- The Oxford Handbook of Music and the Body
- Acknowledgments
- About the Editors
- Contributors
- Contextualizing Music and the Body: An Introduction
- Musicalities and the Moving Body in Western Concert Dance
- Music and Movement: Expectations, Aesthetics, and Representation
- The Science of Voice and the Body
- The Body as Musical Instrument
- Music Changes the Brain
- Music and Psychoanalysis
- Music Sociology Meets Neuroscience
- Sound-Motion Bonding in Body and Mind
- Music, Bacchus, and Freedom
- Entrainment and Embodiment in Musical Performance
- Rhythm and the Performer’s Body
- Embodied Rhythm and Musical Impact of Corporal Punishment in Twentieth-Century Opera
- Music and the Embodiment of Disability
- Musical Remediation of Disability
- Virtuosities of Deafness and Blindness: Musical Performance and the Prized Body
- Embodied Representation in Staged Opera
- Sexuality, Dis/Ability, and Sublimity in Grand Opera
- Is There Disabled Music?: Music and the Body from Dame Evelyn Glennie’s Perspective
- Music and the Body in the History of Medicine
- Music in Body and Imagination
- Spatial Representations Common to Music and Bodily Experience
- Multimodal Music in Infancy and Early Childhood
- Opera as Film: Multimodal Narrative and Embodiment
- Listening to the Musicking Body: A Cross-Disciplinary and Historical Perspective
- Index
Abstract and Keywords
“The power of music” has been a controversial term in recent discussions regarding music and social issues. Instead of avoiding use of the term, this chapter attempts to explain the mechanism of musical effects through interdisciplinary considerations of sociology and neuroscience. The first three sections of the chapter provide an overview of intersections between sociology and cognitive science, addressing their shared interest in mediation-based and human-centered approaches. The last two sections reanalyze ethnographic findings from neuroscientific perspectives, showing why the sensitive use of music may become an effective tool for empowerment. It also suggests that musical retelling allows us to believe that we are connected to others both in the present and the past.
Keywords: sociology, ethnography, neuroscience, cognitive science, interdisciplinarity, the power of music, empowerment, social transformation, musical retelling
Faculty of Design, Kyushu University
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- The Oxford Handbook of Music and the Body
- Acknowledgments
- About the Editors
- Contributors
- Contextualizing Music and the Body: An Introduction
- Musicalities and the Moving Body in Western Concert Dance
- Music and Movement: Expectations, Aesthetics, and Representation
- The Science of Voice and the Body
- The Body as Musical Instrument
- Music Changes the Brain
- Music and Psychoanalysis
- Music Sociology Meets Neuroscience
- Sound-Motion Bonding in Body and Mind
- Music, Bacchus, and Freedom
- Entrainment and Embodiment in Musical Performance
- Rhythm and the Performer’s Body
- Embodied Rhythm and Musical Impact of Corporal Punishment in Twentieth-Century Opera
- Music and the Embodiment of Disability
- Musical Remediation of Disability
- Virtuosities of Deafness and Blindness: Musical Performance and the Prized Body
- Embodied Representation in Staged Opera
- Sexuality, Dis/Ability, and Sublimity in Grand Opera
- Is There Disabled Music?: Music and the Body from Dame Evelyn Glennie’s Perspective
- Music and the Body in the History of Medicine
- Music in Body and Imagination
- Spatial Representations Common to Music and Bodily Experience
- Multimodal Music in Infancy and Early Childhood
- Opera as Film: Multimodal Narrative and Embodiment
- Listening to the Musicking Body: A Cross-Disciplinary and Historical Perspective
- Index
