Through an analysis of four contemporary operas, Nina Sun Eidsheim offers a vibrational theory of music that radically re-envisions of how we think about sound, music, and listening by challenging common assumptions about sound, freeing it from a constraining set of fixed concepts and meanings.
Through an analysis of four contemporary operas, Nina Sun Eidsheim offers a vibrational theory of music that radically re-envisions of how we think about sound, music, and listening by challenging common assumptions about sound, freeing it from a constraining set of fixed concepts and meanings.
Illustrations viii Acknowledgments xi Introduction 1 1. Music's Material Dependency: What Underwater Opera Can Tell Us about Odysseus's Ears 27 2. The Acoustic Mediation of Voice, Self, and Others 58 3. Music as Action: Singing Happens before Sound 95 4. All Voice, All Ears: From the Figure of Sound to the Practice of Music 132 5. Music as a Vibrational Practice: Singing and Listening as Everything and Nothing 154 Notes 187 Bibliography 241 Index 261
Illustrations viii Acknowledgments xi Introduction 1 1. Music's Material Dependency: What Underwater Opera Can Tell Us about Odysseus's Ears 27 2. The Acoustic Mediation of Voice, Self, and Others 58 3. Music as Action: Singing Happens before Sound 95 4. All Voice, All Ears: From the Figure of Sound to the Practice of Music 132 5. Music as a Vibrational Practice: Singing and Listening as Everything and Nothing 154 Notes 187 Bibliography 241 Index 261
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