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date: 25 July 2021

(p. 437) Index

(p. 437) Index

Abbate, Carolyn, 307
Abel, Samuel, 308
able-bodiedness, 258–259, 272, 277, 279
Absolute Music
defined, 112, 113
idealist aesthetics of, 338
music in psychoanalysis and, 120
abstraction, music as, 112–113
acousmatic listening mode, 5
actor-network theory, 127
Adams, John, 222, 233–237, 399
Adriana Mater opera (Saariaho), 399
aesthetics (aesthetic experience)
of audiences, 35
classical ballet and, 23
cognitive flexibility and, 48
dancing/moving body and, 7, 21
human representation context, 46–48
idealist aesthetics, 338–342
judgments based on, 46–47
Kant’s rejection of physical pleasure in, 339
Meyer on “aesthetics of stability,” 51
musical aesthetic sensibility, 41
musical expectations and, 44–46
“affordance” concept (DeNora), 129
afterimages and aftersound, 419–423, 431n1
Ailey, Alvin, 52–53
Alden, David, 297–299, 298
Aldridge, David, 356
Alessandro, Alessandro di, 262
Alexander’s Feast (Handel), 163
Allen, Gregory, 286
Allen, Stephen Arthur, 231–233, 232f
Alvarez de Toledo, L. G., 121
Alzheimer’s disease, 102, 344
American Mysteries (Graham), 52
Americans with Disabilities Act (1990), 318–319
Ammirante, Paolo, 375
amorous melancholy, 312
ancillary motion, 149
Anderson, Laurie, 89
Anderson, Marion, 53
André, Naomi, 298
Ansdell Gary, 351, 356
Anthropological Treatises (Blumenback), 301
anxiety
existential anxiety, 362–363
of Freud, about music, 117
music therapy and, 123
neuroplasticity and, 102
Appalachian Spring (Graham), 52
Appassionata (Beethoven), 277, 279–283, 285–288
Ariadne auf Naxos (Strauss), 165, 297
Ariane et Bacchus (Montéclair), 165
Armand Marie Jacques de Chastenet, Marquis de Puységur, 266
Arrau, Claudio, 8
Art as Experience (Dewey), 47
Artifact (Forsythe), 34
Art of Making Dances (Humphrey), 47
Art of the Fugue (Bach), 217n4
Astaire, Fred, 50
atonal musicality, 32–33
Attempt at a Systematic Outline of the Whole of Medicine (Schöne), 337
attention
music/music making and, 8–9
psychology of, and short-term entrainment, 180–182
audio-visual congruence, in opera as film, 399–401, 403, 406, 413–414, 415n1
Auenbrugger, Leopold, 3
“Auflösung” poem (Mayrhofer), 269
(p. 438) autism (autism spectrum conditions and/or disorders). See also Sequenzia, Amy
enabling benefits of music and, 247
listening and experiencing music, 246–247
self-acceptance of, 247, 255n2
stimming (self-stimulatory behaviors) in, 245–246
synesthesia and, 246–247
Babington, Guy, 64, 66
Bacchae (Euripides), 162–166, 170, 172–173
Bacchus and Ariadne ballet, 168
“Bacchus and Pentheus” section (Metamorphosis, Ovid), 162–163
Bacchus et Arianne ballet- héroïque (Rochefort), 173
Bacchus et la Minéïde (Choisy), 167
Bacchus (Massenet), 165
Bacchus (music and freedom), 161–174
alternative reality created by, 170–172
ballet, operas, pantomime, and, 167–168
deviance and, 163–165
embodied freedom and, 161
freedom of action and, 161–162, 173
freedom of motion and, 161–162
liberation, destruction, and, 165–168
musical deviance, political defiance, and, 168–170
negative freedom and, 161, 165–166, 172, 173
orgy, regeneration, and, 172–173
positive freedom and, 169–170, 172, 173
Rome’s association with, 162–166, 170–171, 173
seventeenth- and eighteenth-century French music about, 162–163, 166–169
studies, myth vs. ritual, 163
transcendence through singing and dancing, 164–165
wine’s association with, 167
Bach, Johann Sebastian, 2, 10
Art of the Fugue, 217n4
Prelude in C minor BWV 847, 185–189, 190f
Baglivi, Giorgio, 264
Baker, Mitchell, 248–254
Balanchine, George, 29–30, 37
Ball, Philip, 10
Ballet des festes de Bacchus (Chancy), 167
Ballet Russe, St. Petersburg, Russia, 52
ballets
Bacchus in, 167–170, 173
Ballet Russe, Russia, 52
classical, development of, 23, 37
combining with jazz, modern dance, 34–35
composing music for, 53
d’Alembert’s examination of, 161
Forsythe’s impact on, 33–34
French baroque comédie- ballet, 165
musicality of, 29–30
neoclassicism in, 23–24, 29
Pigmalion (Rameau), 13
The Red Detachment of Women opera-ballet, 233–234
sound-motion experience in, 149
Balzac, Honoré de, 268–269
Barthes, Roland, 10
Bartók, Béla, 30
Beard, George, 339
Becker, Judith, 178
Beckerman, Michael, 422–423
Becking, Gustav, 428–429
Beethoven, Ludwig van, 161
Appassionata, 277, 279–283, 285–288
deaf virtuosity of, 280–281
Hammerklavier, 277, 279–282, 285–288
Hoffman’s defense of, 306
Ries on Beethoven’s conception of Appasionata, 283
Russell on Beethoven’s deaf pianism, 283
Tours’s thoughts on, 341
virtuosity/skills of deaf hearing and, 282–283
behavioural music therapy, 352
Benjamin, Walter, 430–431
Berger, Anna Maria Busse, 195
Bernays, Martha, 117
Bernstein, Leonard, 161
Billings, William, 261
Billy Budd novel (Melville), 228–229
Billy Budd opera (Britten), 222, 228–233
binaural beats, 180
BioMuse, digital biosignal interface, 88, 89–90, 90f, 93
biomusic, 87
The Birth of Tragedy (Nietzsche), 162
Blumenback, Johann Friedrich, 301
body as musical instrument, 62, 79–95
body schemata, 81–82
control, coadaptation, configuration, 93–94
digital biosignal interfaces, 88–89
embodied interaction, 79–80, 83–84, 207
proprioception mechanisms, 80–81
technological body, 82–83
body (human body). See also listening to the musicking body; movement (bodily movement); performer’s body and rhythm; voice (vocal production)
aesthetic meaning making by, 131
arenas of studies of, 4
as “bio-socio-psycho-cultural,” 2
body schemas, 80, 81–82, 94, 183–184, 188–189
central nervous system’s control of, 8
cosmic harmony and, 334–338, 336f
in electronic music, 84–88
extremes of in grand opera, 306–307
focus in opera studies, 296
Foucault on, 295
Glennie on, 323
idealist aesthetics, positivist science, and, 338–342
imagination, music, and, 349–363
increasing empirical studies on, 195
influence of intrusions, interruptions by music, 360–361
listening body, short-term entrainment, 181–182, 184–185, 188–189
medical science findings, 3–4, 8, 100, 102–104, 343
multifaceted body, physical entrainment, 185
music-body relationships, 6
music in the history of medicine and, 333–344
music produced by, 7
music’s capacity for repairing, 260–261
music’s interface with, 4–5
objective vs. subjective views on, 3
recent performance practice, 89–92, 90f, 92f
regulatory/innate clock-like rhythms of, 49
rhythm and performer’s body, 193–218
scholarly works on, 2–3, 5
short-term entrainment, listening body, 184–185
singing vs. singing and acting body, 295–296
sound-motion bonding in, 145–158
voice and, 62–77
body percussion, 13n1
BodySynth, digital biosignal interface, 88–89
La Bohème (Puccini), 297
Bournonville, Augustus, 37
Bousset, Jean-Baptiste de, 167
Brahms, Johannes, 112, 150
brains. See also cognition (cognitive systems); nervous system
aesthetic experiences and, 41
brain science of music, 130
critical development periods, 99, 100, 103
fMRI studies, 3, 8, 104–105, 107, 343
information-processing systems, 45–46
MEG studies, 100, 102–104
MRI studies, 103
music, language, lateralization, and, 105–108
musical brain and psyche, 8–9
musical emotions and, 132–133
“music room” in, 1
music’s power on, 349–350
music training’s impact on, 102–104
neuroscientific perspetive on dance, 50–51
noninvasive observation methods, 146
novelty detectors, 46
passive listening vs. musical training, 102
scanning of, 1
short-term neuroplasticity, 100–102
Breaking Series, 30–32
Brett, Philip, 229
Breuer, Joseph, 115, 343
The Bride of Lammermoor (Scott), 298
Briquet, Paul, 340
British Society for Music Therapy, 343
Britten, Benjamin, 222, 228–233, 238, 239n8, 309
Britten - Billy Budd - 1966 BBCtv Recording Complete (1964, BBC production), 239n8
(p. 440) Broca, Pierre Paul, 105
Brocklesby, Richard, 337
Brooks, Peter, 295
Brown, John, 337
Browne, Richard, 337
Brunonianism, 337–338
Bucoliques (Chénier), 173
Bunt, Leslie, 351
Burmann, Wilhelm, 37
“Burnt Norton” (Eliot), 51
Bus Stop, film, 26–27
Butoh dance form (Japan), 24
Buzsáki, G., 49
Byers, Gavin, 34
Cage, John
collaboration with Cunningham, 32
collaboration with Lucier, 87f
4'33", 33
Variations VII, 93
Cai, Zhenguang G., 373–374
Cammarano, Salvadore, 298
Campbell, David, 337
Canadian Opera Company, 298–299, 303n1
Caplin, William E., 195
“Carnation” dance solo (Childs), 24–25
Le carnival et la Folie (Destouches), 169
Carpenter, Humphrey, 229, 230
Carpentier, Jules, 424
Cartwright, Samuel A., 342
Cell Pathology (Virchow), 3
Chance Dance (Cunningham), 32
Chancy, François de, 167
Chanko, Kenneth M., 239n5
chansons pour boire (French drinking songs), 166–167
chansons pour danser (French dancing songs), 166–167
Charcot, Jean-Martin, 115, 339
Chattah, Juan, 402–403
Cheyne, George, 335
children
aesthetic judgment of movement studies, 48
brain plasticity development, 101
creative music therapy with, 351
EEG/music training studies, 104
influence of language impairments, 107
language-related gestures in, 371
learning disabilities of Down syndrome children, 301–302
multimodality of musical experience in, 13
music, language, and, 107
children: early school years, 393–394
classroom, schoolyard, 393
home-based multimodal exposures, 393
laboratory perspectives, 394
children: infants and musical exposure, 13, 383–389
cross-modal links, 387
exposure to music, 383–385
laboratory perspectives, 388–389
mother-child interactions, 384–385
outside the home musical activities, 387–388
responsiveness to maternal multimodal infant-directed singing, 385–386
rhythmic movement of infants, 386
social/emotional implications, 386–387
children: preschoolers and musical exposure, 389–392
home-based multimodal exposures, 389–390
laboratory perspectives, 391–392
music training, 391
nursery school, day care settings, 390–391
Childs, Linda, 24–25
Chion, Michel, 5, 403
Chopin, Frederick
Étude in G♭ major, op. 10, no. 5 (“Black Key”), 198–199
Godowsky’s paraphrase études studies, 10, 193, 194t, 197, 208
Helps perform Godowsky (performing Chopin), 208–211, 212 [link] –213f, 214–215
Trois nouvelle études, No. 2 in A♭ major, 204–205, 204f, 206f
Whiteside’s studies of études of, 198
Chopin piano competition (1932), 281
chords and harmonic progressions, 154
choreography
creation processes, 30–33
downbeat method of, 31
for film, 26–27
(p. 441)
for the stage, 27–28
term derivation (choreograph), 28
Christy, Anna, 299–301, 300f
Clare, Martin, 262
Clayton, Martin, 177, 182–183
Clément, Catherine, 298, 307
Cliburn piano competition, 277–278, 280, 284–286, 288–289
Clifton, Thomas, 356
“Climb Every Mountain” (Sound of Music), 137
Clinical Studies on Hystero-Epilepsy or Grand Hysteria (Richer), 339
club dancing. See social dance
Clytemnestra (Graham), 52
Coëgnarts, Maarten, 401–401
Cogan, Robert, 425
cognition (cognitive systems)
aesthetic judgments and, 48
anticipatory expectations and, 41, 48
binaural beats and, 180
binding influence (on humans) of, 49
embodied cognition, 53
motormimetic cognition, 147
music, aesthetic sensibility, and, 44, 50–51, 53
rhythmic generators and, 48
cognitive linguistics, 9
cognitive science
Congruence-Association Model, 404f
recent neuroscience developments, 129–131
sociology’s intersection with, 128–133
twenty-first century music research focus, 127
Cohan, George M., 48
Cohen, Anabel, 400, 403
Coltrane, John, 42–43
communication
communicative motion, 149
linguistic vs. nonlinguistic modes, 22
competition
competition dance, 31–32
piano competitions, 277–278, 280, 284–286, 288–289
“virtuosic body” and, 276
for The Voice, 5
computerized tomography (CT) scan, 3, 343
conceptual metaphor theory (CMT), 399, 401–402
concert dance, 22–24
Concerto Barocco ballet (Balanchine), 29
congruence-association model (CAM), 400–401, 401f
Connell, Louise, 373–374
Considerations sur la France (Maistre), 173
Cook, Nicholas, 10, 195–196
Cooper, Grosvenor W., 195
The Copenhagen Ring (Holten), 405–406
Copland, Aaron, 52
Coriat, Isador, 120–121
corporal punishment in opera, 221–238
in Billy Budd, 222, 228–233
in Jesus Christ Superstar, 222–227
in Nixon in China, 222, 233–237
in Peter Grimes, 229
cosmic harmony, human body and, 334–338, 336f
Cox, Arnie, 222, 226–227, 231
Craigher de Jachelutta, Jakob Nikolaus, 269
Crary, Jonathan, 421
Crossman-Hecht, Eva, 34
cross-modal associations, 367–367
Cullerre, Alexandre, 339
Cultural Revolution, China, 234
Cumming, Naomi, 279
Cunningham, Merce, 32
Czermak, Nepomuk, 66
Dahlhaus, Carl, 260
D’Alembert, Rond, 161–162, 168, 169
Damasio, Antonio, 353
dance. See also concert dance; social dance
dance humiliation, 249
definition, 24–25
disability and, 244, 248–254
human expression, lived experience, and, 52–54
links with past ages, 52
making and understanding, 22–23
musicality and, 21, 29–30
musical vs. nonmusical, 26
neuroscientific perspective on, 50–51
sociability connection to, 51
teaching dance, 22–23, 38–39
twenty-first century perspective, 24–25
Western concert dance, 21, 23–24, 27–28
(p. 442) Dance Mania (Hecker), 339–340
Dark Meadow (Graham), 52
Darwin, Charles
on music and language, 372
music of human biology and, 114, 118, 119
psychoanalysis, music, and, 114–115, 118–119, 123n1
D’Ascoli, Bernard, 284–286, 288
Davis, Lennard J., 259–260, 319, 328
deafness and blindness, virtuosities of, 276–290. See also Glennie, Evelyn
able-bodiedness and, 258–259, 272, 277, 279
Beethoven, performance of virtuosity, skills of deaf hearing, 282–283
blindness of Hollins and Ungár, 281
Cliburn piano competition (example), 277–278, 280, 284–286, 288–289
deafness of Beethoven, 277
“inner hearing,” defined, 282
performing the invisible and inaudible, 285–288
Tsujii’s skills of blindness, 277–282, 284–288
“virtuosic body,” 276–278, 280, 288–289, 290n2
Death in Venice, 231
Debussy, Claude, 48
degeneration theory (Morel), 341
“De junge Nonne” (Schubert), 269
Delalande, Francois, 217n4
De la liberté de la musique (D’Alembert), 161–162, 168, 169
De Martino, Ernesto, 264–265, 268
Demented: The World of the Opera Diva (Mordden), 308
DeNora, Tia, 129, 131
Descartes, René, 335–336
Descent of Man (Darwin), 114
Destouches, André Cardinal, 169
De Tours, Moreau, 341
Dewan, Edmond, 87
Dewey, John, 45, 47, 53
Dictator film (Chaplin), 150
digital biosignal interfaces, 88–89. See also specific digital biosignal interfaces
digital musical instruments (DMIs), 87, 93
digital-signal processing (DSP) based biosignal-MIDI interface, 88
“The Dionysiac World View” (Nietzsche), 162–164
Dionysis, 162–166, 170–171, 173
disability aesthetics, 277
disability (disabled body). See also autism; Baker, Mitchell; deafness and blindness, virtuosities of; disability studies; Glennie, Evelyn; Sequenzia, Amy
Bacchus, and, 173
Davis on, 319–320
disability aesthetics, 277
disabled music, 318–328
disabled performers, 320
disabled sexual body and, 11–12
Garland-Thompson on, 319
Gorman on, 319
handicaps vs. impairments vs., 318–328
historical arguments about, 258
human variability scale for, 318–319
inclusion in Wesley’s hymn, 259
mesmerism and, 265–268, 269
musical healing cure narratives, 260
musical remediation of, 258–272
music and embodiment of, 243–255
in opera, 306–315
religious model of, 259–260
sitpoint theory (feminist disability concept), 320
socio-spatial model of, 320–321
tarantism and, 261–265, 263f, 266, 267
trajectory of standard cure narrative, 259–260
transcendence and, 268–272, 271f
virtuosity displays in competitive environments, 276–277
WHO definition of, 319
disability studies
Bacchus and, 173
Gilman on, 243, 255n1
questions asked about, 4
scholarly analysis critique of, 258
sexual body and, 11–12
virtuosity, the body, and, 280–281
disabled music (disability within music), 318–328
“Diseases and Peculiarities of the Negro” (Cartwright), 342
(p. 443) Dissertation on the Advantageous Effects of Music in Disease (Lande), 337, 340
dissonance, 22, 33
The Diva's Mouth: Body, Voice, Prima Donna Politics (Leonardi and Pope), 295, 308
Dixon, Simon, 193–194, 217n2
Doane, Mary Ann, 422
Doctor Atomic (Adams), 399
Donizetti, Gaeteano, 297–303, 300f, 307–308, 341
Donnarumma, Marco, 91, 92f, 94
Down, John Langdon, 300–302
downbeat
choreographer’s use of, 31–32
musicality and, 25–27
personal response to, 29
Down syndrome, 300–302
The Dry Savages (Eliot), 99
Duets (Taylor), 33
Duncan, Isadora, 52
Duncan, Michelle, 296
Dunning, Jennifer, 39n4
Dyck, Isabel, 320–321
East Japan Great Earthquake, 133–136
evacuees’ preference for lyric-less music, 134–135
popularity of “Flowers Will Bloom” song, 135–136
post-earthquake charity concerts, 134
EEG (electroencephalography), 8, 87–89, 104, 343, 350
“The Effect of Music on the Neurohormonal Stress Response to Surgery Under General Anesthesia” (Migneault), 349
Eitan, Zohar, 368
Ekman, Paul, 371
Elaine's Dance, 39n1
Elam, Keir, 400
electronic music
biomusic, 87
digital biosignal interfaces, 88–89
digital musical instruments, 87, 93
embodied electronic music, 85
gestural electronic music, 85, 85f, 86f, 87
Merleau-Ponty on, 82
Musical Instrument Digital Interface, 85, 88–90, 93
new interfaces for musical expression and, 87
electro-oculogram (EOG), 88
Elements of Psychophysics (Fechner), 422
Eliot, T. S., 51, 99
embodied communication models of musical emotions, 132–133
embodied gestures, 196, 211, 215, 218n10
embodied interaction, 79–80, 83–84, 207
embodied representation in staged opera, 295–303
embodied rhythm
components of, 193
embodied mind and, 9–10
in Helps’s performance of Chopin’s Trois nouvelle études, No. 2 in A♭ major, 204–205, 204f
measuring, representing, interpreting of, 215–217
musical impact of corporal punishment in twenty-first century opera and, 221–238 (See also specific operas)
rhythmic expression, 195–197
second-order nature of, 197
embodiment(s)
of disability, 243–255
Dourish on, 83–84
Hayles on, 83
multimodal, of rhythm, 10
music, medicine, and, 12
musical experience and ordinary embodiment, 353–356
in musical performance, 177–191
perceptual embodiments, 54
physical embodiments, 45
Sachs on, 120
technological embodiment, 80
EMG (electro-myogram), 88–92
Emmett, Thomas Addis, 340
Emotion and Meaning in Music (Meyer), 45
empowerment
power of music and, 127, 128, 134, 137
retelling and, 136
shared perceptual sensitivities and, 136–137
Engaging Vulnerability program, Upsala University, 290n1
Engel, Johann Jakob, 338
(p. 444) Enlightenment
embodied concept of freedom and, 161
leanings toward objectification, quantification, 310
music therapy origins, 122
Die Entführung aus dem Serail (Mozart), 163
entrainment. See also entrainment, long-term; entrainment, physical; entrainment, short-term
Becker on, 178
Clayton’s definition, 177–178
entrained body, 179–180, 183–185
entrainment music, 179–180
Huygans on, 180
in musical performance, 177–191
origins of, 178
rhythmic entrainment, 132–133
Rider on, 179–180
Zeitgeber mechanism and, 179, 180, 183, 186, 191n1
entrainment, long-term
in biology, physiology, related sciences, 178–179
body schemas and, 183–184
in Prelude in C Minor, BWV 847, 186–187
entrainment, physical
embodied movement and, 182–183
multifaceted body and, 185
in Prelude in C Minor, BWV 847, 188–189
entrainment, short-term
listening body and, 181–182, 184–185, 188–189
meter and, 181, 187, 189
in Prelude in C Minor, BMV 847, 187–188
psychology of attention and, 180–181
epilepsy, Mozart effect on, 350
epistemology, 82, 321, 419
Epstein, David, 195
erotomania, 310, 311–312
Escot, Pozzi, 425
Esplanade ballet (Taylor), 29
ethnography (ethnographic findings). See also East Japan Great Earthquake
East Japan Great Earthquake, 133–136
neuroscientific studies and, 127–128, 133–136
Prelude music festival for sexual minorities, Japan, 137–138
Turino’s work in, 131
ethnomusicology, 6, 129, 243–244
Étude in G♭ major, op. 10, no. 5 (“Black Key”) (Chopin), 198–199
Eurhythmics (Jaques-Dalcroze), 122
evolutionary theories on music and dance, 7
Ewing, Mary, 296–297
“Excess and Fame” essay (McClary), 307
excitatory motion, 149
expectations (musical expectations)
familiarity, variation, and, 42–43
patterns and, 43, 44
Peirce on, 43
probability, emotion, aesthetic sensibilities, and, 44–46
rhythmic generators, internal clocks, and, 48–49
Experiments in Art and Technology (E.A.T.) Evening series (1966), 93
Expressionistic dance form (Germany), 24
expressive patterns, 154
expressive timing in performance, 10, 194, 197
familiarity
Dourish on, 84
language sounds and, 147
musical expectations and, 42–43
musical sensibilities and, 45
Farrell, Suzanne, 29
Fechner, Gustav, 338, 422
Feldenkrais, Moshe, 71–73
Feldenkrais Method, 71–72
Feminine Endings: Music, Gender, and Sexuality (Clément and McClary), 307
feminist musicology, 307
Ferenczi, Sándor, 118
Les festes de l’Amour et de Bacchus (Lully), 167–168
Feurzeig, Lisa, 269
Ficino, Marsilio, 262–263, 270, 334
film sound theory (Chion), 5
A First -Rate Madness (Ghaemi), 344
Fisher, Alex, 290n1
Five Bodies (O’Neill), 2–3
Der fliegende Holländer (Wagner), 297
flogging scenes (corporal punishment)
in Billy Budd, 228–233
in Jesus Christ Superstar, 222–227
(p. 445)
in Lady Macbeth of the Mtsensk District, 238n1
in The Medium, 238n1
in Nixon in China, 233–237
in Peter Grimes, 229
“Flowers Will Bloom” (NHK tv theme song, Japan), 135–136
fluctuations and transients, 154
Fludd, Robert, 335, 336f
folk music, 47
Forkel, Nikolaus, 338
Forster and Crozier, 223
Forsythe, William, 33–34, 39n1
Foucault, Michel, 295, 319
4'33" (Cage), 33
The Four Seasons (Vivaldi), 102
France
baroque comédie- ballet, 165
classical ballet, Romantic period, 37
French Enlightenment, 162
seventeenth- and eighteenth-century French music about Bacchus, 162–163, 166–167
social dance forms, 24
Frankel, Max, 239n13
Frankenstein (Shelley), 1, 2
Franklin, Benjamin, 266
freedom (music and freedom)
Bernstein’s writings on, 161
Chua’s observations on, 161
D’Alembert on, 161–162
embodied freedom, 161
freedom of action, 161–162, 173
freedom of motion, 161–162
negative freedom, 161, 165–166, 172, 173
positive freedom, 169–170, 172, 173
Freud, Sigmund
inaccessibility of music to, 117
investigation of creativity, 116
letters to Bernays, 117
on listening and music, 112–113, 115–117
musical aesthetics and, 343
Totem and Taboo, 119
Friesen, Wallace V., 371
Fukushima Daiichi Power Plant complex nuclear meltdown, 133–136
functional magnetic resonance imaging (fMRI), 3, 8, 104–105, 107, 146, 343
gait-related patterns, 154
Gallagher, Shaun, 184
Gallese, Vittorio, 130
Garcia, Manuel, 64, 66
Garland-Thomson, Rosemarie, 243, 255n1, 319, 328n1
Geltner, G., 230
Gestalt phenomenon in music, 432n5
gestural analysis, 204f, 214, 217n4
gestures, music-related. See also listening to the musicking body
affordances of, 370–373
beat gestures, 371
Godøy on, 372–373
iconic, metaphoric, emblems, 371–372
influence of representations of music, 373–374
Ghaemi, Nassar, 344
Gibson, James, 129
Gilman, Sander L., 243, 255n1
Gjerdingen, Robert, 181
Glennie, Evelyn, 322–328
background information, 321
on “deaf culture,” 323–324
definition of “hearing,” 322
on “disabled music,” 323
on “engaging the body as a huge ear in listening,” 323
“Hearing Essay,” 321–322, 324–325
on musical spaces, 325–326
on online experiences, 326
on performer’s body facilitating communication, 326
on silence in music, 327–328
on virtuosic solo vs. collaborations, 324
Godowsky, Leopold
étude, polyrhythmic ratios, section durations, and registers, 197, 198t
Helps performing Godowsky (performing Chopin), 208–211, 212 [link] –213f, 214–215
paraphrase studies Chopin’s études, 10, 193, 194t, 197, 208
Godøy, Rolf Inge, 372–373
Goebl, Werner, 193–194, 216, 217n2
Goehr, Lydia, 113, 315n2
Goethe, Johann Wolfgang von, 420, 421, 422
Goff, M. L., 179
Goffman, Erving, 297, 319
(p. 446) Gombrich, Ernst, 118
The Good, the Bad, and the Ugly, 402–403, 402f
Goodman, Alice, 222, 233–237
Gould, Glenn, 217n4
Graf, Max, 119
Graham, Martha, 52
Graham, Philip W., 372
Granot, Roni Y., 368
Greenwald, Maggie, 26–27
Gross, Loretta, 26–27
Grossberg-Rudd model of visual perception, 432n5
Habermas, Jürgen, 138
Hall, Peter, 296–297
Hammerklavier (Beethoven), 277, 279–282, 285–288
Hammerstein, Oscar, 42–43
The Hands, electronic instrument, 85, 86f
Hanslick, Eduard, 52, 112, 117, 339
harmonic singing, 62
Harnad, Steven, 147
Harris, Kristine, 234
Harrison, George, 53
Haydn, Franz Josef, 1, 34
“Hearing Essay” (Glennie), 321–322
Hecker, Justus, 339–340
Hegel, George Wilhelm Friedrich, 112
Helmholtz, Hermann, 338, 420, 423, 431n1
Helps, Robert, 193–194
performing Godowsky (performing Chopin), 208–211, 212 [link] –213f, 214–215
performing performing Chopin, 204–205, 204f, 206f, 207–208, 217n1
rhythmic relationships in performances by, 196
studies with Whiteside, 197–198
Hennion, Antonin, 129
Hering, Ewald, 420
Hesperus (Paul), 268–269
heuristic listening, 43
Hilleke, Thomas, 352
Hirano, M., 68
Hoffman, E. T. A., 306
Holler, Judith, 373–374
Hollins, Alfred, 281
Holm, Hana, 52
Holten, Kasper Bech, 405–406
Hommel, Bernhard, 374
Honisch, Erika Supria, 290n1
Horst, Louis, 33
Hubel, David, 3–4
Hugo, Victor, 320
Hui, Alexandra, 338
humanistic music therapy, 352
humans (human experience). See also brains; voice (vocal production)
aesthetic judgments of, 46–48
core features of, 41
dance’s impact on, 41
disability as essential characteristic of, 11–12
musical choice outcomes, 102
music’s impact on, 41–43
singing by, 62
voice and the body, 62–77
Humphrey, Doris, 47
Humphries-Brooks, Stephenson, 239n7
The Hunchback of Notre Dame (Hugo), 320
Hungarian Rhapsody no. 5 (Brahms), 150
Huron, David, 43
Husserl, Edmund, 156
Hutcheon, Linda, 308, 400
Hutcheon, Michael, 308, 400
Huygens, Christiaan, 178, 180
hybrid social dance, 24
Hygiene des gens nerveux (Levillian), 339
hyoid bone, 64, 65f, 74–75
hypnotism, 265, 422
“I Am an Opera: Identifying with Henry Purcell’s Dido and Aeneas" (Peraino), 309
idealist aesthetics, 338–342
Ideen zu einer Ästhetik der Tonkunst (Schubart), 268
Ideokinesis, 71
imagination, 349–363
existential anxiety and, 362–363
existential reassurance and, 362–363
existential restlessness and, 362–363
inner self-experience and, 354–356
metaphysics of music and, 295, 354–355
musical experience and, 355–356, 359
processes of, 1
producing the motion and, 424–428
(p. 447)
role in composing music, 355
role of, 359
“I’m a Yankee Doodle Dandy” (Cohan), 48
“I May Sound Cunty but I’m Doing It Fondly” (Kiley), 39n3
Inaugural Inquiry on the Effects of Music (Campbell), 337
Inaugural Medical Dissertation on the Effect of the Muse Polyhymnia on the Healthy and the Sick (Schmolznop), 337
Inaugural Physiological Lettes on the Elements of Musical Sensations (Odier), 337
Inawashirokos (Japanese rock group), 135
Indispensables of Piano Playing (Whiteside), 217–218n6
Indonesian gamelan bands, 42
information processing, music/music making and, 8–9
Ingraham, Mary, 290n1
Interactive Brainwave Visual Analyzer (IBVA), 88, 89
International Classification of Impairments, Disabilities, and Handicaps (WHO), 318
Interpretation of Dreams (Freud), 117
intrusions/interruptions by music, 356–362
hearing and “hearing,” 357
involuntary movements, 360–361
kinesthesia and, 361–362
pathological disruption of thought, concentration, 357
real and invented music, 357–358
role of imagination, 359
role of perfect pitch, 359–360
Isherwood, Robert, 161–162
Italian Renaissance, 23
Iverson, Jana M., 371
Jaensch, Erich, 422
James, William, 374, 422, 429
Jamison, Kay Redfield, 344
Janáček, Leoš, 422–423
Japan
Butoh dance form, 24
classical ballet development, 23
Jaucourt, Chevalier, 166
jazz dance form (United States), 24
Jesus Christ Superstar rock opera (Rice and Webber), 222–227, 238n1
Jiang Qing (Madame Mao), 234
Johnny Got His Gun (Trumbo), 320
Johnson, Mark, 9, 53, 161, 370, 401
Johnson, Timothy, 235–236
Jones, Riess, 181
Judson Dance Theater (New York City), 24–25
Juslin, Patrick N., 132
Kagami (“Mirror” in Japanese) BioMuse piece (Tanaka), 89–91, 90f
Kant, Immanuel, 47, 113, 339
Khanna, Reetika, 290n1
Kiley, Brendan, 39n3
The Kill-Off (Greenwald and Thompson), 26
Kinderman, Laura, 290n1
kinesthesia, 353, 355, 361–362
Kircher, Athanasius, 262
Knapp, Ben, 88
Knopfler, Mark, 321
Kochmann, Rudolf, 422
Kodaly, Zoltán, 122
Koelsch, Stefan, 8–9, 349–351
Koestenbaum, Wayne, 308
Kravanja, Peter, 401–401
Krebs, Harold, 195
Kreisleriana (Schumann), 10
Kris, Ernst, 118
Kubovy, Michael, 374
Kurth, Ernst, 423
Kurzell, Allen, 239n6
La Boheme (Verdi), 309
Lach, Robert, 118
Lady Macbeth of the Mtsensk District opera (Shostakovich), 238n1
lady’s glove (glove-based technology), 85, 86f
Laennec, René, 3
Lakoff, George, 9, 161, 370
Lamb, Joseph, 34
Lamentation (Graham), 52
Lande, Robinot de la, 337, 340
Langer, Suzanne, 47, 50
“The Lark Ascending” (Williams), 52
(p. 448) Larson, Steve, 53
larynx
anatomical description, 63–64, 64f, 65f, 66f, 69–70, 73–74
laryngeal imaging, 67–70, 67f, 68f, 70f
role in producing vocal sounds, 63–64, 76
singing body and, 295
Lasserre, Jean-Louis, 337
Laurence, Felicity, 131
Law, Hedy, 290n1
learning, music/music making and, 8–9
Leeds International Piano Competition (1981), 284
Leman, Marc, 182–183, 217n4, 432n8
Leonardi, Susan, 308
Lepage, Robert, 403–406
Leppert, Richard, 276, 303
Leschetizky, Theodor, 430
Les Danaïdes (Salieri), 173
Les fêtes de Paphos ballet-héroïque (Mondonville), 167
Levillian, L., 339
Lickey, Marvin E., 179
Limon, Jose, 52
Lindblom, Jessica, 131
Lipscomb, Scott D., 400
listening to music. See also listening to the musicking body
acousmatic mode of, 5
anatomical aspects of, 333
autism and, 245–247
body, cosmic harmony, and, 334–338
brain’s processes, responses, 99–102, 130, 349–350, 375
cognitive processes involved in, 44
debates about, 112–113
disabled body and, 286
disabled listening, 243
early school years, 393
embodiment and, 191, 243
entrainment and, 132–133, 181
Freud and, 115–117
Glennie on, 323–327
heuristic listening, 43
imagination’s role in, 355, 359
infant studies, findings, 386–389
moving while, 145–147
musicality and, 30
music therapy and, 351
neuroscientific study findings, 8–9
nursery school/day care settings, 390–391
preschoolers and, 389–390
pre-World War I type of, 12
psychoanalysis and, 117–122
rhythmic entrainment and, 132–133
to silence, 33
structural listening, 5
Western classical concerts and, 10
listening to the musicking body, 418–431
afterimages and aftersound, 419–423, 431n1
with and to the body, 428–430
continuity between tones, 423–424
imagining and producing the motion, 424–426, 427f, 428
imagining the gap between tones, 423–424
Liszt, Franz, 1, 267
Lochhead, Judy, 218n10
Logan, Josh, 26
London, Justin, 195
Longmore, Paul, 278–279
Loschi, Aeneas, 340
Loud Hands: Autistic People Speaking (Bascom), 245
Louis-Dreyfus, Julia, 26
lovesickness, 311–312, 334
Lucia di Lammermoor (Donizetti), 297–303, 300f, 307–308
Lucier, Alvin, 87
Lusted, Hugh, 88
Mach, Ernst, 338
Mackenzie, Morel, 66
madness
coloratura as musical gesture of, 303
grand opera representation of, 311
in Lucia, 298–299, 301
Maes, Pieter-Jan, 375
Magee, Bryan, 354
Magnes (Alessandro), 262
magnetic resonance imaging (MRI), 103
“magnetism” of music (Kircher), 262
magnetoencephalography (MEG), 8, 100, 102–104
Mahler, Gustav, 315n2
(p. 449) Mairs, Nancy, 321
Maistre, Joseph de, 173
Man as Microcosm (Fludd), 336f
Mann, Thomas, 315n2
mapped space, 320
Marey, Étienne- Jules, 424–426, 428
Maria of Nardò, 264–265
Marra, Gulielmus de, 262
Martenot, Ondes, 85
Marx, A. B., 339
mash-ups (musical mash-ups), 36
Massenet, Jules, 165
Mastering the Chopin Études and Other Essays (Whiteside), 217–218n6
Mathias, Georges, 194
Mayer, Alfred M., 420
Mayrhofer, Johann, 269
McClary, Susan, 6, 295, 298, 307
McCormick, Lisa, 279
McFerrin, Bobby, 13n1
McGuiness, Andie, 131
McNeill, David, 371
McNeill, William H., 6
Mead, Richard, 262
mechanomyogram (MMG), 89, 91
Medicina musica (Browne), 337
medicine, history of
advances in relation of music and medicine, 343–344
black music and, 342
degeneration theory (Morel), 341
historical literature, 338–342
link between body and cosmic harmony, 334–338, 336f
musical genius, 340–341
music and the body in, 333–344
phrenological literature, 341–342, 342f
sexuality and music, 340
medicine, music and the body, 333–344
The Medium (Menotti), 238n1
Meinong, Alexius, 422, 423, 432n4
melancholy, 264, 267, 312, 334, 340–341
Melba, Nellie, 298
melodic intonation therapy, 107
melodic patterns, 154
Melville, Herman, 228
memory, music/music making and, 8–9
Merleau-Ponty, Maurice, 8, 80, 418
Mesmer, Franc Anton, 266
mesmerism, 265–268, 269
Messiaen, Olivier, 30
Metamorphosis (Ovid), 162–163
metaphysics of music, 295, 354–355
meter
dance exercises and, 38
Jones’s influence on, 181
Schaeffer’s music theory and, 154
short-term entrainment and, 181, 187, 189
Metzer, David, 290n1
Meyer, Leonard, 42–43, 44, 45, 51, 52, 195
Michaelis, Christian Friedrich, 339
MIDI Musical Instrument Digital Interface (MIDI), 85, 88–90, 93
Mikuli, Karol, 194
mimetics
mimetic flogging in Superstar, 233
mimetic hypothesis (Cox), 222, 226–227, 231
mimetic listening, 227, 231
Rameau’s use of, 171
MIRtoolbox, 153
Mitchell, David T., 258
Möbius, Paul Julius, 341
modern dance, musicality of, 29–30
Modern dance form (United States), 24
modulatory motion, 149
Molnar-Szakacs, Istvan, 131
Mondonville, Jean- Joseph Cassanéa de, 167
Monroe, John Warne, 268
Monroe, Marilyn, 26
Montéclair, Michel Pignolet de, 165
Morbid Psychology (De Tours), 341
Mordden, Ethan, 308
Morel, Benedict, 341
morphodynamical theory, 155
Morris, Mark (“bad boy” of dance), 35–36
“The Moses of Michelangelo” (Freud), 116–117
motormimetic cognition, 147
Motorola 56000 digital signal processor, 88
motor theory (of perception), 145–148, 154–155
movement (bodily movement). See also gestures, music-related; listening to the musicking body; sound-motion bonding in body and mind
constraints on, 156–157
(p. 450)
dissonance and, 22
the entrained body, 183–185
facial expressions, 371
human representation context, 46–48
involuntary music-hearing and, 360
motormimetic cognition, 147
musicality of, 22, 50
music-related gestures, affordances, 370–374
music-related motion, 147–150, 152, 353–356
off-setting movement, 33–34
performing body and, 7–8
“physical body”/embodied movement, 182–183
planned vs. spontaneous, 22–23
singing and, 48, 50
technological measurement of, 79–80
while listening to music, 145
Movement (Marey), 425
Mozart, Wolfgang Amadeus, 42–43, 117, 163, 341
Mozart effect, on epilepsy, 350
multimodal body, 12–13
multimodal sound-motion objects, 155–156
Les Muses (Campra), 169
musica humana, 200, 266
musica instrumentalis, 260
musical acoustics, 153
musical emotions, 132–133
musical gestures, 32, 195–197, 217n3, 303, 431
musical instrument(s). See also body as musical instrument
human body as, 62, 79–95
influence on dance, 55
shared components of, 62–63
musicality
atonal musicality, 32–33
of ballet and modern dance, 29–30
description, 21–22
downbeat and, 25
“good” musicality, 25–26
location of, in the brain, 1, 8–9
medical theory, body abnormality, and, 340
musical downbeat and, 27–28
musical mash-ups, 36
off-setting movement and, 33–34
personal variation in, 30–31
political metaphors, 31–33
reading of, by viewers, 22
social dance and, 22, 25–26
teaching of, 37–38
of Tsujii, 285
musical pitch
absolute pitch, 105–107
brain’s processing of, 99, 108, 358
deafness and, 321
human anatomy and, 63–64, 69, 76
instrument size and, 63
listener expectations of, 43
relative pitch, 106–107
rhythmic grooves and, 226
role of perfect pitch, 359–360
Schaeffer’s pitch-related envelopes, 152–153
short-term entrainment and, 187
sound tracing studies findings, 147
spatial metaphors of the basis of bodily experience, 370
spatial representations of, 368–369, 376–377
spatial (SMARC/SPARC) effect and, 369
SRC paradigm and, 369
musical retelling, 128, 136
connections made through, 138
linguistic/artistic benefits of, 136–137, 139
Prelude music festival and, 137–138
rehearsing as, 138
musical sensibility
adaptation as core feature of, 44–45
brain’s information processing systems and, 45–46
musica mundana, 260, 266, 269, 272
music and dance
connection, communication, culture, and, 50–51
human expression/lived experience, 52–54
interpretation by viewers, 30
link with human condition, 41
shared features, 7, 41, 48
“topos of the extraordinary” in, 171
music appreciation, 129, 393
“Music for Solo Performer” (Lucier), 87, 87f
music motifs, 42
(p. 451) “Music of the Future” (Hanslick), 112
music perception
action planning link with, 374–375
developments in, 153
influence of bodily experience on, 376–377
musical skill and, 375–376
spatial gestures influence on, 373
music-related motion, 148–150
energy envelope of, 149–150
micro/meso/macro timescales, 150
sound-accompanying motion function, 149
sound-producing motion function, 149
music sociology
defined, 128
neuroscience’s intersection with, 127–139
music theory, 393
of Schaeffer, 152–154, 156
Western concepts, 152–153
music therapy (music-as-therapy)
active listening component, 117
alternate conception of musical experience and, 353–356
for autism spectrum conditions, 245–246
Brunonianism and, 337–338
characteristics of practitioners, 351
connection with sociology, 129
emergence, professionalization of, 122
entrainment therapy, 180
Ficino’s ideas on, 262–263, 270
literature on, 337
marginalization of, 333
melodic intonation therapy, 107
mesmerism and, 265–268, 269
musical experience and effectiveness of, 355–356
neurologic music therapy (NMT), 343
neuroscientific studies of, 351–352
Pythagorean/Platonic ideas of, 262
Schneider’s treatise on, 267–268
simplistic approaches to, 349–352
stimming self-stimulatory behaviors, 245
tarantism and, 261–265, 263f, 266, 267
transcendence and, 268–272, 271f
types of modalities of, 352
music training
impact on fine motor skills, 391
impact on shaping the brain, 102–104
passive listening vs., 102
Suzuki program, 104, 391
Yamaha program, 391
musique concrète (Shaeffer), 5
“My Favorite Things” (Hammerstein and Rodgers), 42–43
Myogram, EMG work (Tanaka), 91–92, 93–94
narrative prosthesis, 258
National Association of Music Therapy (U.S.), 343
negative freedom, 161, 165–166, 172, 173
Nervosisme et nervoses (Cullerre), 339
nervous system. See also brains
autonomic nervous system, 102
centrality to conceptions of selfhood, 335, 337
central nervous system, 9
listening self and, 335
music’s effects on, 333
music therapy and, 335, 337, 339
rhythmic functioning of, 49
Vieussens’s work on nerves, 337
neurological disorders, 8
neurologic music therapy (NMT), 343
neuroplasticity, short-term, 101–102, 344
neuroscience
brain science of music, 130
cognitive neuroscience of music, 8
embodied communication of musical emotions, 132–133
imaging technologies development, 5–6
mirror neuron system, 131
musical aesthetics and, 344
musical brain focus of, 106
music sociology’s intersection with, 127–139
recent developments, 129–131
reconsiderations of sociological findings, 133–136
Rhythms of the Brain (Buzsáki), 49
sociological implications for the future of, 136–138
studies of music-as-therapy, 351–352
visual system studies, 3
The New England Psalm Singer (Billings), 261
new interfaces for musical expression (NIME), 87
(p. 452) New York City Ballet (NYCB), 29
Nietzsche, Friedrich, 42, 162–164
Nijinsky, Vaslav, 33
Nikitin, Yevgeny, 297
Ninth Symphony (Beethoven), 161
Nixon in China opera (Adams and Goodman), 222, 233–237
flogging (corporal punishment) in, 233–237
“Kisses the lash” (“lash”-related music), 234–235, 235f
“Whip her to death” (“lash”-related music), 237f
nonmusicians
discrepancy detection and, 45–46
musicians’ brain comparison, 100, 102, 106
Nordau, Max, 341
Nordoff, Paul, 351
Nordoff-Robbins music therapy, 122, 351, 352
normativity
disability, virtuosity, and, 277, 290
disabled/sexual body and, 11
disabled vs. able-bodiedness, 258
flogging punishment and, 230
grand opera and, 310–311, 314
listening/viewing and, 243
nonnormative bodies vs., 310
virtuosic body and, 277
Le Nozze di Figaro (Mozart), 117
Nutcracker ballet, 30
nymphomania, 340
O’Conner, Tere, 36
Odier, Louis, 337
Oertel, Max Joseph, 67
off-setting movement, musicality and, 33–34
“O for a Thousand Tongues to Sing” hymn (Wesley), 258–259, 260
Ohriner, Mitch, 195–196
Ominous, sound sculpture (Donnarumma), 91, 92f, 94
“On Being Invisible” (Rosenboom), 88f
One Flat Thing, Reproduced (Forsythe), 39n2
one-handedness of Wittgenstein, 280
O’Neill, John, 2–3
On Robert Schumann's Illness (Möbius), 341
On the Musically Beautiful (Hanslick), 113
On the Sensation of Tone (Helmholtz), 420
opera
Ariadne auf Naxos, 165, 297
Bacchus and, 168–169
components of success in, 399
in Interpretation of Dreams (Freud), 117
visual-aural locus created by, 221
voice projection in, 69
opera, corporal punishment in, 221–238
Billy Budd, 222, 228–233, 239n8
Jesus Christ Superstar, 222–227, 238n1
Nixon in China, 222, 233–237
Peter Grimes opera, 229
Opera: Disease, Desire, Death (Hutcheon and Hutcheon), 308
Opera, or the Undoing of Women, 307
Opera, or the Undoing of Women (Clément and McClary), 307
opera as film, 399–415
Adriana Mater case study, 399, 410–413, 411f, 412f, 413f
audio-visual congruence, 399–401, 403–404, 406, 413–414, 415n1
conceptual metaphor theory and, 399, 401–402
congruence-association model, 400–401, 401f
The Copenhagen Ring, 405–406
digital video (DVD) format, 400, 404f
Doctor Atomic case study, 399, 406–497, 408f, 409
high definition (HD) format, 399, 400, 403–404, 414
multimedia elements, 400–410, 413–415, 415n1
multimodal narrative, theoretical framework for analysis, 400–403
Die Walküre case study, 399, 403–406, 404f, 405f
opera (grand opera), dis/ability, and sublimity in
bodily extremes in, 306–307
overwhelmedness in, 306
sexuality, dis/ability, sublimity in, 306–315
Opera in the Flesh: Sexuality in Operatic Performance (Abel), 308
opera (staged opera), embodied representation in, 295–303
Lucia di Lammermoor, 297–303, 300f
range of body types in, 297
(p. 453) singing vs. singing and acting body, 295–296
staged representations of the body, 297–298
voice in performance in, 296–299
Orff-Schulwerk (Carl Orff), 122
Orlando (Handel), 258
Orphic tradition, 334
Ortmann, Otto, 426, 427f, 428
out-of-body experiences, 6
Overton, Adam, 276
overtone singing, 62
overwhelmedness in grand opera, 306
Overy, Katie, 131
Owen, Charles, 262
Paganini, Nicolò, 1
Palmer, Caroline, 182
Pamela Z, 89
Pantev, Christo, 100
Pappenheim, Bertha, 115
Pärt, Arvo, 30
Paul, Jean, 268
Peake, Richard Brinsley, 2
Pears, Peter, 230
Peirce, C. S., 43
The Peloponnesian War (Thucydides), 166
Peraino, Judith, 309
perception, music/music making and, 8–9
perfect pitch, 321, 359–360
Performance Worms, 193–194, 215
performer’s body and rhythm, 193–218
Chopin, Whiteside, gracious rhythm of the body, 197–204
disabled performers, 320
expressive performances, 195–196
expressive timing and, 10, 194, 197
gestural analysis, 204f, 214, 217n4
gracious rhythm in action: Helps performing Godowsky (performing Chopin), 208–211, 212 [link] –213f, 214–215
gracious rhythm in action (Helps performing Chopin), 204–205, 206f, 207–208
Ohriner on, 195–196
Peter Grimes opera (Britten), 229
Petipa, Marius, 30
Pfeifer, Sigmund, 119
phenomenological body, 9
phenomenology philosophy (Merleau-Ponty), 80
Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought (Lakoff and Johnson), 161
phonation, 66, 76
phrenology, 1
physical entrainment
embodied movement and, 182–183
multifaceted body and, 185
in Prelude in C minor BWV 847, 188–189, 189f, 190f
piano competitions
Chopin piano competition, 281
Cliburn piano competition, 277–278, 280, 284–286, 288–289
Leeds International Piano Competition, 284
Piano Sonata K.331 (Mozart), 165
Pichon-Rivière, A. de, 121
Pigmalion (Rameau), 13
Pilcz, Alexander, 341
pitch. See musical pitch
Platée (Rameau), 162, 170–173
Plato, 128, 334
political metaphors in musicality, 31–33
Pomp and Circumstance No. 1 (Elgar), 137
Pope, Rebecca A., 295, 308
positive freedom, 161, 169–170, 172, 173
positivist science, 338–342
positron emission tomography (PET), 8, 343
postmodern dance
emerging forms of, 24
O’Conner and, 36
Tharp and, 34–35
post-theoreticism, 243, 244
power of music
empowerment, behavioral transformation effects of, 127, 128, 134, 137
evolutionary theory and, 114
medicinal aspects, 335
mysteriousness of, 128–129, 281
nonrepresentational quality of, 112
pathological aspects, 333
post-East Japan Great Earthquake example, 134–136
sociology’s description of, 129, 133
Weber’s writing on, 340
(p. 454) The Power of Music on the Human Organism (Loschi), 340
Pratt, Carroll, 369
De praxi medica (Baglivi), 264
Prelude in C minor BWV 847 (Bach)
hand shapes through first page, 190f
long-term entrainment in, 186–187
physical entrainment in, 188–190
short-term entrainment in, 187–188
Prelude music festival for sexual minorities (Japan), 137–138
Presumption (Peake), 2
Primitive Mysteries (Graham), 52
proprioception, 80–81, 94–95, 155, 353, 355, 362
Proust, Marcel, 421, 432n3
Psychiatry and Music (Pilcz), 341
psychoacoustics, 123, 153, 156
psychoanalysis and music, 112–123
Absolute Music and, 112–113, 120–121, 338
Alvarez de Toledo, Pichon-Rivière, and, 121
Coriat and, 120–121
Darwin and, 114–115, 118–119, 123n1
Freud and, 112–113, 115–117
Hanslick and, 113
Lach and, 118–119
listening within psychoanalysis, 117–122
music and listening within, 117–122
music therapy approaches, 122
Pfeifer and, 119
Racker and, 121
Reik and, 121–122
Sachs and, 120
Sterba and, 119–120
Teller and, 118
van der Chijs and, 119
White and, 117–118
psychoanalytic music therapy, 352
psychological power of music, 112
psychology, psychological processes, 8–9
Pujol, Joseph, 13n1
Purkyně, Jan Evangelista, 420
Puschmann, Theodor, 341
Push Comes to Shove (Lamb), 34–35
Putnam, Hilary, 4
Puységur, Armand- Marie- Jacques de Chastenet, Marquis de, 266
Pythagoreran tradition, 334
The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire (Koestenbaum), 308
queer theory, 296
Quetelet, Adolphe, 310
Quintilianus, Aristides, 334
race, musicality and, 32
Racker, Heinrich, 121
Rain Forest (Tudor), 93
Rameau, Jean Philippe, 13, 162–163, 170–173
Rank, Otto, 118
Recueil d’airs sérieux et à boire (Bousset), 167
The Red Detachment of Women opera-ballet, 233–234
The Red Violin, 401
Reflections on Ancient and Modern Music (Brocklesby), 337
Regnault, Pére Noël, 262
Reik, Theodor, 121–122
religious dance, 52
religious model of disability, 259–260
representation
art/aesthetics in the context of, 46–48, 54
body studies and, 4, 11
dance as bodily representation, 55
The Republic (Plato), 128
restlessness, 361–363
retelling. See musical retelling
Return to Oz, 402–403
rhythm
absence of, in “bad” dancers, 26
brain’s detection of, 55, 101, 104
choreography and, 36
Coriat on, 120–121
dance, disabilities, and, 248–254
definition, 195
digital music and, 87, 91
embodied gestures and, 196
embodied rhythm, embodied mind, 9–10
embodied rhythm, rhythmic expression, 195–197
Eurhythmics and, 122
Freud and, 115, 118–119
healing value of, 261
human voice and, 62
measuring psychological effects of, 191n2
music-related body motion and, 147, 152, 353–356
(p. 455) music’s relation to, 353–356
performer’s body and, 193–218
poetry and, 51
rhythmic entrainment, 132–133, 177–189
rhythmic generators, 41–42, 48–49, 54
rubato (tempo rubato), 194, 195, 216
Sachs on, 120
Schaeffer’s music theory and, 154
theories of, 195
thinking sound-motion objects, and, 155
Rhythms of the Brain (Buzsáki), 49
Richard Wagner: A Psychiatric Study (Puschmann), 341
Richarz, Franz, 340–341
Richer, Paul, 339
Rider, Mark, 179–180
Ries, Ferdinand, 283
Rigoletto (Verdi), 320
Rite of Spring (Stravinsky), 33, 43
Ritter, Alexander, 270–271
Robbins, Clive, 351
Roberts, Shepherd, 179
Robinson, Bill, 51
Rochefort, Jean-Baptiste, 173
Rockmore, Clara, 85f
Rodgers, Richard, 42–43
Roger, Joseph-Louis, 339
Rogers, Ginger, 50
Roget, Peter Mark, 67
Le roi s'amuse (Hugo), 320
Rolland, Roman, 117
romanticism
concerns about artistic creativity, 268
ecstasy of creativity and, 270
mesmerism and, 268–269
Naturphilosophie, 338
transcendence and, 268
rond de jambe a terre movement, 37–38
Rose, Nicolas, 4
Rosenboom, David, 87, 88f, 93
Rousseau, George, 335–336
Royal Danish Ballet, 37
rubato (tempo rubato), 194, 195, 216
Rupprecht, Philip, 228
Russell, John, 283
Russo, Frank A., 372
Rutherford, Ian, 300
Saariaho, Kaija, 399, 410–414, 415n8, 415n11
Sachs, Hanns, 120
Sacks, Oliver, 9, 349
Sallé, Marie, 168
Salome opera (Strauss), 296–297
Schaeffer, Pierre, 152–153, 156
Schenker, Heinrich, 429–430
Schlegel, Friedrich, 269
Schmolznop, Wenceslaus, 337
Schneider, Peter Joseph, 267–268, 340
Schnorr von Carolsfeld, Ludwig, 265–266
Schöne, Carl, 337
School of American Ballet, 37
Schopenhauer, Arthur, 112, 306–307, 315n2
“Schopenhauer and the Musicians” (Goehr), 315n2
Schubart, C. F. D., 268
Schubert, Franz, 265, 267, 269
Schumann, Robert, 10, 340–341
Schutz, Michael, 374
Schwanewilms, Anne, 297
Scientific Revolution, 335
Scott, Walter, 298
Scruton, Roger, 364
In Search of Lost Time (Proust), 421
Seinfeld, tv show, 26, 39n1
self-awareness (inner self-awareness), 353–354
Sellars, Peter, 234, 399, 406–409
Sequenzia, Amy, 244, 245–247, 254–255
Severinghaus, Ed, 88–89
sexuality
history of medicine and, 340
sexual body, 11–12
sexual identity, 32
Seymour, Claire, 228–229
Shaeffer, Pierre, 5
shape cognition, 154–155
Sheehy, August, 290n1
Sheets-Johnstone, Maxine, 7
Shelley, Mary, 1, 2
Shepard, Roget, 424
Shepherd, Simon, 297
Siebers, Tobin, 277
silence as music, 33
Simons, Daniel, 6
(p. 456) singing
acting body and, 295–296
breathing in, 75
human voice and, 62
movement and, 48, 50
role of posture in, 71
voice in performance, 296–299
sitpoint theory (feminist disability concept), 320
Slater, Montagu, 229
Sleeping Beauty ballet, 30
Sloboda, John A., 44–45
Small, Christopher, 138
Smart, Mary Ann, 296, 298–299, 307
Snyder, Sharon L., 258
social class, 32
social cognition, music/music making and, 8–9
social dance
“bad musicalities” and, 25–27
emergence of forms of, 24
musicality and, 22
pop music beat and, 25, 26
sociology
actor-network theory, 127
cognitive science’s intersection with, 128–133
ethnographical accounts, 127–128
music as meditation concept, 128–129
recent developments, 128–129
socio-spatial model of disability, 320–321
“Something in the Way She Moves” (Harrison), 53
Sömmerring, Samuel Thomas von, 342
Sonami, Laetitia, 86f
“Songs of Freedom” (Anderson), 53
The Sonic Self: Musical Signs and Sujbectivity (Cumming), 279
SonicVisualiser, 153
sound-accompanying motion, 149
sound-motion bonding in body and mind, 145–158
approximationism and, 147
motion features, 150–152
motor theory (of perception), 145–148, 154–155
multimodal elements, 155–156
music-related motion, 148–150
phase transitions, 157–158
psychoacoustics and, 123, 153, 156
shape cognition, 154–155
sound features, 152–154
sound-motion objects, 150, 153, 155–158, 157f
spontaneous sound-tracings, 148f
thinking sound-motion objects, 155–158, 157f
sound objects, 153, 156
The Sound of Music, 42–43
sound-producing motion, 149
Souriau, Paul, 423–424
spatial-musical/pitch association of response colde (SMARC/SPARC) effect, 369
spatial representations, 367–377
cognitive-motor framework, 377
cross-modal associations, 367–367
of musical pitch, 368–370, 376–377
musical skill and, 375–376
music perception-action planning links, 374–375
music-related gestures and affordances, 370–374
role of musical skill, 375–376
spectral (frequency domain) features, 154
Spencer, Herbert, 114
spiders/spider venom. See tarantism
Stanford University Center for Computer Research in Music and Acoustics (CCRMA), 88
Sterba, Richard, 119–120
Sternfeld, Jessica, 226
Stetson, Raymond Herbert, 429
stimulus-response compatibility (SRC) paradigm, 369
Stockbridge, Charles, 261
Stokes, Martin, 243
Strauss, Richard
Ariadne auf Naxos, 165, 297
Tod und Verklärung, 270, 271f, 272
Stravinsky, Igor, 33, 43
Stuck, Leslie, 34
Studies on Hysteria (Freud), 115
(p. 457) Studio for Electro-Instrumental Music (STEIM), 85
sublimity,
descriptions of, 306–307
in grand opera, 306–315
Sulzer, Johann Georg, 338, 339
Suzuki music programs, 104, 391
Swan Lake ballet, 30
synchronicity in dance, 39n1
SYNCHRONOUSOBJECTS website, 39n2
synesthesia, 246–247
syntactic processing, music/music making and, 8–9
syphilitics, 310
System einer medizinischen Musik (Schneider), 267
Tanaka, Atau, 89–92, 90f, 93–94
Tanztheater dance form (Germany), 24
tarantism, 261–265, 263f, 266, 267
Taylor, Paul, 29–30, 33
teaching dance
musically/musicality, 38–39
steps/process of, 22–23
technology/technologies
digital video (DVD) format, 400, 404f
high definition (HD) format, 399, 400, 403–404, 414
impact on music, 5
musicking body and, 8
physiological sensing measurement, 79–80
technological embodiment, 80
whole-body interactions, 79
Teller, Frida, 118
Temple, Shirley, 51
temporal patterns, 154
Termen, Lev (Leon Theremin), 85
La terra del rimorso (Martino), 264
textural and rhythmic patterns, 154
Tharp, Twyla, 34–35
Theatre, Body, Pleasure (Shepherd), 297
theatrical social dance, 24
Theory of Colours (Goethe), 420
therapy. See also music therapy
entrainment therapy, 180
Freudian therapy, 114–115
hypnotic therapy, 265–266
retelling, narrative, trauma therapy, 136
Theremin, 85, 85f
thinking sound-motion objects, 155–158, 157f
Thom, René, 155
Thompson, William F., 372, 375
throat singing, 62
Timbretoolbox, 153
time domain envelopes, 154
Todd, Mabel, 71–73
Tod und Verklärung (Strauss), 270, 271f, 272
Tomlinson, Gary, 262
Totem and Taboo (Freud), 119
Touched with Fire (Redfield), 344
Traité des objets musicaux (Schaeffer), 153
transcendence, 268–272, 271f
transcendental (trance) states, 6
Trautonium, 85
Treatise on Man and the Development of His Faculties (Quetelet), 310
Treatise on Physiological Optics (Helmholtz), 420
Treatise on the Effects of Music on the Human Body (Roger), 339
Treatise on the Therapeutic Use of Music (Lasserre), 337
“Trial before Pilate” scene, Jesus Christ Superstar, 238n1
Trois nouvelle études (Chopin), 193
Trois nouvelle études, No. 2 in A♭ major (Chopin), 204–205, 204f, 206f
Trumbo, Dalton, 320
Truslit, Alexander, 429
Tsujii, Nobuyuki, 277–282
Allen’s comment on watching, 286
performance of Appassionata, 277, 279–283, 285–288
performance of Hammerklavier, 277, 279–282, 285–288
skills of blindness of, 284–288
Tudor, David, 93
Turino, Thomas, 131
Typed Words, Loud Voices (Sequenza and Grace), 245
Ungár, Imre, 281
United Nations Convention of Rights of People with Disabilites (2009), 318–319
(p. 458) Urbantschitsch, Victor, 420
Utriusque cosmi (Fludd), 336f
van der Chijs, A., 119
Van Raalte, Chris, 88–89
Variations VII (Cage), 93
Vieussens, Raymond, 337
Vila, Anne, 335–336
Vines, Bradley W., 217n4
Virchow, Rudolf, 3
virtuosic body, 276–278, 280, 288–289, 290n2
disability studies approach, 280–281
disabled body’s manifestations in competitive environment, 276–277
“prized body”/“severely able-bodied,” 278–279
virtuoso pianist’s “prized body,” 278–279
virtuosity
competitive music and, 277
disability, Tsujii, and, 276–290
of Helps, 193
inborn/innate qualities of, 37
mesmerism and, 266
De vita libri tres (Ficino), 263
vocal tract, 62–63, 76
The Voice, tv show, 5
voice in performance
“body” focus in opera studies on, 296
in staged opera, 296–299
staged opera and, 297–298
voice (vocal production), 62–77. See also larynx
balance and, 71, 76
as a musical instrument, 62–63
phonation, 66, 76
posture, and, 71–73, 72f, 75–77
projection of, 69–71
respiration and, 73, 74f, 75–76
role of hyoid bone, 64, 65f, 74–75
vocal tract, 62–63, 76
Voigt, Deborah, 297
Wagner, Richard, 297, 315n2, 399
Walker, Alan, 267
Wanderley, Marcelo, 182, 217n4
Warnock, Mary, 355
“Water Pieces” (Debussy), 48
Webber, Lloyd, 222–228, 230–231, 233, 235–236, 238
Weber, Friedrich August, 340
Weiss, Ilona, 115
Wernicke, Karl, 105
Wesley, Charles, 258–259
West African music and dance, 249–250
Western concert dance
brief history of, 23–24
complexity of musicality in, 27
musicality in, 21, 27–28
White, William A., 117–118
Whiteside, Abby
characteristics of components of the playing mechanism, 199 [link] –200t
development of blended action processes of piano playing, 199, 199 [link] –200t, 201–204
development of “outlining” piano practice method, 198–199, 218n7
Helps’s studies with, 197–198
study of Chopin’s études, 198
writings of, 217–218n6
Widmer, Gerhard, 193–194, 216, 217n2
Wiesel, Thorsten, 3–4
Willems, Thom, 34
Williams, Ralph Vaughan, 52
Williams, Stanley, 37
Willis, Thomas, 335–336
Wittgenstein, Paul, 280
Wokler, Robert, 166
Woolcock, Penny, 399, 406–409
The World as Will and Representation (Schopenhauer), 112, 306–307
World Health Organization (WHO), 318–319
XTH Sense, open-source instrument, 89, 92f
Yeats, William Butler, 13
Yeston, Maury, 195
Zatorre, Robert, 105, 108
Zbikowski, Lawrence, 50
Zeitgeber mechanism, 179, 180, 183, 186, 191n1
Zhou Enlai, 234
Zwicker tone, 421