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Chinese martial arts cinema is held to be a synthesis drawing on artistic conventions of traditional Chinese theatre. Film sound and music perform as the legitimate heirs of some of the aesthetic ideas and norms of traditional Chinese theatre. This book critically examines the history of this under-explored field of inquiry from a theoretically comparative perspective, demonstrating that the musical codes drawn from traditional theatre are a constantly changing component integral to Chinese martial arts cinema. It explores the interaction between traditional Chinese theatre and Chinese martial arts cinema in how the musical codes of the former have shaped the aesthetics of the latter uniquely. This departs from conventional existing studies that focus on “adaptation.” The book’s historical and theoretical approach connects film, theatre and music, and re-defines the status of distinctive domains of filmic expression, grounding theatre as the pivot – or “hinge” – of film aesthetics. The book proffers this unique angle of research to rethink and re-imagine film sound and audiovisual synchronisation. Primarily intended for scholars in Chinese cinema, film music, Chinese theatre and visual culture, this monograph also presents introductory and comprehensive material for undergraduate and graduate-level courses in film and media studies, film music, Chinese cinema, and Chinese theatre.

Philosophy --- Music --- Film --- Theatrical science --- History --- muziekfilosofie --- TV (televisie) --- theater --- film --- geschiedenis --- muziek --- Asia --- Motion pictures—Asia. --- Music. --- Theater—History. --- Motion pictures. --- Music—Philosophy and aesthetics. --- Asian Film and TV. --- Theatre History. --- Film Theory. --- Philosophy of Music.

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This book explores the ways in which music can engender religious experience, by virtue of its ability to evoke the ineffable and affect how the world is open to us. Arguing against approaches that limit the religious significance of music to an illustrative function, The Extravagance of Music sets out a more expansive and optimistic vision, which suggests that there is an ‘excess’ or ‘extravagance’ in both music and the divine that can open up revelatory and transformative possibilities. In Part I, David Brown argues that even in the absence of words, classical instrumental music can disclose something of the divine nature that allows us to speak of an experience analogous to contemplative prayer. In Part II, Gavin Hopps contends that, far from being a wasteland of mind-closing triviality, popular music frequently aspires to elicit the imaginative engagement of the listener and is capable of evoking intimations of transcendence. Filled with fresh and accessible discussions of diverse examples and forms of music, this ground-breaking book affirms the disclosive and affective capacities of music, and shows how it can help to awaken, vivify, and sustain a sense of the divine in everyday life.

Philosophy. --- Music. --- Religion --- Philosophy of Religion. --- Philosophy of Music. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Mental philosophy --- Humanities --- Music --- Religious aspects. --- Music in worship --- Religion and music --- Music—Philosophy and aesthetics. --- Religion—Philosophy.

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Rethinking Hanslick: Music, Formalism, and Expression' is the first extensive English-language study devoted to Eduard Hanslick--a seminal figure in nineteenth-century musical life. Bringing together eminent scholars from several disciplines, this volume examines Hanslick's contribution to the aesthetics and philosophy of music and looks anew at his literary interests. The essays embrace ways of thinking about Hanslick's writings that go beyond the polarities that have long marked discussion of his work such as form/expression, absolute/program music, objectivity/subjectivity, and formalist/hermeneutic criticism. This approach takes into consideration both Hanslick's important 'On the Musically Beautiful' and his critical and autobiographical writings, demonstrating Hanslick's rich insights into the context in which a musical work is composed, performed, and received. 'Rethinking Hanslick' serves as an invaluable companion to Hanslick's prodigious scholarship and criticism, deepening our understanding of the major themes and ideas of one of the most influential music critics of the nineteenth century. Dr Nicole Grimes is a Marie Curie Fellow at University College Dublin (UCD), and the University of California, Irvine. Dr Siobhán Donovan is a College Lecturer at the School of Languages and Literatures, UCD. Dr Wolfgang Marx is a Senior Lecturer at the School of Music, UCD.

Musical criticism --- Music --- Hermeneutics (Music) --- Music criticism --- Journalism --- History --- Philosophy and aesthetics. --- History and criticism --- Hanslick, Eduard, --- Hanslik, Eduard, --- Гансликъ, Эдуардъ, --- Ganslik, Ėduard, --- Music - 19th century - Philosophy and aesthetics --- Musical criticism - History - 19th century --- Hanslick, Eduard, - 1825-1904 --- Eduard Hanslick. --- absolute/program music. --- aesthetics. --- form/expression. --- formalist/hermeneutic criticism. --- literary interests. --- nineteenth-century musical life. --- objectivity/subjectivity. --- philosophy of music.

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This book is an interdisciplinary project that brings together ideas from aesthetics, philosophy, psychology, and music sociology as an expansion of German philosopher Hans-Georg Gadamer’s theory on the aesthetics of play. This way of thinking focuses on an ontology of the process of musicking rather than an ontology of discovering fixed and static musical objects. In line with this idea, the author discusses the importance of participation and involvement in this process of musicking, whether as a listener or as a performer. Christensen then goes on to critique and update Gadamer's theory by presenting incompatibilities between it and recent theories of aesthetic emotions and embodiment. He proposes that emotions are ‘constructed’ rather than ‘caused’, that the mind uses a system of ‘filters’ to respond to sonic stimuli and thus constructs (via play) aesthetic feelings and experiences. In turn, this approach provides music with a route into the development of social capital and inter-subjective communication. This work builds on the hermeneutical steps already taken by Gadamer and those before him, continuing his line of thought beyond his work. It will be of great interest to scholars in music aesthetics as well as a variety of other music related fields, including music psychology, philosophy and science and technology studies.

Music --- Emotions (Philosophy) --- Hermeneutics (Music) --- Musical aesthetics --- Philosophy and aesthetics. --- Aesthetics --- Philosophy --- Gadamer, Hans-Georg, --- Technology—Sociological aspects. --- Emotions. --- Music. --- Music—Philosophy and aesthetics. --- Science and Technology Studies. --- Cultural Studies. --- Emotion. --- Philosophy of Music. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Feelings --- Human emotions --- Passions --- Psychology --- Affect (Psychology) --- Affective neuroscience --- Apathy --- Pathognomy --- Cultural studies.

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This book examines four main areas of music in early childhood: the traditions of music for young children, their capacities for music, the way they make music with others, and constructed and mediated musical childhoods. It studies several themes in detail, including music making in the home and family life, various musical experiences in schools, day cares, and the community at large in several locations around the globe. It looks at technology and diverse musical repertoires, as well as innovative pedagogies, children’s agency, and brain research. Expanding on the knowledge bases on which early childhood music education typically draws, the book brings together contributions from a range of authors from diverse fields such as education, psychology, sociology, cultural studies, anthropology, philosophy, ethnomusicology, and the neurosciences. The end result is a volume that offers a broad and contemporary picture of music in early childhood.

Music --- Instruction and study. --- Early childhood education. --- Infant psychology. --- Developmental psychology. --- Music—Philosophy and aesthetics. --- Early Childhood Education. --- Infancy and Early Childhood Development. --- Child and School Psychology. --- Philosophy of Music. --- Development (Psychology) --- Developmental psychobiology --- Psychology --- Life cycle, Human --- Infants --- Child psychology --- Education --- Development --- Child development. --- Child psychology. --- School psychology. --- Psychology, School --- Psychology, Applied --- Behavior, Child --- Child behavior --- Child study --- Children --- Pediatric psychology --- Child development --- Developmental psychology --- Development, Child --- Developmental biology --- School Psychology. --- Child and Adolescence Psychology. --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy and aesthetics. --- Philosophy