Body and Force in Music: Metaphoric Constructions in Music Psychology

Cover
Endorsements
Half Title
Title
Copyright
Contents
List of figures
Acknowledgments
Introduction
	The human body and musical instruments
	Conceptual dimension of metaphoric construction
	Force and agency
	“Body and force” and “body versus force”
	The discursive space and disciplinary identity of music psychology
	Metaphors as shorthand for music psychology
	Roadmap
	Historicizing music psychology
1 The musicking body-machine
	Music, machine, and the body
	The emergence of the “human motor” model
	Rhythm: “an inevitable corollary from the persistence of forces”
	Psychological studies in the era of rhythm
	Musical rhythm and labor
	Rhythm in the “body culture”
	The “irrational,” continuous rhythm
	Rhythm and the piano-playing body
	Concluding remarks
2 “A force of nature”: tracing voice
	Animal, machine, and voice
	Speech theory of music
	Voice, the body machine, and the issue of agency
	Voice as both object and subject
	Voice of the “primitive” soul
	Recorded voice
	“Dragging movement”
	“How the voice looks”
	Concluding remarks
3 Motion, force, and “rhythm form”
	The “‘co-working of motion’ with one’s own will”
	Piano theories
	Motion in piano playing
	Force and the will
	The will, physiology, and piano-playing
	Force and postures
	Action–perception coupling at the turn of the twentieth century
	“Rhythmic massing”
	Concluding remarks
4 Minding gaps and musical energy
	The ball analogy
	The human motor capable of locomotion
	Capturing the musicking body
	Music as streams of energy
	Gliding between tones
	The agency of motion
	Revisiting the ball analogy
	Music as motion across disciplines and times
	Concluding remarks
5 Musical force acting at a distance
	Force acting at a distance
	In the words of amateur pianists and psychologists
	Force affecting the audience
	The metaphor of vibratory waves in psychology
	Force at a distance and the power of sound
	“Brain waves” in communication
	Inhibition and waves in music psychology
	The vibratory energy of music
	“Sympathetic oscillation”
	Concluding remarks
Epilogue
Bibliography
Index