Feeling sound
| dc.cclicence | N/A | en |
| dc.contributor.author | Emmerson, Simon | en |
| dc.date.accessioned | 2018-10-30T14:15:43Z | |
| dc.date.available | 2018-10-30T14:15:43Z | |
| dc.date.issued | 2018 | |
| dc.description.abstract | I have been listening to electronically produced and mediated music for about 45 years and I can clearly recall the thrill of early performances I attended, broadcasts and recordings I listened to. What was it that attracted me to this new soundworld? How would I describe the sensations (both physical and emotional) that such sound elicited then and still does now? On some of these occasions I would describe my response as ‘transcendental’. My aim in this chapter is to encourage a vocabulary of describing responses to electroacoustic sound – in this I treat the perception system and the body as inseparable; the psychology of being thrilled is clearly not just a mental act but profoundly embodied. I will focus on music made with technology, whether in studios or produced live, and that is finally heard through loudspeakers – ‘electroacoustic’ sound. | en |
| dc.funder | N/A | en |
| dc.identifier.citation | Emmerson, S. (2018) Feeling sound. In: Music Analysis and the Body: Experiments, Explorations and Embodiments (Nicholas Reyland, Becky Thumpston eds.), Leuven: Peeters. Leuven Studies in Musicology 6. pp. 191-208 | en |
| dc.identifier.isbn | 9789042936416 | |
| dc.identifier.uri | http://hdl.handle.net/2086/16897 | |
| dc.peerreviewed | Yes | en |
| dc.projectid | N/A | en |
| dc.publisher | Peeters | en |
| dc.researchgroup | Music Technology and Innovation - Institute for Sonic Creativity (MTI2) | en |
| dc.researchinstitute | Music, Technology and Innovation - Institute for Sonic Creativity (MTI2) | en |
| dc.title | Feeling sound | en |
| dc.type | Book chapter | en |
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