{"title":"Geometries in sound: an investigation of embodied cognition in contemporary art music","authors":"Riccardo D. Wanke","doi":"10.1080/09298215.2023.2276868","DOIUrl":null,"url":null,"abstract":"This paper examines how listeners hear contemporary art music practices such as post-spectralism, glitch-electronica, contemporary classical and electroacoustic music. The sound configurations of t...","PeriodicalId":16553,"journal":{"name":"Journal of New Music Research","volume":"77 6","pages":""},"PeriodicalIF":1.1000,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of New Music Research","FirstCategoryId":"94","ListUrlMain":"https://doi.org/10.1080/09298215.2023.2276868","RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"COMPUTER SCIENCE, INTERDISCIPLINARY APPLICATIONS","Score":null,"Total":0}
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Abstract
This paper examines how listeners hear contemporary art music practices such as post-spectralism, glitch-electronica, contemporary classical and electroacoustic music. The sound configurations of t...
期刊介绍：
The Journal of New Music Research (JNMR) publishes material which increases our understanding of music and musical processes by systematic, scientific and technological means. Research published in the journal is innovative, empirically grounded and often, but not exclusively, uses quantitative methods. Articles are both musically relevant and scientifically rigorous, giving full technical details. No bounds are placed on the music or musical behaviours at issue: popular music, music of diverse cultures and the canon of western classical music are all within the Journal’s scope. Articles deal with theory, analysis, composition, performance, uses of music, instruments and other music technologies. The Journal was founded in 1972 with the original title Interface to reflect its interdisciplinary nature, drawing on musicology (including music theory), computer science, psychology, acoustics, philosophy, and other disciplines.
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