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The field of Sound Studies has changed and developed dramatically
over the last two decades involving a vast and dizzying array of
work produced by those working in the arts, social sciences and
sciences. The study of sound is inherently interdisciplinary and is
undertaken both by those who specialize in sound and by others who
wish to include sound as an intrinsic and indispensable element in
their research. This is the first resource to provide a wide
ranging, cross-cultural and interdisciplinary investigation and
analysis of the ways in which researchers use a broad range of
methodologies in order to pursue their sonic investigations. It
brings together 49 specially commissioned chapters that ask a wide
range of questions including; how can sound be used in current
academic disciplines? Is sound as a methodological tool
indispensable for Sound Studies and what can sound artists
contribute to the discourse on methodology in Sound Studies? The
editors also present 3 original chapters that work as provocative
‘sonic methodological interventions’ prefacing the 3 sections
of the book.
The Routledge Companion to Sounding Art presents an overview of the
issues, methods, and approaches crucial for the study of sound in
artistic practice. Thirty-six essays cover a variety of
interdisciplinary approaches to studying sounding art from the
fields of musicology, cultural studies, sound design, auditory
culture, art history, and philosophy. The companion website hosts
sound examples and links to further resources. The collection is
organized around six main themes: Sounding Art: The notion of
sounding art, its relation to sound studies, and its evolution and
possibilities. Acoustic Knowledge and Communication: How we
approach, study, and analyze sound and the challenges of writing
about sound. Listening and Memory: Listening from different
perspectives, from the psychology of listening to embodied and
technologically mediated listening. Acoustic Spaces, Identities and
Communities: How humans arrange their sonic environments, how this
relates to sonic identity, how music contributes to our
environment, and the ethical and political implications of sound.
Sonic Histories: How studying sounding art can contribute
methodologically and epistemologically to historiography. Sound
Technologies and Media: The impact of sonic technologies on
contemporary culture, electroacoustic innovation, and how the way
we make and access music has changed. With contributions from
leading scholars and cutting-edge researchers, The Routledge
Companion to Sounding Art is an essential resource for anyone
studying the intersection of sound and art.
It seems self-evident that music plays more than just an aesthetic
role in contemporary society. In addition, music's social,
political, emancipatory, and economical functions have been the
subject of much recent research. Given this, it is surprising that
the subject of ethics has often been neglected in discussions about
music. The various forms of engagement between music and ethics are
more relevant than ever, and require sustained attention. Music and
Ethics examines different ways in which music can 'in itself' - in
a uniquely musical way - contribute to theoretical discussions
about ethics as well as concrete moral behaviour. We consider music
as process, and music-making as interaction. Fundamental to our
understanding is music's association with engagement, including
contact with music through the act of listening, music as an
immanent critical process that possesses profound cultural and
historical significance, and as an art form that can be
world-disclosive, formative of subjectivity, and contributive to
intersubjective relations. Music and Ethics does not offer a
general musico-ethical theory, but explores ethics as a practical
concept, and demonstrates through concrete examples that the
relation between music and ethics has never been absent.
It seems self-evident that music plays more than just an aesthetic
role in contemporary society. In addition, music's social,
political, emancipatory, and economical functions have been the
subject of much recent research. Given this, it is surprising that
the subject of ethics has often been neglected in discussions about
music. The various forms of engagement between music and ethics are
more relevant than ever, and require sustained attention. Music and
Ethics examines different ways in which music can 'in itself' - in
a uniquely musical way - contribute to theoretical discussions
about ethics as well as concrete moral behaviour. We consider music
as process, and music-making as interaction. Fundamental to our
understanding is music's association with engagement, including
contact with music through the act of listening, music as an
immanent critical process that possesses profound cultural and
historical significance, and as an art form that can be
world-disclosive, formative of subjectivity, and contributive to
intersubjective relations. Music and Ethics does not offer a
general musico-ethical theory, but explores ethics as a practical
concept, and demonstrates through concrete examples that the
relation between music and ethics has never been absent.
In Thresholds Marcel Cobussen rethinks the relationship between
music and spirituality. The point of departure is the current
movement within contemporary classical music known as New Spiritual
Music, with as its main representatives Arvo PArt, John Tavener,
and Giya Kancheli. In almost all respects, the musical principles
of the new spiritual music seem to be diametrically opposed to
those of modernism: repetition and rest versus development and
progress, tradition and familiarity versus innovation and
experiment, communication versus individualism and conceptualism,
tonality versus atonality, and so on. As such, this movement is
often considered as part of the much larger complex called
postmodernism. Joining in with ideas on spirituality as presented
by Michel de Certeau and Mark C. Taylor, Cobussen deconstructs the
classification of the 'spiritual dimensions' of music as described
above. Thresholds presents an idea of spirituality in and through
music that counters strategies of exclusion and mastering of
alterity and connects it to wandering, erring, and roving. Using
the philosophy of Martin Heidegger, Georges Bataille, Jean-FranAois
Lyotard, Jacques Derrida and others, and analysing the music of
John Coltrane, the mythical Sirens, Arvo PArt, and The Eagles (to
mention a few), Cobussen regards spirituality as a (non)concept
that escapes categorization, classification, and linguistic
descriptions. Spirituality is a-topological, non-discursive and a
manifestation of 'otherness'. And it is precisely music (or better:
listening to music) that induces these thoughts: by carefully
encountering, analysing, and evaluating certain examples from
classical, jazz, pop and world music it is possible to detach
spirituality from concepts of otherworldliness and
transcendentalism. Thresholds opens a space in which spirituality
can be connected to music that is not commonly considered in this
light, thereby enriching the ways of approaching and discussing
music. In order to achieve this, it is necessary to show that
spirituality is not an attribute of music, not a simple adjective
providing extra information or used to categorize certain types of
music. Instead, the spiritual can happen through listening to
music, in a more or less personalized relationship with it. This
relationship might be characterized as susceptible instead of
controlling, open instead of excluding, groping instead of rigid.
In Thresholds Marcel Cobussen rethinks the relationship between
music and spirituality. The point of departure is the current
movement within contemporary classical music known as New Spiritual
Music, with as its main representatives Arvo PArt, John Tavener,
and Giya Kancheli. In almost all respects, the musical principles
of the new spiritual music seem to be diametrically opposed to
those of modernism: repetition and rest versus development and
progress, tradition and familiarity versus innovation and
experiment, communication versus individualism and conceptualism,
tonality versus atonality, and so on. As such, this movement is
often considered as part of the much larger complex called
postmodernism. Joining in with ideas on spirituality as presented
by Michel de Certeau and Mark C. Taylor, Cobussen deconstructs the
classification of the 'spiritual dimensions' of music as described
above. Thresholds presents an idea of spirituality in and through
music that counters strategies of exclusion and mastering of
alterity and connects it to wandering, erring, and roving. Using
the philosophy of Martin Heidegger, Georges Bataille, Jean-FranAois
Lyotard, Jacques Derrida and others, and analysing the music of
John Coltrane, the mythical Sirens, Arvo PArt, and The Eagles (to
mention a few), Cobussen regards spirituality as a (non)concept
that escapes categorization, classification, and linguistic
descriptions. Spirituality is a-topological, non-discursive and a
manifestation of 'otherness'. And it is precisely music (or better:
listening to music) that induces these thoughts: by carefully
encountering, analysing, and evaluating certain examples from
classical, jazz, pop and world music it is possible to detach
spirituality from concepts of otherworldliness and
transcendentalism. Thresholds opens a space in which spirituality
can be connected to music that is not commonly considered in this
light, thereby enriching the ways of approaching and discussing
music. In order to achieve this, it is necessary to show that
spirituality is not an attribute of music, not a simple adjective
providing extra information or used to categorize certain types of
music. Instead, the spiritual can happen through listening to
music, in a more or less personalized relationship with it. This
relationship might be characterized as susceptible instead of
controlling, open instead of excluding, groping instead of rigid.
The Routledge Companion to Sounding Art presents an overview of the
issues, methods, and approaches crucial for the study of sound in
artistic practice. Thirty-six essays cover a variety of
interdisciplinary approaches to studying sounding art from the
fields of musicology, cultural studies, sound design, auditory
culture, art history, and philosophy. The companion website hosts
sound examples and links to further resources. The collection is
organized around six main themes: Sounding Art: The notion of
sounding art, its relation to sound studies, and its evolution and
possibilities. Acoustic Knowledge and Communication: How we
approach, study, and analyze sound and the challenges of writing
about sound. Listening and Memory: Listening from different
perspectives, from the psychology of listening to embodied and
technologically mediated listening. Acoustic Spaces, Identities and
Communities: How humans arrange their sonic environments, how this
relates to sonic identity, how music contributes to our
environment, and the ethical and political implications of sound.
Sonic Histories: How studying sounding art can contribute
methodologically and epistemologically to historiography. Sound
Technologies and Media: The impact of sonic technologies on
contemporary culture, electroacoustic innovation, and how the way
we make and access music has changed. With contributions from
leading scholars and cutting-edge researchers, The Routledge
Companion to Sounding Art is an essential resource for anyone
studying the intersection of sound and art.
The field of Sound Studies has changed and developed dramatically
over the last two decades involving a vast and dizzying array of
work produced by those working in the arts, social sciences and
sciences. The study of sound is inherently interdisciplinary and is
undertaken both by those who specialize in sound and by others who
wish to include sound as an intrinsic and indispensable element in
their research. This is the first resource to provide a wide
ranging, cross-cultural and interdisciplinary investigation and
analysis of the ways in which researchers use a broad range of
methodologies in order to pursue their sonic investigations. It
brings together 49 specially commissioned chapters that ask a wide
range of questions including; how can sound be used in current
academic disciplines? Is sound as a methodological tool
indispensable for Sound Studies and what can sound artists
contribute to the discourse on methodology in Sound Studies? The
editors also present 3 original chapters that work as provocative
'sonic methodological interventions' prefacing the 3 sections of
the book.
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