Virtuality (OUP 2015).
Mads Walther-Hansen is Associate Professor and head of the Music Programme at Aalborg University, Denmark. He writes on music listening, music production, sound technology, and sound analysis, and he has published several articles, chapters, and conference papers on cognition and language in relation to music production that examines the conceptualization of sound and the effect of recording technology on the listening experience.
Martin Knakkergaard is Senior Lecturer in the Music Programme at Aaborg University, Denmark. He is currently the leader of the Obel Music Project and was former head of the Music Programme at Aalborg University for more than 12 years. His research interests are primarily within the field of Music Technology. Martin has in recent years turned towards the study of musicological questions of a more fundamental nature. He is also the editor of the Danish Dictionary of Music, Gads Musikleksikon (2003 and 2005) and editor of the music periodical Col Legno (1993-1999), and the music journal Danish Musicology Online (2010-2015).

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