The Oxford Handbook of Sound and Imagination, Volume 2 (Oxford Handbooks)

Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true forthe role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors address this tendency head-on, correcting the currentbias towards visual imagination to instead highlight the many forms of sonic and musical imagination. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination inarchitectural design; and the design of sound artifacts for cinema and computer games. Cover The Oxford Handbook of SOUND AND IMAGINATION, VOLUME 1 Copyright Contents Acknowledgments Contributors The Companion Website Introduction: Volume 1 The Chapters Foundations Society and Identity Language Image Space and Place Reference Part I: FOUNDATIONS Chapter 1: Imagining Sound as the Absolute: The Case of Sarangadeva Introduction Explaining Sarangadeva Questioning Sarangadeva Imagining Sound as the Absolute Conclusion Notes References Chapter 2: The Sensation of Sound and Imagination in a Historical Perspective Introduction Sensation in Early Empirical Psychology Kant on Sensation, Imagination, and Music Changes in Musicological Imaginations The Early Experimental Psychology The Role of Sound and Music in Wundt’s Laboratory Sound as Sensed Relations Sound and Unconscious Imaginations Conclusions References Chapter 3: Imagining the Sounds Themselves Introduction Defining the Sounds Themselves On the Physicality of Sound Cochlear Sounds Somatic Sounds Crossmodal Sounds Neurological Sounds On the Physicality of the Sounds Themselves On the Nonphysicality of the Sounds Themselves Meaningful Sounds Worldly Sounds Scientific Limits of Sound The Auditory Imaginary Imagining the Sounds Themselves The Phenomenal Causality of Sound A Phenomenal Conclusion Notes References Chapter 4: Auditory Imagination: A Phenomenological Perspective Introduction Conceptual Clarifications: “Phenomenology” and “Sounds” The “Phenomenology” Used in This Approach Essential Tools of Phenomenology Problems with “Sounds” Modes of Hearing and Their Correlated Objects Phenomenological Explorations of Auditory Imagination An Analysis of Imagination as a Type of Intuitive Experience Weak Auditory Imagination An Analysis of Audialization Applications: Auditory Imagination, the Hidden Mind, and Intersubjectivity The Inner Voice and the Illusion of the Hidden Mind Auditory Imagination in Making Music Together Auditory Imagination in Solitary Composing and Arranging Auditory Imagination in Solitary Practice and Joint Rehearsing Auditory Imagination in Joint Performing Main Results of This Chapter Notes References Chapter 5: The Necessity of Vagueness and Ambiguity to the Imagining of Sound Introduction Vagueness and Ambiguity Vagueness Ambiguity The Necessity of Vagueness and Ambiguity to the Imagining of Sound Concluding Remarks Notes References Chapter 6: Listening and/as Imagination Introduction Noise, Music, and Imagination Compression and Imagination Musica Mobilis and Imagination The Inaudible and Imagination The Audible and Imagination Conclusion—Sonic Imagination Notes References Chapter 7: Imagination, Multimodality, and Sound Introduction Perception and Imagination Sensory Vacuum and Evocative Power Mediality and Multimodal Articulation Sonic Individuation and Interaction Disposition Final Remarks Notes References Chapter 8: Some Anticipatory, Kinesthetic, and Dynamic Aspects of Auditory Imagery Introduction Involuntary Auditory Imagery Anticipatory Musical Imagery Notational Audiation Earworms Auditory Verbal Hallucinations Synesthesia Inner Ear and Inner Voice Inner Speech Reading Text Nonvocal Timbre Musical Practice and Performance Practice Performance Auditory Imagery and Dynamic Representation Activity and Functional Continuity Properties of Dynamic Representation Conclusions Notes References Part II: SOCIETY AND IDENTITY Chapter 9: Into the Sounds of War: Imagination, Media, and Experience Introduction The Sounds of World War I: Distance and Mediation Voices of War: Intimate, Recreative, and Ideological Wooden Crosses: Sound Testimony and Sonic Fidelity in Early Film Sonic Visibility, Sonic Invisibility: From Disfigurement to Shell Shock The Sound of Arabian Adventures Epilogue: “I didn’t even know there was a War” (Leonard Cohen) Notes References Chapter 10: Shifting Metaphors in the Conceptualization of Musical Knowledge and Learning Introduction Types of Knowledge Objectivist and Constructivist Epistemologies Objectivism—Knowledge as Presets and Templates Constructivism—Knowledge as Construction and Exploration Shifting Metaphors: From Monologue to Dialogue and Beyond Self-Regulated Learning—Being One’s Own Teacher Social Constructivism and Sociocultural Learning Theory—Collaborative Learning Apprenticeship Learning—Landscapes of Learning Root Metaphors for Learning Acquistional Metaphors Participational Metaphors Problems with Both Acquisitional and Participational Metaphors Artifactual Metaphors Material Metaphors Conclusion References Chapter 11: Fantasy Control: Implications for Distributed Imagination and Affect Attunement in Music and Sound Introduction Fantasy Imagined One Man’s Land Self and Other The Role of Affect Attunement for the Ontological Expansion of the Soundscape Control of Imagination Music Archives Places and Contexts Identifications—Personal and Collective Metaphorical Projection Affect Attunement Notes on a Case Study: Control of Sonic Imagination among Participants in a Swedish Music Association Summary Notes References Chapter 12: Musical Preferences and the Imagined Self Introduction Understanding Musical Preferences Developing Music Preferences Communicating through Music Preferences Concluding Thoughts References Chapter 13: Burmese Spirit Worship: Music as a Medium for the Transformation of Self Introduction Forms of Consciousness Music as Facilitating Self-Transformation The Burmese Nat Pwe The Setting The Music of the Nat Pwe The Nat Gadaw, Trance Consciousness, and Neuroscience Damasio’s Theory of the Autobiographical Self Conclusion Note References Chapter 14: Opera and the South African Political Introduction Sounding, Imagining, Meaning Vocality and Meaning: Two Interviews Loppert Interview Madlala Interview Convergences: A Conclusion Notes References Chapter 15: Noise and Tranquility at Stonehenge: The Political Acoustics of Cultural Heritage Introduction A Sensory Order New Dawn A Noisy Place “Tranquility” Tranquility as Cultural Heritage Painting Tranquility Writing Silence A Calming Cultural Heritage The Two Sides of Silence Notes References Chapter 16: The Sonic Abject: Sound and Violence in the Legal Imagination Introduction On the Edge—Music and Sound in Julia Kristeva’s Work The Silence of the Law Conclusion References Chapter 17: Building Worlds Together with Sound and Music: Imagination as an Active Engagement between Ourselves Introduction The Foundations of Shared Worlds Imagination as Joint Engagement Case Example 1: Listening and Imagining in a Group Case Example 2: Virtual Environments for Shared Imagining Conclusions Notes References Chapter 18: Sonic Branding: From Brand Image to Brand Imagination Introduction to Sonic Branding: What’s the Consumer Got to Do with It? The Centrality of the “Unmanageable” Consumer to the Scattered Sonic Branding Field The Role of the Consumer—Spectator of a Brand Image or Cocreator of Brand Meaning? The Role of Imagination in Relation to the Quality and Locus of Music in Sonic Branding The Role of the Consumer—Turning Everyday Insights and Imagination into Sonic Branding Theory via Ethnography and the Platform Metaphor Conclusion: The Important Role of Consumers When Introducing the Platform Metaphor in Sonic Branding References Chapter 19: Radio Imaginaries: Music, Space, and Broadcasting in the 1950s Introduction Radio as Assemblage Radio Listening, Cocreation, and Imagined Communities Sound and Spatial Imaginaries FM and the Control of Radio Sound (Microsocial Imaginaries) Sounds of Africa (Macrosocial Imaginaries) Mediating between Micro- and Macro-social Radio Imaginaries Conclusions Notes References Part III: LANGUAGE Chapter 20: Audio Inside the Mind: The Poetics of Sound Electric Language Listener as Maker Time and Space Experience Reborn Radio as Poetry “In One Circle Bound” Notes References Further Reading Chapter 21: The Acoustic Imaginations of East Asia Introduction The “Sinosphere” Writing Systems of East Asia Chinese Writing as Aural Medium Writing in Japan and Korea Sound Symbolism Sound and the Numinous, Sound as Physical Phenomenon The Acoustic Imagination in East Asian Literature Chinese Poetry Heian Vernacular Fiction Haikai Poetics Nineteenth-Century Chinese Martial Arts Fiction Manga In Lieu of a Conclusion Notes References Chapter 22: Imagining Sonic Stories Introduction Narrative Listening Imagining Narratives Unimagined Stories Notes References Chapter 23: Sound Quality, Language, and Cognitive Metaphors Introduction “To Explain What I Mean, Here Is a Sound Example” Language, Metaphors, and Image Schemas Sound Quality and Embodied Sensory-Motor Experience Sound Quality Descriptors in Context Language and Our Cognitive System Summary of Main Points Notes References Chapter 24: Speech, Sound, Technology Introduction The Physical Voice Pitch Range Loudness Rough, Breathy, and Trembling Voices Articulation The Social Voice The Technologically Enhanced Voice Enhancing Pitch and Pitch Range Enhancing Loudness Noise: Enhancing Tension, Roughness, and Breathiness Enhancing Vibrato Enhancing Articulation and Acoustics Recreating Technological Experience Extraexperiential Sound Conclusion Notes References Chapter 25: Divergent Images of Early Sound Experience during Infancy and Early Childhood Introduction Sonic Beginnings from Developmental Psychology Communicative Musicality The Culturally Embedded Nature of Musicality Primordial Auditory Experience and Psychoanalysis The Precariousness of Identity and Early Auditory Experience The Emerging Self and the Sonorous Envelope Concluding Comments References Part IV: IMAGE Chapter 26: The Aural Dimension in Comic Art Introduction The Struggle for a Definition A Multimedial, Multimodal, Multisensory Form The Three Layers of Perception in Comics Layer of Spatial Understanding Layer of Temporal Understanding Layer of Actual or Suggested Sensoriality: The Five Senses in Comics Aural Imagination in Comics: Preliminary Remarks Seeing the Sounds Hearing the Silence On Comics Lettering General Remarks Lettering from Early to Modern Comics Word Balloon Graphic Onomatopoeias: The Visual Output of Noises in Comics The Role of Onomatopoeias for Aural Imagination in Comics Big Noises, Small Noises, Generic Sound Effects Onomatopoeias in Borderline “Comics” Music in Comics Suggesting the Sound: Visual Allusion and Auditory Illusion Conclusion Notes References Further Reading Chapter 27: Sound, Museums, and the Modulation of the Imagination Introduction Imagination, Disruption, and Decay Memory, Immersion, and the Imagination Dialogue, Frequency Masking, and Drowning in Sound Synchronization, Sound, and Movement A Final Sounding: Isolation or Modulation? Note References Online Resources Chapter 28: Cinema as Social Knowledge: The Case of the Beatles in the Studio Introduction: The Beatles at Abbey Road as a New Paradigm Talking Movies Sound Editing and Manipulation in Hollywood The Frames of the Talkie Experience Cinema as Teacher and Cultural Messenger Recorded Media as Instructors Understanding the Beatles ’Productions Thanks to Cinema The Beatles, Their Sound(s), and Their Imagination Notes References Chapter 29: Concerning the Iconic Signification of Music in Cinema Introduction Codes and Connotations Mechanical Reproduction Emotion Inherent Ambiguity The Case of Casablanca Cultural Reconfiguration Ideological Service Conclusion Notes References Chapter 30: Embodied Listening: A Moving Dimension of Imagination Introduction Interpreting Nicolas Becker’s Artistic Practice A Short Introduction in (Film) Phenomenology The Tactile-Kinesthetic Body Has a Kinesthetic Memory Based on a Kinesthetic Experience Thinking in Movement as Our Primary Way of Making Sense of the World “Thinking in Movement” and “Non-Object-Directed Sensations of Sound” Imagining a Sounding Object: A Case Study Creating an Imagined World through Sounds and Gestures A Lived Body in a Lived World and the Given Body Schema Co-Acting to Feel and Thus to “Understand” “Plutôt sentir que comprendre le son” Creating an Audible Imagined “Lived World” Case Study: The Auditory Landscape in Türelem (2007) by Lázsló Nemes Creating an Artificial Body Schema Nonexisting Worlds Created or Evoked through a Forging of Sound and Images Conclusion Notes References Chapter 31: The Listener’s Choice: The Sounds of Music, Meanings, and Measurements Introduction Hearing Music, Imagining Sounds Hearing Meaning, Imagining Visuals Hearing Characters, Imagining Truth Hearing Sounds, or Imagining To Notes References Part V: SPACE AND PLACE Chapter 32: Imagining Acoustic Spaces through Listening and Acoustic Ecology Listening Imagining with Casey: Visual and Auditory Imagination Traits of Imagining and the Creative Imagination The Virtuality of Electroacoustic Music Listening, Imagination, and Memory The Perception of Acoustic Space Listening in Embedded Electroacoustic Spaces Listening, Imagination, and the Acoustic Community The Electroacoustic Community Conclusion References Chapter 33: Presence, Environment, and Sound and the Role of Imagination Introduction Sonic Virtuality Environment, Presence, and Perceptual Hypotheses Imagination, Sound, and Presence The Environments of Salient Worlds: Two Examples An Actual Salient World A Virtual Salient World In Conclusion Notes References Chapter 34: Music Places: Imaginative Transports of Listening Introduction Place and the Lived Body Imagination and Imaginative Placing Imagination and Listening Music Places: Imaginative Transports of Listening Music Places: My Listenings Concluding Thoughts Notes References Chapter 35: Beacons of Sound Introduction Some Historical Implications Emancipation of Organized Sound The Concert Hall and the Symphony Orchestra as a World of Its Own The Latecomers From an Overruled Community-Based Vision to a Public Rescue Operation From Music as a Sounding Art to the Sound of the Music Exposing the Past in High Fidelity Some Final Remarks Notes References Chapter 36: The Sound of an Endless Column: How Music Imagines Unimaginable Space Introduction Mapping Space and Motion onto Musical Sound: Empirical Research Auditory Mappings of Spatial Position and Movement Direction Elevation and Motion in the Vertical Plane Lateral Position and Direction Distance from Observer Speed and Velocity Spatial Magnitude (Size, Length, Distance) Shape Differing Perspectives, Conflicting Mappings An Endless Column Differing Perspectives in Ligeti’s Endless Column The “Neutral” View: Depicting Infinite Magnitude Paradoxical Rises The Top: Faraway, So Close! Music-Space Correspondences: Research, Composition, and Analysis Notes References Chapter 37: Auditory Mirrors: About the Politics of Hearing Introduction Musical Neo-Avant-Garde Art as Social Interaction Work, Process, Imagination Musical Avant-Garde Positions at the End of the Twentieth Century Sound Projection in Musical Space Spaces of the Past, Inner Spaces On the Musical Discovery of Public Space Resumé: Reflection and Mindfulness as Aesthetic-Political Practices Notes References Chapter 38: What You Hear Is Where You Are Introduction Reality Is a Cognitive Construct The Brain and Mind Create Meaningful Realities Sensory Perception Provides the Building Blocks of our Realities Sonic Stimuli Provide Significant Information Ways in Which Sound Contributes to Our Cognitive Realities Hearing Is a Basic Connection to What Is Happening in the External World Binaural Hearing Tells the Eyes Where to Look and Distance and Movement A Big Sound Is Powerful, Dominant, and Dangerous: Sound Is Physical Energy Sound Claims Territory Sound and Emotions Neural Binding Problem Synaptic Plasticity Sonic Branding Auditory Attentional Associations Eventscapes Communicate Locational and Behavioral Cues We Can Read a Space Using Reverberation Cues We Are Social Animals Who Rely on Our Ability to Hear Speech Creative Cognitive Processing: Putting Together the Pieces into a Functioning Whole Disconnection and Dissociation—Creativity and Imagination A Continuum of Imagined Aural-Dominant Realities Focus Determines Which Cognitive Reality Will Prevail Examples of Aural-Dominant Realities Music Telephone Storytelling Conclusion References Chapter 39: Bridging the Other-Real: Video Game Sound and the Imagination Introduction Sonic Virtuality and Emergent Perception The Imagination from an Emergent Perspective Imagination and Digital Games The Virtual, the Real, the Other-Real, and the Unreal Sonic Virtuality and the Role of the Imagination in Video Game Sound Some Conclusions References Index Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games. Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity0or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination0holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games The Oxford Handbook of Sound and Imagination is a two-volume anthology that covers the topic of imagination in the context of sound and music. There are 70 chapters in 10 parts across two volumes that present thinking and research on the topic from a broad multi-disciplinary perspective, and the fields of study represented include (but are not limited to): music (composition, improvisation, philosophy, therapy, and so forth); sound studies; acoustics and bioacoustics; cognition and neurology; psychology; literature, poetry, and comics; heritage studies; anthropology; branding and advertising; audio technology; film studies; computer games and virtual reality; and aesthetics. Volume 1 of the handbook contains 39 chapters organized across five parts (Foundations; Society and Identity; Language; Image; and Space and Place)