Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certainly it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music. The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited.

The book is a compendium of thinking on virtuality and its relationship to reality from the perspective of a variety of philosophical and applied fields of study. Topics covered include presence, immersion, emotion, ethics, utopias and dystopias, image, sound, literature, AI, law, economics, medical and military applications, religion, and sex.

Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certainly it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music. The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited.

What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What does the future hold for interactive musical and sonic experiences? This book answers these questions with newly-commissioned chapters that explore the full range of interactive audio in games, performance, design, and practice.

In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge music educators all over the world to make their own decisions and ultimately contribute to the conversation themselves.

Sonic Virtuality introduces a new theory of sound that positions it within the framework of virtuality. Authors Mark Grimshaw and Tom Garner build the case for a sonic aggregate as the virtual cloud of potentials created by perceived sound, incorporating a broad array of principles from philosophy to acoustic ecology to virtuality.

The Oxford Handbook of Music Making and Leisure presents myriad ways for reconsidering and refocusing attention back on the rich, exciting, and emotionally charged ways in which people of all ages make time for making music. Looking beyond the obvious, this handbook asks readers to consider anew, "What might we see when we think of music making as leisure?"

The two-volume 'Oxford Handbook of Music Performance' provides the most comprehensive and authoritative resource for musicians, educators and scholars currently available. It is aimed primarily for practicing musicians, particularly those who are preparing for a professional career as performers and are interested in practical implications of psychological and scientific research for their own music performance development; educators with a specific interest or expertise in music psychology, who will wish to apply the concepts and techniques surveyed in their own teaching; undergraduate and postgraduate students who understand the potential of music psychology for informing music education; and researchers in the area of music performance who consider it important for the results of their research to be practically useful for musicians and music educators.

This Handbook offers a comprehensive introduction and thirty-seven new essays by an international team of literary critics and historians on the writings generated by the tumultuous events of mid-seventeenth-century England. Unprecedented events-civil war, regicide, the abolition of monarchy, proscription of episcopacy, constitutional experiment, and finally the return of monarchy-led to an unprecedented outpouring of texts, including new and transformed literary genres and techniques. The Handbook provides up-to-date scholarship on current issues as well as historical information, textual analysis, and bibliographical tools to help readers understand and appreciate the bold and indeed revolutionary character of writing in mid-seventeenth-century England. The volume is innovative in its attention to the literary and aesthetic aspects of a wide range of political and religious writing, as well as in its demonstration of how literary texts register the political pressures of their time. Opening with essential contextual chapters on religion, politics, society, and culture, the largely chronological subsequent chapters analyse particular voices, texts, and genres as they respond to revolutionary events. Attention is given to aesthetic qualities, as well as to bold political and religious ideas, in such writers as James Harrington, Marchamont Nedham, Thomas Hobbes, Gerrard Winstanley, John Lilburne, and Abiezer Coppe. At the same time, the revolutionary political context sheds new light on such well-known literary writers as John Milton, Andrew Marvell, Robert Herrick, Henry Vaughan, William Davenant, John Dryden, Lucy Hutchinson, Margaret Cavendish, and John Bunyan. Overall, the volume provides an indispensable guide to the innovative and exciting texts of the English Revolution and reevaluates its long-term cultural impact.

This book explores the nature and importance of sound in virtual reality (VR). Approaching the subject from a holistic perspective, the book delivers an emergent framework of VR sound. This framework brings together numerous elements that collectively determine the nature of sound in VR; from various aspects of VR technology, to the physiological and psychological complexities of the user, to the wider technological, historical and sociocultural issues. Garner asks, amongst other things: what is the meaning of sound? How have fictional visions of VR shaped our expectations for present technology? How can VR sound hope to evoke the desired responses for such an infinitely heterogeneous user base? This book if for those with an interest in sound and VR, who wish to learn more about the great complexities of the subject and discover the contemporary issues from which future VR will surely advance.