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Informationen zum Autor Mark Grimshaw-Aagaard is Obel Professor of Music at Aalborg University, Denmark. He has published widely across subjects as diverse as sound, biofeedback in computer games, virtuality, the Uncanny Valley, and IT systems and also writes free, open source software for virtual research environments (WIKINDX). Mark is series editor for the Palgrave Macmillan series Studies in Sound, and his books include the anthologies Game Sound Technology & Player Interaction (2011) and The Oxford Handbook of Virtuality (OUP 2014), and, with co-author Tom Garner, a monograph entitled Sonic Virtuality (OUP 2015).Mads Walther-Hansen is Associate Professor and head of the Music Programme at Aalborg University, Denmark. He writes on music listening, music production, sound technology, and sound analysis, and he has published several articles, chapters, and conference papers on cognition and language in relation to music production that examines the conceptualization of sound and the effect of recording technology on the listening experience.Martin Knakkergaard is Senior Lecturer in the Music Programme at Aaborg University, Denmark. He is currently the leader of the Obel Music Project and was former head of the Music Programme at Aalborg University for more than 12 years. His research interests are primarily within the field of Music Technology. Martin has in recent years turned towards the study of musicological questions of a more fundamental nature. He is also the editor of the Danish Dictionary of Music, Gads Musikleksikon (2003 and 2005) and editor of the music periodical Col Legno (1993-1999), and the music journal Danish Musicology Online (2010-2015). Klappentext In this two-volume Handbook, contributors address the tendency to discuss musical imagination through terms like compositional creativity or performance technique, correcting the current bias towards visual imagination to instead highlight the many forms of sonic and musical imagination. Zusammenfassung In this two-volume Handbook, contributors address the tendency to discuss musical imagination through terms like compositional creativity or performance technique, correcting the current bias towards visual imagination to instead highlight the many forms of sonic and musical imagination. Inhaltsverzeichnis Contributor Affiliations Acknowledgments Introduction MARK GRIMSHAW-AAGAARD MADS WALTHER-HANSEN MARTIN KNAKKERGAARD PART I. FOUNDATIONS Chapter 1. Imagining Sound as the Absolute: The Case of Sarangadeva SAAM TRIVEDI Chapter 2. The Sensation of Sound and Imagination in a Historical Perspective SVEN HROAR KLEMPE Chapter 3. Imagining the Sounds Themselves MALCOLM RIDDOCH Chapter 4. Auditory Imagination. A Phenomenological Perspective DANIEL A. SCHMICKING Chapter 5. The Necessity of Vagueness and Ambiguity to the Imagining of Sound MARK GRIMSHAW-AAGAARD Chapter 6. Listening and/as Imagination MARCEL COBUSSEN Chapter 7. Imagination, Multimodality, and Sound JOAQUIM BRAGA Chapter 8. Some Anticipatory, Kinesthetic, and Dynamic Aspects of Auditory Imagery TIMOTHY L. HUBBARD PART II. SOCIETY AND IDENTITY Chapter 9. Into the Sounds of War: Imagination, Media, and Experience MICHAEL BULL Chapter 10. Shifting Metaphors in the Conceptualization of Musical Knowledge and Learning PETTER DYNDAHL Chapter 11. Fantasy Control: Implications for Distributed Imagination and Affect Attunement in Music and Sound ULRIK VOLGSTEN Chapter 12. Musical Preferences and the Imagined Self ALEXANDRA LAMONT Chapter 13. Burmese Spirit Worship: Music as a Medium for the Transformation of Self JUDITH BECKER Chapter 14. Opera and the South African Political CHRISTOPHER BALLANTINE Chapter 15. Noise and Tranquility at Stonehenge: The Political Acoustics of Cultural Heritage ODD ARE BERKAAK Chapter 16. Th...
