The Oxford Handbook of Sound and Imagination, Volume 1

The Oxford Handbook of Sound and Imagination, Volume 1

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Overview

Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.

Product Details

ISBN-13: 9780190460167
Publisher: Oxford University Press
Publication date: 08/22/2019
Series: Oxford Handbooks Series
Pages: 880
Sales rank: 992,901
Product dimensions: 9.90(w) x 7.10(h) x 1.90(d)

About the Author

Mark Grimshaw-Aagaard is Obel Professor of Music at Aalborg University, Denmark. He has published widely across subjects as diverse as sound, biofeedback in computer games, virtuality, the Uncanny Valley, and IT systems and also writes free, open source software for virtual research environments (WIKINDX). Mark is series editor for the Palgrave Macmillan series Studies in Sound, and his books include the anthologies Game Sound Technology & Player Interaction (2011) and The Oxford Handbook of Virtuality (OUP 2014), and, with co-author Tom Garner, a monograph entitled Sonic Virtuality (OUP 2015).

Mads Walther-Hansen is Associate Professor and head of the Music Programme at Aalborg University, Denmark. He writes on music listening, music production, sound technology, and sound analysis, and he has published several articles, chapters, and conference papers on cognition and language in relation to music production that examines the conceptualization of sound and the effect of recording technology on the listening experience.

Martin Knakkergaard is Senior Lecturer in the Music Programme at Aaborg University, Denmark. He is currently the leader of the Obel Music Project and was former head of the Music Programme at Aalborg University for more than 12 years. His research interests are primarily within the field of Music Technology. Martin has in recent years turned towards the study of musicological questions of a more fundamental nature. He is also the editor of the Danish Dictionary of Music, Gads Musikleksikon (2003 and 2005) and editor of the music periodical Col Legno (1993-1999), and the music journal Danish Musicology Online (2010-2015).

Table of Contents

Contributor Affiliations
Acknowledgments

Introduction
MARK GRIMSHAW-AAGAARD
MADS WALTHER-HANSEN
MARTIN KNAKKERGAARD

PART I. FOUNDATIONS

Chapter 1. Imagining Sound as the Absolute: The Case of Sarangadeva
SAAM TRIVEDI

Chapter 2. The Sensation of Sound and Imagination in a Historical Perspective
SVEN HROAR KLEMPE

Chapter 3. Imagining the Sounds Themselves
MALCOLM RIDDOCH

Chapter 4. Auditory Imagination. A Phenomenological Perspective
DANIEL A. SCHMICKING

Chapter 5. The Necessity of Vagueness and Ambiguity to the Imagining of Sound
MARK GRIMSHAW-AAGAARD

Chapter 6. Listening and/as Imagination
MARCEL COBUSSEN

Chapter 7. Imagination, Multimodality, and Sound
JOAQUIM BRAGA

Chapter 8. Some Anticipatory, Kinesthetic, and Dynamic Aspects of Auditory Imagery
TIMOTHY L. HUBBARD

PART II. SOCIETY AND IDENTITY

Chapter 9. Into the Sounds of War: Imagination, Media, and Experience
MICHAEL BULL

Chapter 10. Shifting Metaphors in the Conceptualization of Musical Knowledge and Learning
PETTER DYNDAHL

Chapter 11. Fantasy Control: Implications for Distributed Imagination and Affect Attunement in Music and Sound
ULRIK VOLGSTEN

Chapter 12. Musical Preferences and the Imagined Self
ALEXANDRA LAMONT

Chapter 13. Burmese Spirit Worship: Music as a Medium for the Transformation of Self
JUDITH BECKER

Chapter 14. Opera and the South African Political
CHRISTOPHER BALLANTINE

Chapter 15. Noise and Tranquility at Stonehenge: The Political Acoustics of Cultural Heritage
ODD ARE BERKAAK

Chapter 16. The Sonic Abject: Sound and Violence in the Legal Imagination
VEIT ERLMANN

Chapter 17. Building Worlds Together with Sound and Music: Imagination as an Active Engagement Between Ourselves
KAI TUURI AND HENNA-RIIKKA PELTOLA

Chapter 18. Sonic Branding: From Brand Image to Brand Imagination
CLARA GUSTAFSSON

Chapter 19. Radio Imaginaries: Music, Space, and Broadcasting in the 1950s
MORTEN MICHELSEN

PART III. LANGUAGE

Chapter 20. Audio Inside the Mind: The Poetics of Sound
SEÁN STREET

Chapter 21. The Acoustic Imaginations of East Asia
KERIM YASAR

Chapter 22. Imagining Sonic Stories
VINCENT MEELBERG

Chapter 23. Sound Quality, Language, and Cognitive Metaphors
MADS WALTHER-HANSEN

Chapter 24. Speech, Sound, Technology
JOHANNES MULDER AND THEO VAN LEEUWEN

Chapter 25. Divergent Images of Early Sound Experience during Infancy and Early Childhood
MICHAEL FORRESTER

PART IV. IMAGE

Chapter 26. The Aural Dimension in Comic Art
MARCO PELLITTERI

Chapter 27. Sound, Museums, and the Modulation of the Imagination
WILLIAM WHITTINGTON

Chapter 28. Cinema as Social Knowledge. The Case of the Beatles in the Studio
FRANÇOIS RIBAC

Chapter 29. Concerning the Iconic Signification of Music in Cinema
MICHAEL CHANAN

Chapter 30. Embodied Listening: A Moving Dimension of Imagination
MARTINE HUVENNE

Chapter 31. The Listener's Choice: The Sounds of Music, Meanings, and Measurements
OLA STOCKFELT

PART V. SPACE AND PLACE

Chapter 32. Imagining Acoustic Spaces Through Listening and Acoustic Ecology
BARRY TRUAX

Chapter 33. Presence, Environment, and Sound and the Role of Imagination
MARK GRIMSHAW-AAGAARD

Chapter 34. Music Places: Imaginative Transports of Listening
JUDY LOCHHEAD

Chapter 35. Beacons of Sound
MARTIN KNAKKERGAARD

Chapter 36. The Sound of an Endless Column: How Music Imagines Unimaginable Space
ZOHAR EITAN AND HILA TAMIR-OSTROVER

Chapter 37. Auditory Mirrors: About the Politics of Hearing
SABINE SANIO

Chapter 38. What You Hear is Where You Are
LINDA-RUTH SALTER

Chapter 39. Bridging the Other-Real: Video Game Sound and the Imagination
TOM A. GARNER

Index

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