دانلود کتاب Sounds from Within: Phenomenology and Practice

فهرست مطالب :

Introduction: Transcending from Within
Contents
Editors and Contributors
1 Sound, Truth, and Paradigm
1.1 Art and Truth
1.2 Paradigm and Disciplinary Matrix
1.3 Relations of Science and Art
1.4 Language Games
1.5 Philosophical Archeology
1.6 The Paradigm of Signature
1.7 Apparatus and Music Paradigms
1.8 The Electroacoustic Paradigm
1.9 The Telematic Paradigm
1.10 Conclusion
References
2 Existential Semiotics and Its Application to Music: The Zemic Theory and Its Birth from the Spirit of Music
References
3 The Qualities and Flow of Imagined Sound and Music
3.1 Sound in the Imagination
3.2 The Specious Present
3.2.1 Pilot Studies (2013-14)
3.3 About Imaginary Loudness
3.4 Constructing the New Lens
3.5 Aspects of the Proposed Research
References
4 Decoding Imagined Sound
4.1 Introduction
4.1.1 What Is Imagined Sound?
4.1.2 What Is Decoding
4.2 Background
4.2.1 What Is Imagined Sound?
4.2.2 Imagination Versus the Real
4.2.3 Taxonomy of Imagined Sound
4.3 Relevant Literature
4.3.1 Audiation and Correlates of Imagined Sound
4.3.2 Creative and Deep Listening
4.3.3 Measurement and Representations of Neural Signals
4.4 fMRI Decoding of Imagined Sound
4.4.1 Experiment Overview
4.4.2 Methods
4.4.3 Participant Ratings
4.5 Results
4.5.1 Exclusions Based on Behavioral Data
4.5.2 Preprocessing and Univariate Results
4.5.3 Multivariate Results and Behavioral Correlates
4.6 Conclusions
References
5 Music, Listener and Extramusical Experience
5.1 Introduction
5.2 (Extra)musical Experiment
5.3 Extramusical Experience
5.3.1 General Associations and Sociocultural Influence
5.3.2 Visual Imagery
5.3.3 Emotion
5.3.4 Signifier-Signified Links in Instrumental Music
5.3.5 The Role of Lyrics
5.4 Conclusions
References
6 In Quest of the Sonic Self: Sound as Expression of the Performer’s Individuality
6.1 Introduction
6.2 Theory: Semiotics of the Sonic Self
6.3 Practice: The Sound from Within the Body
6.4 Case-Study: A Pianist and His Sound
6.5 Conclusions
References
7 The Notion of “Sound” in Popular Music
7.1 Introduction
7.2 The Notion of “Sound” in Gino Stefani’s Theories
7.2.1 Sound and Musical Competence
7.2.2 More Than Harmony and Form
7.2.3 What is Sound, After All?
7.3 A (Finnish) Musical Experience
7.3.1 Manifestation
7.4 Analysis (and Conclusions)
References
8 Experiencing Embodied Sonic Meditation Through Body, Voice, and Multimedia Arts
8.1 Introduction
8.2 Case Studies
8.2.1 The Virtual Mandala
8.2.2 The Tibetan Singing Prayer Wheel
8.2.3 Resonance of the Heart
8.3 An Evaluation Framework
8.3.1 Evaluation Background
8.3.2 Evaluating Body-Sound Relationships
8.3.3 Hypotheses
8.3.4 Methodology
8.3.5 Results
8.3.6 Discussion
8.4 Conclusion
References
9 Sonic Imagination: Body, Visual Mental Imagery, and Nomadism
9.1 Introduction
9.1.1 Context
9.1.2 Background
9.2 Deep Listening to the Amazon Rainforest Through Sonic Architectures
9.2.1 Mapping of Virtual and Real Spaces
9.2.2 Strategies of Recording in the Amazon Rainforest
9.2.3 Background
9.2.4 On the Influence of the Performance Space
9.2.5 Development of the Composition
9.3 Music for Brainwaves: Embodiment of Sound, Space and EEG Data
9.3.1 Hyperbiological Space
9.3.2 EEG, BCI, BCMI and Neurofeedback
9.3.3 Background
9.3.4 Composition
9.3.5 Performance
9.3.6 Xenakis’s Gendy3 Algorithm
9.3.7 Ex-NSA Teufelsberg Listening Radome, Berlin
9.4 Proprioception in Visual Mental Imagery of Spaces While Deep Listening
9.4.1 Background
9.4.2 In/Pe Project
9.4.3 Portfolio
9.4.4 Interpretation of the Results
9.5 Bodyscape
9.5.1 Processes of Development
9.5.2 Outcomes
9.6 Carnet de Routes: Following Blaise Cendrars in Brazil
9.6.1 Processes of Development
9.6.2 Outcomes
9.7 Conclusions
References
Index