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Das Buch versucht ein in der Musik des 20. und 21. Jahrhunderts zunehmend an Bedeutung gewinnendes Verständnis von "Musik als Wahrnehmungskunst" (Helmut Lachenmann) für die Musikwissenschaft fruchtbar zu machen: Die ineinander verschränkten Konzepte der performativen Analyse und des performativen Hörens rücken Wahrnehmungsprozesse ins Zentrum musikologischer Methodik. Zum einen wird dabei die zentrale Stellung von Klang, Zeit und Raum in der neuen Musik seit 1900 in breite musikhistorische und -ästhetische Diskurse eingebettet, zum anderen wird mit dem Prinzip der musikalischen Morphosyntax klangliche Materialität als Ausgangspunkt hörend-analytischer Aktivität begriffen. Wahrnehmung posttonaler Musik ist als performative Aktivität durch die Erfahrungen des Alltags- und Musikhörens vielfältig ausgestaltbar und dabei durch eine Verflechtung von morphologischen und metaphorischen Schichten geprägt. Die Analysen werfen so neue Perspektiven auf ein breites Spektrum posttonaler Instrumentalmusik von Arnold Schönberg, Edgard Varèse, Giacinto Scelsi, Bernd Alois Zimmermann, György Ligeti, Pierre Boulez, Morton Feldman, György Kurtág, Helmut Lachenmann, Brian Ferneyhough, Gérard Grisey, Salvatore Sciarrino und Isabel Mundry.

Music appreciation. --- Musical analysis.

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Music -- Instruction and study. --- Music appreciation -- Instruction and study.

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Music --- Music --- Music appreciation. --- Philosophy and aesthetics. --- Acoustics and physics.

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Our contemporary, globalised society demands new forms of listening. But what are these new forms? Stefan Östersjö challenges conventional understandings of the ways musicians listen. He develops a transmodal understanding of listening that is situated in the body - a body that is extended by its mediation through musical instruments and other technologies. Listening habits can turn these tools - and even the body itself - into resistant objects or musical Others. Supported by extensive multimedia documentation and drawing on examples from the author's own artistic projects spanning electronics, intercultural collaboration, and ecological sound art, this volume enables musicians to learn how to approach musical Others through alternative modes of listening and allows readers to discover artistic methods for intercultural collaboration and ecological sound art practices. This book is closely linked to a series of cutting-edge artistic works, including a triple concerto recorded with the Seattle Symphony and several video works with ecological sound art. It represents the analytical outcomes of artistic research projects carried out in Sweden, the UK, and Belgium between 2009 and 2015.

Music appreciation --- Listening --- Auding --- Attention --- Comprehension --- Educational psychology --- Hearing --- Analytical guides (Music) --- Appreciation of music --- Music --- Musical appreciation --- Musical analysis --- Analysis, appreciation --- Analytical guides --- Appreciation --- Instruction and study --- Philosophy and psychology of culture --- Music appreciation. --- Music and philosophy --- Muzieksociologie --- Muziekpsychologie

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The first critical anthology of an important and singular contemporary composer

Adams, John Luther, --- Analysis, appreciation. --- Music appreciation. --- Analytical guides (Music) --- Appreciation of music --- Music --- Musical appreciation --- Musical analysis --- Analysis, appreciation --- Analytical guides --- Appreciation --- Instruction and study