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Lookup NU author(s): Professor David Clarke
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Complementing the 2011 publication Music and Consciousness: Philosophical, Psychological and Cultural Perspectives, this edited volume of seventeen essays with an introduction, is organized into three sections. The chapters in section one (‘Music, Consciousness, and the Four Es’) question the assumption that consciousness is a matter of what is going on in individual brains, and investigate the ways in which musical consciousness arises through our embodied experience, is embedded in our social and cultural existence, extends out into world, and is manifested as we enact our relationships with and in it. Section two ('Consciousness in Musical Practice') engages with music as a corporeal and culturally embedded practice, conjoining individuals in the social sphere, and extending consciousness across actual and virtual spaces. The chapters in this section explore composition, improvisation, performance and listening as practices, and consider how music, a paradigmatic example of meaningful action, reveals consciousness as grounded in doing, as well as being. Section three (‘Kinds of Musical Consciousness’) considers the nature of consciousness under a wide range of musical situations. The chapters in this section seek to deconstruct any invidious distinction between everyday and altered states of consciousness, suggesting that, through the manifold range of experiences it affords, music discloses consciousness across a phenomenological continuum encompassing multiple modalities. Taken as a whole, the volume exemplifies many fertile ways in which music studies can draw upon and contribute to larger debates about consciousness more generally.
Editor(s): Herbert R, Clarke E, Clarke D
Series Editor(s): Herbert R, Clarke D, Clarke E
Publication type: Edited Book
Publication status: Published
Number of Pages: 352
Print publication date: 15/04/2019
Acceptance date: 20/07/2017
Publisher: Oxford University Press
Place Published: Oxford
Notes: This book will comprise c. 20 edited chapters. My role here is as co-editor and author (of a chapter on music and pheonmenology, and jointly of the preface to the volume). At the time of writing (October 2018) the book is entering the copy editing stage with OUP; it is scheulded to be published by mid-2019.
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