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The Oxford Handbook of Sound and Imagination, Volume 2最新文献

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Playing the Inner Ear 玩内耳
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.31
Simon Emmerson
{"title":"Playing the Inner Ear","authors":"Simon Emmerson","doi":"10.1093/oxfordhb/9780190460242.013.31","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.31","url":null,"abstract":"Conceiving of an evocative synthesis engine from our imagining of sound is the substance of Simon Emmerson’s chapter. Emmerson surveys recent neurological experiments in the synthesis of speech and music, and he focuses his attention on how our imagining of sound might be synthesized at some future date. The purpose of this speculative chapter is not to map out the design and interface of such a system but rather to conceive of what the act of imagining sound is and how the tool to extract such sound imagery might be used for musical purposes and to externalize these formally private sounds.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122604232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Aesthetics of Improvisation 即兴创作的美学
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.32
A. Hamilton
{"title":"The Aesthetics of Improvisation","authors":"A. Hamilton","doi":"10.1093/oxfordhb/9780190460242.013.32","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.32","url":null,"abstract":"In his chapter on musical improvisation, Andy Hamilton deals with the cultural aspects and historical practices of the subject. Hamilton sets out to explore the artistic status of improvised music, and this involves a discussion of the connection between imagination and art and the differences between composition and improvisation. These discussions provide a theoretical framework to outline and defend an aesthetics of imperfection as a contrast to an aesthetics of perfection. Finally, the artistic value of jazz as an improvised art form is discussed and Hamilton ponders whether jazz music should be described as art music or as a form of classical music.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125999212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Creating a Brand Image through Music 通过音乐塑造品牌形象
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.29
Hauke Egermann
{"title":"Creating a Brand Image through Music","authors":"Hauke Egermann","doi":"10.1093/oxfordhb/9780190460242.013.29","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.29","url":null,"abstract":"Hauke Egermann explores the influence of music on how consumers imagine the characteristics of a brand. He deals with several psychological mechanisms in order to outline the associative and emotional potential of music and to illustrate how music aids in establishing brand recognition and recall in consumers. Egermann elaborates on how music can create brand attention and affective responses in consumers and affect the cognitive meaning of a brand image. He sums up by arguing for a brand-music communication model that describes three different functions of music in the creation of a brand identity: brand salience, cognitive meaning, and emotional meaning.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"167 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134342903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Anticipated Sonic Actions and Sounds in Performance 预期的声音动作和声音的表现
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.44
Clemens Wōllner
{"title":"Anticipated Sonic Actions and Sounds in Performance","authors":"Clemens Wōllner","doi":"10.1093/oxfordhb/9780190460242.013.44","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.44","url":null,"abstract":"Clemens Wöllner investigates sonic actions in music performance. He argues that musicians construct sonic images in the act of playing that are based on timbral qualities of the sounds as well as on timing details that allow them to anticipate sonic actions. In this way, they can perform without auditory feedback, for instance, when sound is switched off or otherwise not available during a performance. Wöllner discusses the construction of sonic images in the context of performances with both traditional and controller-driven instruments, and he shows how a performer’s anticipated sonic actions may differ according to the type of instrument. Furthermore, the level of detail of imagined sound qualities involved in auditory imagery is explored, and Wöllner considers the mappings between gesture and sound that are required in order for audiences to be able to imagine the sound as emerging from the performer’s actions.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129532040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Sound as Environmental Presence 声音作为环境存在
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.18
Ulrik Schmidt
{"title":"Sound as Environmental Presence","authors":"Ulrik Schmidt","doi":"10.1093/oxfordhb/9780190460242.013.18","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.18","url":null,"abstract":"An exploration of the affective dimension of our sonic environment forms the topic of Ulrik Schmidt’s chapter. Schmidt asks, What does it mean to be affected by the sonic environment as environment? This question leads to a broader discussion of how to distinguish different types of sonic environments and the different ways one may be affected by them, a discussion that involves a conceptual distinction between atmosphere, ambience, and ecology. It is argued that affect and imagination are key components in the environmental production of presence, and Schmidt provides examples of the aesthetic potentials of environments and explore how an environment may “perform” in different ways to affect us as environment.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126232690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Affordances in Real, Virtual, and Imaginary Musical Performance 现实，虚拟和想象的音乐表演的启示
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.70
Marc Duby
{"title":"Affordances in Real, Virtual, and Imaginary Musical Performance","authors":"Marc Duby","doi":"10.1093/oxfordhb/9780190460242.013.70","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.70","url":null,"abstract":"Marc Duby bases his exploration of sound and imagination on James J. Gibson’s affordance concept. In this chapter, Duby shows how musicians benefit from real and imagined actions in their interaction with real (such as pianos), virtual (such as MIDI controllers), and air instruments (such as air guitars [imaginary instruments]). In each case, Duby explores the connection between gesture and sound and how the various instruments afford creativity. This leads to discussions of the range of imaginary possibilities the instruments afford musicians in the act of performing, composing, and listening, and how the special case of the air guitar challenges existing theories of embodied cognition.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129070227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Imaginative Listening to Music 富有想象力的听音乐
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.11
Theodore Gracyk
{"title":"Imaginative Listening to Music","authors":"Theodore Gracyk","doi":"10.1093/oxfordhb/9780190460242.013.11","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.11","url":null,"abstract":"Theodore Gracyk takes issue with the claim that imaginative engagement is a prerequisite for the appreciation of music; that the experience of expressiveness in music derives from an imaginative enrichment that allows music to be heard as a sequence of motion and gestures in sound or that the expressive interpretation of music is guided by imaginative description. While not completely rejecting an imaginative response to music, Gracyk instead opts for an imaginative engagement with music described as “hearing-in.” While not all music demands such engagement, hearing-in is not a trigger for imaginative imagery but rather a musical prop that invites the listener to attend to music’s animation, for example, in the form of musical causality and anticipation.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123030596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
“… they call us by our name …” “……他们叫我们的名字……”
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.33
Bennett Hogg
{"title":"“… they call us by our name …”","authors":"Bennett Hogg","doi":"10.1093/oxfordhb/9780190460242.013.33","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.33","url":null,"abstract":"Bennett Hogg queries the relations that sound recording has commonly been thought to have to memory, in particular mechanistic approaches to both memory and recording that see them as processes that fix things through time. Sound recording has long been plausibly understood as a prosthesis of memory. However, memory goes considerably beyond the recall of stored information. Making sense of memories as they are “laid down,” and as they are “recalled,” involves imagining novel connections between memorized materials and networks of sensory, social, and cultural experience. Imagination, through time, subtly reworks memories, modulating their affect, re-evaluating the significance of particular memories, mythologizing them, even. Memories, through imagination, are not things but actions. Much play has been made on the (imagined) connections between “remembering” and “re-membering” (reassembling that which was dismembered), allowing us to propose imagination as something that re-members memories; endows them with life. To listen to a recording is to participate in an “event,” informed by memory, and partially modeled on it, but informed equally by imagination. To understand listening to recordings according to a rather reductive model of memory risks misrepresenting the richness of the cognitive ecosystem in which listening occurs. In looking for a new metaphor to inhabit this ecosystem of memory, imagination, and persistence through time, Hogg proposes metempsychosis, the transmigration of souls, as a more suggestive model.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114985381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
From Rays to Ra 从射线到Ra
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.75
Janna K. Saslaw, J. Walsh
{"title":"From Rays to Ra","authors":"Janna K. Saslaw, J. Walsh","doi":"10.1093/oxfordhb/9780190460242.013.75","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.75","url":null,"abstract":"Janna Saslaw and James Walsh speculate that repetition—as a principle central to the emergence of life—is also central to the experience of music. In addition, music, the authors argue, may be seen as providing an advantage in maintaining a state of homeostasis in individuals and in the formation of culture. Their argument involves discussions about a number of key components involved in the continuous process of developing the human species, such as self-replication, invariance, emergent structure, swarm behavior, homeostatic frames of reference, periodicity, resonance, and entrainment. The music of Sun Ra is used to exemplify the evolutionary advantage that music provides in creating more efficient homeostasis.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122458744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
A Hopeful Tone 充满希望的语气
The Oxford Handbook of Sound and Imagination, Volume 2 Pub Date : 2019-09-26 DOI: 10.1093/oxfordhb/9780190460242.013.54
Bryan J. Parkhurst
{"title":"A Hopeful Tone","authors":"Bryan J. Parkhurst","doi":"10.1093/oxfordhb/9780190460242.013.54","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190460242.013.54","url":null,"abstract":"Bryan J. Parkhurst uses contemporary analytic normativist aesthetics as a lens through which to view Leftist/Marxian normative aesthetics of music appreciation. In order to do this, Parkhurst situates the key theses of Ernst Bloch’s theory of utopian musical listening within the framework of Kendall Walton’s theories of musical fictionality and emotionality. The aim of this task is to make Bloch’s fundamental position perspicuous enough that it can be assessed and evaluated. Parkhurst concludes that Bloch’s contention that music should be heard as a utopian allegory, and that the distinguished office of (Western classical) music is to contribute to the political project of the imagining of a better, more humane world (a “regnum humanum”), faces difficult objections.","PeriodicalId":281835,"journal":{"name":"The Oxford Handbook of Sound and Imagination, Volume 2","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130664985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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