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Experience and Meaning in Music Performance

Experience and Meaning in Music Performance Daphne Leong Experience and Meaning in Music Performance tackles deep questions about embodied experience and meaning construction, culturally mediated, in music performance. Though the collection is loosely knit, themes of embodiment and entrainment run through its essays. The book explores musics in cultures not well represented in the music-theoretical literature--North Indian, Afro-Brazilian, and Manitoban aboriginal--and investigates practices in alternative rock and jazz. Its interdisciplinary perspectives are illuminating. Ethnography grounds all of the book's essays, joining with approaches from the fields of cognition, ecological psychology, gesture studies, philosophy, sociology, and music theory, and including empirical methods. After an introduction, the book's eight chapters nest in pairs (Example 1)--a structure not mentioned by the editors. My follows this structure, moving from the outermost pair toward the inner chapters. It is largely descriptive, with a critical focus on chapters 4 and 7. The framing chapters, chapter 2 by Martin Clayton and chapter 9 by Clayton and Laura Leante, survey literature on entrainment and embodied cognition and explore these topics' interaction with musical ethnography. Chapter 2 argues for a synthesis of dynamical systems theory and ethnomusicological perspectives. It construes performers, with regard to entrainment, as both volitional and subject to the principles http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Experience and Meaning in Music Performance

Leong, Daphne
Journal of Music Theory , Volume 59 (2) – Oct 1, 2015
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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-3136066
Publisher site
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Abstract

Daphne Leong Experience and Meaning in Music Performance tackles deep questions about embodied experience and meaning construction, culturally mediated, in music performance. Though the collection is loosely knit, themes of embodiment and entrainment run through its essays. The book explores musics in cultures not well represented in the music-theoretical literature--North Indian, Afro-Brazilian, and Manitoban aboriginal--and investigates practices in alternative rock and jazz. Its interdisciplinary perspectives are illuminating. Ethnography grounds all of the book's essays, joining with approaches from the fields of cognition, ecological psychology, gesture studies, philosophy, sociology, and music theory, and including empirical methods. After an introduction, the book's eight chapters nest in pairs (Example 1)--a structure not mentioned by the editors. My follows this structure, moving from the outermost pair toward the inner chapters. It is largely descriptive, with a critical focus on chapters 4 and 7. The framing chapters, chapter 2 by Martin Clayton and chapter 9 by Clayton and Laura Leante, survey literature on entrainment and embodied cognition and explore these topics' interaction with musical ethnography. Chapter 2 argues for a synthesis of dynamical systems theory and ethnomusicological perspectives. It construes performers, with regard to entrainment, as both volitional and subject to the principles

Journal

Journal of Music Theory – Duke University Press

Published: Oct 1, 2015

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