دانلود کتاب Sound in the Ecstatic-Materialist Perspective on Experimental Music

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Epigraph
Dedication
Table of Contents
Preface
Acknowledgements
Abbreviations
Introduction
A multifaceted approach
Overview
Remarks and limitations
Notes
1 Sound in 20th-century music
Scelsi and the centrality of sound
Key aspects of sound in the ecstatic-materialist perspective
From music to sound
From the beginning of the century up to 1980: a plural emancipation
Spectral line
Minimalist line
Musique concrète and avant-garde lines
From the 1980s onwards: a non-linear expansion
Bottom-up
Top-down
Moving in-between
Sonic map
Case studies: selection of pieces
Closing remarks
Notes
2 Morphology and structure of musical works
Starting points of the analysis
Sequential method
Step 1: Identification of common characteristics and morphologies
Step 2: Identification of common developments (unfolding structures)
Results
Low-level attributes
(A) An expanded spectrum
(B) Microtonal variations
(C) Systematic glissandi
(D) Rhythmic development
(E) Static masses
(F) Repetitive clusters
(G) Dynamic and timbric contrasts
High-level attributes
(H) Hypnotic reiterations
(I) A plastic and sculptural arrangement of sound
(J) Restricted number of elements conceived globally
(K) Limited dialectic among elements
(L) Sonic challenges
(M) Micro-/macroconstructions
Specific piece: in vain
Perceptual grammar
Closing remarks
Notes
3 Listening
Listening to experimental music
The experimental music blind spot in studies on musical perception
The auditory process of E-M music
Early-stage perception
Late-stage perception
Listening survey
Results
Music training discrimination
Cross-genre connections
Modes of listening
The internal-external immanent domain
Towards a multifaceted listening mode
The aesthetic attitude
Closing remarks
Notes
4 Composers and performers
Dialogues
Musical contexts and genres
Perception and the space of listening
Compositional practice
Sound and time
Closing remarks
Notes
5 The ecstatic-materialist perspective
The ecstatic and the materialist
Phenomenological materiality: the imprint of sound
Ecstatic potential: sound-as-trace
External-internal
Sound in the ecstatic-materialist perspective
Unity
Unstable presence
Coherence and convergence
Personality and intention
Intimate temporality and repetition
Space-matter: the materiality of space in sound
Vertical time: the ecstatic potential of space-matter
Musical communication
Closing remarks
Notes
6 Going beyond sound-in-itself
The conceptual and the sensorial-perceptual paradigms
Sonic materialism and the philosophical debate around sound
The materiality of the ecstatic-materialist perspective
The proximal hypothesis: the material presence of space-matter
The embodied cognitive level
Going beyond sound through sound
Notes
7 Epilogue: The ecstatic-materialist perspective in context
The ecstatic-materialist context
Empowered listening
Closing remarks
Notes
Discography
Bibliography
Glossary
Index