Nothing but Noise Timbre and Musical Meaning at the Edge

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Nothing but Noise: Timbre and Musical Meaning at the Edge explores how timbre shapes musical affect and meaning. Integrating perspectives from musicology with the cognitive sciences, author Zachary Wallmark advances a novel model of timbre interpretation that takes into account the bodily, sensorimotor dynamics of sound production and perception Nothing but Noise: Timbre and Musical Meaning at the Edge explores how timbre shapes musical affect and meaning. Integrating perspectives from musicology with the cognitive sciences, author Zachary Wallmark advances a novel model of timbre interpretation that takes into account the bodily, sensorimotor dynamics of sound production and perception. The contribution…

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Nothing but Noise: Timbre and Musical Meaning at the Edge explores how timbre shapes musical affect and meaning. Integrating perspectives from musicology with the cognitive sciences, author Zachary Wallmark advances a novel model of timbre interpretation that takes into account the bodily, sensorimotor dynamics of sound production and perception Nothing but Noise: Timbre and Musical Meaning at the Edge explores how timbre shapes musical affect and meaning. Integrating perspectives from musicology with the cognitive sciences, author Zachary Wallmark advances a novel model of timbre interpretation that takes into account the bodily, sensorimotor dynamics of sound production and perception. The contribution of timbre to musical experience is clearest in drastic situations where meaning is itself contested; that is, in polarizing contexts of reception where evaluation of « musical » timbre by some listeners collides headlong against a competing claim-that it is just « noise. » Taking this ubiquitous moment as a starting point, the book explores affect, reception, and timbre semantics through diverse cultural-historical case studies that frustrate the acoustic and perceptual boundary between musical sound and noise. Nothing but Noise includes chapters on the racial and gender politics in the reception of free jazz saxophone « screaming » in the late 1960s; an analysis of contested timbral ideals in the performance practices of the Japanese shakuhachi flute; and an historical examination of the overlooked role of « brutal » timbres in the moral panic over heavy metal in the eighties and nineties. The book closes with a discussion of the slippery social fault lines separating perceptions of musical sound from noise and the ethical stakes of encountering another’s « aural face. »

Langue
en
Version
Couverture rigide
Date de sortie initiale
27 mai 2022
Nombre de pages
232

Personnes impliquées

Auteur principal

Zachary Wallmark

Editeur principal

Oxford University Press Inc

Informations sur le fabricant

Nom du fabricant
Oxford University Press España S.A. of El Parque Empresarial
Adresse du fabricant
– 28330 – – ES
Adresse électronique du fabricant
product.safety@oup.com
Informations sur le fabricant
Les autres informations du fabricant ne sont actuellement pas disponibles

Autres spécifications

Hauteur de l’emballage
19 mm
Hauteur du produit
19 mm
Largeur d’emballage
237 mm
Largeur du produit
237 mm
Livre d‘étude
Non
Longueur d’emballage
164 mm
Longueur du produit
164 mm
Poids de l’emballage
454 g

EAN

EAN
9780190495107

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Catégories

Art et Photographie

Musique

Styles de musique

Musicologie

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Livre

Langue

Anglais

Type de livre

Hardcover

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à partir de 10%

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