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Sensorial aesthetics in music practices.
The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artist...
| Clasificación: | Libro Electrónico |
|---|---|
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
[Place of publication not identified] :
LEUVEN University Press,
2019.
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| Colección: | Orpheus Institute series
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 245 | 0 | 0 | |a Sensorial aesthetics in music practices. |
| 264 | 1 | |a [Place of publication not identified] : |b LEUVEN University Press, |c 2019. | |
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| 520 | 8 | |a The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics - the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused and unreliable and instead prioritised a cognitive or objective approach.0Written by authors from the fields of philosophy, composition, performance, and artistic practice, 'Sensorial Aesthetics in Music Practices' repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics. | |
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Sensorial Aesthetics_frontcover; Sensorial Aesthetics_285x195_e; Introduction; Kathleen Coessens; Sound and Sense in Musical Phrases; From the Art of the Keyboard to the Question of Phrase and Melody; Michaël Levinas; Intermezzo 1; On the Sensorial of Aesthetics; Kathleen Coessens; Noise, Sound, Silence; Tim Ingold; Intermezzo 2; On the Sensorial of Music and Breathing; Kathleen Coessens; Sense versus Sensitivity in Composition: A Phoney Debate?; Fabien Lévy; Intermezzo 3; On the Sensorial of Human Beings; Kathleen Coessens; Extreme Interpretation? | |
| 505 | 8 | |a Some Observations on Rachmaninoff's Version of Chopin's Third Ballade in A-Flat Major, Op. 47Lasse Thoresen; Intermezzo 4; On the Sensorial of the Human Body in Performance; Kathleen Coessens; Reflections on the Politics of Sentiment; Score for Performing the Criticality of a Sonic Sensibility; Salomé Voegelin; Intermezzo 5; On the Sensorial of Imagination; Kathleen Coessens and Vanessa Tomlinson; Notes on Contributors; Index | |
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| 650 | 0 | |a Music |x Philosophy and aesthetics. | |
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| 776 | 0 | 8 | |i Print version: |t SENSORIAL AESTHETICS IN MUSIC PRACTICES. |d [Place of publication not identified] : LEUVEN UNIVERSITY PRESS, 2019 |z 9462701849 |w (OCoLC)1085965992 |
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