OXFORD UNIVERSITY PRESS

Music and Consciousness 2: Worlds, Practices, Modalities

ISBN : 9780198804352

参考価格(税込): 
¥6,116
著者: 
Ruth Herbert; David Clarke; Eric Clarke
ページ
352 ページ
フォーマット
Paperback
サイズ
171 x 246 mm
刊行日
2019年04月
メール送信
印刷

Consciousness has been described as one of the most mysterious things in the universe. Scientists, philosophers, and commentators from a whole range of disciplines can't seem to agree on what it is, generating a sizeable field of contemporary research known as consciousness studies. Following its forebear Music and Consciousness: Philosophical, Psychological and Cultural Perspectives (OUP, 2011), this volume argues that music can provide a valuable route to understanding consciousness, and also that consciousness opens up new perspectives for the study of music. It argues that consciousness extends beyond the brain, and is fundamentally related to selves engaged in the world, culture, and society. The book brings together an interdisciplinary line up of authors covering topics as wide ranging as cognitive psychology, neuroscience, psychoanalysis, philosophy and phenomenology, aesthetics, sociology, ethnography, and performance studies and musical styles from classic to rock, trance to Daoism, jazz to tabla, and deep listening to free improvisation. Music and Consciousness 2 will be fasinating reading for those studying or working in the field of musicology, those researching consciousness as well as cultural theorists, psychologists, and philosophers.

目次: 

I. Music, consciousness, and the Four Es
1 Christoph Seibert: Situated approaches to musical experience
2 Lawrence Zbikowski: Cognitive extension and musical consciousness
3 Joel Krueger: Music as affective scaffolding
4 Eric Clarke: Empathy and the ecology of musical consciousness
5 Maria A. G. Witek: Feeling at one: Socio-affective distribution, vibe and dance music consciousness
6 David Borgo: Entangled: Strange loops of action, attention, awareness and affect in musical improvisation
II. Consciousness in musical practice
7 Simon Hoffding: Performative passivity. Lessons on phenomenology and the extended musical mind with the Danish String Quartet
8 David Clarke: Music, Phenomenology, and 'the natural attitude': analysing Sibelius, thinking with Husserl, reflecting on Dennett
9 Mark Doffman: Practical time consciousness in musical performance
10 Martin Norgaard: The interplay between conscious and subconscious processes during expert musical improvisation
11 Robert Harris and Bauke M. de Jong: Conscious and non-conscious aural perception in music performance: an embodied perspective
12 Shierry Weber Nicholsen: What kind of conscious activity is 'listening to music'? A contribution from Theodor Adorno by way of psychoanalysis
III. Kinds of musical consciousness
13 Ruth Herbert: Absorption and openness to experience: an everyday tale of traits, states and consciousness change with music
14 Kat Agres, Louis Bigo, and Dorien Herremans: The impact of musical structure on enjoyment and absorptive listening states in trance music
15 Freya Bailes: Musical imagery and the temporality of consciousness
16 Vivek Virani: Dual consciousness and unconsciousness: the structure and spirituality of polymetric tabla compositions
17 Lanlan Kuang: (Un)consciousness? Music in the Daoist context of non-being

著者について: 

Ruth Herbert is a Lecturer in Music and Head of Performance at the University of Kent. She is a music psychologist and performer with a wide-ranging track record of publications in the fields of music in everyday life, music, health and wellbeing, music and consciousness (including ASC and Trance), sonic studies, evolutionary psychology and music education. Ruth is the author of Everyday Music Listening: Absorption, Dissociation and Trancing (London & New York: Routledge, 2016[2011]). As a professional pianist, Ruth has performed nationally and internationally with various ensembles, notably recording soundtracks commissioned by the British Film Institute (BFI) for silent films. She is an editorial board member for the Journal of Sonic Studies.; David Clarke is Professor of Music at Newcastle University. He is a music theorist with wide a range of research interests, encompassing analytical, philosophical, cultural and critical approaches to music. He is currently engaged in research on consciousness and phenomenology in relation to music, and with Eric Clarke he is co-editor of and contributor to Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives (OUP, 2011). David has published widely on the composer Michael Tippett, including a monograph, The Music and Thought of Michael Tippett (CUP, 2001). He has also written on Arvo Part, Eminem and John Cage, and on issues of modernism, postmodernism and cultural pluralism, most notably in articles on 'Elvis and Darmstadt' and Radio 3's Late Junction. A further current research interest is North Indian classical music, in both theory and practice. David is an associate editor on the editorial board of the journal Twentieth-Century Music.; Eric Clarke is Heather Professor of Music at the University of Oxford, and a Professorial Fellow of Wadham College. He has published on topics in the psychology of music, musical meaning, music and consciousness, musical creativity, and the analysis of pop music. Recent projects include work on music, empathy and cultural understanding; and empirical approaches to nineteenth-century orchestral and chamber music. He is co-editor of Empirical Musicology (2004, with Nicholas Cook), The Cambridge Companion to Recorded Music (2009, with Nicholas Cook, Daniel Leech-Wilkinson and John Rink), Music and Consciousness (2011, with David Clarke), and Distributed Creativity: Collaboration and Improvisation in Contemporary Music (2017, with Mark Doffman); and is the author of Ways of Listening (2005), and Music and Mind in Everyday Life (2010, with Nicola Dibben and Stephanie Pitts). Eric is a member of Academia Europaea, and a Fellow of the British Academy.

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