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How does the immediate experience of musical sound relate to processes of meaning construction and discursive mediation?This question lies at the heart of the studies presented in Experience and Meaning in Music Performance, a unique multi-authored work that both draws on and contributes to current debates in a wide range of disciplines, including ethnomusicology, musicology, psychology, and cognitive science. Addressing a wide range of musical practices from Indian raga and Afro-Brazilian Congado rituals to jazz, rock, and Canadian aboriginal fiddling, the coherence of this study is underpinned by its three main themes: experience, meaning, and performance. Central to all of the studies are moments of performance: those junctures when sound and meaning are actually produced. Experience-what people do, and what they feel, while engaging in music-is equally important. And considered alongside these is meaning: what people put into a performance, what they (and others) get out of it, and, more broadly, how discourses shape performances and experiences of music. In tracing trajectories from moments of musical execution, this volume a novel and productive view of how cultural practice relates to the experience and meaning of musical performance.A model of interdisciplinary study, and including access to an array of audio-visual materials available on an extensive companion website, Experience and Meaning in Music Performance is essential reading for scholars and students of ethnomusicology and music psychology.

Music --- Ethnomusicology --- Performance --- Philosophy and aesthetics --- Music - Performance - Philosophy and aesthetics --- Ethnomusicology. --- Comparative musicology --- Ethnology --- Musicology --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Philosophy and aesthetics.

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The aim of the psychology of music is to understand musical phoneomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music. Since the First Edition of "The Psychology of Music" was published the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology due to several factors. The opportunity to generate, analyze, and transform sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but rather is available to individual investigators on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the first edition was written, are now quite common to a large extent now speaking a common language and agreeing on basic philosophical issues. "The Psychology of Music," Second Edition has been completely revised to bring the reader the most up-to-date information, additional subject matter, and new contributors to incorporate all of these important variables. The book is intended as a comprehensive reference source for both musicians and psychologists.

Music --- Musique --- Psychology --- Psychologie --- Psychological aspects --- 159.9:7 --- -#PBIB:2002.1 --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Psychologie van de kunst --- Psychological aspects. --- 159.9:7 Psychologie van de kunst --- #PBIB:2002.1 --- Music psychology --- Music Philosophy --- Music, Dance, Drama & Film --- Music - Psychological aspects

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Conflict management. --- Music --- Conflict control --- Conflict resolution --- Dispute settlement --- Management of conflict --- Managing conflict --- Management --- Negotiation --- Problem solving --- Social conflict --- Crisis management --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Social aspects --- History --- Social aspects. --- Music and society --- Polemology --- Ethnology. Cultural anthropology --- oorlogen --- conflicthantering --- muziekgeschiedenis --- Conflict management --- Music - Social aspects

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This book offers an interdisciplinary study of hip-hop music written and performed by rappers who happen to be out black gay men. It examines the storytelling mechanisms of gay themed lyrics, and how these form protests and become enabling tools for (black) gay men to discuss issues such as living on the down-low and HIV/AIDS. It considers how the biased promotion of feminised gay male artists/characters in mainstream entertainment industry has rendered masculinity an exclusively male heterosexual property, providing a representational framework for men to identify with a form of “homosexual masculinity” – one that is constructed without having to either victimise anything feminine or necessarily convert to femininity. The book makes a strong case that it is possible for individuals (like gay rappers) to perform masculinity against masculinity, and open up a new way of striving for gender equality.

Queer theory. --- Music. --- Gender identity. --- Culture. --- Gender. --- Queer Theory. --- Gender and Sexuality. --- Culture and Gender. --- Cultural sociology --- Culture --- Sociology of culture --- Civilization --- Popular culture --- Sex identity (Gender identity) --- Sexual identity (Gender identity) --- Identity (Psychology) --- Sex (Psychology) --- Queer theory --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Gender identity --- Social aspects --- Rap musicians --- Musicians, Black --- Gay musicians --- Music - Social aspects --- Rap (Music) --- Masculinity in music --- Gender dysphoria --- Music

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In Theology as Improvisation , Nathan Crawford reimagines the possibilities for how theology thinks God within a postmodern world. He argues that theology is improvisation by analyzing the nature of attunement within theological thinking and how this opens certain possibilities for theology. He does so by engaging a number of thinkers, including Martin Heidegger, Jacques Derrida, David Tracy, and Saint Augustine. He navigates the nature of thinking God in a postmodern world by using these thinkers to offer critiques of onto-theological thinking and totalizing systems while also following their embrace of the fragment and focus upon the nature of thinking as attunement. The result is a unique way of approaching theological thinking in our contemporary context.

Theology. --- Music --- RELIGION / Christian Theology / Systematic --- RELIGION / Christianity / General --- Christian theology --- Theology --- Theology, Christian --- Christianity --- Religion --- Religious aspects --- Christianity. --- 2:001 --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- 2:001 Theologie als wetenschap. Studie en methode van de theologie --- Theologie als wetenschap. Studie en methode van de theologie --- Religious aspects&delete& --- Music - Religious aspects - Christianity