- Head of Undergraduate Programmes,
Royal Academy of Music,
Marylebone Road,
London NW1 5HT,
UK
Anthony Gritten
Royal Academy of Music, Academic Studies, Faculty Member
- Philosophy, Psychology, Ethics, Aesthetics, Performing Arts, Phenomenology, and 34 moreMusicology, Performance Studies, Music Psychology, Philosophy of Music, Music Aesthetics, John Cage, Listening, Mikhail Bakhtin, Igor Stravinsky, Jean-Francois Lyotard, Alphonso Lingis, Walter Benjamin, Timbre, Critical Theory, Bakhtin, Psychology of Music, Jean-François Lyotard, Phenomenology of Temporality, Event perception, Empathy (Psychology), Maurice Blanchot, Jean-Luc Nancy, Performance Studies (Music), Sound studies, Theodor Adorno, Rhythm, Music, Performance Philosophy, Music Cognition, Gesture, Embodiment, Embodied Music Cognition, Marcel Duchamp, and Luigi Nonoedit
- Royal Academy of Musicedit
In this essay I discuss a case study of one way in which performance might engage with ecology: Child of Tree (1975) by John Cage (1912-1992). This case study is not based upon empirical research in ecological topics; qua performance... more
In this essay I discuss a case study of one way in which performance might engage with ecology: Child of Tree (1975) by John Cage (1912-1992). This case study is not based upon empirical research in ecological topics; qua performance Child of Tree does not avail itself of ecological data; and its political position is only proto-ecocritical. However, Cage's activist position is clear historically and aesthetically; the pragmatic demands upon the performer are premised upon a genuine commitment to improving our mutually reciprocal ecological situation; and Child of Tree teaches all of us valuable lessons about care, sensitivity, and tact, which it shows to be the essential ecological building blocks of any future planetary cohabitation that homo sapiens might care to entertain as we all hurtle together through the universe.
Research Interests:
This essay does two things. First, it unpacks the central element of Stravinsky’s theory of performance, namely the ideology of execution. The logistics of this ideology are discussed by invoking the discipline of Ergonomics, with its... more
This essay does two things. First, it unpacks the central element of Stravinsky’s theory of performance, namely the ideology of execution. The logistics of this ideology are discussed by invoking the discipline of Ergonomics, with its tripartite performative mantra of efficacy, efficiency, and effectiveness. Secondly, it unpacks the indeterminacy at the heart of Stravinsky’s ideology. Showing that execution exists in a dialectical relationship with interpretation, it argues that the indeterminacy within this dialectical relationship is what affords the deliverance of expressiveness from Stravinsky’s music.
Research Interests: Aesthetics, Philosophy of Music, Music Aesthetics, Modernism, Philosophy of music (Philosophy), and 18 moreEarly 20th-century Music, Musical Modernism, Stravinsky, 20th Century Music, Music Aesthetics and Philosophy of Music, Expressiveness, Expression, Expressivity, Musical aesthetics, Igor Stravinsky, 20th and 21st-Century Music, Music and philosophy, Expressive Music Performance, Modernist Music, Music Performance Expressivity, Philosophy of Expression, Stravinsky Violin Concerto, and philosophy of expressiveness
This essay suggests that Hans-Georg Gadamer's descriptive phenomenology of 'tarrying' [Verweilen] can be configured as an essential component of musical experience. At issue is the type of effortful work that intensifies the subject's... more
This essay suggests that Hans-Georg Gadamer's descriptive phenomenology of 'tarrying' [Verweilen] can be configured as an essential component of musical experience. At issue is the type of effortful work that intensifies the subject's most valuable musical experiences and that allows them to become more sustainable and sensitive. It is assumed that music's presence in the subject's life should blossom and indeed bloom over time, although this guiding assumption is left unexamined while the essay considers how a detailed phenomenology of musical tarrying might afford the subject a way of underwriting the ways in which human-music relationships are configured. John Cage's plant piece Child of Tree is deployed, perhaps counterintuitively, as an example of the ideal hermeneutic attitude underwriting tarrying, although it is suggested that the applicability of Gadamer's constitution of tarrying extends beyond the musical-theatrical avant-garde.
Research Interests: Performance Studies, Hermeneutics, Philosophy of Music, Hans-Georg Gadamer, Philosophical Hermeneutics and Music, and 9 moreExperimental Music, Contemporary Music, John Cage, Gadamer, Music and philosophy, Musical Hermeneutics, Phenomenology of Music, Hermeneutics of Music, and Aesthetics and Hermeneutics
More than a decade ago, not long before the birth of this journal, Coessens, Crispin and Douglas published a book-length summary of what they termed The Artistic Turn. Returning to port on the final page, they nailed their colours to the... more
More than a decade ago, not long before the birth of this journal, Coessens, Crispin and Douglas published a book-length summary of what they termed The Artistic Turn. Returning to port on the final page, they nailed their colours to the mast with the following four essential imperatives: ‘Never forget the origin [ … ] Deterritorialize the research space [ … ] Search for a possible discourse [ … ] Search for the hidden dimensions and different perspectives’. These imperatives were phrased in matters of only a few syllables, starkly emboldened on the paper, and centrally aligned on the page all the better to drive themselves home into the cultural consciousnesses of practitioners. The mass of blank white space surrounding them allowed the reader’s thought to gather itself while the syllables faded from her lips. In the decade since The Artistic Turn settled in its moorings, a tsunami of activity has swept inland and redrawn the map of research into art making, even in music. New passages and channels have emerged and coalesced under various headings – Practice as Research, Practice Research, Performance Studies, Performance Philosophy, Artistic Research, and so on – and the affordances of the new fields are evolving, adapting, regrouping and bending in the drifting ebb and flow of academic currents. Every now and then, new eddies of activity and collaboration support a degree of personal development and institutional solidity. Doctoral programmes have been lifeboats for emerging artist-scholars – though imposter syndrome still occasionally haunts the footlights of the new stages that are opening up. In the spirit of the disciplinary energy funnelled by The Artistic Turn, this short text first answers one of the questions posed by the editors of Music & Practice, and then casts back out to sea with a set of mini-manifestos: Do this! While these ten injunctions celebrate the journal’s tenth birthday, each one is leaky and proliferates into smaller phatic imperatives (45 in total), quite unlike the well-formed literary dicta offered by Coessens, Crispin, and Douglas. The imperatives are fluid, easily diluted, and do not need to be remembered. If they but lap up against the edge of a qualia of an artistic research project that you recognize, then that will have been sufficient.
Research Interests:
The author sketches a Lyotardian reading of John Cage's plant pieces from the mid-1970s. Given that both Jean-François Lyotard and Cage were concerned at the time with working through Marcel Duchamp's multifarious legacies, the author... more
The author sketches a Lyotardian reading of John Cage's plant pieces from the mid-1970s. Given that both Jean-François Lyotard and Cage were concerned at the time with working through Marcel Duchamp's multifarious legacies, the author uses Lyotard's writings on Duchamp to unpack the operation of indeterminacy in Cage's ecological events, triangulating between Lyotard's claim that "There is no art, because there are no objects" [1] and Cage's acknowledgement that "Strictly musical questions are no longer serious questions" [2].
Research Interests:
This essay is about a phenomenon that, paradoxically, both disrupts mind wandering and accounts for its spontaneity: distraction. It is more about one of the mechanisms underlying mind wandering than its phenomenological content. However,... more
This essay is about a phenomenon that, paradoxically, both disrupts mind wandering and accounts for its spontaneity: distraction. It is more about one of the mechanisms underlying mind wandering than its phenomenological content. However, following acknowledgements that mind wandering has positive and negative consequences for task fulfilment (Mooneyham & Schooler, 2013), this essay attempts to recuperate distraction, configuring it in terms of ‘drag’ in order to analyse it as more than merely bad or failed listening. Dragging the listener back onto her body, distraction emphasises an indeterminacy that, although covered over by the traction generated by regular and consistent listening, is always already embodied within the materiality of musical sound. This essay is about the impact of distraction upon the listener in the audience and the extent to which distraction forces her to recalibrate her activity as a hybrid of ‘listening despite distraction’ and ‘distracted listening’; a separate essay would be required to consider the quite different ways in which performers deal with distraction.
Research Interests: Musicology, Psychology of Music, Auditory Perception, Music Psychology, Auditory Culture, and 15 morePhenomenology, Attention, Listening (Music), Contemporary Music, Music Perception, Music Perception and Cognition, Distraction, Mind Wandering, Absorption, Modern Music, Social Psychology of Music, Auditory Distraction, Phenomenology of Music, Modernist Music, and Alexander Goehr
This essay attempts to read the discourse of music performance in McKenzian terms: as a challenge. For McKenzie, this is the challenge to "Perform-or else", and this challenge is "the order word of the performance stratum" (McKenzie 2001,... more
This essay attempts to read the discourse of music performance in McKenzian terms: as a challenge. For McKenzie, this is the challenge to "Perform-or else", and this challenge is "the order word of the performance stratum" (McKenzie 2001, p. 190 bold original). The consistent hyphen indicates what is at stake, namely what it is like to drift between two world-enacting paradigms, which McKenzie terms discipline and performance. The drift away from discipline and towards performance is always already accomplished and unfinished: accomplished in the historical sense that since 1968 (though gearing up before that) there have been global movements towards reconfiguring what agents do, how they actively intervene into the contemporary scene, and how worldly action may enhance the political, ethical, and aesthetic registers of our mutual coexistence , not to mention our ecological sharing of the planet; unfinished in the epistemic sense that the continual ecological re-positioning of public activity through performance continues to redefine, contradict, retheorise, deconstruct, and in general, challenge itself. The challenge is thus to challenge forth into the world: to enact this world as a performer, to cause transformations to happen, and to be part of the transformations.
Research Interests: Performing Arts, Performance Studies, Performance Management, Performativity, Performance, and 10 morePerformance Studies (Music), Music Performance, Stravinsky, Music Pedagogy, Musical Performance, Igor Stravinsky, Cultural Performance, Music and Performing Arts, Jon McKenzie, and Technological performance
Distraction is frequently blamed for interfering with the ergonomic production of capital, for encouraging substandard performance. Indeed, it is frequently configured as an impediment to time keeping, a thorn in the side of... more
Distraction is frequently blamed for interfering with the ergonomic production of capital, for encouraging substandard performance. Indeed, it is frequently configured as an impediment to time keeping, a thorn in the side of consciousness, a drag on intentional action, and a brake on decision making. Reality, however, is complex. While distraction can interfere with timing, anxiety, memory, error, and fatigue, it can also be exploited under controlled conditions to enhance performance by helping the performer to maintain an open cognitive and physical responsiveness to the world and a pragmatic mode of engagement with the task at hand. Indeed, distraction ensures that the performer is in close contact cognitively and socially with the full phenomenological plenitude of sound, thereby contributing to performance’s transformative value as a way of accumulating social capital in everyday life.
Research Interests: Performance Studies, Performativity, Attention (Psychology), Attention, Performance, and 15 morePerformance Studies (Music), Philosophy of Time, Temporality (Music), Phenomenology of Temporality, Temporality (Time Studies), Music Performance, Concentration, Temporality, Musical time, Distraction, Musical Performance, Temporality and Performance, Auditory Distraction, Theories of Attention, and Philosophy of performance
Distraction is ubiquitous within contemporary Western life, as any study of digital culture and urban society shows. It occupies a complex place, inspiring fear and excitement in equal measure. It is central to all modes of hearing,... more
Distraction is ubiquitous within contemporary Western life, as any study of digital culture and urban society shows. It occupies a complex place, inspiring fear and excitement in equal measure. It is central to all modes of hearing, including musicking; in fact, it is essential. What distracts hearing is the sheer sound of sound: its sonic presence.
In this essay I extrapolate a broadly Heideggerian phenomenology of sonic distraction, based on the four assumptions above. It is an extrapolation rather than a reconstruction, as I am unaware of studies configuring distraction as the centre of Heideggerian phenomenology. I begin unpacking the multiple sensory modalities of being implied in Heidegger’s assertion that “the clearing, the open region, is not only free for brightness and darkness but also for resonance and echo, for sound and the diminishing of sound.” After all, if it is true that “To let unconcealment show itself […] is perhaps the most succinct formulation of the task of Heidegger’s thinking,” then we must unpack all modalities of unconcealment together in order to let being resound and come into presence. In this essay I focus on a single modality: the sonic – the sound of Dasein’s being-towards-death.
In this essay I extrapolate a broadly Heideggerian phenomenology of sonic distraction, based on the four assumptions above. It is an extrapolation rather than a reconstruction, as I am unaware of studies configuring distraction as the centre of Heideggerian phenomenology. I begin unpacking the multiple sensory modalities of being implied in Heidegger’s assertion that “the clearing, the open region, is not only free for brightness and darkness but also for resonance and echo, for sound and the diminishing of sound.” After all, if it is true that “To let unconcealment show itself […] is perhaps the most succinct formulation of the task of Heidegger’s thinking,” then we must unpack all modalities of unconcealment together in order to let being resound and come into presence. In this essay I focus on a single modality: the sonic – the sound of Dasein’s being-towards-death.
Research Interests:
In this essay I sketch two related arguments about how the performer listens. One concerns the embodiment of listening during performance; the other addresses the different functions of listening during practice and during performance.... more
In this essay I sketch two related arguments about how the performer listens. One concerns the embodiment of listening during performance; the other addresses the different functions of listening during practice and during performance. First argument: I argue that during performance, the performer listens with her entire body, not just with her ears. Listening with the entire body means that the privilege normally accorded the performer’s ears, which are often assumed to provide a disembodied and uninterrupted conduit to her mind, is displaced by recourse to other sources of sensory information, including the fingers, shoulders and hips. The body leads the way, rather than simply doing what the mind and its ears determine. The idea that the body listens is more than a metaphor; it is an argument on behalf of proprioception, the self-perception of the body in its environment. However, I frame the argument in terms of concentration, which, as a mode of focussed attention, is broader, I would argue, than listening. This helps me to clarify the pragmatic first-person stakes of proprioception for the performer, for whom concentrating on music is intense, demanding and a serious expenditure of energy (regardless of the music’s technical difficulty). Second argument: displacing the concept of listening by that of concentration in order to retain an emphasis on the body, and subdividing concentration heuristically into hearing and listening (the former broadly practical, the latter broadly aesthetic) I argue that, in terms of the ratio of hearing to listening, during performance the performer hears more and listens less than during practice. The precise ratio will vary according to factors like the work’s style, the acoustic of the venue, the performer’s physical constitution and level of fitness, the instrument, and various psychological issues. Together, these two arguments afford us a configuration of performing that has two advantages: first, it is pragmatic about the temporality of performing (its indeterminacy, risk and spontaneity); secondly, it acknowledges the sensuous embodiment of performing (its energetic expenditure).
Research Interests: Performing Arts, Performance Studies, Attention, Performance, Performance Studies (Music), and 13 morePhenomenology of the body, Listening (Music), John Cage, Concentration, Proprioception, Glinka, Phenomenology of Music Listening, Balakirev, Music and Performing Arts, Phenomenology of Musical Performance, child of tree, Mikhail Pletnev, and Kjell Samkopf
These mesostics work through some recurrent themes from Cage’s work. They are what Cage called ‘100% Mesostics’: between two consecutive capitalised letters neither of the two letters may be used. That there are twenty six mesostics is a... more
These mesostics work through some recurrent themes from Cage’s work. They are what Cage called ‘100% Mesostics’: between two consecutive capitalised letters neither of the two letters may be used. That there are twenty six mesostics is a homage to Marcel Duchamp and James Pritchett: the former was the subject of two texts by Cage, ‘26 Statements re Marcel Duchamp’ (there aren’t twenty six) and ‘36 Mesostics Re and not Re Marcel Duchamp’; in a rare confusion, the latter’s wonderful ground-breaking book on the composer mis-labels Cage’s two texts. The alphabetical presentation of the Mesostics below is arbitrary, the result of the same relations between choice, judgement, and decision making that Cage investigated throughout his creative life in so many varied and unpredictable ways. The choice of themes is itself also arbitrary, though hopefully reasonable. Taken together, the constellation formed by these twenty six themes embodies something of the immense variety of Cage’s work as a performance philosopher. Cage’s energies were distributed over a huge terrain: writing, visual art, theatre, mycology, music, dance, and activism, to list only the main discourses in reverse alphabetical order. This distribution, along with his insistence on immanence rather than transcendence, his emphasis on the performativity of things, his belief that all things were connected, his unique ability to set things in motion without worrying about the speed of their subsequent lives, and his faith in people …; all this and more characterised his performance philosophy. His work took as its subject the world as it presented itself to him, and in this respect alone – never mind the sonorous beauty of many of his works and the theatrical wonder of many of his events – his legacy continues to be deep and long-lasting.
Research Interests: Music, Music History, Performing Arts, Performance Studies, Performance Art, and 14 morePerformance, Performance Studies (Music), Postmodernism, Twentieth-century Music, Modernism, Experimental Music, John Cage, History and reception of twentieth-century art music, Theater and Performance Studies, Performance Philosophy, Philosophy of performance, Music and Performing Arts, John Cage, experimental music, and Mesostics
There is a special relationship between music and philosophy. A long tradition of thinkers like Adorno, Lacoue-Labarthe, and Nietzsche, and in their wake, writers like Andrew Bowie, Daniel Chua, and Michael Spitzer, to name only a few... more
There is a special relationship between music and philosophy. A long tradition of thinkers like Adorno, Lacoue-Labarthe, and Nietzsche, and in their wake, writers like Andrew Bowie, Daniel Chua, and Michael Spitzer, to name only a few men, have argued that the historical imbrication of music and philosophy symbolises or hides a deeper unity between the two modes of world-making. Lacoue-Labarthe, for example, has probed the autobiographical operation of music, using psychoanalytical tools to unpack the ‘echo of the subject’, while Chua has used Levinas to explore possible conjunctions between Beethoven and ethics. And there are, of course, a huge number of studies examining music quite straightforwardly with the help of philosophical tools.
In this essay I bracket this type of study. I focus instead on what it is within musical sound that lends itself to the types of relationship that such writers have claimed. Put interrogatively: what is the performativity of musical sound such that it can have this kind of relationship with philosophy? Musical Performance Philosophy provides me with a case study of the special relationship between music and philosophy. I start by examining the operation of performativity within Performance Philosophy, unpacking Performance Philosophy’s “opening to [the] reciprocal (in)determination or mutual transformation” of performance and philosophy. Considering the prospect of a specifically musical Performance Philosophy, and arguing that what characterises it is that the event is not just staged theatrically but sounded, I go on to propose that “(in)determination” is a particular type of indeterminacy related to the manner of energetic expenditure in sound events, and requires a different phenomenological approach towards the practitioner’s body both to what usually suffices for Performance alone or Philosophy alone and to what might suffice for other modes of Performance Philosophy. With respect to music as a cultural practice, music’s special relationship with philosophy comes from its empirical being-towards-death, which I constitute in terms of entropy. Despite the potentially huge scale of this claim, my aim is merely to establish the centrality of entropy to accounts of musical sound qua humanly significant practice, and to start the process of investigating how this impacts upon Performance Philosophy and its practitioner.
In this essay I bracket this type of study. I focus instead on what it is within musical sound that lends itself to the types of relationship that such writers have claimed. Put interrogatively: what is the performativity of musical sound such that it can have this kind of relationship with philosophy? Musical Performance Philosophy provides me with a case study of the special relationship between music and philosophy. I start by examining the operation of performativity within Performance Philosophy, unpacking Performance Philosophy’s “opening to [the] reciprocal (in)determination or mutual transformation” of performance and philosophy. Considering the prospect of a specifically musical Performance Philosophy, and arguing that what characterises it is that the event is not just staged theatrically but sounded, I go on to propose that “(in)determination” is a particular type of indeterminacy related to the manner of energetic expenditure in sound events, and requires a different phenomenological approach towards the practitioner’s body both to what usually suffices for Performance alone or Philosophy alone and to what might suffice for other modes of Performance Philosophy. With respect to music as a cultural practice, music’s special relationship with philosophy comes from its empirical being-towards-death, which I constitute in terms of entropy. Despite the potentially huge scale of this claim, my aim is merely to establish the centrality of entropy to accounts of musical sound qua humanly significant practice, and to start the process of investigating how this impacts upon Performance Philosophy and its practitioner.
Research Interests:
Research Interests:
Research Interests: Organ (pipe), French Romantic organ music, French Music, Organ Music, Music Literature for the Pipe Organ, and 9 more20th Century French Music, Pipe Organ Music, Cavaillé-Coll, Pipe Organ Performance - Particularly Contemporary Music Performance Practice and Pedagogy., French organists, French liturgical organ music, Contemporary Organ Music, Daniel Roth, and St. Sulpice
Many practical pedagogies of instrumental teaching argue (1) that the demands to which the performer is bound when she is practising (the majority of which are defined in terms of the work that is to be performed) remain active when she... more
Many practical pedagogies of instrumental teaching argue (1) that the demands to which the performer is bound when she is practising (the majority of which are defined in terms of the work that is to be performed) remain active when she is performing live on stage; and (2) that it is in the nature of these demands that they should divert the majority of the performer's energy towards their fulfilment. I argue, instead, (1) that during the epistemic passage from practising to performing, from green room to stage, these demands are dismantled; and (2) that they come to afford a source of creative energy for artistic and interpretative decisions when performing live on stage.
Research Interests: Music, Music Education, Performing Arts, Performance Studies, Music Psychology, and 15 morePerformativity, Performance, Philosophy of Music, Music Aesthetics, Performance Studies (Music), Piano Music, Musical Instrument Pedagogy, Philosophy of Music Education, Debussy, Music Pedagogy, Claude Debussy, Music and Performing Arts, Listening and Performing Music, qualitative transformation, and Debussy piano music
Research Interests: Musicology, Music Psychology, Sound studies, Postmodernism, Noise And Music, and 27 moreMusic Cognition, Modernism, Listening (Music), Anthropology of the Senses, American music, Critical Musicology, Auditory Attention, Music analysis, Marcel Duchamp, Musical Modernism, John Cage, Noise, Distraction, Listening, Musical Analysis, LIstening to music, Duchamp, Listening Strategies, Music, Philosophy and Aesthetics of Noise, Cage, Auditory Distraction, Prepared Piano, John Cage, experimental music, Phenomenology and Cognitive Science (With An Emphasis on Auditory Perception and Making Music), Postmodern Music, Cognitive Attention, and Distracting
Research Interests: Music, Perception, Psychology of Music, Auditory Perception, Music Psychology, and 24 moreJean-Luc Nancy, Auditory Culture, Phenomenology, Sound studies, Sound, Noise And Music, Listening (Music), Phenomenology of Temporality, Philosophy of music (Philosophy), Jean-François Lyotard, John Cage, Noise, Timbre, Listening, LIstening to music, Music and philosophy, Music and Timbre, Music and Sound Studies, Phenomenology of Music Listening, Musical Timbre, Noise Perception, Timbre Perception, Phenomenology of Music, and psychology of timbre
This chapter explores the nature of dialogue in ensemble music performance, interrogating the ways in which 'communication' and 'interaction' occur in the context of rehearsal and live performance of western art music. An expanded... more
This chapter explores the nature of dialogue in ensemble music performance, interrogating the ways in which 'communication' and 'interaction' occur in the context of rehearsal and live performance of western art music. An expanded conceptual model is proposed in which the epistemic difference between rehearsal and performance is characterized by a paradigm shift from communication (which we define as a one-way process of dialogue, illustrated by turn-taking) to interaction (a two-way process of dialogue, illustrated by reciprocity). We argue that interaction draws upon an embodied physical knowledge that is predominantly gestural and corporeal, alongside which (verbal) communication is one small contributory component. Finally, we propose that it is more propitious to understand the central role of embodied knowledge in ensemble performance in terms of interaction rather than communication.
Research Interests: Musicology, Communication, Psychology of Music, Performance Studies, Sociology of Knowledge, and 14 moreMusic Psychology, Social Interaction, Collaboration, Dialogue, Performance, Sociology of Music, Performance Studies (Music), Music sociology, Musical Performance, Rehearsal, Chamber Music Rehearsals, Psychology of performing music, Chamber Music Practice, and Ensemble Performance
In this essay I bracket the formally approved UK definition of impact as “an effect on, change or benefit to the economy, society, culture, public policy or services, health, the environment or quality of life, beyond academia”. I do this... more
In this essay I bracket the formally approved UK definition of impact as “an effect on, change or benefit to the economy, society, culture, public policy or services, health, the environment or quality of life, beyond academia”. I do this in order to focus on the impact of Artistic Research on the practitioner herself, rather than her stakeholders: I am interested in the effects of research before academia. The discourse in question is Western Classical instrumental pedagogy, and the research in question is that undertaken by instrumental pedagogues in conservatoires. My focus is on the passage from output to impact and the means by which practitioners of Artistic Research incorporate impact into output.
Research Interests: Musicology, Performance Studies, Performance, Applied Research, Performance Studies (Music), and 21 morePerformance As Research, Practice as Research, Artistic Research, Performance Research, Music Performance, Artistic Research of Music, Practice-led art research, Jean-François Lyotard, Research Impact, Methodologies for Artistic Research, Lyotard, Musical Performance, Practice-led research, Practice-led research in creative arts, Jean-Francois Lyotard, The artistic practice as research., Live Music Performance Research, Artistic Based Research, REF definition of impact, Performing as Researching, and Performativity of Research
Research Interests: Social Psychology, Musicology, Psychology of Music, Empathy (Psychology), Trust, and 28 moreSocial Capital, Philosophy of Music, Performance Studies (Music), Musical Instrument Pedagogy, Philosophy of Music Education, Social and Cultural Capital, Music Performance, Empathy (Philosophy), Empathy, Empathy (discourse), Music Performance Learning, Empathy in Education, Social Psychology of Music, Informal music learning, Music Pedagogy, Musical Performance, Music Pedagogy - particularly instrumental teaching in post-compulsory education., Musical Psychology, Psychology of performing music, Phenomenology of Music, Music and Performing Arts, Phenomenology of Musical Performance, Applied Psychology of Music, Trusting, Psychology of performing, Elaine King, Caroline Waddington, and Playing Music
Research Interests: Modernism, Piano Music, Historically Informed Performance (HIP), Neoclassicism, Peter Warlock, and 11 moreMusic and modernity, Delius, Music Magazines, Harpsichord Music, Music Printing and Publishing, Frederick Delius, Arthur Clutton-Brock, Violet Gordon-Woodhouse, George Dyson, Philip Heseltine, and Music and Letters journal
Research Interests: Critical Theory, Music, Music Theory, Musicology, Psychology of Music, and 25 moreSpace and Place, Phenomenology, Thomas Pynchon, Philosophy of Music, Music Aesthetics, Cultural Musicology, Listening (Music), Critical Musicology, Phenomenology of Space and Place, Phenomenology of Temporality, Entropy, Home, Jean-François Lyotard, Music listening, Listening, Lyotard, Musicology/Cultural Studies, Auditory Cognition, LIstening to music, Music and philosophy, Phenomenology of Music Listening, Phenomenology of Music, Aesthetics and Sociology of Music, Phenomenology of Musical Performance, and Peter Szendy
This text responds to Deniz Peters’ argument with three things: a broad context for empathic listening based on its value as a transferable skill; a comment on the relationship between musical empathy and “social empathy via music”; and a... more
This text responds to Deniz Peters’ argument with three things: a broad context for empathic listening based on its value as a transferable skill; a comment on the relationship between musical empathy and “social empathy via music”; and a comment on the “indeterminacy” at the beginning of empathic listening.
KEYWORDS: empathy, listening, transferable skill
KEYWORDS: empathy, listening, transferable skill
Research Interests: Social Psychology, Music, Musicology, Aesthetics, Ethics, and 18 moreEmpathy (Psychology), Music Psychology, Philosophy of Music, Listening (Music), Critical Musicology, Philosophy of Music Education, Empathy (Philosophy), Effective Listening, Teaching Listening, Empathy, Compassion, Trust, Empathy (discourse), Listening, Listening Comprehension, Empathy in Education, Defining Listening, Social empathy, Listening Strategies, and Deniz Peters
Research Interests: Performing Arts, Practice theory, Research Methodology, Psychology of Music, Art Practice as Research, and 30 morePerformativity, Applied Research, Philosophy of Music, Music Aesthetics, Performance Studies (Music), Performance and performativity, Performance As Research, Practice as Research, Artistic Research, Performance Research, Music Performance, Artistic Research of Music, Jean-François Lyotard, Critical Reflection, Methodologies for Artistic Research, Lyotard, Musical Performance, Practice-As-Research, Jean-Francois Lyotard, Research as Practice, The artistic practice as research., Live Music Performance Research, Arts Practice as Research, Performance as Research; Piano Performance;, Dance Practice as Research, Critical reflective practice, Art Research, Art Practice as Research, Pedagogy of Artistic Research, Artistic Based Research, and Artistic Research Methods
Research Interests: Musicology, Human Evolution, Psychology of Music, Auditory Perception, Music Psychology, and 27 moreRhythm, Jean-Luc Nancy, Auditory Culture, Phenomenology, Attention, Edmund Husserl, Phenomenology of the body, Hermeneutic Phenomenology, Listening (Music), Phenomenology of Temporality, Auditory Attention, Evolution and Human Behavior, Jean-François Lyotard, Phenomenology and Communication (Alfred Schutz), Timbre, Resonance, Listening, Musicality, Music, Psychology, Psychoacoustics, Music and Infants, Music and Timbre, Communicative Musicality, Developmental Origins of Musicality, Phenomenology and Cognitive Science (With An Emphasis on Auditory Perception and Making Music), Infant Musicality, Phenomenology of Listening, and The musical body
in Will Daddario & Karoline Gritzner (eds.), Adorno and Performance (London: Palgrave Macmillan, 2014), 82-97 From the editors' introduction: "Adorno’s life-long preoccupation with music is duly noted by Anthony Gritten whose chapter... more
in Will Daddario & Karoline Gritzner (eds.), Adorno and Performance (London: Palgrave Macmillan, 2014), 82-97
From the editors' introduction:
"Adorno’s life-long preoccupation with music is duly noted by Anthony Gritten whose chapter focuses on a recurrent metaphor in Towards a Theory of Musical Reproduction, namely what Adorno terms “culinary music-making.” His critique of this phenomenon is unpacked with an ear for the metaphor’s potential to act as the basis of a critical theory of performing. Aspects of Adorno’s theory of “performing” are contrasted dialectically with Jon McKenzie’s theory of “performance,” in which the term “performance” is a paradigm against which all singular actions – including those of musical performing – are measured and to which they must contribute."
From the editors' introduction:
"Adorno’s life-long preoccupation with music is duly noted by Anthony Gritten whose chapter focuses on a recurrent metaphor in Towards a Theory of Musical Reproduction, namely what Adorno terms “culinary music-making.” His critique of this phenomenon is unpacked with an ear for the metaphor’s potential to act as the basis of a critical theory of performing. Aspects of Adorno’s theory of “performing” are contrasted dialectically with Jon McKenzie’s theory of “performance,” in which the term “performance” is a paradigm against which all singular actions – including those of musical performing – are measured and to which they must contribute."
Research Interests: Musicology, Aesthetics, Performance Studies, Theodor Adorno, Performance, and 12 morePhilosophy of Music, Adorno's Philosophy of Music, Modernism, Adorno, Critical Musicology, Philosophy of music (Philosophy), Musical Modernism, Philosophy of Music, Music Aesthetics, Music Aesthetics and Philosophy of Music, Theory of musical interpretation, Aesthetics of music, and Theory of Performance
in William Forde Thompson (ed.), Music in the Social and Behavioural Sciences: An Encyclopaedia (Thousand Oaks, California: Sage, 2014), 339-341
Research Interests: Selective Attention, Auditory Perception, Auditory Culture, Phenomenology, Attention (Psychology), and 18 moreAttention, Attentional Processes, Listening (Music), Phenomenology of Temporality, Auditory Attention, Effective Listening, Audition, Auditory Scene Analysis, Distraction, Listening, Defining Listening, LIstening to music, Listening Skills, Listening Strategies, Phenomenology of Music Listening, Auditory Distraction, Theories of Attention, and Phenomenology of Listening
Research Interests: Musicology, Aesthetics, Ethics, Meta-Ethics, Virtue Ethics, and 20 moreRhythm, Phenomenology, Bakhtin, Philosophy of Music, Music Aesthetics, Love, Aesthetics and Ethics, Hermeneutic Phenomenology, Intonation, Philosophy of Love, Critical Musicology, Aesthetics and Theory of Arts, Theories of Love, Mikhail Bakhtin, Mikhail Mikhailovich Bakhtin, Philosophical Aesthetics, Answerability, le dialogisme de Mikhail Bakhtine, Phenomenology of Music, and Continental Philosophy and Aesthetics
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Research Interests: Musicology, Performing Arts, Self and Identity, Performing, Psychology of Music, and 32 moreMusic Psychology, Phenomenology, Identity (Culture), Folk Psychology, Bakhtin, Performance, Philosophy of Music, Music Aesthetics, Love, Soul (Humanities), Presence (Performing Arts), Music and identity, Philosophy of Love, Soul (Music), Phenomenology of the Body (Philosophy), Phenomenology of Temporality, Mikhail Bakhtin, Musical Interpretation, Social Psychology of Music, Psychology of performing music, Phenomenology of Music Listening, Musical Voice, Phenomenology of Music, Music and Performing Arts, Phenomenology of Musical Performance, Music Hermeneutics, Phenomenology of Performing, Aesthetic Love, Musical Presence, Aesthetics of Identity, Aesthetics of Identity, and Identity and Aesthetics
Research Interests: Psychology, Social Psychology, Performing Arts, Creativity studies, Creativity--Knowledge Invention & Discovery, and 52 moreModels of Creativity & of Creative Processes, Ergonomics, Decision Making, Creativity, Performance Studies, Judgment and decision making, Social Problems, Creative Problem Solving, Decision Sciences, Problem solving (Education), Performativity, Problem solving (Cognitive Psychology), Performance Measurement, Behavioral Decision Making, Performance, Philosophy of Music, Performance Studies (Music), Problem Based Learning, Performance and performativity, Decision Making Under Uncertainty, Body in Performance, Creative thinking, Performance Theory, Musical Instrument Pedagogy, Decision-Making, Argumentation Theory and Critical Thinking, Problem-Based Learning, Performance Practice (Music), Pedagogy (Music), Jean-François Lyotard, Problem Solving, Inventive problem solving, Contemporary Performance, Performance Psychology, Musical Interpretation, Music Pedagogy (Strings), Performer Training, Music Pedagogy, Performatives, Music Pedagogy - particularly instrumental teaching in post-compulsory education., Defining Problem, Problem posing and Problem solving, Decision Science, Psychology of Performance, Problem Solving Strategies, Artistry, Sociology of Performing Arts, Psychology for Elite Performers, Music and Performing Arts, Creative Thinking and Problem Solving, John Rink, and The Practice of Performance
Research Interests: Musicology, Aesthetics, Performing Arts, Selective Attention, Psychology of Music, and 42 moreAuditory Perception, Music Psychology, Auditory Culture, Bakhtin, Attention (Psychology), Attention, Sound, Walter Benjamin, Philosophy of Music, Intertextuality, Music Cognition, Listening (Music), Contemporary Music, Polyphony, Embodied Music Cognition, Phenomenology of Temporality, Auditory Attention, Effective Listening, Jean-François Lyotard, Stravinsky, Mikhail Bakhtin, Bakhtin dialogism, Sonic Perception, Timbre, Music Perception and Cognition, Philosophy of Music, Music Aesthetics, Distraction, Listening, Musical Structure, Aura, Defining Listening, Rose Subotnik, Flâneur, Listening Strategies, Auditory Distraction, Theories of Attention, Phenomenology of Music, Teaching Listening Skills, Violin Concerto, Eric Clarke, Peter Szendy, and Structural Listening
all four in Stuart Sim (ed.), The Lyotard Dictionary (Edinburgh: Edinburgh University Press, 2011), 69-70, 70-73, 156-158, & 197-199
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Research Interests: Auditory Perception, Jean-Luc Nancy, Auditory Culture, Phenomenology, Embodied Mind and Cognition, and 35 moreSound studies, Sound, Philosophy of Music, Music Aesthetics, Phenomenology of the body, Hermeneutic Phenomenology, Listening (Music), Deep Listening, Phenomenology of the Body (Philosophy), Phenomenology of Touch, Phenomenology of Temporality, Auditory Attention, Listening (Sound studies), Auditory perception (Psychology), Effective Listening, Jean-François Lyotard, Subjectivity, French phenomenology: Michel Henry, Jean-Luc Marion, Jean-Yves Lacoste and Emmanuel Levinas. Husserl and Heidegger., Auditory Scene Analysis, Timbre, Resonance, Listening, Embodied Listening, Lyotard, Jean-Francois Lyotard, Time and Embodiment, Music and Timbre, Embodiment and Body Knowledge, Music and Sound Studies, Sound Studies, Musical Timbre, Philosophy of Sound, The musical body, Hearing Sounds, and Hearing Sound
in Kevin Laycock (ed.), Collision (Leeds: Gallery Oldham with University of Leeds, 2010), not paginated [this is a visual artist’s exhibition catalogue]
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Research Interests: Critical Theory, Musicology, Aesthetics, Performing Arts, Ergonomics, and 34 morePsychology of Music, Performance Studies, Human Perception and Performance, Music Psychology, Energy, Performativity, Performance, Philosophy of Music, Music Aesthetics, Performance Studies (Music), Performance and performativity, Interpreting, Critical Musicology, Aesthetics (Music), Historically Informed Performance (HIP), Jean-François Lyotard, Cognitive Ergonomics, Historical Musicology, Applied Ergonomics, Energetics, Musical Interpretation, Philosophy of Music, Music Aesthetics, Musical Performance, Efficiency, Ergonomics and Human Factors, Human Factors and Ergonomics, Historical Performance of Music, Musical perfromance, Sociology of Performing Arts, Music and Performing Arts, Musicology, Historical, Analytical and Cultural Study of Music, Historical Musicolgy, Authenticity and music, and Laurence Dreyfus
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Research Interests: Bakhtin, The Other, Polyphony, Dialogism, Aesthetic Experience, and 3 moreHeteroglossia, Delius, and Utterance
Research Interests: Social Psychology, Musicology, Performing Arts, Psychology of Music, Performance Studies, and 28 moreMusic Psychology, Phenomenology, Bakhtin, Philosophy of Music, Music Aesthetics, Cultural Musicology, Performance Studies (Music), Critical Musicology, Temporality (Music), Phenomenology of Temporality, Philosophy of music (Philosophy), Music Performance, Jean-François Lyotard, Mikhail Bakhtin, Music Aesthetics and Philosophy of Music, Lyotard, Social Psychology of Music, Musical Performance, Jean-Francois Lyotard, Loopholes, Temporality and Performance, Music and philosophy, Musical temporality, Psychology of performing music, Music and Temporality, Phenomenology of Music, Music and Performing Arts, and Phenomenology of Musical Performance
Research Interests: Music Theory, Performing Arts, Psychology of Music, Bakhtin, Literary Theory, and 10 morePhilosophy of Music, Performance Studies (Music), Event perception, Music and Literature, Phenomenology of Temporality, Mikhail Bakhtin, Musico-Literary Relationships, Phenomenology of Music, Phenomenology of Musical Performance, and Musical Time Theory
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Research Interests: Psychology, Music, Musicology, Aesthetics, Ethics, and 33 morePerforming Arts, Music Ethics, Performance Studies, Music Psychology, Phenomenology, Bakhtin, Performance, Philosophy of Music, Music Aesthetics, Aesthetics and Ethics, Presence (Performing Arts), Body in Performance, Phenomenology of the Body (Philosophy), Phenomenology of Space and Place, Phenomenology of Temporality, Aesthetics and Theory of Arts, Mikhail Mikhailovich Bakhtin, Music and ethics, Performer Training, The Physical Parameters of Playing Musical Instruments, Psychology of performing music, Psychology of Performance, Phenomenology of Music Listening, Phenomenology of Music, Sociology of Performing Arts, Psychology for Elite Performers, Music and Performing Arts, Phenomenology of Musical Performance, Ethics & Aesthetics In Music, Psychology of Expert Performance, Psychology of performing, Aesthetic Temporality, and Embodied Performing
Tempo 57/226 (October 2003) 21–31
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in Jonathan Cross (ed.), The Cambridge Companion to Stravinsky (Cambridge: Cambridge University Press, 2002), ix-xiii
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Musicae Scientiae Discussion Forum 2 (2001), 51-60
Research Interests: Musicology, Aesthetics, Ethics, Phenomenology, Phenomenology, and 30 moreBakhtin, Philosophy of Music, Music Aesthetics, Cultural Musicology, Postmodernism, Philosophical Hermeneutics and Music, Modernism, Listening (Music), Critical Musicology, Philosophy of music (Philosophy), Aesthetics (Music), Musical Understanding, Musical Modernism, Mikhail Bakhtin, Post-modernism, Mikhail Mikhailovich Bakhtin, Musical Interpretation, Music Aesthetics and Philosophy of Music, Hearing Music, Musical aesthetics, LIstening to music, Answerability, Aesthetics and Philosophy of Art, Nicholas Cook, Phenomenology of Music Listening, Musical Hermeneutics, Phenomenology of Music, Continental Philosophy and Aesthetics, Responsibiity, and Music: A Very Short Introduction
Musical Times 142/1874 (Spring 2001), 11-16
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Musical Times 141/1871 (Summer 2000), 36-44
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The Musical Times 139/1862 (April 1998), 4-13
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This hybrid simultaneous issue of Performance Philosophy and ECHO has been set in motion by considering the function of “the platform” with respect to the disseminating of research into music / sound. Of particular interest to the authors... more
This hybrid simultaneous issue of Performance Philosophy and ECHO has been set in motion by considering the function of “the platform” with respect to the disseminating of research into music / sound. Of particular interest to the authors showcased here is the imbrication of multiple modes of performance, not only “within” their research processes and outputs, but also “between” the various mediations that make their research public and subject to critique.
The hybridity of this publication is of interest to considerations of how public platforms function within research processes. The authors showcased here were asked to consider the quite different platforms of Performance Philosophy and ECHO, not as passive vessels with respect to the peer-reviewed content they host, but as active agents in the very construction and dissemination of content. The authors have thought what it means for research “content” to be “mediated”, and, more specifically, what it means to speak of thinking through performance technology in music / sound.
The hybridity of this publication is of interest to considerations of how public platforms function within research processes. The authors showcased here were asked to consider the quite different platforms of Performance Philosophy and ECHO, not as passive vessels with respect to the peer-reviewed content they host, but as active agents in the very construction and dissemination of content. The authors have thought what it means for research “content” to be “mediated”, and, more specifically, what it means to speak of thinking through performance technology in music / sound.
Research Interests: Music, Musicology, Music Technology, Research Methodology, Performance Studies, and 15 morePerformance, Performance Studies (Music), Artistic Research, Artistic Research of Music, Musical Instruments, Live Coding, Interdisciplinary Research in Music, Soundwalk, Accelerationism, Embodied Listening, Performance Philosophy, Philosophy of performance, Intermedial and Telematic Dance and Performance, Instrumentality and music, and Music and multimedia
How do our embodied experiences of music shape our analysis, theorizing, and interpretation of musical texts, and our engagement with practices including composing, improvising, listening, and performing? Music, Analysis, and the Body:... more
How do our embodied experiences of music shape our analysis, theorizing, and interpretation of musical texts, and our engagement with practices including composing, improvising, listening, and performing? Music, Analysis, and the Body: Experiments, Explorations, and Embodiments is a pioneering and timely essay collection uniting major and emerging scholars to consider how theory and analysis address music’s literal and figurative bodies. The essayists offer critical overviews of different theoretical approaches to music analysis and embodiment, then test and demonstrate their ideas in specific repertoires. The range of musics analysed is diverse: Western art music sits alongside non-Western repertoires, folk songs, jazz, sound art, audio-visual improvisations, soundtracks, sing-alongs, live events, popular songs, and the musical analysis of non-musical experiences. Topics examined include affect, agency, energetics, feel, gesture, metaphor, mimesis, rehearsal, subjectivity, and the objects of music analysis – as well as acoustic ecology, alterity, class, distraction, excess, political authority, sensoriality, technology, and transcendence. http://www.peeters-leuven.be/boekoverz.asp?nr=10683 review in MT Spectrum https://tinyurl.com/4dafdykc
Research Interests: Music, Musicology, Embodiment, Embodied Mind and Cognition, Soundscape Studies, and 15 moreThe Body, Phenomenology of the body, Embodied Music Cognition, Franz Liszt, Music analysis, Interactive Music, Television Music, Wolfgang Rihm, Music + Electronics + Live + Interactive, Musical Analysis, Music Theory and Analysis, Thomas Ades, Steve Reich, Interactive Music Systems, and Karol Szymanowski
The work of the leading Frankfurt School philosopher Theodor W. Adorno (1903-1969) continues to have an immense influence on contemporary cultural and critical theory, sociology, musicology, aesthetics, and political thought. Just as... more
The work of the leading Frankfurt School philosopher Theodor W. Adorno (1903-1969) continues to have an immense influence on contemporary cultural and critical theory, sociology, musicology, aesthetics, and political thought. Just as Adorno's theoretical approach spans a wide interdisciplinary terrain, so too does the emerging field of performance philosophy bring many disciplinary approaches together to articulate a renewed understanding of the practice of philosophy and the philosophical dimensions of performance. Adorno and Performance argues for the 'actuality' of Adorno's philosophy of art and dialectical criticism for the discipline of performance philosophy, where, following Max Pensky, the term actuality refers to both 'relevance for the present and its concerns' or 'up to date,' 'still in fashion.' The volume's essays work through Adorno's philosophy as it relates to theatre, drama, music, aesthetics, everyday life, the relation of art to society, theory to practice, and other domains of 'performance.' This book is part of the Performance Philosophy Book Series.
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Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by... more
Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume. The thirteen chapters are structured in a broad narrative trajectory moving from theory to practice, embracing Western and non-Western practices, real and virtual gestures, live and recorded performances, physical and acoustic gestures, visual and auditory perception, among other themes of topical interest. The main areas of enquiry include psychobiology; perception and cognition; philosophy and semiotics; conducting; ensemble work and solo piano playing. The volume is intended to promote and stimulate further research in Musical Gesture Studies.
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Nikolay Myaskovsky: A composer and his times. Woodbridge: The Boydell Press, 2021. xlvii+533pp. hardcover £60.00. This huge book sets itself three huge tasks: to introduce Myaskovsky's music and life to English speaking listeners; to... more
Nikolay Myaskovsky: A composer and his times. Woodbridge: The Boydell Press, 2021. xlvii+533pp. hardcover £60.00. This huge book sets itself three huge tasks: to introduce Myaskovsky's music and life to English speaking listeners; to rehabilitate his reputation in the musical West; and to situate him in relation […]
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Music and Letters 103/3 (August 2022), 572-576
Research Interests: Gender Studies, Jean-Luc Nancy, Phenomenology, Continental Philosophy, Sound studies, and 14 morePhilosophy of Music, Music Aesthetics, Alain Badiou, Listening (Music), Music and Gender, Badiou, Aesthetics (Music), Richard Wagner, Philippe Lacoue-Labarthe, Gender and Music, Phenomenology of Music, Feminist Music Theory, Jean Luc Nancy, and Lacoue-Labarthe, Philippe
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Music and Letters 102/2 (May 2021), 394-398
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Slavonic and East European Review 98/2 (April 2020), 366-367]
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Music and Letters 100/1 (February 2019), 145-150
Research Interests: Music History, Jean-Luc Nancy, Giorgio Agamben, Philosophy of Music, Jacques Derrida, and 13 moreMozart, Beethoven, String Quartets, Philosophical Hermeneutics and Music, Music analysis, Haydn, Ludwig van Beethoven, Musical Analysis, Music and philosophy, Piano Concertos, Sonata form, Viennese Classics, and The Classical Style
Slavonic and East European Review 96/2 (April 2018), 355-357
Research Interests: Romanticism, Nineteenth-Century Music, Russian Music, Nineteenth-Century Russian Music, Music Biographies, and 11 moreTchaikovsky, Russian and Soviet Music, Symphony, Romeo and Juliet, Romantic and PostRomantic orchestral music, Symphonic Music, Russian music, 19th and 20th centuries, Music Romanticism, Violin Concerto, Peter Ilyich Tchaikovsky, and Chaikovskii
Slavonic and East European Review 91/4 (Oct 2013), 889-891
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Journal of Aesthetics and Art Criticism 71/2 (May 2013), 217-219
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Psychology of Music 41/4 (July 2013), 519-522
Research Interests: Psychology, Cognitive Psychology, Consciousness (Psychology), Psychology of Music, Music Psychology, and 17 moreAltered States of Consciousness, Phenomenology, Creativity and Consciousness, Consciousness, Phenomenology of the body, Listening (Music), Anthropology of Consciousness, Phenomenology of the Body (Philosophy), Phenomenology of Space and Place, Phenomenology of Temporality, Consciousness Studies, Listening, Social Psychology of Music, Phenomenology of Music Listening, Phenomenology of Music, Consciousness and Creativity, and Applied Psychology of Music
Music and Letters, 94/2 (May 2013), 375-377
Research Interests: Critical Theory, Musicology, Philosophy, Aesthetics, Ethics, and 19 moreApplied Ethics, Deconstruction, Émmanuel Lévinas, Music Aesthetics, Cultural Musicology, Jacques Derrida, Levinas, Critical Musicology, Derrida, Responsibility, Music and Human Values, Philosophy of Music, Music Aesthetics, Music Aesthetics and Philosophy of Music, Music and ethics, Value Judgement, Value of Music, Ethics of Music, Musical Ethics, and Musical Value
British Journal of Aesthetics 52/4 (Oct 2012), 430-434
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Music and Letters, 93/2 (May 2012), 276-280
Research Interests: Music History, Aesthetics, Music Technology, Psychology of Music, Music Psychology, and 27 moreTheodor Adorno, Jean-Luc Nancy, Attention, Walter Benjamin, Philosophy of Music, History of Music Theory, Adorno's Philosophy of Music, Listening (Music), Adorno, Benjamin, Walter, History of Musicology, Music Perception, History of music, Benjamin, Cultural History of Music, Philosophy of Music, Music Aesthetics, Distraction, Listening, Social History of Music and Musicians, Social Psychology of Music, Aesthetics of music, LIstening to music, Aesthetics and Sociology of Music, Musical Arrangement, Peter Szendy, Mozart opera Don Giovanni, and Transcription of Music
Journal of Aesthetics and Art Criticism 69/3 (August 2011), 342-344
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Psychology of Music 39/1 (Jan 2011), 141-144
Research Interests: Musicology, Performing Arts, Psychology of Music, Hermeneutics (Research Methodology), Music Psychology, and 13 moreHermeneutics, Performance Studies (Music), Music Performance, Musical Interpretation, Theory of musical interpretation, Social Psychology of Music, Musical Performance, Psychology of performing music, Music and Psychology, Music and Performing Arts, Interpretation of Music, Hermeneutics of Music, and Hermeneutics of Performance
Music and Letters 92/3 (August 2011), 501-504
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Tempo 64/254 (Oct 2010), 73-76
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Music and Letters 91/3 (August 2010), 467-471
Research Interests: Philosophy, Aesthetics, Psychology of Music, Music Psychology, Jean-Luc Nancy, and 21 morePhenomenology, Edmund Husserl, Philosophy of Music, Music Cognition, Listening (Music), Temporality (Music), Music Perception, Phenomenology of Temporality, Subjectivity, Hearing, Timbre, Philosophy of Music, Music Aesthetics, Listening, LIstening to music, Music and Timbre, Musical temporality, Phenomenology of Music Listening, Musical Timbre, Phenomenology of Music, Jean-Luc Nancy and listening, and The Musical Subject
British Journal of Aesthetics 49/3 (July 2009), 307-310
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Tempo 63/248 (April 2009), 71-73
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Tempo 63/248 (April 2009), 64-66
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Musicae Scientiae 13/1 (Spring 2009), 172-178
Research Interests: Psychology, Musicology, Psychology of Music, Music Psychology, Empirical Musicology, and 14 moreEcological Psychology, Music Cognition, Philosophical Hermeneutics and Music, Listening (Music), Music Perception, Musical Interpretation, Listening, Music and Meaning, Social Psychology of Music, J. J. Gibson, The making of musical meaning, Musical meaning, LIstening to music, and Music and Psychology
Layers of Musical Meaning can be found ‘in the area between structural analysis and musical hermeneutics’ (p. xi). It is an exploration of the bases for an overarching theory of musical objects and their critical interpretation:... more
Layers of Musical Meaning can be found ‘in the area between structural analysis and musical hermeneutics’ (p. xi). It is an exploration of the bases for an overarching theory of musical objects and their critical interpretation: hermeneutics, the tonal implications of melody, cadential theory, rhythm, and form. It focuses on a certain kind of musical object, apart from its performances, and proceeds from the assumption that the right and proper vehicle for musical meaning is the set of grammars that govern musical style, since music lacks the referential dimension of natural language. The design values of the book are excellent, the binding will last a whole lifetime longer than the majority of academic books, and it is printed on expensive paper. The prose is fluent and idiomatic for (presumably) a writer whose first language is not English, and there are an enviable number (400) of carefully designed musical examples. However, Layers of Musical Meaning is a strange book, since it ...
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Research Interests: Digital Interfaces for Composing Artworks (by genre and for new genres), Psychology of Music, Music Psychology, Phenomenology, Gilles Deleuze, and 19 morePhilosophy of Music, Music Aesthetics, Deleuze, Listening (Music), Contemporary Music, Music Perception, Philosophy of Music, Music Aesthetics, Music Aesthetics and Philosophy of Music, Aesthetics of music, LIstening to music, Machines and Music, Deleuze and Guattari, Music Theory, Phenomenology of Music Listening, Phenomenology of Music, Music and Digital Technology, Music Machines, Deleuze and music, Digital technology and music, and Aden Evens
Research Interests: Critical Theory, Musicology, Aesthetics, Theodor Adorno, Jurgen Habermas, and 19 moreDiscourse, Philosophy of Music, Cultural Musicology, Postmodernism, Mahler, Modernism, Gustav Mahler studies, Adorno, Frankfurt School, Critical and Cultural Theory, History of Musicology, Critical Musicology, Habermas, Philosophy of music (Philosophy), Historical Musicology, Jürgen Habermas, Philosophy of Music, Music Aesthetics, Gustav Mahler, and Lawrence Kramer
This third volume of Peter Kivy's collected essays follows The Fine Art of Repetition: Essays in the Philosophy of Music (Cambridge University Press, 1993) and New Essays on Musical Understanding (Oxford University Press, 2001).... more
This third volume of Peter Kivy's collected essays follows The Fine Art of Repetition: Essays in the Philosophy of Music (Cambridge University Press, 1993) and New Essays on Musical Understanding (Oxford University Press, 2001). It contains reflections on issues that continue to interest ...
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In the introduction, Music for Reading, Stephen Benson defines his titular term as follows: literary music refers in the first instance to the self-evident fact that such music [as written about in literature] is by definition... more
In the introduction, Music for Reading, Stephen Benson defines his titular term as follows: literary music refers in the first instance to the self-evident fact that such music [as written about in literature] is by definition literary, a music made by the narrative in which it occurs (p. 4). ...
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Robin Holloway has been composing music and writing about it with equal fluency for over forty years. This handsome and substantial volume of his critical writings, published in 2003 to mark his 60th birthday, brings together some 71... more
Robin Holloway has been composing music and writing about it with equal fluency for over forty years. This handsome and substantial volume of his critical writings, published in 2003 to mark his 60th birthday, brings together some 71 pieces, drawn from a range of journals ...
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British Journal of Aesthetics 45/2 (April 2005), 197-199
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British Journal of Aesthetics 46/3 (Oct 2006), 435-438
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Chapter 1,“Performing through History” by the clarinetist Colin Lawson, presents an overview of the changing contexts of performance during the rise of Western classical music. Weaving together a narrative from remarks about such... more
Chapter 1,“Performing through History” by the clarinetist Colin Lawson, presents an overview of the changing contexts of performance during the rise of Western classical music. Weaving together a narrative from remarks about such disparate subjects as ritual, ...
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This is another book by the author of Stravinsky Inside Out(Yale UP, 2001). The new book turns over some of the same ground as the earlier volume of essays, notably in material on The Flood, and has both a narrower and a wider remit:... more
This is another book by the author of Stravinsky Inside Out(Yale UP, 2001). The new book turns over some of the same ground as the earlier volume of essays, notably in material on The Flood, and has both a narrower and a wider remit: narrower in focusing on only one ...
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Notes 61/2 (Dec 2004), 421-423
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... Right away the variety strikes one. A sketch of the English character, one of amusementarcades and the players that frequent them and an attempt to draw philosophy from the inescapable need represented by the pissoir at a Lyons... more
... Right away the variety strikes one. A sketch of the English character, one of amusementarcades and the players that frequent them and an attempt to draw philosophy from the inescapable need represented by the pissoir at a Lyons Corner ...
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Tempo 57/226 (Oct 2003), 76-79
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British Journal of Aesthetics 44/2 (April 2004), 188-94
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Tempo 57/224 (April 2003), 57-58
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British Journal of Aesthetics 43/2 (April 2003), 194-196
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Tempo 57/223 (Jan 2003), 68-70
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Notes 59/1 (Sept 2002), 55-57
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British Journal of Aesthetics 42/3 (July 2002), 333-335
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Journal of Aesthetics and Art Criticism 60/2 (Spring 2002), 201-203
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Musical Times 143/1879 (Summer 2002), 66-73
Research Interests: Music Theory, Modernism, Serial Music, Music analysis, Musical Modernism, and 12 moreStravinsky, Musical Analysis, Igor Stravinsky, Stravinsky's serial music, Stravinsky's serial compositions, Le sacre du printemps, The Rite of Spring, Joseph Straus, Pitch-class theory, Analysis of Post-tonal music, Joseph N. Strauss, Charles M Joseph, and Peter Hill
British Journal of Aesthetics 41/4 (Oct 2001), 449-451
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Tempo 142/1876 (Autumn 2001), 69-70
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Tempo 217 (July 2001), 46-47
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Music and Letters 82/2 (May 2001), 282-287
Research Interests: Music Theory, Musicology, Authenticity, Cultural Musicology, Performance Studies (Music), and 16 moreMozart, Beethoven, J S Bach, Critical Musicology, Music analysis, History of music, Elliott Carter, Arnold Schoenberg, Cultural History of Music, Social History and Cultural Study of Music, Beaumarchais, Handel, Musical Analysis, Johannes Brahms, Musical philology, and Phenomenology of Musical Performance
Tempo 216 (April 2001), 46-47