Our understanding of music is inherently metaphorical, and metaphoricity pervades all sorts of musical discourses, be they theoretical, analytical, philosophical, pedagogical, or even scientific. The notions of "body" and "force" are the two most pervasive and comprehensive scientific metaphors in musical discourse.
Our understanding of music is inherently metaphorical, and metaphoricity pervades all sorts of musical discourses, be they theoretical, analytical, philosophical, pedagogical, or even scientific. The notions of "body" and "force" are the two most pervasive and comprehensive scientific metaphors in musical discourse.
Youn Kim obtained her PhD in music theory from Columbia University and is currently Associate Professor of Music at The University of Hong Kong. Kim's previous publications include a monograph History of Western Music Theory (2006) and articles in Journal of Musicology, Psychology of Music, and Journal of Musicological Research, among others. She also co-edited The Oxford Handbook of Music and the Body (2019) and co-authored several articles published in Scientific Reports and PLOS One.
Inhaltsangabe
Introduction The human body and musical instruments Conceptual dimension of metaphoric construction Force and agency "Body and force" and "body versus force" The discursive space and disciplinary identity of music psychology Metaphors as shorthand for music psychology Roadmap Historicizing music psychology Chapter 1. The Musicking Body-machine Music, machine, and the body The emergence of the "human motor" model Rhythm: "an inevitable corollary from the persistence of forces" Psychological studies in the era of rhythm Musical rhythm and labor Rhythm in the "body culture" The "irrational," continuous rhythm Rhythm and the piano-playing body Concluding remarks Chapter 2. "A Force of Nature": Tracing Voice Animal, machine, and voice Speech theory of music Voice, the body machine, and the issue of agency Voice as both object and subject Voice of the "primitive" soul Recorded Voice "Dragging movement" "How the voice looks" Concluding remarks Chapter 3. Motion, Force, and "Rhythm Form" The "'co-working of motion' with one's own will" Piano theories Motion in piano playing Force and the will The will, physiology, and piano-playing Force and posture Action-perception coupling at the turn of the twentieth century "Rhythmic massing" Concluding remarks Chapter 4. Minding Gaps and Musical Energy The ball analogy The human motor capable of locomotion Capturing the musicking body Music as streams of energy Gliding between tones The agency of motion Revisiting the ball analogy Music as motion across disciplines and times Concluding remarks Chapter 5. Force at a Distance Force acting at a distance In the words of amateur pianists and psychologists Force affecting the audience The metaphor of vibratory waves in psychology Force at a distance and The power of sound "Brain waves" in communication Inhibition and waves in music psychology The vibratory energy of music "Sympathetic oscillation" Concluding remarks Epilogue Bibliography Index
Introduction The human body and musical instruments Conceptual dimension of metaphoric construction Force and agency "Body and force" and "body versus force" The discursive space and disciplinary identity of music psychology Metaphors as shorthand for music psychology Roadmap Historicizing music psychology Chapter 1. The Musicking Body-machine Music, machine, and the body The emergence of the "human motor" model Rhythm: "an inevitable corollary from the persistence of forces" Psychological studies in the era of rhythm Musical rhythm and labor Rhythm in the "body culture" The "irrational," continuous rhythm Rhythm and the piano-playing body Concluding remarks Chapter 2. "A Force of Nature": Tracing Voice Animal, machine, and voice Speech theory of music Voice, the body machine, and the issue of agency Voice as both object and subject Voice of the "primitive" soul Recorded Voice "Dragging movement" "How the voice looks" Concluding remarks Chapter 3. Motion, Force, and "Rhythm Form" The "'co-working of motion' with one's own will" Piano theories Motion in piano playing Force and the will The will, physiology, and piano-playing Force and posture Action-perception coupling at the turn of the twentieth century "Rhythmic massing" Concluding remarks Chapter 4. Minding Gaps and Musical Energy The ball analogy The human motor capable of locomotion Capturing the musicking body Music as streams of energy Gliding between tones The agency of motion Revisiting the ball analogy Music as motion across disciplines and times Concluding remarks Chapter 5. Force at a Distance Force acting at a distance In the words of amateur pianists and psychologists Force affecting the audience The metaphor of vibratory waves in psychology Force at a distance and The power of sound "Brain waves" in communication Inhibition and waves in music psychology The vibratory energy of music "Sympathetic oscillation" Concluding remarks Epilogue Bibliography Index
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