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Ways of Voice
Ways of Voice explores techniques of voice production in North India, from Bollywood to raga music to ghazal to devotional hymns and Sufi song. The voices in play here are not merely given, but achieved. Singers consciously train themselves to cultivate characteristic vocal gaits, sonorities, and poetic attunements; they adopt postures of the vocal apparatus; they build habits of listening, temporality, and social relations. The action in Ways of Voice revolves around several dozen North Indian popular, devotional, classical, and folk singers engaged in projects of vocal striving. Like most singers, they are strategically working on changing, refining, and making their own voices. The book t...
Tuning the World
Tuning the World tells the unknown story of how the musical pitch A 440 became the global norm. Now commonly accepted as the point of reference for musicians in the Western world, A 440 hertz only became the standard pitch during an international conference held in 1939. The adoption of this norm was the result of decades of negotiations between countries, involving a diverse group of performers, composers, diplomats, physicists, and sound engineers. Although there is widespread awareness of the variability of musical pitches over time, as attested by the use of lower frequencies to perform early music repertoires, no study has fully explained the invention of our current concert pitch. In t...
The Oxford Handbook of the Phenomenology of Music Cultures
A source of profound insights into human existence and the nature of lived experience, phenomenology is among the most influential intellectual movements of the last hundred years. The Oxford Handbook of the Phenomenology of Music Cultures brings ideas from the phenomenological tradition of Continental European philosophy into conversation with theoretical, ethnographic, and historical work from ethnomusicology, anthropology, sound studies, folklore studies, and allied disciplines to develop new perspectives on musical practices and auditory cultures. With sustained theoretical meditations and evocative ethnography, the book's twenty-two chapters advance scholarship on topics at the heart of...
Playing Across a Divide
Following the bands Bustan Abraham and Alei Hazayit from their creation and throughout their careers, as well as the collaborative projects of Israeli artist Yair Dalal, this book demonstrates the possibility of musical alternatives to violent conflict and hatred in an intensely contested, multicultural environment.
New Perspectives on Music and Gesture
Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume. The thirteen chapters are structured in a broad narrative trajectory moving from theory to practice, embracing Western and non-Western practices, real and virtual gestures, live and recorded performances, physical and acoustic gestures, visual and auditory perception, among other themes of topical interest. The main areas of enquiry include psychobiology; perception and cognition; philosophy and semiotics; conducting; ensemble work and solo piano playing. The volume is intended to promote and stimulate further research in Musical Gesture Studies.
The Topos of Music IV: Roots
This is the fourth volume of the second edition of the now classic book “The Topos of Music”. The author presents appendices with background material on sound and auditory physiology; mathematical basics such as sets, relations, transformations, algebraic geometry, and categories; complements in physics, including a discussion on string theory; and tables with chord classes and modulation steps.
Music and Empathy
In recent years, empathy has received considerable research attention as a means of understanding a range of psychological phenomena, and it is fast drawing attention within the fields of music psychology and music education. This volume seeks to promote and stimulate further research in music and empathy, with contributions from many of the leading scholars in the fields of music psychology, neuroscience, music philosophy and education. It exposes current developmental, cognitive, social and philosophical perspectives on research in music and empathy, and considers the notion in relation to our engagement with different types of music and media. Following a Prologue, the volume presents twe...
The Tangible in Music
In the age of digital music it seems striking that so many of us still want to produce music concretely with our bodies, through the movement of our limbs, lungs and fingers, in contact with those materials and objects which are capable of producing sounds. The huge sales figures of musical instruments in the global market, and the amount of time and effort people of all ages invest in mastering the tools of music, make it clear that playing musical instruments is an important phenomenon in human life. By combining the findings made in music psychology and performative ethnomusicology, Marko Aho shows how playing a musical instrument, and the pleasure musicians get from it, emerges from an intimate dialogue between the personally felt body and the sounding instrument. An introduction to the general aspects of the tactile resources of musical instruments, musical style and the musician is followed by an analysis of the learning process of the regional kantele style of the Perho river valley in Finnish Central Ostrobothnia.
Listening with a Feminist Ear
Listening with a Feminist Ear is a study of the cultural politics and possibilities of sound in cinema. Eschewing ocularcentric and siloed disciplinary formations, the book takes seriously the radical theoretical and methodological potential of listening. It models a feminist interpretive practice that is not just attuned to how power and privilege are materialized in sound, but that engenders new, counter-hegemonic imaginaries. Focusing on mainstream Bombay cinema, Sundar identifies singing, listening, and speaking as key sites in which gendered notions of identity and difference take form. Charting new paths through seven decades of film, media, and cultural history, Sundar identifies key shifts in women’s playback voices and the Islamicate genre of the qawwali. She also conceptualizes spoken language as sound, and turns up the volume on a capacious, multilingual politics of belonging that scholarly and popular accounts of nation typically render silent. All in all, Listening with a Feminist Ear offers a critical sonic sensibility that reinvigorates debates about the gendering of voice and body in cinema, and the role of sound and media in conjuring community.
