Being Time: Case Studies in Musical Temporality
Autor Research Fellow Richard Glover, Bryn Harrison, Jennie Gottschalken Limba Engleză Hardback – 26 dec 2018
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Specificații
ISBN-13: 9781623568955
ISBN-10: 1623568951
Pagini: 200
Dimensiuni: 152 x 229 mm
Greutate: 0.44 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
ISBN-10: 1623568951
Pagini: 200
Dimensiuni: 152 x 229 mm
Greutate: 0.44 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
Caracteristici
An important contribution to sound studies linking experimental music and time
Notă biografică
Richard Glover is a composer and Reader in Music at the University of Wolverhampton, UK. Jennie Gottschalk is a composer and the author of Experimental Music Since 1970.Bryn Harrison is a composer and Reader in Composition at the University of Huddersfield, UK.
Cuprins
AcknowledgementsIntroductionRichard Glover, Jennie Gottschalk, and Bryn HarrisonChapter One: Foreshadowing and Recollection: Listening Through Morton Feldman's Piano, Violin, Viola, CelloBryn HarrisonPostlude to Chapter OneRichard GloverChapter Two: Musical brevity in James Saunders' Compatibility hides itself and 511 possible mosaicsBryn HarrisonPostlude to Chapter TwoJennie GottschalkChapter Three: Separation and Continuity in Chiyoko Szlavnics' Gradients of DetailRichard GloverPostlude to Chapter ThreeJennie GottschalkChapter Four: Filtering Temporality in Ryoji Ikeda's +/-Richard GloverPostlude to Chapter FourBryn HarrisonChapter Five: Granulated Time: Toshiya Tsunoda's O Kokos Tis AnixisJennie GottschalkPostlude to Chapter FiveBryn HarrisonChapter Six: Monoliths: Laurie Spiegel's The Expanding Universe and André O. Möller's musik für orgel und eine(n) tonsetzer(in)Jennie GottschalkPostlude to Chapter SixRichard GloverChapter Seven: Observations on Musical Behaviors and TemporalityRichard Glover, Jennie Gottschalk, and Bryn HarrisonEpilogueAppendix: Suggested Further Reading and Listening
Recenzii
This is one of the richest, most innovative treatments of temporality's relation to music to appear in the last decade. Musicologists, composers, sound artists, and interdisciplinary scholars interested in the experience of time will find this book rewarding. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals.
Being Time invites readers to share in the subjective reflections of its three authors, who are also accomplished composers ... The selection of musical material is adventurous and uncompromising ... [It] offers closely monitored, musicologically precise commentaries.
Being Time is fearless in its approach and makes a powerful case for musical experience as a fundamentally intersubjective encounter. It is deeply experimental-a humane and pedagogical project.
Being Time locates the potentialities of a work in a listener's ears, mind, and body; centralising listening as the phenomenal, temporal process of seeking identity, form, context, and meaning by reverberations that energize the sensory experiences of location, dislocation; the material and the immaterial; and the mirroring and unmooring of personal and social narratives. This book seeks to find and expand our ways of talking and writing about music and sound art practices, appreciating perception as a critical part of reception.
Being Time invites readers to share in the subjective reflections of its three authors, who are also accomplished composers ... The selection of musical material is adventurous and uncompromising ... [It] offers closely monitored, musicologically precise commentaries.
Being Time is fearless in its approach and makes a powerful case for musical experience as a fundamentally intersubjective encounter. It is deeply experimental-a humane and pedagogical project.
Being Time locates the potentialities of a work in a listener's ears, mind, and body; centralising listening as the phenomenal, temporal process of seeking identity, form, context, and meaning by reverberations that energize the sensory experiences of location, dislocation; the material and the immaterial; and the mirroring and unmooring of personal and social narratives. This book seeks to find and expand our ways of talking and writing about music and sound art practices, appreciating perception as a critical part of reception.