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Active Imaginative Reading . . . and Listening

Active Imaginative Reading . . . and Listening i n t r o d u c t i o n Reading can be a multisenso Ry experience, an intrigued to speculate on subjects emerging in three papers active imaginative one during which we synthesize m- ulti that involve the dichotomous meanings of subjective and dimensional, endogenous environments in which memory objective, endogenous and exogenous, conceptual and - per tracings form and are inscribed, making personal times ceptual, sensory and cognitive, continuous and discrete, and with histories, nows and futures. Plentiful invitations for in-time versus outside-time. Nora Engebretsen’s paper brings rich explorations await the reader of this LMJ issue. Anda , new approach to timbre in musical analysis that acknowl- profoundly so, this one challenges us to listen hard—listen edges both its perceptual and acoustical bases as fundamen- to sounds, yes, and also listen to challenging ideas and points tal. Engebretsen doesn’t directly address the idea of semantics of view. As we confront the multilayered forces of change in music but does discuss the conveyance of musical meaning in our current environments, open imaginative reading ant d hrough timbre. This work brings new insights to ways of listening become important sources of hope and guidance thinking about timbre http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

Active Imaginative Reading . . . and Listening

Leonardo Music Journal , Volume 30: 2 – Dec 1, 2020

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Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/lmj_a_01085
Publisher site
See Article on Publisher Site

Abstract

i n t r o d u c t i o n Reading can be a multisenso Ry experience, an intrigued to speculate on subjects emerging in three papers active imaginative one during which we synthesize m- ulti that involve the dichotomous meanings of subjective and dimensional, endogenous environments in which memory objective, endogenous and exogenous, conceptual and - per tracings form and are inscribed, making personal times ceptual, sensory and cognitive, continuous and discrete, and with histories, nows and futures. Plentiful invitations for in-time versus outside-time. Nora Engebretsen’s paper brings rich explorations await the reader of this LMJ issue. Anda , new approach to timbre in musical analysis that acknowl- profoundly so, this one challenges us to listen hard—listen edges both its perceptual and acoustical bases as fundamen- to sounds, yes, and also listen to challenging ideas and points tal. Engebretsen doesn’t directly address the idea of semantics of view. As we confront the multilayered forces of change in music but does discuss the conveyance of musical meaning in our current environments, open imaginative reading ant d hrough timbre. This work brings new insights to ways of listening become important sources of hope and guidance thinking about timbre

Journal

Leonardo Music JournalMIT Press

Published: Dec 1, 2020

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