Martin Clayton, Byron Dueck, and Laura Leante (eds)
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199811328
- eISBN:
- 9780199369539
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199811328.001.0001
- Subject:
- Music, Ethnomusicology, World Music, Performing Practice/Studies
Experience and meaning in music performance is a multi-authored work that both draws on and contributes to current debates in a wide range of disciplines, including ethnomusicology, musicology, ...
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Experience and meaning in music performance is a multi-authored work that both draws on and contributes to current debates in a wide range of disciplines, including ethnomusicology, musicology, psychology, cognitive science and several other fields The eight distinct contributions focus in different ways on its three main themes: Experience, Meaning and Performance. Performance defines the principal object of study as the moment of production—of sound or of meaning—rather than on music as model, ideal or product. Experience focuses attention away from the ideal and the ideological and towards the phenomenal: what people actually do, and what they feel, while engaging in music. Meaning, too, is understood in a broad sense. On one hand, authors examine actions that are musically successful and socially consequential, but whose initial ‘meaning’ owes little to linguistic mediation. On the other hand, the authors retain a place for how discourse shapes music: for what people try to put into a performance, and what they think they (and others) ought to get out of it. Other themes impart cut across those of the volume’s title. Three chapters examine gesture and nonverbal forms of communication, illustrating how experiences of listening, performing and musical collaboration are shaped by movement and gesture. Another trio of essays focuses on elements of temporal organisation in music, particularly pulse, rhythmic patterning, metre and groove. These chapters explore how musicians from different traditions entrain to regular patterns of pulsation in music.Less
Experience and meaning in music performance is a multi-authored work that both draws on and contributes to current debates in a wide range of disciplines, including ethnomusicology, musicology, psychology, cognitive science and several other fields The eight distinct contributions focus in different ways on its three main themes: Experience, Meaning and Performance. Performance defines the principal object of study as the moment of production—of sound or of meaning—rather than on music as model, ideal or product. Experience focuses attention away from the ideal and the ideological and towards the phenomenal: what people actually do, and what they feel, while engaging in music. Meaning, too, is understood in a broad sense. On one hand, authors examine actions that are musically successful and socially consequential, but whose initial ‘meaning’ owes little to linguistic mediation. On the other hand, the authors retain a place for how discourse shapes music: for what people try to put into a performance, and what they think they (and others) ought to get out of it. Other themes impart cut across those of the volume’s title. Three chapters examine gesture and nonverbal forms of communication, illustrating how experiences of listening, performing and musical collaboration are shaped by movement and gesture. Another trio of essays focuses on elements of temporal organisation in music, particularly pulse, rhythmic patterning, metre and groove. These chapters explore how musicians from different traditions entrain to regular patterns of pulsation in music.
Jeffers Engelhardt and Philip Bohlman (eds)
- Published in print:
- 2016
- Published Online:
- April 2016
- ISBN:
- 9780199737642
- eISBN:
- 9780190490133
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199737642.001.0001
- Subject:
- Music, Ethnomusicology, World Music, Performing Practice/Studies
The chapters in Resounding Transcendence are unified by a common concern for the ways sacred music effects cultural, political, and religious transitions in the contemporary world. Together, the ...
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The chapters in Resounding Transcendence are unified by a common concern for the ways sacred music effects cultural, political, and religious transitions in the contemporary world. Together, the contributors describe the ways musical transition sounds belief and action together in forms of transcendence immanent in religious practice and ritual, particularly in the texts and contexts of sacred music. Sacred musical practice unleashes transcendence through socially engaged believers who re-sound belief systems through the ways music brings about direct and meaningful change, locally and globally. The contributors examine sacred musical experiences in different religions, cultures, and regions of the world. The chapters that present Christian musical traditions find them in Estonia, Greece, India, Indonesia, and Trinidad. Music affords complex and contested experiences in the chapters about the hybrid ontologies of sacred music in Islam, with case studies from Bangladesh and Tunisia. In chapters on Jewish music in the United States and Buddhist festivals in Taiwan, media both traditional and modern accelerate and channel the ways believers reflect the experiences of a contemporary world. The politics of religion and music form a counterpoint that runs through the book, connecting chapters on the symbolic resistive power of Christian music in predominantly non-Christian nations in Asia and the Middle East, no less than in the fraught Christianity that reflects the fragile politics of Eastern Europe. Transcendence takes new and increasingly complex forms in a modern world, resounding in the history of the present that this volume richly re-sounds.Less
The chapters in Resounding Transcendence are unified by a common concern for the ways sacred music effects cultural, political, and religious transitions in the contemporary world. Together, the contributors describe the ways musical transition sounds belief and action together in forms of transcendence immanent in religious practice and ritual, particularly in the texts and contexts of sacred music. Sacred musical practice unleashes transcendence through socially engaged believers who re-sound belief systems through the ways music brings about direct and meaningful change, locally and globally. The contributors examine sacred musical experiences in different religions, cultures, and regions of the world. The chapters that present Christian musical traditions find them in Estonia, Greece, India, Indonesia, and Trinidad. Music affords complex and contested experiences in the chapters about the hybrid ontologies of sacred music in Islam, with case studies from Bangladesh and Tunisia. In chapters on Jewish music in the United States and Buddhist festivals in Taiwan, media both traditional and modern accelerate and channel the ways believers reflect the experiences of a contemporary world. The politics of religion and music form a counterpoint that runs through the book, connecting chapters on the symbolic resistive power of Christian music in predominantly non-Christian nations in Asia and the Middle East, no less than in the fraught Christianity that reflects the fragile politics of Eastern Europe. Transcendence takes new and increasingly complex forms in a modern world, resounding in the history of the present that this volume richly re-sounds.
