Sensorial Aesthetics in Music Practices

 
 
paperback/ gebrocheerd: € 39.50: GRATIS verzending! (NL)
ISBN: 9789462701847, geïllustreerd, 192 blz., July 2019, Engels
Formaat: 28.5 (h) x 19.5 (b) x 1.6 (d) cm. Gewicht: 704 gram.

Uitgever: Leuven University Press

serienaam/reeks: Orpheus Institute Series

redactie: Kathleen Coessens

beschrijving

The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics—the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused and unreliable and instead prioritised a cognitive or objective approach.

Written by authors from the fields of philosophy, composition, performance, and artistic practice, Sensorial Aesthetics in Music Practices repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics.

Contributors: Kathleen Coessens (Koninklijk Conservatorium Brussel, Orpheus Institute), Tim Ingold (University of Aberdeen), Michaël Levinas (Conservatoire National Supérieur de Musique de Paris), Fabien Lévy (Hochschule für Musik Detmold), Lasse Thoresen (Norwegian Academy of Music), Vanessa Tomlinson (Queensland Conservatorium of Music), Salomé Voegelin (University of the Arts London)

Meer teksten en voorbeelden:

over de schrijver(s)Kathleen Coessens is director of the Koninklijk Conservatorium Brussel, professor at the Vrije Universiteit Brussel, and associate researcher at the Orpheus Institute, Ghent.inhoudsopgaveINTRODUCTION
Kathleen Coessens

SOUND AND SENSE IN MUSICAL PHRASES: FROM THE ART OF THE KEYBOARD TO THE QUESTION OF PHRASE AND MELODY
Michaël Levinas

Intermezzo 1
ON THE SENSORIAL OF AESTHETICS
Kathleen Coessens

NOISE, SOUND, SILENCE
Tim Ingold

Intermezzo 2
ON THE SENSORIAL OF MUSIC AND BREATHING
Kathleen Coessens

SENSE VERSUS SENSITIVITY IN COMPOSITION: A PHONEY DEBATE?
Fabien Lévy

Intermezzo 3
ON THE SENSORIAL OF HUMAN BEINGS
Kathleen Coessens

EXTREME INTERPRETATION?
SOME OBSERVATIONS ON RACHMANINOFF’S VERSION OF CHOPIN’S THIRD BALLADE IN A-FLAT MAJOR, OP. 47
Lasse Thoresen

Intermezzo 4
ON THE SENSORIAL OF THE HUMAN BODY IN PERFORMANCE
Kathleen Coessens

REFLECTIONS ON THE POLITICS OF SENTIMENT
SCORE FOR PERFORMING THE CRITICALITY OF A SONIC SENSIBILITY
Salomé Voegelin

Intermezzo 5
ON THE SENSORIAL OF IMAGINATION
Kathleen Coessens and Vanessa Tomlinson

NOTES ON CONTRIBUTORS
INDEX
toelichtingThe Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics—the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused and unreliable and instead prioritised a cognitive or objective approach.

Written by authors from the fields of philosophy, composition, performance, and artistic practice, Sensorial Aesthetics in Music Practices repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics.

Contributors: Kathleen Coessens (Koninklijk Conservatorium Brussel, Orpheus Institute), Tim Ingold (University of Aberdeen), Michaël Levinas (Conservatoire National Supérieur de Musique de Paris), Fabien Lévy (Hochschule für Musik Detmold), Lasse Thoresen (Norwegian Academy of Music), Vanessa Tomlinson (Queensland Conservatorium of Music), Salomé Voegelin (University of the Arts London)

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