Sensing Sound
Singing and Listening as Vibrational Practice
Seiten
2015
Duke University Press (Verlag)
978-0-8223-6046-9 (ISBN)
Duke University Press (Verlag)
978-0-8223-6046-9 (ISBN)
Through an analysis of four contemporary operas, Nina Sun Eidsheim offers a vibrational theory of music that radically re-envisions of how we think about sound, music, and listening by challenging common assumptions about sound, freeing it from a constraining set of fixed concepts and meanings.
In Sensing Sound Nina Sun Eidsheim offers a vibrational theory of music that radically re-envisions how we think about sound, music, and listening. Eidsheim shows how sound, music, and listening are dynamic and contextually dependent, rather than being fixed, knowable, and constant. She uses twenty-first-century operas by Juliana Snapper, Meredith Monk, Christopher Cerrone, and Alba Triana as case studies to challenge common assumptions about sound—such as air being the default medium through which it travels—and to demonstrate the importance a performance's location and reception play in its contingency. By theorizing the voice as an object of knowledge and rejecting the notion of an a priori definition of sound, Eidsheim releases the voice from a constraining set of fixed concepts and meanings. In Eidsheim's theory, music consists of aural, tactile, spatial, physical, material, and vibrational sensations. This expanded definition of music as manifested through material and personal relations suggests that we are all connected to each other in and through sound. Sensing Sound will appeal to readers interested in sound studies, new musicology, contemporary opera, and performance studies.
In Sensing Sound Nina Sun Eidsheim offers a vibrational theory of music that radically re-envisions how we think about sound, music, and listening. Eidsheim shows how sound, music, and listening are dynamic and contextually dependent, rather than being fixed, knowable, and constant. She uses twenty-first-century operas by Juliana Snapper, Meredith Monk, Christopher Cerrone, and Alba Triana as case studies to challenge common assumptions about sound—such as air being the default medium through which it travels—and to demonstrate the importance a performance's location and reception play in its contingency. By theorizing the voice as an object of knowledge and rejecting the notion of an a priori definition of sound, Eidsheim releases the voice from a constraining set of fixed concepts and meanings. In Eidsheim's theory, music consists of aural, tactile, spatial, physical, material, and vibrational sensations. This expanded definition of music as manifested through material and personal relations suggests that we are all connected to each other in and through sound. Sensing Sound will appeal to readers interested in sound studies, new musicology, contemporary opera, and performance studies.
Nina Sun Eidsheim is Assistant Professor of Musicology at the University of California, Los Angeles.
Illustrations viii
Acknowledgments xi
Introduction 1
1. Music's Material Dependency: What Underwater Opera Can Tell Us about Odysseus's Ears 27
2. The Acoustic Mediation of Voice, Self, and Others 58
3. Music as Action: Singing Happens before Sound 95
4. All Voice, All Ears: From the Figure of Sound to the Practice of Music 132
5. Music as a Vibrational Practice: Singing and Listening as Everything and Nothing 154
Notes 187
Bibliography 241
Index 261
| Erscheint lt. Verlag | 11.12.2015 |
|---|---|
| Reihe/Serie | Sign, Storage, Transmission |
| Zusatzinfo | 28 illustrations |
| Verlagsort | North Carolina |
| Sprache | englisch |
| Maße | 152 x 229 mm |
| Gewicht | 522 g |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Allgemeines / Lexika |
| Kunst / Musik / Theater ► Musik ► Klassik / Oper / Musical | |
| Kunst / Musik / Theater ► Musik ► Musiktheorie / Musiklehre | |
| ISBN-10 | 0-8223-6046-2 / 0822360462 |
| ISBN-13 | 978-0-8223-6046-9 / 9780822360469 |
| Zustand | Neuware |
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