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Music and Embodied Cognition
Listening, Moving, Feeling, and Thinking
ARNIE COX
“One of the best studies on the role of conceptual metaphor in music comprehension and theory I've ever read.” – Mark Johnson author (with George Lakoff) of Philosophy in the Flesh: The Embodied Mind and Its Challenge to Weste
Taking a cognitive approach to musical meaning, Arnie Cox explores embodied experiences of hearing music as those that move us both consciously and unconsciously. In this pioneering study that draws on neuroscience and music theory, phenomenology and cognitive science, Cox advances his theory of the "mimetic hypothesis," the notion that a large part of our experience and understanding of music involves an embodied imitation in the listener of bodily motions and exertions that are involved in producing music. Through an often unconscious imitation of action and sound, we feel the music as it moves and grows. With applications to tonal and post-tonal Western classical music, to Western vernacular music, and to non-Western music, Cox’s work stands to expand the range of phenomena that can be explained by the role of sensory, motor, and affective aspects of human experience and cognition.
Arnie Cox is Associate Professor of Music Theory and Aural Skills at the Oberlin College Conservatory of Music. His writings and teaching focus on the relationship between embodiment, affect, metaphor, and musical experience. He has published essays on music and gesture, the role of embodiment in music analysis, and the nature of musical subjectivities. He has been an invited speaker at numerous universities and other venues.
Indiana University Press | Musical Meaning and Interpretation | October 2017 | | 9780253032317 | Book | £28.99*
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http://www.combinedacademic.co.uk/sonata-fragments
Sonata Fragments
Romantic Narratives in Chopin, Schumann, and Brahms
ANDREW DAVIS
In Sonata Fragments, Andrew Davis argues that the Romantic sonata is firmly rooted, both formally and expressively, in its Classical forebears, using Classical conventions in order to convey a broad constellation of Romantic aesthetic values. This claim runs contrary to conventional theories of the Romantic sonata that place this nineteenth-century musical form squarely outside inherited Classical sonata procedures. Building on Sonata Theory, Davis examines moments of fracture and fragmentation that disrupt the cohesive and linear temporality in piano sonatas by Chopin, Brahms, and Schumann. These disruptions in the sonata form are a narrative technique that signify temporal shifts during which we move from the outer action to the inner thoughts of a musical agent, or we move from the story as it unfolds to a flashback or flash-forward. Through an interpretation of Romantic sonatas as temporally multi-dimensional works in which portions of the music in any given piece can lie inside or outside of what Sonata Theory would define as the sonata-space proper, Davis reads into these ruptures a narrative of expressive features that mark these sonatas as uniquely Romantic.
Andrew Davis is Dean of the College of the Arts at the University of Houston and author of Il Trittico, Turandot, and Puccini’s Late Style (IUP).
Indiana University Press | Musical Meaning and Interpretation | September 2017 | 272pp | 5 b&w illus., 25 music exx. | 9780253028938 | Paperback | £28.99*
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**Offer excludes the USA, Canada and South America.
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