The Oxford Handbook of Sound and Imagination, Volume 2

by Grimshaw-Aagaard, Mark; Walther-Hansen, Mads; Knakkergaard, Martin

• ISBN13: 9780190460242
• ISBN10: 0190460245
• Format: Hardcover
• Copyright: 2019-08-22
• Publisher: Oxford University Press

Author Biography

Mark Grimshaw-Aagaard is Obel Professor of Music at Aalborg University, Denmark. He has published widely across subjects as diverse as sound, biofeedback in computer games, virtuality, the Uncanny Valley, and IT systems and also writes free, open source software for virtual research environments (WIKINDX). Mark is series editor for the Palgrave Macmillan series Studies in Sound, and his books include the anthologies Game Sound Technology & Player Interaction (2011) and The Oxford Handbook of Virtuality (OUP 2014), and, with co-author Tom Garner, a monograph entitled Sonic Virtuality (OUP 2015).

Mads Walther-Hansen is Associate Professor and head of the Music Programme at Aalborg University, Denmark. He writes on music listening, music production, sound technology, and sound analysis, and he has published several articles, chapters, and conference papers on cognition and language in relation to music production that examines the conceptualization of sound and the effect of recording technology on the listening experience.

Martin Knakkergaard is Associate Professor at Aalborg University, Denmark. He is currently the leader of the Obel Music Project and was former head of the Music Programme at Aalborg University for more than 12 years. His research interests are primarily within the field of Music Technology. Martin has in recent years turned towards the study of musicological questions of a more fundamental nature. He is also the editor of the Danish Dictionary of Music, Gads Musikleksikon (2003 and 2005) and editor of the music periodical Col Legno (1993-1999), and the music journal Danish Musicology Online (2010-2015).

Table of Contents

Contributor Affiliations
Acknowledgments

Introduction
MARK GRIMSHAW-AAGAARD
MADS WALTHER-HANSEN
MARTIN KNAKKERGAARD

PART I. MUSICAL PERFORMANCE

Chapter 1. Improvisation: An Ideal Display of Embodied Imagination
JUSTIN CHRISTENSEN

Chapter 2. Anticipated Sonic Actions and Sounds in Performance
CLEMENS WÖLLNER

Chapter 3. Motor Imagery in Perception and Performance of Sound and Music
JAN SCHACHER

Chapter 4. Music and Emergence
JOHN M. CARVALHO

Chapter 5. Affordances in Real, Virtual, and Imaginary Musical Performance
MARC DUBY

PART II. SYSTEMS AND TECHNOLOGIES

Chapter 6. Systemic Abstractions: The Imaginary Regime
MARTIN KNAKKERGAARD

Chapter 7. From Rays to Ra: Music, Physics, and the Mind
JANNA K. SASLAW AND JAMES P. WALSH

Chapter 8. Music Analysis and Data Compression
DAVID MEREDITH

Chapter 9. Bioacoustics: Imaging and Imagining the Animal World
MICKEY VALLEE

Chapter 10. Musical Notation as the Externalization of Imagined, Complex Sound
HENRIK SINDING-LARSEN

Chapter 11. ". . . they call us by our name . . .": Technology, Memory, and Metempsychosis
BENNETT HOGG

Chapter 12. Musical Shape Cognition
ROLF INGE GODØY

Chapter 13. Playing the Inner Ear: Performing the Imagination
SIMON EMMERSON

PART III. PSYCHOLOGY

Chapter 14. Music in Detention and Interrogation: The Musical Ecology of Fear
W. LUKE WINDSOR

Chapter 15. Augmented Unreality: Synesthetic Artworks and Audio-Visual Hallucinations
JONATHAN WEINEL

Chapter 16. Consumer Sound
SØREN BECH AND JON FRANCOMBE

Chapter 17. Creating a Brand Image through Music: Understanding the Psychological Mechanisms Behind Audio Branding
HAUKE EGERMANN

Chapter 18. Sound and Emotion
ERKIN ASUTAY AND DANIEL VÄSTFJÄLL

Chapter 19. Voluntary Auditory Imagery and Music Pedagogy
ANDREA R. HALPERN AND KATIE OVERY

Chapter 20. A Different Way of Imagining Sound: Probing the Inner Auditory Worlds of Some Children on the Autism Spectrum
ADAM OCKELFORD

Chapter 21. Multi-Modal Imagery in the Receptive Music Therapy Model Guided Imagery and Music (GIM)
LARS OLE BONDE

Chapter 22. Empirical Musical Imagery Beyond the 'Mind's Ear'
FREYA BAILES

PART IV. AESTHETICS

Chapter 23. Imaginative Listening to Music
THEODORE GRACYK

Chapter 24. A Hopeful Tone: A Waltonian Reconstruction of Bloch's Musical Aesthetics
BRYAN PARKHURST

Chapter 25. Sound as Environmental Presence: Towards an Aesthetics of Sonic Atmospheres
ULRIK SCHMIDT

Chapter 26. The Aesthetics of Improvisation
ANDY HAMILTON

PART V. POSTHUMANISM

Chapter 27. Sonic Materialism: Hearing the Arche-Sonic
SALOMÉ VOEGELIN

Chapter 28. Imagining the Seamless Cyborg: Computer System Sounds as Embodying Technologies
DANIËL PLOEGER

Chapter 29. Glitched and Warped: Transformations of Rhythm in the Age of the Digital Audio Workstation
ANNE DANIELSEN

Chapter 30. On the Other Side of Time: Afrofuturism and the Sounds of the Future
ERIK STEINSKOG

Chapter 31. Posthumanist Voices in Literature and Opera
JASON R. D'AOUST

Index