Music and Consciousness 2: Worlds, Practices, Modalities / Edition 2

by Ruth Herbert, David Clarke, Eric Clarke

Overview

Consciousness has been described as one of the most mysterious things in the universe. Scientists, philosophers, and commentators from a whole range of disciplines can't seem to agree on what it is, generating a sizeable field of contemporary research known as consciousness studies.

Following its forebear Music and Consciousness: Philosophical, Psychological and Cultural Perspectives (OUP, 2011), this volume argues that music can provide a valuable route to understanding consciousness, and also that consciousness opens up new perspectives for the study of music. It argues that consciousness extends beyond the brain, and is fundamentally related to selves engaged in the world, culture, and society.

The book brings together an interdisciplinary line up of authors covering topics as wide ranging as cognitive psychology, neuroscience, psychoanalysis, philosophy and phenomenology, aesthetics, sociology, ethnography, and performance studies and musical styles from classic to rock, trance to Daoism, jazz to tabla, and deep listening to free improvisation. Music and Consciousness 2 will be fasinating reading for those studying or working in the field of musicology, those researching consciousness as well as cultural theorists, psychologists, and philosophers.

Product Details

ISBN-13:	9780198804352
Publisher:	Oxford University Press
Publication date:	06/11/2019
Edition description:	2nd ed.
Pages:	352
Product dimensions:	9.60(w) x 6.70(h) x 0.60(d)

About the Author

Ruth Herbert is a Lecturer in Music and Head of Performance at the University of Kent. She is a music psychologist and performer with a wide-ranging track record of publications in the fields of music in everyday life, music, health and wellbeing, music and consciousness (including ASC and Trance), sonic studies, evolutionary psychology and music education. Ruth is the author of Everyday Music Listening: Absorption, Dissociation and Trancing (London & New York: Routledge, 2016[2011]). As a professional pianist, Ruth has performed nationally and internationally with various ensembles, notably recording soundtracks commissioned by the British Film Institute (BFI) for silent films. She is an editorial board member for the Journal of Sonic Studies.

David Clarke is Professor of Music at Newcastle University. He is a music theorist with wide a range of research interests, encompassing analytical, philosophical, cultural and critical approaches to music. He is currently engaged in research on consciousness and phenomenology in relation to music, and with Eric Clarke he is co-editor of and contributor to Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives (OUP, 2011). David has published widely on the composer Michael Tippett, including a monograph, The Music and Thought of Michael Tippett (CUP, 2001). He has also written on Arvo Part, Eminem and John Cage, and on issues of modernism, postmodernism and cultural pluralism, most notably in articles on 'Elvis and Darmstadt' and Radio 3's Late Junction. A further current research interest is North Indian classical music, in both theory and practice. David is an associate editor on the editorial board of the journal Twentieth-Century Music.

Eric Clarke is Heather Professor of Music at the University of Oxford, and a Professorial Fellow of Wadham College. He has published on topics in the psychology of music, musical meaning, music and consciousness, musical creativity, and the analysis of pop music. Recent projects include work on music, empathy and cultural understanding; and empirical approaches to nineteenth-century orchestral and chamber music. He is co-editor of Empirical Musicology (2004, with Nicholas Cook), The Cambridge Companion to Recorded Music (2009, with Nicholas Cook, Daniel Leech-Wilkinson and John Rink), Music and Consciousness (2011, with David Clarke), and Distributed Creativity: Collaboration and Improvisation in Contemporary Music (2017, with Mark Doffman); and is the author of Ways of Listening (2005), and Music and Mind in Everyday Life (2010, with Nicola Dibben and Stephanie Pitts). Eric is a member of Academia Europaea, and a Fellow of the British Academy.

Table of Contents

I. Music, consciousness, and the Four Es1. Situated approaches to musical experience, Christoph Seibert2. Cognitive extension and musical consciousness, Lawrence Zbikowski3. Music as affective scaffolding, Joel Krueger4. Empathy and the ecology of musical consciousness, Eric Clarke5. Feeling at one: Socio-affective distribution, vibe and dance music consciousness, Maria A. G. Witek6. Entangled: Strange loops of action, attention, awareness and affect in musical improvisation, David BorgoII. Consciousness in musical practice7. Performative passivity. Lessons on phenomenology and the extended musical mind with the Danish String Quartet, Simon Hoffding8. Music, Phenomenology, and 'the natural attitude': analysing Sibelius, thinking with Husserl, reflecting on Dennett, David Clarke9. Practical time consciousness in musical performance, Mark Doffman10. The interplay between conscious and subconscious processes during expert musical improvisation, Martin Norgaard11. Conscious and non-conscious aural perception in music performance: an embodied perspective, Robert Harris and Bauke M. de Jong12. What kind of conscious activity is 'listening to music'? A contribution from Theodor Adorno by way of psychoanalysis, Shierry Weber NicholsenIII. Kinds of musical consciousness13. Absorption and openness to experience: an everyday tale of traits, states and consciousness change with music, Ruth Herbert14. The impact of musical structure on enjoyment and absorptive listening states in trance music, Kat Agres, Louis Bigo, and Dorien Herremans15. Musical imagery and the temporality of consciousness, Freya Bailes16. Dual consciousness and unconsciousness: the structure and spirituality of polymetric tabla compositions, Vivek Virani17. (Un)consciousness? Music in the Daoist context of non-being, Lanlan Kuang

Editorial Reviews

"The set of contributions collected in this volume will provide a wealth of insights and thought-provoking ideas to anyone interested in music, consciousness, or both. It will also provide an excellent overview of the current state of the now established field of "music and consciousness." — Tomás McAuley, Music & Science

"Music is a productive medium of consciousness. The essays collected in this volume illuminate consciousness as situated, practiced, experienced - and as something that takes shape in the spaces between people and culture. A must read for anyone interested in what consciousness is and where it comes from, Music and Consciousness 2 showcases music's potent affordances for the study of - in the broadest sense - being in the world."

— Tia DeNora, Professor, Sociology, Philosophy & Anthropology, University of Exeter, UK

"Music and Consciousness 2 brings together an ensemble of voices to challenge orthodox ideas and offer new perspectives on issues that cut across multiple disciplines. For those who are seriously studying consciousness they present advanced music lessons on topics such as performance, improvisation, affect, perception, altered states of awareness, empathy, social interaction and much more. Not singing to the choir here. They show us that music can move us to reconsider the importance of basic brain-body-environment attunements. In the background one hears the subtle beat of the 4E drum. Turn it up!"

— Shaun Gallagher, Lillian and Morrie Moss Chair of Excellence in Philosophy, University of Memphis, USA

"Impressive in scope and diverse in methodology, this volume brings together scholars from a rich variety of musical fields to explore the multifaceted and complex phenomenon that is consciousness. The result is as convincing as it is useful, and will be of interest to anyone seeking to understand how musical engagement can make a profound contribution to our grasp of being human."

— Nanette Nielsen, Associate Professor, University of Oslo, Norway

"This is a new exciting interdisciplinary volume that explores the many facets of the complex relation between music and consciousness. It discusses how listening to music influences our conscious experience, as well as how musicians experience themselves and others in performance and improvisation. It also explores various ways in which music expands human consciousness, enabling us to considerably enhance and enrich our capacity to feel. This volume will certainly appeal to philosophers, psychologists, musicians and music therapists."

— Giovanna Colombetti, Sociology, Philosophy, and Anthropology, University of Exeter, UK

"Producing a worthy successor to the original Music and Consciousness volume was always going to be a difficult task, but Music and Consciousness 2 rises admirably to the challenge. Impressively wide-ranging, yet compellingly coherent as a whole, this is a book that tackles the thorniest of problems in the most lucid of prose. Collectively, these essays make clear both the ability of music to stimulate consciousness studies and the potential for ideas about consciousness to challenge, perhaps even to transform, musicological orthodoxies."

— Tomas McAuley, Faculty of Music, University of Cambridge, UK

From the Publisher