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Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by…mehr
Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.
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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 Senior Lecturer in the Music Programme at Aaborg 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).
Inhaltsangabe
* Contributor Affiliations * Acknowledgments * Introduction * MARK GRIMSHAW-AAGAARD * MADS WALTHER-HANSEN * MARTIN KNAKKERGAARD * PART I. FOUNDATIONS * Chapter 1. Imagining Sound as the Absolute: The Case of Sarangadeva * SAAM TRIVEDI * Chapter 2. The Sensation of Sound and Imagination in a Historical Perspective * SVEN HROAR KLEMPE * Chapter 3. Imagining the Sounds Themselves * MALCOLM RIDDOCH * Chapter 4. Auditory Imagination. A Phenomenological Perspective * DANIEL A. SCHMICKING * Chapter 5. The Necessity of Vagueness and Ambiguity to the Imagining of Sound * MARK GRIMSHAW-AAGAARD * Chapter 6. Listening and/as Imagination * MARCEL COBUSSEN * Chapter 7. Imagination, Multimodality, and Sound * JOAQUIM BRAGA * Chapter 8. Some Anticipatory, Kinesthetic, and Dynamic Aspects of Auditory Imagery * TIMOTHY L. HUBBARD * PART II. SOCIETY AND IDENTITY * Chapter 9. Into the Sounds of War: Imagination, Media, and Experience * MICHAEL BULL * Chapter 10. Shifting Metaphors in the Conceptualization of Musical Knowledge and Learning * PETTER DYNDAHL * Chapter 11. Fantasy Control: Implications for Distributed Imagination and Affect Attunement in Music and Sound * ULRIK VOLGSTEN * Chapter 12. Musical Preferences and the Imagined Self * ALEXANDRA LAMONT * Chapter 13. Burmese Spirit Worship: Music as a Medium for the Transformation of Self * JUDITH BECKER * Chapter 14. Opera and the South African Political * CHRISTOPHER BALLANTINE * Chapter 15. Noise and Tranquility at Stonehenge: The Political Acoustics of Cultural Heritage * ODD ARE BERKAAK * Chapter 16. The Sonic Abject: Sound and Violence in the Legal Imagination * VEIT ERLMANN * Chapter 17. Building Worlds Together with Sound and Music: Imagination as an Active Engagement Between Ourselves * KAI TUURI AND HENNA-RIIKKA PELTOLA * Chapter 18. Sonic Branding: From Brand Image to Brand Imagination * CLARA GUSTAFSSON * Chapter 19. Radio Imaginaries: Music, Space, and Broadcasting in the 1950s * MORTEN MICHELSEN * PART III. LANGUAGE * Chapter 20. Audio Inside the Mind: The Poetics of Sound * SEÁN STREET * Chapter 21. The Acoustic Imaginations of East Asia * KERIM YASAR * Chapter 22. Imagining Sonic Stories * VINCENT MEELBERG * Chapter 23. Sound Quality, Language, and Cognitive Metaphors * MADS WALTHER-HANSEN * Chapter 24. Speech, Sound, Technology * JOHANNES MULDER AND THEO VAN LEEUWEN * Chapter 25. Divergent Images of Early Sound Experience during Infancy and Early Childhood * MICHAEL FORRESTER * PART IV. IMAGE * Chapter 26. The Aural Dimension in Comic Art * MARCO PELLITTERI * Chapter 27. Sound, Museums, and the Modulation of the Imagination * WILLIAM WHITTINGTON * Chapter 28. Cinema as Social Knowledge. The Case of the Beatles in the Studio * FRANÇOIS RIBAC * Chapter 29. Concerning the Iconic Signification of Music in Cinema * MICHAEL CHANAN * Chapter 30. Embodied Listening: A Moving Dimension of Imagination * MARTINE HUVENNE * Chapter 31. The Listener's Choice: The Sounds of Music, Meanings, and Measurements * OLA STOCKFELT * PART V. SPACE AND PLACE * Chapter 32. Imagining Acoustic Spaces Through Listening and Acoustic Ecology * BARRY TRUAX * Chapter 33. Presence, Environment, and Sound and the Role of Imagination * MARK GRIMSHAW-AAGAARD * Chapter 34. Music Places: Imaginative Transports of Listening * JUDY LOCHHEAD * Chapter 35. Beacons of Sound * MARTIN KNAKKERGAARD * Chapter 36. The Sound of an Endless Column: How Music Imagines Unimaginable Space * ZOHAR EITAN AND HILA TAMIR-OSTROVER * Chapter 37. Auditory Mirrors: About the Politics of Hearing * SABINE SANIO * Chapter 38. What You Hear is Where You Are * LINDA-RUTH SALTER * Chapter 39. Bridging the Other-Real: Video Game Sound and the Imagination * TOM A. GARNER * Index
* Contributor Affiliations * Acknowledgments * Introduction * MARK GRIMSHAW-AAGAARD * MADS WALTHER-HANSEN * MARTIN KNAKKERGAARD * PART I. FOUNDATIONS * Chapter 1. Imagining Sound as the Absolute: The Case of Sarangadeva * SAAM TRIVEDI * Chapter 2. The Sensation of Sound and Imagination in a Historical Perspective * SVEN HROAR KLEMPE * Chapter 3. Imagining the Sounds Themselves * MALCOLM RIDDOCH * Chapter 4. Auditory Imagination. A Phenomenological Perspective * DANIEL A. SCHMICKING * Chapter 5. The Necessity of Vagueness and Ambiguity to the Imagining of Sound * MARK GRIMSHAW-AAGAARD * Chapter 6. Listening and/as Imagination * MARCEL COBUSSEN * Chapter 7. Imagination, Multimodality, and Sound * JOAQUIM BRAGA * Chapter 8. Some Anticipatory, Kinesthetic, and Dynamic Aspects of Auditory Imagery * TIMOTHY L. HUBBARD * PART II. SOCIETY AND IDENTITY * Chapter 9. Into the Sounds of War: Imagination, Media, and Experience * MICHAEL BULL * Chapter 10. Shifting Metaphors in the Conceptualization of Musical Knowledge and Learning * PETTER DYNDAHL * Chapter 11. Fantasy Control: Implications for Distributed Imagination and Affect Attunement in Music and Sound * ULRIK VOLGSTEN * Chapter 12. Musical Preferences and the Imagined Self * ALEXANDRA LAMONT * Chapter 13. Burmese Spirit Worship: Music as a Medium for the Transformation of Self * JUDITH BECKER * Chapter 14. Opera and the South African Political * CHRISTOPHER BALLANTINE * Chapter 15. Noise and Tranquility at Stonehenge: The Political Acoustics of Cultural Heritage * ODD ARE BERKAAK * Chapter 16. The Sonic Abject: Sound and Violence in the Legal Imagination * VEIT ERLMANN * Chapter 17. Building Worlds Together with Sound and Music: Imagination as an Active Engagement Between Ourselves * KAI TUURI AND HENNA-RIIKKA PELTOLA * Chapter 18. Sonic Branding: From Brand Image to Brand Imagination * CLARA GUSTAFSSON * Chapter 19. Radio Imaginaries: Music, Space, and Broadcasting in the 1950s * MORTEN MICHELSEN * PART III. LANGUAGE * Chapter 20. Audio Inside the Mind: The Poetics of Sound * SEÁN STREET * Chapter 21. The Acoustic Imaginations of East Asia * KERIM YASAR * Chapter 22. Imagining Sonic Stories * VINCENT MEELBERG * Chapter 23. Sound Quality, Language, and Cognitive Metaphors * MADS WALTHER-HANSEN * Chapter 24. Speech, Sound, Technology * JOHANNES MULDER AND THEO VAN LEEUWEN * Chapter 25. Divergent Images of Early Sound Experience during Infancy and Early Childhood * MICHAEL FORRESTER * PART IV. IMAGE * Chapter 26. The Aural Dimension in Comic Art * MARCO PELLITTERI * Chapter 27. Sound, Museums, and the Modulation of the Imagination * WILLIAM WHITTINGTON * Chapter 28. Cinema as Social Knowledge. The Case of the Beatles in the Studio * FRANÇOIS RIBAC * Chapter 29. Concerning the Iconic Signification of Music in Cinema * MICHAEL CHANAN * Chapter 30. Embodied Listening: A Moving Dimension of Imagination * MARTINE HUVENNE * Chapter 31. The Listener's Choice: The Sounds of Music, Meanings, and Measurements * OLA STOCKFELT * PART V. SPACE AND PLACE * Chapter 32. Imagining Acoustic Spaces Through Listening and Acoustic Ecology * BARRY TRUAX * Chapter 33. Presence, Environment, and Sound and the Role of Imagination * MARK GRIMSHAW-AAGAARD * Chapter 34. Music Places: Imaginative Transports of Listening * JUDY LOCHHEAD * Chapter 35. Beacons of Sound * MARTIN KNAKKERGAARD * Chapter 36. The Sound of an Endless Column: How Music Imagines Unimaginable Space * ZOHAR EITAN AND HILA TAMIR-OSTROVER * Chapter 37. Auditory Mirrors: About the Politics of Hearing * SABINE SANIO * Chapter 38. What You Hear is Where You Are * LINDA-RUTH SALTER * Chapter 39. Bridging the Other-Real: Video Game Sound and the Imagination * TOM A. GARNER * Index
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