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Music: seeing and feeling with the ears

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter (peer-reviewed)

Published

Standard

Music: seeing and feeling with the ears. / Marsden, Alan Alexander; Leadbeater, Richard.

Sensory Arts and Design. ed. / Ian Heywood. London : Bloomsbury, 2017. p. 157-171.

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter (peer-reviewed)

Harvard

Marsden, AA & Leadbeater, R 2017, Music: seeing and feeling with the ears. in I Heywood (ed.), Sensory Arts and Design. Bloomsbury, London, pp. 157-171.

APA

Marsden, A. A., & Leadbeater, R. (2017). Music: seeing and feeling with the ears. In I. Heywood (Ed.), Sensory Arts and Design (pp. 157-171). Bloomsbury.

Vancouver

Marsden AA, Leadbeater R. Music: seeing and feeling with the ears. In Heywood I, editor, Sensory Arts and Design. London: Bloomsbury. 2017. p. 157-171

Author

Marsden, Alan Alexander ; Leadbeater, Richard. / Music: seeing and feeling with the ears. Sensory Arts and Design. editor / Ian Heywood. London : Bloomsbury, 2017. pp. 157-171

Bibtex

@inbook{a73a2f007c6b46138f7080969aa97358,
title = "Music: seeing and feeling with the ears",
abstract = "There is more to the experience of music than sound. Listeners commonly report that music takes them to {\textquoteleft}another place{\textquoteright}. Music is frequently described to {\textquoteleft}move{\textquoteright} and the elements of a piece of music take on the status of a kind of mobile object. Sensations of light, space, size and weight are described by listeners. Three different sources of first-hand accounts of music-listening experiences are used in this chapter: the on-line Listening Experience Database extracted from various published sources (often diaries); Strong Experiences of Music, an interview-based study by Alf Gabrielsson; and interviews conducted for the second author's PhD thesis Magpies and Mirrors. We propose explanations for these non-sonic experiences on the basis of memory, metaphor, motion cognition, and sounding objects and environments (real and imagined). We conclude that, through these mechanisms, music recruits other sensory modalities in building a compelling affective environment.",
keywords = "Music, Sound, Listening, Experience, Affect , Sensory modalities",
author = "Marsden, {Alan Alexander} and Richard Leadbeater",
year = "2017",
language = "English",
isbn = "978147428019",
pages = "157--171",
editor = "Ian Heywood",
booktitle = "Sensory Arts and Design",
publisher = "Bloomsbury",

}

RIS

TY - CHAP

T1 - Music: seeing and feeling with the ears

AU - Marsden, Alan Alexander

AU - Leadbeater, Richard

PY - 2017

Y1 - 2017

N2 - There is more to the experience of music than sound. Listeners commonly report that music takes them to ‘another place’. Music is frequently described to ‘move’ and the elements of a piece of music take on the status of a kind of mobile object. Sensations of light, space, size and weight are described by listeners. Three different sources of first-hand accounts of music-listening experiences are used in this chapter: the on-line Listening Experience Database extracted from various published sources (often diaries); Strong Experiences of Music, an interview-based study by Alf Gabrielsson; and interviews conducted for the second author's PhD thesis Magpies and Mirrors. We propose explanations for these non-sonic experiences on the basis of memory, metaphor, motion cognition, and sounding objects and environments (real and imagined). We conclude that, through these mechanisms, music recruits other sensory modalities in building a compelling affective environment.

AB - There is more to the experience of music than sound. Listeners commonly report that music takes them to ‘another place’. Music is frequently described to ‘move’ and the elements of a piece of music take on the status of a kind of mobile object. Sensations of light, space, size and weight are described by listeners. Three different sources of first-hand accounts of music-listening experiences are used in this chapter: the on-line Listening Experience Database extracted from various published sources (often diaries); Strong Experiences of Music, an interview-based study by Alf Gabrielsson; and interviews conducted for the second author's PhD thesis Magpies and Mirrors. We propose explanations for these non-sonic experiences on the basis of memory, metaphor, motion cognition, and sounding objects and environments (real and imagined). We conclude that, through these mechanisms, music recruits other sensory modalities in building a compelling affective environment.

KW - Music

KW - Sound

KW - Listening

KW - Experience

KW - Affect

KW - Sensory modalities

M3 - Chapter (peer-reviewed)

SN - 978147428019

SP - 157

EP - 171

BT - Sensory Arts and Design

A2 - Heywood, Ian

PB - Bloomsbury

CY - London

ER -