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"Musical aesthetics"
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Aesthetic technologies of modernity, subjectivity, and nature
Virginia Woolf famously claimed that, around December 1910, human character changed. Aesthetic Technologies addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the new century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas—cultural, social, and personal—associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking transformation. The book considers the sound/vision world of modernity filtered through the lens of aesthetic modernism and rapid technological change, and the impact of both, experienced with the prescient sense that there could be no turning back.
eBook
Ubiquitous listening
How does the constant presence of music in modern life - on iPods, in shops and elevators, on television - affect the way we listen? In this title, the author investigates many sounds that surround us and argues that this ubiquity has led to different kinds of listening.
eBook
Interactions Between the Nucleus Accumbens and Auditory Cortices Predict Music Reward Value
We used functional magnetic resonance imaging to investigate neural processes when music gains reward value the first time it is heard. The degree of activity in the mesolimbic striatal regions, especially the nucleus accumbens, during music listening was the best predictor of the amount listeners were willing to spend on previously unheard music in an auction paradigm. Importantly, the auditory cortices, amygdala, and ventromedial prefrontal regions showed increased activity during listening conditions requiring valuation, but did not predict reward value, which was instead predicted by increasing functional connectivity of these regions with the nucleus accumbens as the reward value increased. Thus, aesthetic rewards arise from the interaction between mesolimbic reward circuitry and cortical networks involved in perceptual analysis and valuation.
Journal Article
Groove : a phenomenology of rhythmic nuance
\"Written by an experienced drummer and philosopher, Groove is a vivid and exciting study of one of music's most central and relatively unexplored aspects. Tiger C. Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music's pulsations. By invoking the French philosopher Maurice Merleau-Ponty's notion of \"motor intentionality,\" Roholt shows that the \"feel\" of a groove, and the understanding of it, are two sides of a coin: to \"get\" a groove just is to comprehend it bodily and to feel that embodied comprehension\"-- Provided by publisher.
Book
From perception to pleasure: Music and its neural substrates
Music has existed in human societies since prehistory, perhaps because it allows expression and regulation of emotion and evokes pleasure. In this review, we present findings from cognitive neuroscience that bear on the question of how we get from perception of sound patterns to pleasurable responses. First, we identify some of the auditory cortical circuits that are responsible for encoding and storing tonal patterns and discuss evidence that cortical loops between auditory and frontal cortices are important for maintaining musical information in working memory and for the recognition of structural regularities in musical patterns, which then lead to expectancies. Second, we review evidence concerning the mesolimbic striatal system and its involvement in reward, motivation, and pleasure in other domains. Recent data indicate that this dopaminergic system mediates pleasure associated with music; specifically, reward value for music can be coded by activity levels in the nucleus accumbens, whose functional connectivity with auditory and frontal areas increases as a function of increasing musical reward. We propose that pleasure in music arises from interactions between cortical loops that enable predictions and expectancies to emerge from sound patterns and subcortical systems responsible for reward and valuation.
Journal Article
A theory of virtual agency for Western art music
1. This book draws on theories of musical gesture and emotion to develop the first comprehensive theory of virtual musical agency in Western art music. It uses examples from tonal music of well-known Western composers. 2. The work of a mature scholar, this book represents the culmination of a scholarly career studying the theory of agency in music and compliments the other two books by Robert Hatten published by IUP. 3. The author is internationally known as a leading scholar in the field of music theory and also serves as the well-respected and very active editor for our Musical Meaning and Interpretation series.
eBook