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date: 29 October 2020

(p. 652) Index

(p. 652) Index

(p. 653) Note: Italic “f” and “t” following page numbers denote figures and tables.

A
À la recherche du temps perdu (Proust) 224–225
Aaker, D. A. 352, 353t
Abbey Road sound 103
absolute music 472–475
absolute pitch (AP) 416–424, 418f
Abu Ghraib prison 290
acousmatic sound and music
and aesthetics of sonic atmospheres 522–523, 527, 529–531
and imagination and imagery 261
and imaginative listening to music 476–477, 480, 485n16
and “indicative fields” 275n11
and movement of sound 485n16
and music in detention/interrogation situations 294
and visual imagination 266–267
Acousmographe 267
acoustics 322, 343n3, 409, 416
action-sound bond 63, 73
active motor imagery 66–67
active touch 99
adaptive feedback 67–68
adaptive networks 370, 373, 376, 378, 383–384
Addison, Joseph 469
Adelaide Fringe Festival 310
Adonis project 323–324
Adorno, T. W. 515n28
and high art/vernacular art dichotomy 540
and imagination/improvisation relationship 25
on improvisation 546
and Innerlichkeit concept 513nn15, 18
and jazz as classical music 549–551
and memory/imagination relationship 221–222
and philosophy/music relationship 514n20
on reification of vocal music 637
and responses to philosophical rationality 568–569
and “Sprachcharakter” concept 512n11
on vinyl recordings 232
and Waltonian fictionality 493, 495–497
and Walton’s normativist theory 505–509
The Adventures of Telemachus (Fénelon) 24
advertising, audiovisual 358
Aesthetic Theory (Adorno) 512n11, 514n20
aesthetics
humanist approach to 535–539
and imaginative listening to music 467–484
of improvisation 535–554
and rhythmic transformation in digital audio music 596–600, 602–603, 606n5
and sonic atmospheres 517–532
Waltonian reconstruction of Bloch’s musical aesthetics 489–511
The Aesthetics of Music (Scruton) 542–543
affective dimension sound 374–375
affect of sound 275n12
affective shapes 251
affective-cognitive meaning 350
and sonic atmospheres 518–521, 525–527, 529–532
affective dimensions of environment 518, 527
affordances
and content of music 92n3
and embodied cognition 91n2
and emergent character of music 77–78, 88–90
(p. 654) and emergent nature of listening 80, 82–83
and groove 86
and guided imagery theories of consciousness 437
and informational quality of sound 294
and motor imagery in perception and performance 68–69
in musical performance 91n1, 92n9, 97–102, 104–107, 110–111
and skilled musicianship 94n19
and the unconscious 84
African American identity 598, 600, 620
African music 288
Afrofuturism 134, 611–620, 622, 624, 626n8
After Finitude (Meillassoux) 560, 562
Agnew, M. 42
AIM (activation, input, modulation) model of consciousness 301
Air Guitar Championship 106–107
air performance and instruments 50, 99–100, 102, 104–109, 108t, 243, 254, 265–266, 268
Aitken, J. C. 285
Alberts, Gerard 580, 583, 586
Aleman, A. 458
Alexander Technique 401
Alice in Wonderland (film) 226
allegory 508–510, 513n16
Allen, Marshall 145, 625
allocentric navigation 207
Allures (Belson) 309, 313
al-Qatani, Muhammad 291–292, 295–296
altered states of consciousness (ASCs) 302–306, 309, 428–429, 438
Alzheimer’s disease 230
ambiguity 281, 294, 296–297
Ambisonics surround sound system 529
Amen break 606n11
amodal musical shape cognition 244, 250, 250f
amygdala 376, 380
analog recording and performance 234n5, 317n2, 596–598, 607n14
Analogy of the Divided Line 18
analysis of variance (ANOVA) 330
anamorphosis 246
Anatolia 122
ancillary motion 248
Andrade, J. 394, 399
androids 621, 640–650
Anger, Kenneth 307
annoyance 338
anterior cingulate cortex (ACC) 380
anthrophonic interference 183–184
anthropomorphic presence 532
anthropomorphism 231, 525, 531
anticipation 44–47, 481–482
antisemitism 493, 569
Aphex Twin 598
Apollo 639
Apollo (Eno) 618
Appel, M. 47, 450
Apple 125, 579, 581–582
appreciation of music 467, 474, 483–484
arche-sonic texture 563–567, 569–570, 574–575
architecture 214, 275n6, 481
arena space 311–312
aristocratic patronage 541
Aristotle 19–20, 22, 203, 221, 470, 489
Aristoxenos 203, 210
arithmetic 201
Arkestra 145, 613, 616, 620, 622, 624–625
Armstrong, Tim 596
Arnott, Robin 310
arousal states 454
Ars Nova 123
Art and Imagination (Scruton) 536
“art for art’s sake” 540
The Art of Improvisation (Whitmer) 545
Artescape 315
articulation 248, 251, 456–457
artifacts 111n3
artificial intelligence 110, 215, 647
artistic criticism 540
Ash, R. L. 360
Asian cosmology 150n4
associative potential of music 350–351, 353–354, 360
associative-emotional meaning of music 354
“Astrohood” (Ras G.) 622–623
(p. 655) “Astrological Forecast” (Righter) 568
asynchrony 92n6, 396
“At Last” (James) 79, 88–89, 94n20
Atari Video Music 309
athletic training and performance 66–67, 391–392
Atmosphères (film) 526
atmospheres, sonic 531–532
basic sonic environmentalities 523–524
in contemporary auditory culture 517–518
described 526
and environmental imagination 519, 521–523
as environmental presence 524–526
and environmentality 518–520
examples of 526–531
Attali, Jacques 611
attention; see auditory attention
attribute modeling 338–341
attribute rating 335–338, 337f
attribute reduction 335, 336f
audiation 398, 400
audience engagement 145–146
audio branding 349–350
classical literature on 350–351
and computer system sounds 580–582
integrated brand-music communication model 362–363
meaning structure in brand management 351–353
role of music in 353–362
audio descriptive analysis and mapping (ADAM) 333
audio industry 321–323, 342, 343n1
audio logos 350, 354
audio objects 323–324
audio technology 179–181, 183–184, 187, 189
audiovisual advertising 358
audiovisual media 302–303, 304f, 305–314, 310f, 312f, 314f, 316–317
auditive monitor 580
auditory attention 369–373, 377, 381–383, 454, 484n4
auditory cortex 371–373, 376, 382
auditory culture 517
auditory feedback 37–38, 42–47, 53–54, 101–102
auditory imagery
and anticipated sonic actions and sounds 38, 42–45, 47, 53
and Dorsch’s terminology 343n2
and music pedagogy 391–404
and musical instruments as tools 102
psychology research on 392–397
and sonic materialism 561
auditory perception; see perception of sound
auditory streams 372
auditory system 371–373
auditory-motor associations 449, 453–454, 458
auditory-motor mapping 448
augmented unreality 301–316, 314f, 318n16
Augustine, Saint 633, 636
aural imagination 424
aurality of sound 185
Austen, Jane 471
Autechre 598
authorial voice 566, 573–574
autistic children 409–424
autoaffective voice 630–634
automatic writing 232
automotive industry 350–351
autonomic nervous system 380, 383
autonomous art 540–541, 543, 548–549
autonomous recording units (ARUs) 180, 183, 186
autopoiesis 630–634, 646–648
autotune 111n8, 604
Auyang, S. Y. 224
avant-garde art 302, 612–613, 626n8
aversive conditioning 381
Avraamov, Arseny 272
Azoulay, A. 352
B
Babbitt, Milton 475
Bach, C. P. E. 24
Bach, J. S. 159, 160f, 171–173, 172f, 209, 468, 474, 476, 484, 540, 545
Bachelard, Gaston 270
Back on the Planet (Ras G.) 623
backpack microphones 180, 185–186
Baddeley, A. D. 394, 399, 452
Bailes, F. 445
Bailey, Derek 26, 547
(p. 656) Baily, J. 99
Baker, J. M. 451
Bakhtin, M. 108–109
balance and blend 335, 336f, 338, 338f, 341
Bang & Olufsen 323, 329, 331
Bangert, M. 46
Barenboim, Daniel 482
baroque music 23–24, 40
Barrada, G. 437
Barthes, Roland 79–89, 92nn5–6, 229
Barton, Judy (character) 645
Batteaux, Charles 469
Bayesian inference 164
Bayle, François 269
Beaman, C. P. 456–457
beatboxing 244
“The Beatitudes” (Martynov) 85, 88
the Beatles 477
beatless music 618–619
Beaty, R. E. 445, 454–455
Beckerman, J. 582
Beckett, S. 229
Beethoven, Ludwig van 25, 86, 142, 173, 181, 241, 242f, 537, 553
Begg, Moazzam 291–292, 295
behavioral control 284–286
“Bei Männern” 642–643
Beilock, S. L. 110
Being Singular Plural (Nancy) 28
Bell, Clive 469
Bellman, J. 298
Belson, Jordan 309, 313
Benadon, F. 602
Benny Goodman and his Orchestra 467, 475
Ben-Or, Nelly 401–403, 450–451
Beranek, L. L. 323
Berger, A. M. B. 209
Bergson, H. 220, 223
Berio, Luciano 25
Berkeley, George 19
Berklee College of Music 549–550
Berliner, P. F. 30
Berlioz, Hector 42
Berlyne, D. E. 358
Bernays, E. L. 283, 293, 296
Besson, Luc 130
Beyond the Pleasure Principle (Freud) 234n2
Bijsterveld, Karin 580
Binnorie (ballad) 225
bioacoustics 179–181, 183–187, 189
bio-feedback 29
biology
and autopoiesis 631
biological entropy 231
biological experience 459
biological sciences 180, 198–200
Bird, Donald 481
birdsong 181–183
Bishop, L. 45
Björk 648
“black box” view of computers 586–588
“The Black Man in the Cosmos” (James) 617
“Black to the Future” (Dery) 615
blackness and technology 616–618
Blade Runner (film) 618, 641–648, 650n10
Blake, William 222
Blakeslee, S. 16
Blakey, Art 550
Blattner, M. 582
Blaxploitation films 612
Bley, Paul 546
Bloch, Ernst 509–511
breadth of interests 514nn19, 22
and Christianity 514n25
concept of musical tones 514n23
Habermas on 512n5
and Hegelian teleology 512n6
and imaginative listening 496
Korstvedt on 513n16
musical aesthetics of 498–501
and music/philosophy relationship 514n20
normative aesthetics of 489–491
utopian allegory 490, 499, 501–510, 512n11, 513n16, 514n22
and Walton’s musical aesthetics 505–509
Western content of work 514n24
Blom, K. M. 436, 439
Blount, Herman Poole; see Sun Ra
The Blue Danube 100–101
bodily causes of sounds 48–50
body materiality 62
body schemata 64–68
(p. 657) body-motion
and anticipatory imagery of sonic actions 47
and motion features 248–249
and motor cognition 243–244
and multimodal sound-motion shapes 249–251
and musical instants 251–253
and musical shape cognition 243
and musical timescales 245–246
and notions of shape 239–243
and shape cognition 237–238, 250f, 253–254
and sound features 247
synoptic representation of notation 242f
bodymusic 618
body-object articulation 72–73
BodySynth electrodes 617–618
Boghossian, Paul 478
Böhme, Gernot 517, 524–525
Bonde, A. 354, 360
Bonny, Helen 430
Bonny Method 427–430, 434–435, 437, 440
Booth, Sean 598
Borgo, D. 17, 29
Bosch, Hieronymus 491, 507–508
Boudin (military song) 287
Boulez, Pierre 25, 109, 475, 546–547, 604
Bowman, W. 17
Bradley, M. M. 374–375
Brahms, Johannes 230
Braidotti, Rosi 559
brain imaging and physiology
and altered states of consciousness 304
and anticipatory imagery of sonic actions 46
and audio branding 358–359
and auditory attention 381–382
brain maps 142
and guided imagery theories of consciousness 437
and imagination and imagery 262–263
and imagination-driven sound synthesis 273
and involuntary musical imagery 453
and motor actions of professional musicians 109
and music therapy 428
and musical imagery 253–254
and musical shape cognition 243
neural correlates of musical emotions 380–381
and neural synchronization 147–148
and perception of intervals 119
and perception of timbre 41
and sound/emotion connection 370–373, 375–384
and voluntary auditory imagery 393–394, 394f, 400, 402
and voluntary musical imagery 452–453 see also neurons and neuronal activity
Brand, Albert R. 182
branding
brand image and identity 349–363
brand loyalty 352
brand personality 352
brand resonance 352
brand salience 354–355, 362
brand values 352–353
brand-music communication model 362–363, 363f see also audio branding
breathing 196
Bregman, Al 30
Brendel, Alfred 547
Brent, William 647
Bresin, Roberto 583–584
Bressloff, P. C. 303
Breton, André 232
broadcast technology 286
Broca area of the brain 46
Brodsky, W. 452
Brooks, R. A. 110
Brotha from Another Planet (Ras G.) 622
Brøvig-Hanssen, R. 598–599, 601, 604
Brown, Ray 89
Brown, Rob 598
Brown, S. 446
Bruegel the Elder, Pieter 492
Bruner, Steven (Thundercat) 623
Buccino, G. 107
Bucknell Auditory Imagery Scale (BAIS) 391, 395–396
Bucknell Auditory Imagery Scale-Vividness (BAIS-V) 455
Budd, Malcolm 475–476, 485n21
Burgoyne 454
(p. 658) Burrows–Wheeler algorithm 174
Burton, Richard 644
Bush, Carol 440
Busoni, Ferruccio 130, 543, 547
Byzantine neumes 131n1
C
Cadoz, C. 70
Cage, John 273, 478, 625
Caillebotte, Gustave 541
Callan, A. M. 450
calligraphy 182–183
calm technology 588–589
Calvo-Merino, B. 29
camera technology 228–230, 313
“Can I Get a Flicc Witchu” (Snoop Dogg) 602
Canon 8, 21
capitalist modernity 503
Cardiff, Janet 528–532
Carlsen, K. 600
Carter, E. 547
Cartesian mind-body problem 19, 27–28
Casals, Pablo 91
Casey, E. S. 221–224, 228–229
causal listening 49, 82
causality, musical 16, 480, 482–483
Cavarero, Adriana 635–636, 644, 649n7
Cecchetto, David 647
cell adhesion molecules 136
“Celtic belief” 232–233
chamber music 93n14
Chaplin, Charlie 248
Charlemagne 196–197
Chase, Cynthia 649n5
Chater, N. 167
Chemero, A. 111
Cheshire Cat 226
children
autistic 409–424
childhood development 16, 436
and differences in auditory ability 395
and guided imagery 440
and imagination/improvisation relationship 24
and music/homeostasis relationship 140
and voluntary auditory imagery in music pedagogy 398, 400, 402
Chion, Michel 49, 185
choirs 195, 212
cholinergic system 382
Chomsky, Noam 23
chords 250, 480
Christianity 514n25
chromatic scale 121f, 122, 125–126, 130, 131n3, 213
chunking 243
church music 20–21, 195–197
CIA 284, 288, 291, 295
city soundscape 273
clairvoyance 514n21
Clark, T. 98
Clarke, Arthur C. 100
Clarke, D. 428, 437
class systems 575; see also social hierarchies
classical music 23–24
defining 550–552
Claudel, Paul 571
Clementi, Muzio 25
clivis neume 119
Cloonan, M. 282
club music 62; see also electronic dance music (EDM)
Clynes, Manfred E. 584–585
coarticulation 245
cockpit model of control 70
coding language 164
cognition and cognitive processes
and audio branding 360–362
brand-music communication model 362
cognitive appraisal 356–357
cognitive brand meaning 360–362
cognitive experience 459
cognitive linguistics 241
cognitive metaphors 439
cognitive processing 482
cognitive schemata 60
cognitive simulation 28
and emergent character of music 77–78
and emergent nature of listening 80
(p. 659) and guided imagery 440
imagination in embodied cognitive science 26–31
and improvisation 15
and motor actions of professional musicians 109
resonance and synchronization in 148
Cohen, A. J. 354
Coleman, Gregory Cylvester 606n11
Coleman, Ornette 550
Coleman, Steve 91
Coleridge, Samuel Taylor 19, 513n17, 536
collective music 548
Colles, H. C. 26
Colley, I. D. 396
color illusions 479–480
color of sounds 39, 41
Coltrane, Alice 623–624
Coltrane, John 624
communicative motion 248
communicative musicality 275n14, 413
Communist Manifesto (Engels and Marx) 507
community-building 184
The Companion Species Manifesto (Haraway) 575n1
complex audio stimuli 324–331
complex harmonic tone 200
complexity 181, 193, 196–198, 210–211
composers and composition 111n1, 154, 267, 270–271, 451, 547–548
Comprendre, 93n10
compression of data 53, 153–168, 170–175
computer games 622–623
Computer Music Journal 266
computer technology
and altered states of consciousness 313
and augmented unreality 302, 305, 307–309, 313–316, 318n16
computer operating systems 318n16, 579–591, 647–648
computer programming 197, 200, 212, 215
computer-generated imagery (CGI) 307–308, 313
and interaction with music 128
and visual imagination 267–268
Computer World (Kraftwerk) 597
concatenationism 481
“The Concept of Logos” (Heidegger) 632
conceptual model of human perception 325f
Concert for the Comet Kohoutek (Sun Ra) 619
conducting 42, 46, 48, 50–51, 195
Confessions (Augustine) 633
congruence-associations framework 354
Connolly, William E. 565–566, 570, 572
Connor, S. 227–229
Conrad, Joseph 233
consciousness 109, 141
consciousness, theories of 434–438
consensus vocabulary techniques 328
consent 274
conservationism 183–184
consonance 123–124, 200, 213
consonance and dissonance 216n6
Constable, John 543
consumer marketing; see audio branding
consumer sound 321–343
consumer-based brand equity model pyramid 351
Consumercheck 330–331
context engineering 318n16
context of sound 261, 484n5
controller-driven instruments 38, 47–53
Cook, Nicholas 110, 470
Copland, Aaron 481
Cork, Conrad 551
Cornell University 182
corpus callosum 109
COSIATEC algorithm 170–175, 170f, 171f, 172f, 173f
Council of Basel 21
Council of Trent 21
countermelody 398
counterpoint 209
Counter-Reformation 21
Courbet, Gustave 541
Cox, A. 63–64
craftsmanship in music 252
creativity 98
critical listening 79
critical theory 490
Critique of the Power of Judgment (Kant) 24, 469–470
Croce-Collingwood theory 537
(p. 660) cross-cultural uniformity 480–481
cross-modality 189, 374
Crossole 51
cross-validation 340–341
CRT displays 323
Crystallize 309
Cubase 125
Culler, Jonathan 649n5
culture and cultural environment
and aesthetics of improvisation 535–536, 538–539, 545–546, 550–551
and Bloch’s utopian allegory 502
cultural influences on listening in infants 485n19
cultural schemata 63
culturally ingrained musical performance 61–63, 69, 72–73
culture industry 221–222, 550–551
and externalization of imagined sound 215
and externalization of sound 199
and information complexity in biology 198–200
and informational quality of sound 294
and jazz as classical music 549
and metempsychosis theory 226
music as propaganda tool 296–298
and music in interrogation and detention 289, 291–293
and music preferences 286–288
and musical shape cognition 240–241
and perception of consonance/dissonance 216n6
and sound perception in autistic children 422
and universal functions of music 146
use of music in torture 292 see also Western music and culture
Curtis, Darren 310
Curwen hand-signs 402
Cusick, S. G. 283, 288–289, 291–293, 295–296
Cut-log diagrams 434
cybernetic prostheses 579–580, 585–591
Cyborg: Evolution of the Superman (Halacy) 585
“Cyborg Manifesto” (Haraway) 585
“Cyborgs and Space” (Clynes and Kline) 585
D
“Daar zou er en maagdje vroeg opstaan” (folk song) 171f
daily life 451
“Dal Mio Permesso Amato” (Monteverdi) 649n8
Damasio, A. R. 27, 150n11
dance music 309, 605
“Dance of the Language Barrier” (Sun Ra) 144–146
Dancer in the Dark (Trier) 648
D’Angelo 600, 602
Daniel, J. O. 513n15, 513n18
Danish String Quartet 85–86
Danius, S. 229
Dark Ages 196
Darwin, Charles 378
Darwinian evolution 135, 378
Das klagende Lied (Mahler) 225
Das Wohltemperierte Klavier (Bach) 159, 160f, 171, 173, 213, 474
Dasein 525
dasian pitch signs 205f
data compression 153–168, 170–175
data gloves 51–52, 52f
Davidson-Kelly, K. 401
Davies, Stephen 476, 478–480
Davis, Miles 85, 87, 89, 94n20, 544, 550, 552
de Bezenac, C. 110
Deacon, Terrence 211
“Dead Friends” (Knight) 623
death, fear of 430
Death and the Shell (Renard) 226
Decety, J. 31, 111n5
Deckard, Rick (character) 641–646
decoding of musical information 156–159, 161
A Defence of Poetry (Shelley) 19
definite listening 468–469
DeLanda, Manuel 559
Delany, Samuel 615
Deleuze, Gilles 517–519, 530–531
Della-Casa, Lisa 646
dementia 30
demographics 353, 361, 361t
Dennett, Daniel 17, 30
DeNora, Tia 17, 427, 435, 437, 440
(p. 661) dental offices 285
DePape, A.-M. R. 416
Deren, Maya 307, 612–613
D’Errico, M. 600, 602
Derrida, Jacques 27, 631, 633, 636, 649n3, 649n6, 649n7
Dery, Mark 615, 617, 619–620
Descartes, René 19, 428, 633, 638
descriptive analysis 321, 324, 326–332
descriptive meta-aesthetics 505
designed sounds 581–584, 587, 589, 591
Destiny’s Child 598–599
detainees 295–296
detention and interrogation 281–298
DeVeaux, Scott 548
deWitt, Anna 583–584
Diabolus in Musica 194
dialectics 636
dialogical communication 70–71
Dialogus de musica 204
diatonic scaling 120–123, 121f, 130, 131n3, 162, 194, 201, 204–205, 213
Dick, Philip K. 641–648
Die Kunst der Fuge (Bach) 476, 484
Die Zauberflöte (The Magic Flute) (Mozart) 639, 641–642, 644–645, 648
differences in perception of music 167–169
differentium specificum 495
digital technology and media
and altered states of consciousness 304–306
and augmented unreality 302, 313–317, 314f, 318n16
digital audio workstations (DAW) 596–598, 601–605, 606n4
digital computers 102–103
digital instruments 42–43, 61, 70–73
digital music and sounds 47–52, 128, 180–181
digital processing 322, 605
digital recording 234n5
and digital representation of hallucinations 307–308
digitalization process 200
digitally augmented sound 48
direct digital instruments 51
and interaction with music 127–129
and musical shape cognition 240
and rhythmic transformation 595–605
and virtual instruments 102–105
Dionysus 638–639
direct elicitation principle 328
disclosure 17
disco 596
discontinuity 251–252
disembodiment 49–50, 232
Dissanayake, Ellen 140
dissonance 123–124, 200, 213
distortion 323
distraction 321, 332, 335–338, 336f, 336t, 338f
divinatory musical hearing (Hellhören) 501, 505
DIY sound systems 287
DMT (dimethyltriptamine) 308
DNA research 626n5
Do Androids Dream of Electric Sheep? (Dick) 641–648
Documenta 13, 528–531
Dolar, Mladen 636, 638–639, 649n7
Donut (J Dilla) 601–602
Doornbusch, P. 104
Doppler Labs 316
Dorsch, F. 343n2
dorsolateral prefrontal cortex (DLPFC) 394, 396
dreaming 302–303
Dreyfuss, H. L. 223–224
Driscoll, Kári 646
drugs, hallucinogenic/psychoactive 301–305, 307–310, 312f, 313, 316, 317n3
drum kits 606n4
du Moncel, T. A. L. vicomte 234n4
dual nature of imagination 19–20, 22
dualist perception of vocal expression 629
Durango 315
Dutton, Denis 470
Dvořák, Antonin 648
dyadic synchronization 47
dynamic self 211–212
dynamic shapes 251
dynamic systems approach 20
Dyson, Frances 635–636, 649n7
E
(p. 662) EAnalysis 267
ear physiology 480
ear protection 580
Early Abstractions (Smith) 309
earworms 394, 420, 422, 445, 454–455, 470
ECG 273
echolalia 410, 414
ecoacoustics 180
ecological models and perspectives
of cognition 77–78, 90–91
ecological embedding 68–69
ecological model of auditory perception 78, 409, 411–416
ecological psychology 101–102
ecological theory 437
ecology of mind 68–69
and sonic atmospheres 518–519, 523–524, 526–527, 529, 532
and sonic environmentalities 523–524
Economic-Philosophic Manuscripts (Marx) 512n6
Écouter 92n10
ecstatic religious traditions 301
Edelman, Gerald 138
Edison, Thomas 227, 230–231
Edo-era Japan 539
Eerola, Tuomas 79, 82–84, 360, 437
eGauge 331
Egermann, H. 27
egocentric navigation 207
Egypt, ancient 612, 616–617, 623, 625, 626n5
Eidola (Brent and Moffat) 647
Eisenstein, Sergei 576n7
Eitan, Z. 451
elastic boundaries 567
electric guitar 126
electric turn 127
electroacoustic sound and technology 37, 39, 93n11, 260, 267, 315, 522
electroencephalogram (EEG) 262, 273, 428
electromyography (EMG) 50–51, 452
electronic dance music (EDM) 309, 315, 598–600
electronic effects 606n2
electronic media 413
electronic music performance 72
electronic sounds 49
electronica 622
electrophones 126
elicitation procedure 341
Ellington, Duke 544
Elliott, R. K. 467
emancipation of the dissonance 551
embodiment
and cognitive science 26–28, 31
and content of music 92n3
and continuity of mind, body, and environment 91n2
embodied cognition 142, 198, 446–449, 457–459
embodied cognitive theorists 16
embodied music 241
embodied response 265–266
and emergent character of music 77–78, 88, 90–91
and emergent nature of listening 80, 82–83
and limitations on music creation 118
and motor imagery in music perception 73
and motor imagery in perception and performance 61–67
and musical imagery 457
and musical performance 91n1
and musique concrète 93n11
and posthumanist vocality 647–648
and the unconscious 83–85
emergence
emergence of shapes 243
emergent phenomena 31
emergent structures 133–134, 136, 141, 143–144, 146–149, 150n2
Emile; or, On Education (Locke) 24
emotion
and audio branding 349, 351, 353, 355–360
and embodied meaning 142–143
emotional content of sounds 41
emotional listening 513n16
emotional processing 376
emotion/sound connection 369–384
influences on sound perception and auditory attention 381–382
(p. 663) learned emotional meaning of sound 375–376
mental representations induced by sound 374–375
and music in interrogations 284
neural correlates of musical emotions 380–381
and neuroaffective theory 429–433, 431–432t
psychological mechanisms of emotion induction 379–380
relationship of sound and 369–370
and responses to auditory stimuli 373–381
and sound perception in autistic children 421–422
and theories of consciousness 434–438
vocal affect 376–377
empathy 359, 437
empirical imagination 222
empirical musical imagery
and embodied cognition 446–447
and future research 457–458
and the “mind’s ear” 445–446
and offline cognition 447–449
review of studies on 449–456
tests of musical imagery’s embodiment 456–457
empiricists 15, 19
enactive embodiment 63
enactive representation 436
enactive sound 60
encoding of musical information 153–159, 161–168, 170–171, 170f, 174–175
endocrine system 380
enforced listening 296; see also interrogation
England, Jeremy 133, 135, 142–143, 146, 148, 149n2
Enlightenment 24, 645
Eno, Brian 582–583, 586, 618–619
ensembles 87, 92n9, 93n14
Entendre 92n10
Enter the Void (film) 308, 312
entrainment 134, 139–140, 143–146, 149, 359
entropy 133, 135, 149, 149n1, 198, 231
Entwurf einer neuen Ästhetik der Tonkunst (Busoni) 130
envelope shapes 251
environment of sounds
and content of music 92n3
and emergent character of music 77–78, 89–90
and emergent nature of listening 80
environmental acousmatics 522
environmental awareness 143
environmental experience 459
environmental imagination 519, 521–523
environmental reality effect 531
environmentality (Umweltlichkeit) 519
and groove 85–86
and live recordings 94n20
and musical performance 91n1
and musique concrète 93n11
sonic atmosphere as environmental presence 517–532
and tempo of performance 93n14
and the unconscious 84
and virtual instruments 103 see also atmospheres, sonic
ephemeral nature of sound 212, 560
episodic memory 357, 379
equal difference 576n7
equal temperament 213–214
Eraserhead (film) 526–528, 530, 532
Eshun, Kodmo 613–615, 617–620, 622, 626
ethics of sound and music 260
ethnic identity 361t, 614–615
ethnomusicology 194–195
Etude 2 (Nakra) 51
Euclidean integer lattice 157f
evaluable analysis 154–155, 172–173, 173f
evaluative conditioning 379
Evans, Bill 546
Evans, Gil 544
Evans, Peter 112n10
everyday sounds and listening 409, 411, 413f, 415f, 451
evocation 267–268
Ex Machina (film) 586
exceptionalism 538
excitatory motion 248
exercise 454
(p. 664) expectancy, musical 379–380
expectation 321, 325–326, 326f
experiences of listeners 321–324, 331–335, 341–342, 343n2
experience-sampling 454
experiential illusion 479–481
experimental paradigms 331
Exploding Plastic Inevitable (Warhol) 309
expressiveness
expressive qualities of music 467–468, 472–477, 483, 485n21, 485n25
expressive schemata 359–360
expressive shapes 251
expressive voice 630, 634–637, 640, 644
and imaginative listening to music 475–476
and Walton’s musical aesthetics 494
external sensory inputs 317n1
externalization of sound 191, 196–211, 213, 216n3
extra-musical meaning 360
extra-terrestrial life 567
F
Faber’s Speaking Machines 234n4
false music 213
fantasy productions 536–538
Far Cry 3 (video game) 308
Fascism 569
FastTrack 342
Fear and Loathing in Las Vegas (film) 307–308, 312–313
fear of music 295–296
feedback 97, 397
“Feenin” (Weheliye) 620–621
feminism 559
Fender Rhodes electric piano 103
Fender Stratocaster 104
Fénelon, François 24
Fetis, François-Joseph 25
Feuerbach, Ludwig 499
fictionality, musical 491–496, 498, 502, 504–505, 508–509, 512n7
fictive music 213
field recordings 522
The Fifth Element (film) 130
filter model 326, 326f
fine-motor actions 67
Finney, S. A. 43
Fischinger, Oskar 308
Fischman, Rajmil 315
Fisher, Len 136
Fitzgerald, Ella 89, 94n20
Five-Factor Model 352, 353t
fixed-explosion 232
The Floor-Scrapers (Caillebotte) 541
Floridou, G. A. 454, 458–459
Flow (Csikszentmihalyi) 30–31
fluctuation theorem 28–29
Flying Lotus (Steven Ellison) 622–626
Fog, C. L. 326f
folk music 192, 214–215, 398, 403, 481
folk psychology 281
For More than One Voice (Cavarero) 635
A Foray into the Worlds of Animals and Humans (Uexküll) 187
Forest (for a Thousand Years) (Cardiff and Miller) 528–532
Forever Imaginary 309
form constants 303, 308, 310, 313, 317n3
Forth, J. 172
Frankfurt school 596
free elicitation 333–335, 334f
free improvisation 547–548
French Foreign Legion 287
frequency of sound 372
fretless instruments 125
Freud, Ernst 81
Freud, Sigmund (and Freudian psychology) 81, 83–84, 220–221, 228, 230, 234n2, 307, 434
Fries, Pascal 148
Friston, Karl 28–29, 31
“From Dance! to ‘Dance’—Distance and Digits” (Emmerson) 266
Full Moon (Brandy) 600
“Fulldome” environments 317n9
functional harmony 123
functional magnetic resonance imaging (fMRI) 41, 46, 262, 393, 450, 453
funnel models 434
Furtwängler, Wilhelm 547
Fuster, J. M. 97
futurism 272; see also Afrofuturism
G
(p. 665) G Minor String Quintet (Mozart) 467
Gabbard, Krin 550
Gabrielsson, Alf 323, 345, 434
Gadamer, Hans-Georg 17
gait of sound 247; see also rhythm; tempo
Galilei, Vincenzo 125
Gallagher, Michael 181
Gallese, Vittorio 16
Gamelan music 119, 128, 549
The Garden of Earthly Delights (Bosch) 491, 507–508
Garner, T. 148, 262–263, 275n12
Gaver, William 409, 411
Geisteswissenschaft 490
gender identity 590
Gendler, Tamar 521
generation 395
generative grammar 23
generative procedures 271
generic descriptive analysis 332
genetics 136
genres of music 361–362, 361t
geoengineering 183
Geographical information system (GIS) 183
geometry 201
Gestalt psychology 68–69, 164, 240, 245–246, 520
gestures
and anticipated sonic actions and sounds 42, 46–54
bodily causes of sounds 48
and embodied response 265–266
and evolving technologies of performance 108, 108t
gestural imagery 254
gesture transducers 270
gesture-sound mappings 51–52
and hand as perceptual system 101
and imaginative listening 467
and imaginative listening to music 476
and rhythmic transformation in digital audio 595, 602, 605
and technological instruments 70–73
technology-mediated performance 50–52
and virtual instruments 104–106
Ghosts (Ibsen) 230–231
Gibson, James J. 68–69, 97–99, 102, 111n3, 224, 283, 293–294, 296–297, 427, 437, 518; see also affordances
Gilliam, Terry 307
Gioia, Ted 535, 542–544, 553
Gittoes, G. 287
Gjerdingen, Robert 141
Glass, Philip 143, 475–476
Glenn Miller Orchestra 90
Global Soundscapes: Mission to Control the Earth (film) 184
global transformations of tempo 602
Godøy, R. I. 70, 105–106, 447, 459
Goethe, Johann Wolfgang von 261
Goldsmiths Musical Sophistication Index 453
Goode, Brad 551
Goodman, Benny 467, 475
Goody, J. 209
Gordon, Edward 398, 400
Gordon, Mack 88
Gorky, Maxim 495
Gosling, S. D. 361t
Gothic revolution 214
Gould, Glenn 544
GPS devices 185
grain of sound 247
Gramsci, Antonio 511
Granot, R. Y. 451
Grant, M. J. 282, 293
graphic representation 237, 240, 253
GRAphics Symbiosis System (GRASS) 310
The Great Beauty (Sorentino) 85
Great Ormond Street Hospital for Children study 140
Greco-Roman civilization 197
greedy algorithms 167, 170, 172, 176n8
Greek culture and philosophy
and ancient Egyptian culture 617
and externalization of imagined sound 215
and humanist approach to music aesthetics 535–539
Pythagoras and Pythagoreans 118–121, 124, 126, 128, 131n4, 201–204, 203f, 210, 625
(p. 666) and theories of knowledge 31
and Western tuning systems 118–122, 126, 129–131
Greenspon, E. B. 448
Gregorian chant 196–197, 204–205, 214–215, 552
Gregory I, Saint 21, 197, 205
“Gretchen am Spinnrade” (Schubert) 472
Grey, J. M. 39
Grèzes, J. 31
Grimm’s Household Tales 225
Grimshaw, M. 148, 262–263, 275n12
Grocke, D. E. 429
Grof, Stanislav 434
Grosz, Elizabeth 187–188
ground-truth analysis 173
Groves Dictionary of Music and Musicians 26
guided imagery and music (GIM)
guided motion 482
guided response 473
and imaginative listening to music 477–478
and the “mind’s ear” 445
and multimodal imagery 427–428
music listening as psychotherapy 428–429
and music listening as psychotherapy 428–429
neuroaffective perspective on 429–434
and theories of consciousness 434–438
Guido of Arezzo 205, 207
Guidonian notation 121
Guitar Hero (video game) 104
Gurney, Edmund 468–469
H
Habermas, J. 499
habituation process 68
Halacy, Daniel S. 585–586
halftones 125
Hall, G. B. C. 416
hallucination 263
and altered states of consciousness 301–306, 316, 317nn1, 10
auditory and audiovisual hallucinations 303–304, 305f, 306–313, 310f, 315, 317n10
auditory-verbal hallucinations (AVHs) 303–304
and augmented unreality 313–316, 318n11
conceptual model of 312f, 314f
diegetic representations of 306–308
non-verbal auditory hallucinations (NVAHs) 304
Thelemic visual hallucinations 307, 317n5
Hallward, Peter 565
Halpern, A. R. 41, 448, 452, 458–459
Hamid, Alexander 307
Hammond organ 103, 126
hand as perceptual system 100–102
Handbook of Music and Emotion (Juslin and Sloboda) 439
handedness 102
“The Hands” (sonic controller) 270
Hansen, A. G. 354
Hanslick, Eduard 472–475, 481, 492
haptics and haptic feedback 47–49, 52, 102, 269
Harari, Y. N. 100
Haraway, Donna 575n1, 585
Harbisson, Neil 586
Hargreaves, D. J. 98, 285, 361, 361t
harmony and harmonics
and audio branding 361
“harmonia” 124
harmonic modulation 213
harmonic overtones 200
harmonic progressions 145
harmonic series 200, 201
and musical shape cognition 247
and perception of timbre 39
and Pythagorean tone system 202
harmony of the spheres (musica universalis) 120
Harpur, P. 224, 228
Harrington, David 85, 87–88
Harvard Mark I mainframe 580
Haselager, W. F. G. 110
Hasse, Jürgen 525
Hawkins, J. 16
Hayafuchi, K. 52
Hayles, N. Katherine 620, 640–641, 643–644
Hayward, V. 49
headmusic 618
headphones 332, 565
Heap, Imogen 52
hearing vs. listening 180, 468–470
(p. 667) hearing-as 484n9
Heart of Darkness (Conrad) 233
Hebbian learning 356
Heft, H. 99
Hegel, Georg Wilhelm Friedrich 496, 499–500, 502, 512n6, 611, 633
Heidegger, Martin 17, 30, 518–519, 525, 603–604, 632
Hempton, Gordon 183
Henderson, Joe 624
Hendrix, Jimi 106, 472
Her (film) 621, 647–648
Here headphone system 316
Herholz, S. C. 396
hermeneutics 230, 510
Hermode tuning 125
Herrmann, Bernard 476–478
Heschl’s gyrus 304
hexachords 121, 122f
Heyman, H. 323, 328
Hieroglyphic Being (Jamal Moss) 622, 624–626
high art 539–542
Highben, Z. 43, 397
higher auditory imagery skills 43
Hilbert, Richard 30
Hiller, Lejaren 127–128
Hind, N. 104
Hindemith, P. 252
hip hop 600
Hitchcock, Alfred 645
Hobbema, Meindert 508
Hobbes, Thomas 19, 222
Hobsbawm, Eric 545–546
Hobson, J. A. 311, 317n1
Høffding, Simon 85
holistic perception 238, 252–255
Hololens system 316
Holst, Gustav 618
homeostasis 134, 137–138, 140–144, 146, 149, 150n11
Homeric epics 265
homogenized tuning systems 213
Horkheimer, M. 221
hormonal systems 146
Horn, M. 100
Horowitz, M. 435–436
hors-temps (“outside time”) 252
“House of the Rising Sun” 481
The House-Painters (Caillebotte) 541
Hubbard, T. L. 448–449
Huddersfield Festival 541–542
Hudson, W. 504–505, 510–511
Huffman code 162
Hullot-Kentor, R. 512n11
humachine 604–605
human evolution 196
humanist rationality 560
humanistic approaches 154, 535–539
Hume, David 19, 221–222, 469, 489, 511n4
Hungarian folk music 398
“A Hunger Artist” (Kafka) 491
Huron, D. 27, 357
Husserl, Edmund 15, 219, 224, 246, 252, 632–633, 635, 649n3
hybridized music forms 603–604
hyperanthropocentric ventriloquism 574
hyperreality 531
I
IBM Personal Computer 581
Ibsen, Henrik 230–231
iconic meaning 360
identity issues 559
identity-based brand management 351–353
ideomotor simulation 448, 450, 453
Ihde, Don 631
“I’ll Wait for You” (Sun Ra) 622–623
illusions, visual/optical 479–480
imagery
and anticipated sounds 37–38, 52–53
and anticipatory imagery of sonic actions 44–47
and controller-driven performance 49–50
image schemata 241, 375
imaginary sound transformation 270
imaginary visualization 267
imagination-driven sound synthesis 273
musical 98
and perception of timbre 41
and performing the imagination 260–262
and sounds in imagined performance 42–44
(p. 668) imaginanda 492
imaginative listening to music 467–468, 483–484
and experiential illusion 479–481
and expressiveness 475–476
imagined performances 42–44, 449–451; see also air performance and instruments
imagined sounds 263–264, 271; see also voluntary auditory imagery
less obvious candidates 481–483
and metaphor, musical space, and movement 476–479
opposition of hearing and listening 468–470
and props and triggers 472–475
species of imagination 470–472
and Walton’s normativist theory 496
imitation 60–61, 645–646
immune system 378, 383
The Imperfect Art (Gioia) 535
imperfectionist aesthetics 542–548
improvisation
and aesthetics of perfection 547–548
as compositional method 547–548
and cooperative nature of symphonic music 212
critique of jazz as classical music 551–552
and definition of popular and classical music 550–551
and embodied imagination 17–18, 31
and emergent music 80–81
as emergent phenomenon 31
and Friston’s free energy principle 29
high art and vernacular art 539–542
and “improvised feel” 544–546
improvised polyphony 21
jazz as art music of 552–554
jazz as classical music 548–550
and language and imagination 30
perfectionist and imperfectionist aesthetics 542–544
and philosophical humanist approach to music aesthetics 535–539
shared histories of imagination and improvisation 18–26
shifting views on imagination and improvisation 23–26
spontaneity and aesthetics of perfection 546–547
and symphonic music 192–193
and tensions between the sacred and the divine 20–22
and transcendental subjectivity 27
“Improvised Music after 1950” (Lewis) 614, 618
impulsive sound and motion 247, 249
In the Break: The Aesthetics of the Black Radical Tradition (Moten) 617
Inauguration of the Pleasure Dome (film) 307
indefinite listening 468–469
index, sound as 80–81, 83–84
indexical meaning 360
indicative fields 275n11
indigenous cultures 301
individual self 211–212
individual vocabulary methods 328, 333
inductive inference theory 155
infancy and infant development 16, 140, 485n19
inferior colliculus (IC) 373
inferior frontal cortex (IFC) 394
informational quality of sound 260–262, 293–295
inner ear 446, 448
inner hearing 398–400
inner listening modes 261
inner voice 448, 629, 631, 633, 635, 639, 649n4
Innerlichkeit 496, 498–499, 513nn15–16
installation art 528–531
instant composition 546
instrumental performance 400–402
instrument model of control 70
instrument types 37–42, 46–51, 53–54
instrumental actions 66–68, 72
instrumental music 474
instrumental techniques 111n1 see also performance, musical
insular cortex 380
intelligence 80
intentionality of artworks 492
interaction 70–71
interactive empathy 548
(p. 669) interactive media 308
interaural level difference (ILD) 372
interaural time difference (ITD) 372
interfacing 48, 108t, 123–126, 259
interference 343n12
interiority 513n18
internal sensory inputs 317n1
International Telecommunication Union-Radiocommunication Sector (ITU-R) 323, 342
Internet of Things 589
interpretation
and aesthetics of perfection 547–548
of ancestrality 576n5
visual interpretation of sound 180, 182–183
interrogation 281–284, 286, 288–293, 295–298
intersubjectivity 82, 85, 230, 572, 574
intimate immensity 270
intonation 192; see also pitch and pitch intervals; tonality
intonation shapes 251
intramusical meaning 360
intraparietal cortex (IPS) 394
intraparietal sulcus (IPS) 453
invariance 134–136, 138, 141, 144–146, 149
involuntary musical imagery (INMI) 254, 266–268, 393–394, 453
involuntary musical imagery scale (IMIS) 455
Iraq War 282, 287, 289–290
Islamic culture 292, 295–296
iterative motion 249
iterative sounds 247
ITPRA (imagination, tension, prediction, reaction, appraisal) theory 357
J
J Dilla 601–602
Jackson, D. 349–350
Jacob, Henry 309
Jacobs Orchestra Monthly 26
Jakubowski, K. 445, 455
jam sessions 42
James, Etta 79, 88–90
James, George G. M. 617, 625
Japanese classical music 549
Jaques-Dalcroze, É. 458
jazz
and Afrofuturism 619, 624
as art music of improvisation 552–554
as classical music 548–552
and differences in auditory ability 395
and evolving technologies of performance 108t
and groove 87
and human/instrument physical interface 112n9
and imaginative listening to music 481
and improvisation 25–27, 539, 542, 544–546, 548–554
and role of repetition 134
and skilled musicianship 94n19
and Sun Ra compositions 145
and symphonic music 193
and time warps 602
and variable rhythms 596–597
and virtual instruments 107–108
Jenkinson, Tom 598
Jilka, S. 455
Jingle Bells 398, 398f
JKU Patterns Development Database 172, 173f
JODI (Joan Heemskerk and Dirk Paesmans) 591
John the Baptist 648
Johnson, B. 282
Johnson, E. H. 221
Johnson, M. 19, 23, 59, 439
Jones, Inigo 541
Jonze, Spike 647–648
Jonzun Crew 620–622
Joseph, Romel 392
Journal of the Society for American Music 614
Judeo-Christian theology 514n25
Jung 434
Juslin, P. N. 355–360, 358, 379, 437
K
Kafka, Franz 491
Kalakoski, V. 452
Kalenda Maya 192
Kane, Brian 522
Kant, Immanuel 18, 22–28, 221–222, 469–470, 490, 497, 511n3, 638
Kapferer, J. N. 352
Karplus-Strong algorithm 104
Kassabian, Anahid 532
Katz, M. 104–105
Keller, K. L. 351–352, 354
Keller, P. E. 44–45, 47, 397, 450
Kellner, D. 512n6
Kelly, John, Jr. 581
Kenneally, Thomas 281
key-postures 246
Khalfa, S. 359
Kind of Blue (Davis) 544
Kinect system 51
kinesthetics 43–44, 65, 72–73
Kircher, Anthanius 181
Kivy, P. 25, 512n10
Kjeldsen, J. 130
Kline, Nathan S. 585
Klüver, Heinrich 303, 308, 310, 313
Knight, Kirk 622–623, 626
Knowles, Beyoncé 90
Kocsis, Sándor 547
Kodály, Zoltán 398–400, 402–403
Koivuniemi, K. 333
Kolmogorov, A. N. 155, 175, 176n3
Kolmogorov complexity 155, 163–164, 175
Konitz, Lee 545–547, 553
Korean classical music 549
Korean War 286
Korg Wavestation 103
Korstvedt, B. M. 496, 513n16
Kozel, S. 73
Kraftwerk 597
Kramer, Jonathan 483
Kreilkamp, Ivan 233
Kristeller, Oscar 539
Kristen, S. 361t
Kronos Quartet 85, 87–88, 94n18
Krueger, J. 98
KUBARK Counter Intelligence Interrogation manual 291
Kubrick, Stanley 100, 526, 581
Kulturwissenschaft 490
L
Lacan, Jacques (and Lacanian theory) 84, 636
Lady’s Glove (sonic controller) 52, 270
Lakoff, G. 439
Lamia (Keats) 538
landscape painting 471
Lang, P. J. 374–375
Langer, Susanne K. 484n3
Langguth, Jerome J. 612
language, vocal sounds as precursor of 411
language and linguistics
and auditory development 412f
and ecological model of auditory perception 412f, 414
and embodied imagination 29–31
and imaginative listening to music 480–481
language barriers 144–146
language impairment 30
language-character (Sprachcharakter) 493
and literacy 209
and music in detention/interrogation situations 288
Large, Edward W. 147
Late Middle Ages 122
Late Night Special (Knight) 623
A Late Quartet (film) 91, 94n18
Latour, Bruno 106, 185
Lawless, H. T. 323, 328, 332
Le Corbusier 261
Le Déjeuner sur lherbe (Manet) 508
Le due Orfei (Pirrotta) 650n9
learning
difficulties with 417
learned emotional meaning of sound 375–376
learning engines 268
Lee, Alvin 106
Lee, C. C. 469, 474
Lee, Vernon (Violet Paget) 468
“Left & Right” (J Dilla) 600
Leftist/Marxian “normative” aesthetics 490–491, 497, 499–501, 505, 510–511, 512n4, 512n6, 514n25
Leibniz, Gottfried 120, 509, 517
Leman, M. 248
Lempel–Ziv-77 and 78, 174
Lenin with Villagers (Usikova) 495
Leningrad Symphony (Shostakovich) 495
(p. 671) Leppert, Richard 506–507, 509
Lessing, Doris 617
Levey, Stan 89
Levin, Thomas 221
Levinson, Jerrold 275n6, 470, 481, 483
Levitas, Ruth 502, 504
Levy, Lou 89
Lewis, George 613–619, 621–622, 625
Lewis, Pamela Z 617–618
Li, M. 155, 164
Lichtenstein, Roy 221
Liebman, David 549–550
ligature 212
Ligeti, György 526
Liikkanen, L. A. 445, 454
likelihood principle 164
Lipatti, Dinu 547
listening
and data compression 165
and emergent music 79–83
modes of 82
moment-to-moment 481
and music therapy 427–430, 431–432t, 433–435, 437–440
understanding of a musical object 166f
and Walton’s musical aesthetics 513n12 see also imaginative listening to music
Listening and Voice (Ihde) 631, 640
Listening to Noise and Silence (Voegelin) 576n7
Liszt, Franz 25
Liszt Academy 398
literacy 209
liturgical services 21
live-coding practices 73n2
Llinás, Rodolfo R. 139
localization of sound 371–372
Lockbaum, Carol 581
Locke, John 19, 22, 24
locus coeruleus (LC) 382
lo-fi soundscapes 520
Logic Pro X 125, 128
Long Range Acoustic Device (LRAD) 289
long-term memory 399, 402
López, Francisco 520, 522
López, K. J. de 30
LOrfeo (Monteverdi) 638–639, 647, 649n8
Lorho, G. 330–331
Los Angeles Times 568
lossy compression 156
Lost in Space (Jonzun Crew) 620
Lotze, M. 449, 458
Louboutin, Corentin 173–174
loudness
and audio branding 359
and auditory world of autistic children 409
and consumer sound analysis 321–323, 325, 333, 339–340
and ecological model of auditory perception 411
and musical shape cognition 240
and sound perception in autistic children 409–410
and sound/emotion connection 370–374, 381–382
loudspeakers
and aesthetics of sonic atmospheres 529
and anticipated sounds 37
and arche-sonic vibrations 564
and augmented unreality 316
and bioacoustics 183
and computer system sounds 580–581, 583
and consumer auditory experience 323, 331–332, 341–342
and controller-driven performance 49
and memory/imagination relationship 231
and music in detention/interrogation situations 287–289, 294
and performing the imagination 269
and Ventriloqua (Satz) 568
and visual imagination 267
A Love Supreme (Coltrane) 553
Lovelock, James 143
LSD (Belson) 309, 313
Luft, Luba (character) 641–648
lullabies 140
Lupton, Deborah 583–585, 587–588
Lusensky, J. 353–362
Lye, Len 308
Lynch, David 526–528, 531–532
Lyons, I. M. 110
Lyotard, Jean-François 576n7
Lyrical Ballads (Coleridge) 513n17
(p. 672) M
Ma, Yo-Yo 93n18
machines
machine assistance 276n24
machine learning 243
machine souls 581
machine transcription 267
machine-focused approaches 267–268
machinic rhythms 596–598
Machover, Tod 50
MacInnis, D. J. 351
Macintosh 586
MacKenzie, Donald 585, 589
macro timescales 245
Maes, P. J. 16
The Magic Flute (Die Zauberflöte) (Mozart) 639, 641–642, 644–645, 648
Mahler, Gustav 225, 228
mainframe computers 581, 586
Mair, Michael 186
major-minor system 162
makams 122, 125
Malloch, S. 275n14
Manet, Édouard 508
Manetti, Gianozzo 20–21
Man-Machine (Kraftwerk) 597
mappings 48–54
Margulis, Elizabeth Hellmuth 133, 139–140, 148, 456
marketing of music 285
Martin, G. 324, 329, 331
Martynov, Vladimir 85, 88
Marx, Karl 497, 512n4, 512n6
Maryland Psychiatric Center 434
Mason, R. 328
mass music 195–196
Massachusetts Institute of Technology (MIT) 50
Massumi, Brian 583
Master Samples Library 41
materialism, sonic 559–563, 565–570, 573–575
mathematics 201–204, 210, 214, 574, 575n2
mating strategies 150n10
Mattheson, Johann 469, 493
Matthews, Max 127–128, 581
Mayweather, Cindi 621
McCullough Campbell, S. M. 456
McGill University 41
McGinn, C. 100, 102
Mckendrick, J. 285
McLaren, Norman 308
McLeod, Marilyn 623
McNorgan, C. 437
McPherson, G. E. 439
meaning structure 351–353
meaning-making 15, 20, 22, 28, 31
media degradation 233
medical offices 285
meditative sound 582
Mediterraneo (Raimondo) 561, 571–572
Meilgaard, M. 329
Meillassoux, Quentin 560–563, 568–569, 573, 575, 575nn2–3, 576n5
Mein Jesu, was für Seelenweh! (Bach) 430, 431–432t
melody
and audio branding 361
and augmented unreality 315
and embodied meaning 144
and emergent character of music 89
and externalization of pitch and intervals 201
and guided imagery 439
and imaginative listening to music 476–480, 482
and live recordings 94n20
melodic movement 480
melodic shapes 251
and musical shape cognition 247
and musical timescales 245–246
and the octave revolution 204–209
and perception of timbre 39
and Pythagorean mathematics 203
and Scandinavian yoiks 194–195
and sound perception in autistic children 420
and symphonic concerts 192
and symphonic music 192–193
and voluntary auditory imagery 395, 398
memoire involuntaire 228
(p. 673) memory
and absolute pitch 417
and music analysis 154
and musical performance 92n9
and repetition 134, 138, 140, 147–149
and sound recording 219–222, 224–226, 228–233
Mendelssohn, Felix 46
mental imagery 446–447, 459; see also guided imagery and music (GIM)
mental practice/rehearsal 42–44, 254, 395, 397–403
mental representation 374–375, 395, 401, 435–436
Merleau-Ponty, Maurice 15, 60, 221, 224, 518, 521, 576n6
mescaline 305
Meshes of the Afternoon (film) 307, 612–613
meso timescales 245
Mesopotamia 213
Messiaen, Olivier 181–182
meta-aesthetics 490, 505, 509
Metamorphosis (Ovid) 225
metaphor
and embodied meaning 142–143
and imaginative listening to music 476–479, 485nn21–22
and interaction with music 128–129
metaphor theory 434–435
and metempsychosis theory 220
and mimetic motor imagery 64
and motor imagery in music perception 68
and musical shape cognition 237–238, 241, 245, 252
and nature of memory 229–230
and sonic materialism 570–571
and technical music performance 60
and technological instruments 70–72
and utopian allegory 501, 503
Metaphysical Song (Tomlinson) 637
metaphysics
and aesthetics of improvisation 536–537
and dualist perception of vocal expression 629–631
and emergent character of music 79
Greek influence on music 129
and influence of tone systems on music perception 126
and Innerlichkeit concept 513n16
and limitations on music creation 118
and metamorphosis of voice 635
and nature of opera 649n8
and nature of voice 637
and Pythagorean mathematics 203
and responses to philosophical rationality 569
and sonic materialism 560–562, 575
metempsychosis 219, 224–229, 232–233
micro timescales 245
microrhythmic transformations 598–602, 603
microtiming 39, 43, 46, 53
Middle Ages 124, 213–214
MIDI drums 606n4
Milano, Francesco da 22
Miles Davis Quintet 85, 87, 89, 94n20
Milestones (Davis) 85
military life 286–288
military-industrial complex 585, 591
Miller, George Bures 528–531, 532
Miller, Glenn 90, 104–105, 108–109, 111n7
Miller, K. 104–105, 108–109
Millet, Jean-François 541
Milli Vanilli 105
mimesis 63–66, 430, 640
Mimesis as Make-Believe (Walton) 491
mimicry 60–61, 72
Mi.Mu Gloves 52
mind
and emergent music 77–80, 83, 87, 90–91
mind-body separation 23
mind’s ear 45, 445, 457–459
theories of 134, 141, 143–144, 146, 148
wandering 454
Mingus, Charles 91
Mingus Ah Um (Mingus) 553
minimal algorithmic sufficient statistic 155; see also Kolmogorov complexity
minimum description length (MDL) principle 155, 157
(p. 674) Minter, Jeff 309–310
mirror neurons 265
mistakes in performance 91
mist-nets 184–186
mixing engineers 40–41
mnemic processes 225–226, 229–230
modal patterns 247
modalities of time 619–620
modality shapes 250
modernism 539–540, 545–546, 550, 596
modes of listening 82, 92n10
modulatory motion 248
Moffat, Ellen 647
Molnar-Szakacs, I. 265
Momente (Stockhausen) 265
moment-to-moment listening 481
Monáe, Janelle 612–613, 621
monophonic melodies 203
Monteverdi, Claudio 638–639, 647, 649n8
mood 321, 325, 326f, 382, 427, 455, 525
Moog synthesizers 619
Moonwatcher 100–101
More, Thomas 504
More Brilliant than the Sun (Eshun) 618
Mork-Eidem, Alexander 648
morphetic pitch 159
morphodynamical theory 241
morphology of sonic objects 246
Morris, William 503
Morse telegraphy 227
Morton, Timothy 520
Moss, Jamal (Hieroglyphic Being) 622, 624–626
Mostly Bach (GIM program) 430
Moten, Fred 617
Mother (Gorky) 495
motion
and air performance 105–109
and mimetic motor imagery 63–68
and motor imagery in perception 59
movement-based controls 71
movement-sound conjunctions 67
and musical shape cognition 237–255, 242f, 250f see also body-motion
motion and gestures 467, 474–483, 485n17
motion perception in music 244
motion-capture technology 51, 243
motor cortex 450
motor imagery 44, 60, 63–68, 72–73, 102, 111n4
motor involvement 456
motor representation 111n5
motor resonance 37
motor systems 146
motor theory of perception 243–244, 251–252, 446
motor-encoding strategies 450
motor-error feedback 53
motor-intentionality 85–87
Mozart, Wolfgang Amadeus
and auditory imagery abilities 396
and defining classical music 550
and ethics of music 281
and humanist approach to musical aesthetics 538
and imagination/improvisation relationship 25
and imaginative listening to music 467–468
and music analysis algorithms 173
and musical imagery in performance 449
and operatic voice 639, 641–642, 648
Müllensiefen, D. 454
Müller-Lyer illusion 479
multichannel sound systems 302, 315
multicollinearity 340
multimodality
and embodied cognition 445, 447–448, 450–451
multimodal imagery 43, 428–434, 436, 439–440, 450
multimodal imagery association (MMIA) 448
multimodal sensory stimuli 53–54
multimodal sound-motion shapes 249
and voluntary auditory imagery 401–403
multisensory integration of sound 244
multitrack recording 600
Munch, Edvard 645
Murray, J. M. 332
MusEcological perspective 440
“MUSHRA” test 337
music
and audio branding 353–362
and auditory development 412f, 413f
(p. 675) and ecological model of auditory perception 411–416, 412f, 413f, 415f
and information technology 260
in military life 286–288
music, physics, and the mind 147–148, 150n4
music education 391–404
music festivals 302, 310, 313–316, 317
music imagery 153–154
music information retrieval (MIR) 248, 262, 268, 276n24
music of the spheres 150n4
music perception 62–63, 153–154, 156, 163–167, 175, 176n6
music psychology 63
music therapy 427–428, 430, 432t, 434, 436, 438–440
music travel 430
musica recta-musica vera (true music) 213
musica universalis (harmony of the spheres) 120
musical abilities in children with autism 411, 416, 418f, 419
musical architecture 481
musical expectancy 379–380
musical fit 351
musical imagery information retrieval (MIIR) 275n8
musical imagery tests 456–457
musical information 153–156, 158, 161–163, 170, 175
musical instants 251–253
musical instrument playing 16
musical learning 164–167
musical listening 153, 164–167, 166f, 409, 411
musical literacy 400
musical object 164–167, 165f, 174, 506
musical sequences 161
musical space 476–479
musical surface 163–164
musical timescales 245–246
musical training 453; see also performance, musical
musical universals 146–147
music-brand fit 350–351
music-emotion induction mechanism 356–360
musicking 25, 31, 60, 73, 105, 141, 427, 438, 489, 599, 602, 604
music-related shape cognition 250f
musique concrète 93n11, 103–104, 127, 130, 246, 269, 271
preference 359
research related to 238–241, 244–246, 253
and sound/emotion connection 378–381
music analysis 153–156
applying a compression-driven approach 174–175
and compact encodings of musical objects 161–163
and compression-based model of musical learning 164–167
and data compression 159–161
encoding and decoding 156–159
evaluating algorithms 172–174
and explaining individual differences 167–169
and Kolmogorov complexity 163
and perceptual coding 163–164
and point-set compression 159, 160f, 170–172, 175
Music in Contrary Motion (Glass) 475–476
The Music of Strangers (documentary) 93n18
music performance; see performance, musical