Book contents
- ForesightContributorsGeoffrey Lloyd, Bridget Kendall, Robert J. Sawyer, Hasok Chang, Nicholas Cook, Jim Wild, Terrie E. Moffitt and Francesca Rochberg.
- The Darwin College Lectures
- Foresight
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Introduction: The Foresight Dialectic
- 1 Foresight in Ancient Civilisations
- 2 Foresight in Journalism
- 3 Foresight and Fiction
- 4 Foresight in Scientific Method
- 5 Music and Foresight
- 6 Foreseeing Space Weather
- 7 How Individuals’ Future Orientation Makes a Difference to Their Society: Self-control in a Four-decade Study of 1000 Children
- 8 Foresight in Ancient Mesopotamia
- Index
- References
5 - Music and Foresight
Published online by Cambridge University Press: 13 October 2016
Book contents
- ForesightContributorsGeoffrey Lloyd, Bridget Kendall, Robert J. Sawyer, Hasok Chang, Nicholas Cook, Jim Wild, Terrie E. Moffitt and Francesca Rochberg.
- The Darwin College Lectures
- Foresight
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Introduction: The Foresight Dialectic
- 1 Foresight in Ancient Civilisations
- 2 Foresight in Journalism
- 3 Foresight and Fiction
- 4 Foresight in Scientific Method
- 5 Music and Foresight
- 6 Foreseeing Space Weather
- 7 How Individuals’ Future Orientation Makes a Difference to Their Society: Self-control in a Four-decade Study of 1000 Children
- 8 Foresight in Ancient Mesopotamia
- Index
- References
- Type
- Chapter
- Information
- Foresight , pp. 101 - 122Publisher: Cambridge University PressPrint publication year: 2016
References
Further Reading
Adorno, Theodor (2002) Essays on Music, ed. Leppert, Richard. Berkeley: University of California Press.Google Scholar
Archbold, Paul (2011) ‘Performing complexity: a pedagogical resource tracing the Arditti Quartet’s preparations for the Première of Brian Ferneyhough Sixth String Quartet’, http://itunes.apple.com/gb/itunes-u/arditti-quartet/id441504831Google Scholar
Attali, Jacques (1985) Noise: The Political Economy of Music, trans. Massumi, Brian. Manchester: Manchester University PressGoogle Scholar
Barrett, Sam (2008) ‘Reflections on music writing: coming to terms with gain and loss in early medieval Latin song’, in Haug, Andreas and Dorschel, Andreas, eds., Vom Preis des Fortschritts: Gewinn und Verlust in der Musikgeschichte. Vienna: Universal Edition, 89–109Google Scholar
Becker, Howard (1989) ‘Ethnomusicology and sociology: a letter to Charles Seeger’, Ethnomusicology 33, 275–85CrossRefGoogle Scholar
Bergh, Arild (2011) ‘Emotions in motion: transforming conflict and music’, in Deliège, Irène and Davidson, Jane W., eds., Music and the Mind: Essays in Honour of John Sloboda. Oxford: Oxford University Press, 363–78Google Scholar
Boellstorff, Tom (2008) Coming of Age in Second Life: An Anthropologist Explores the Virtually Human. Princeton: Princeton University PressGoogle Scholar
Brennan, Matt (2010) ‘Constructing a rough account of British concert promotion history’, Journal of the International Association for the Study of Popular Music 1/1, 4–13Google Scholar
Buchanan, Donna (2005) Performing Democracy: Bulgarian Music and Musicians in Transition. Chicago: University of Chicago PressGoogle Scholar
Cook, Nicholas (forthcoming) ‘Video cultures: “Bohemian Rhapsody”, “Wayne’s World” and beyond’, in Walden, Joshua, ed., Representation in Western Music. Cambridge: Cambridge University PressGoogle Scholar
Dahlhaus, Carl (1991) Ludwig van Beethoven: Approaches to his Music, trans. Whittall, Mary. Oxford: Oxford University PressGoogle Scholar
Jenkins, Henry (2006) Convergence Culture: Where Old and New Media Collide. New York: New York University PressGoogle Scholar
Kivy, Peter (1993) The Fine Art of Repetition: Essays in the Philosophy of Music. Cambridge: Cambridge University PressGoogle Scholar
Laderman, David (2010) Punk Slash! Musicals: Tracking Slip-Sync on Film. Austin: University of Texas PressGoogle Scholar
Lessig, Lawrence (2008) Remix: Making Art and Commerce Thrive in the Hybrd Economy. London: BloomsburyCrossRefGoogle Scholar
McClary, Susan (1991) Feminine Endings: Music Gender and Sexuality. Minneapolis: University of Minnesota PressGoogle Scholar
Mazzola, Guerino, in collaboration with Cowan, Sara, Pan, I-Yi, Holdman, James, Renbarger, Cory, Rhoades, Lisa, Thalmann, Florian, and Zielinski, Nikolai (2011) Musical Performance. A Comprehensive Approach: Theory, Analytical Tools, and Case Studies. Heidelberg: SpringerCrossRefGoogle Scholar
Reynolds, Roger (2002) Form and Method: Composing Music, ed. McAdams, Stephen. New York: RoutledgeGoogle Scholar
Schenker, Heinrich (2000). The Art of Performance, ed. Esser, Heribert, trans. Scott, Irene Schreier. New York: Oxford University PressGoogle Scholar
Sinnreich, Aram (2010) Mashed Up: Music, Technology, and the Rise of Configurable Culture. Amherst: University of Massachusetts PressGoogle Scholar
Small, Christopher (1998) Musicking: The Meanings of Performing and Listening. Middletown: Wesleyan University PressGoogle Scholar
Stanbridge, Alan (2008) ‘From the Margins to the Mainstream: Jazz, Social Relations, and Discourses of Value’, Critical Studies in Improvisation 4, https://journal.lib.uoguelph.ca/index.php/csieci/article/view/361/960Google Scholar
Strangelove, Michael (2010) Watching YouTube: Extraordinary Videos by Ordinary People. Toronto: University of Toronto Press.CrossRefGoogle Scholar
Vial, Stephanie (2008) The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical ‘Period’. Rochester: University of Rochester Press.CrossRefGoogle Scholar
Voss, Angela (1998) ‘The Music of the Spheres; Marsilio Ficino and Renaissance harmonia’, Culture and Cosmos 2/2, http://www.rvrcd.com/essays/The%20Music%20of%20the%20Spheres.pdfCrossRefGoogle Scholar