Shape is a concept widely used in talk about music. Musicians in
classical, popular, jazz and world musics use it to help them
rehearse, teach and think about what they do. Yet why is a word
that seems to require something to see or to touch so useful to
describe something that sounds? Music and Shape examines numerous
aspects of this surprisingly close relationship, with contributions
from scholars and musicians, artists, dancers, filmmakers, and
synaesthetes. The main chapters are provided by leading scholars
from music psychology, music analysis, music therapy, dance,
classical, jazz and popular music who examine how shape makes sense
in music from their varied points of view. Here we see shape
providing a key notion for the teaching and practice of performance
nuance or prosody; as a way of making relationships between sound
and body movement; as a link between improvisational as well as
compositional design and listener response, and between notation,
sound and cognition; and as a unimodal quality linked to vitality
affects. Reflections from practitioners, between the chapters,
offer complementary insights, embracing musical form, performance
and composition styles, body movement, rhythm, harmony, timbre,
narrative, emotions and feelings, and beginnings and endings. Music
and Shape opens up new perspectives on musical performance, music
psychology and music analysis, making explicit and open to
investigation a vital factor in musical thinking and experience
previously viewed merely as a metaphor.
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