In the age of digital music it seems striking that so many of us still want to produce music concretely with our bodies, through the movement of our limbs, lungs and fingers, in contact with those materials and objects which are capable of producing sounds. The huge sales figures of musical instruments in the global market, and the amount of time and effort people of all ages invest in mastering the tools of music, make it clear that playing musical instruments is an important phenomenon in human life. By combining the findings made in music psychology and performative ethnomusicology, Marko Aho shows how playing a musical instrument, and the pleasure musicians get from it, emerges from an intimate dialogue between the personally felt body and the sounding instrument. An introduction to the general aspects of the tactile resources of musical instruments, musical style and the musician is followed by an analysis of the learning process of the regional kantele style of the Perho river valley in Finnish Central Ostrobothnia.

In the age of digital music it seems striking that so many of us still want to produce music concretely with our bodies, through the movement of our limbs, lungs and fingers, in contact with those materials and objects which are capable of producing sounds. The huge sales figures of musical instruments in the global market, and the amount of time and effort people of all ages invest in mastering the tools of music, make it clear that playing musical instruments is an important phenomenon in human life. By combining the findings made in music psychology and performative ethnomusicology, Marko Aho shows how playing a musical instrument, and the pleasure musicians get from it, emerges from an intimate dialogue between the personally felt body and the sounding instrument. An introduction to the general aspects of the tactile resources of musical instruments, musical style and the musician is followed by an analysis of the learning process of the regional kantele style of the Perho river valley in Finnish Central Ostrobothnia.

This open access book offers an interdisciplinary perspective and presents various case studies on music as ICH, highlighting the importance and functionality of music to stimulating social innovation and entrepreneurship., Intangible Cultural Heritage (ICH) covers the traditions or living expressions proposed by the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage in five areas, including music. To understand the relationship between immaterial and material uses and inherent cultural landscapes, this open access book analyzes the symbolic, political, and economic dimensions of music. The authors highlight the continuity and current functionality of these artistic forms of expression as well as their lively and changing character in continuous transformation. Topics include the economic value and impact of music, strategies for social innovation in the music sector, music management, and public policies to promote cultural and creative industries. [Resumen de la editorial]

Gothic Music - The Sounds of the Uncanny traces sonic Gothic through history and genres from the eighteenth-century ghost story through the spooky soundtracks of cinema, television and video games to the dark music of the Goth subculture.

Being-in-time to the music from the ground up is a work in phenomenology, where this term is broadly defined, comprehending Plato, Heidegger, Hegel, and Marx. The most direct referent is Hegel, together with the theoretical revolution that he initiated with Phenomenology of Mind. This text’s more general purpose is to set the tone for a 21st communism based upon the idea of dancing with death, assuming full responsibility for one’s mortality, and abandoning the self to love as the meaning of existence. This dance is choreographed through my conversations with the above mentioned writers. In conversing with them I aim to displace (if not usurp) them from the throne of honour which is nothing more than the authority borrowed from me. By this I do not intend to deny completely their ‘other to me’ character. However, they exist or even ‘figure’ for me, both in the sense of of ‘count,’ having importance, as those that I read, and by which I read myself. They have borrowed my authority, namely, my own potential to be an author. So ‘reading them is to re-assume that borrowed authority. The life of the reader, to paraphrase Barthes, begins with the death of the author.

This book makes a case for the synergetic union between reality TV and the music industry. It delves into technological change in popular music, and the role of music reality TV and social media in the pop production process. It challenges the current scholarship which does not adequately distinguish the economic significance of these developments.

Winner of a 2013 CHOICE Outstanding Academic Title Award The third edition of a groundbreaking reference, The Human-Computer Interaction Handbook: Fundamentals, Evolving Technologies, and Emerging Applications raises the bar for handbooks in this field. It is the largest, most complete compilation of HCI theories, principles, advances, case st

Special edition of the Federal register, containing a codification of documents of general applicability and future effect as of April 1 ... with ancillaries.