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Informationen zum Autor Mark Grimshaw-Aagaard is Obel Professor of Music and head of the Music and Sound Knowledge Group (MaSK) at Aalborg University, Denmark. He has published widely across subjects as diverse as sound, biofeedback in computer games, presence, 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 which examine the conceptualization of sound and the effect of recording technology on the listening experience. Martin Knakkergaard is Senior Lecturer at Aalborg University, Denmark. He is currently the leader of the Obel Music Project and was former head of the Music Programme at Aalborg University. His research interests are primarily within music theory, music technology and music avant-garde and he has published on subjects such as music and digitalization, music in film and tv as well as the music of Frank Zappa, Pierre Boulez, and others. He is also the editor of the Danish Dictionary of Music, Gads Musikleksikon (2003 and 2005) and was 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. MUSICAL PERFORMANCE Chapter 1. Improvisation: An Ideal Display of Embodied Imagination JUSTIN CHRISTENSEN Chapter 2. Anticipated Sonic Actions and Sounds in Performance CLEMENS WÖLLNER Chapter 3. Motor Imagery in Perception and Performance of Sound and Music JAN SCHACHER Chapter 4. Music and Emergence JOHN M. CARVALHO Chapter 5. Affordances in Real, Virtual, and Imaginary Musical Performance MARC DUBY PART II. SYSTEMS AND TECHNOLOGIES Chapter 6. Systemic Abstractions: The Imaginary Regime MARTIN KNAKKERGAARD Chapter 7. From Rays to Ra: Music, Physics, and the Mind JANNA K. SASLAW AND JAMES P. WALSH Chapter 8. Music Analysis and Data Compression DAVID MEREDITH Chapter 9. Bioacoustics: Imaging and Imagining the Animal World MICKEY VALLEE Chapter 10. Musical Notation as the Externalization of Imagined, Complex Sound HENRIK SINDING-LARSEN Chapter 11. ". . . they call us by our name . . .": Technology, Memory, and Metempsychosis BENNETT HOGG Chapter 12. Musical Shape Cognition ROLF INGE GODØY Chapter 13. Playing the Inner Ear: Performing the Imagination SIMON EMMERSON PART III. PSYCHOLOGY Chapter 14. Music in Detention and Interrogation: The Musical Ecology of Fear W. LUKE WINDSOR Chapter 15. Augmented Unreality: Synesthetic Artworks and Audio-Visual Hallucinations
