Why music matters:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Chichester [u.a.]
Wiley Blackwell
2013
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | VI, 198 S. |
| ISBN: | 9781405192415 9781405192422 |
Internformat
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| 505 | 0 | |a Why Music Matters; Copyright; Contents; 1 Music as Intimate and Social, Private and Public; 2 Feeling and Flourishing; 2.1 Music, Affect, Emotion; 2.2 Emotions, Narrative Play, and Music; 2.3 Human Flourishing, Aesthetic Experience, and Music; 2.4 Musical Flourishing Beyond Contemplative Cultivation; Emotional resonances in popular music; Self-cultivation as bourgeois and ethnocentric?; Beyond contemplative aesthetic experiences; 2.5 Musical Aesthetics and Bodily Experience: Dancing; 2.6 Approaches to Music and Emotion in Everyday Life: Contributions and Limitations 2.7 Problems of Self-realization in Modern Life and Their Relation to Music2.8 Competitive Individualism and Status Competition Through Music; 2.9 Review: Music's Constrained Enrichment of Lives; 3 Love and Sex; 3.1 Sex and Love and Rock and Roll; 3.2 Two Approaches to Music, Sex, and Sexuality; 3.3 The Pop-Rock Divide and Rock's Sexual Politics; 3.4 Post-War Pop's Emotional Resources; 3.5 Sex and Love on the Dance Floor; 3.6 Critiques of Countercultural Sexual Freedom; 3.7 Sex and Love in Punk, Alternative Rock, and Metal; 3.8 Sexuality in Twenty-First-Century Pop 3.9 Black Music and Racialized Sexuality4 Sociability and Place; 4.1 Ways of Being Together: Forms of Publicness; 4.2 Celebrations of Musical Participation and Their Limitations; Christopher Small and musicking; Charles Keil: Engendered feeling; 4.3 That Syncing Feeling; 4.4 Ordinary Sociability I: Singing Together; 4.5 Ordinary Sociability II : Dancing Together; 4.6 Playing Together: Amateur Musicians; 4.7 Theorizing Positive Musical Sociality; Music, time, and micro-sociality; Music and fundamental human sociality; The capabilities approach 4.8 Spectres of Capitalist Modernity Revisited: Class and Inequality4.9 Uneven Musical Development; 4.10 Elements of Thriving Musical Places; 4.11 Quality of Working Life of Professional Musicians; 5 Commonality and Cosmopolitanism; 5.1 Mediated Commonali | |
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Datensatz im Suchindex
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|---|---|
| adam_text |
Contents
1
Music as Intimate and Social, Private and Public
1
2
Feeling and Flourishing
11
2.1
Music, Affect, Emotion
11
2.2
Emotions, Narrative Play, and Music
14
2.3
Human Flourishing, Aesthetic Experience, and Music
17
2.4
Musical Flourishing Beyond Contemplative Cultivation
20
2.5
Musical Aesthetics and Bodily Experience: Dancing
30
2.6
Approaches to Music and Emotion in Everyday Life:
Contributions and Limitations
35
2.7
Problems of Self-realization in Modern Life
and Their Relation to Music
42
2.8
Competitive Individualism and Status Competition
Through Music
48
2.9
Review: Musics Constrained Enrichment of Lives
53
3
Love and Sex
57
3.1
Sex and Love and Rock and Roll
57
3.2
Two Approaches to Music, Sex, and Sexuality
58
3.3
The Pop-Rock Divide and Rock's Sexual Politics
61
3.4
Post-War Pop's Emotional Resources
65
3.5
Sex and Love on the Dance Floor
68
3.6
Critiques of Countercultural Sexual Freedom
71
3.7
Sex and Love in Punk, Alternative Rock, and Metal
74
3.8
Sexuality in Twenty-First-Century Pop
77
3.9
Black Music and Racialized Sexuality
81
vi
Contents
4
Sociability and Place
84
4.1
Ways of Being Together: Forms of Publicness
84
4.2
Celebrations of Musical Participation and Their Limitations
87
4.3
That Syncing Feeling
97
4.4
Ordinary Sociability I: Singing Together
102
4.5
Ordinary Sociability II: Dancing Together
109
4.6
Playing Together: Amateur Musicians
112
4.7
Theorizing Positive Musical Sociality
115
4.8
Spectres of Capitalist Modernity Revisited:
Class and Inequality
120
4.9
Uneven Musical Development
123
4.10
Elements of Thriving Musical Places
125
4.11
Quality of Working Life of Professional Musicians
127
5
Commonality and Cosmopolitanism
130
5.1
Mediated Commonality in Modern Societies
130
5.2
Aesthetic Experience and Aspirations to Commonality
131
5.3
Redeeming Aesthetic Experience?
133
5.4
Talk About Music, What It Tells Us, and What It Doesn't
136
5.5
Music, Politics, and Publicness
142
5.6
Communities of Shared Taste? Subcultures, Scenes, and Fans
147
5.7
Nations, Ethnicity, Cosmopolitanism
151
5.8
Rock as Cosmopolitanism?
152
5.9
Complexities of Music and Nation
155
5.10
Strange Journeys: Working-Class and Ethnic Musics
Become National Musics
157
5.11
Sentimental Citizenship
162
5.12
Music, the Nation, and the Popular
164
5.13
Music of the African Diaspora: Life-Affirming
Collectivity in Decline?
165
5.14
A Critical Defense of Music
170
Acknowledgments
172
References
174
Index
187 |
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| author | Hesmondhalgh, David 1963- |
| author_GND | (DE-588)140070982 |
| author_facet | Hesmondhalgh, David 1963- |
| author_role | aut |
| author_sort | Hesmondhalgh, David 1963- |
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| building | Verbundindex |
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| contents | Why Music Matters; Copyright; Contents; 1 Music as Intimate and Social, Private and Public; 2 Feeling and Flourishing; 2.1 Music, Affect, Emotion; 2.2 Emotions, Narrative Play, and Music; 2.3 Human Flourishing, Aesthetic Experience, and Music; 2.4 Musical Flourishing Beyond Contemplative Cultivation; Emotional resonances in popular music; Self-cultivation as bourgeois and ethnocentric?; Beyond contemplative aesthetic experiences; 2.5 Musical Aesthetics and Bodily Experience: Dancing; 2.6 Approaches to Music and Emotion in Everyday Life: Contributions and Limitations 2.7 Problems of Self-realization in Modern Life and Their Relation to Music2.8 Competitive Individualism and Status Competition Through Music; 2.9 Review: Music's Constrained Enrichment of Lives; 3 Love and Sex; 3.1 Sex and Love and Rock and Roll; 3.2 Two Approaches to Music, Sex, and Sexuality; 3.3 The Pop-Rock Divide and Rock's Sexual Politics; 3.4 Post-War Pop's Emotional Resources; 3.5 Sex and Love on the Dance Floor; 3.6 Critiques of Countercultural Sexual Freedom; 3.7 Sex and Love in Punk, Alternative Rock, and Metal; 3.8 Sexuality in Twenty-First-Century Pop 3.9 Black Music and Racialized Sexuality4 Sociability and Place; 4.1 Ways of Being Together: Forms of Publicness; 4.2 Celebrations of Musical Participation and Their Limitations; Christopher Small and musicking; Charles Keil: Engendered feeling; 4.3 That Syncing Feeling; 4.4 Ordinary Sociability I: Singing Together; 4.5 Ordinary Sociability II : Dancing Together; 4.6 Playing Together: Amateur Musicians; 4.7 Theorizing Positive Musical Sociality; Music, time, and micro-sociality; Music and fundamental human sociality; The capabilities approach 4.8 Spectres of Capitalist Modernity Revisited: Class and Inequality4.9 Uneven Musical Development; 4.10 Elements of Thriving Musical Places; 4.11 Quality of Working Life of Professional Musicians; 5 Commonality and Cosmopolitanism; 5.1 Mediated Commonali |
| ctrlnum | (OCoLC)859393877 (DE-599)OBVAC11018725 |
| discipline | Allgemeines Musikwissenschaft |
| format | Book |
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| indexdate | 2024-10-23T10:05:49Z |
| institution | BVB |
| isbn | 9781405192415 9781405192422 |
| language | English |
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| physical | VI, 198 S. |
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| spelling | Hesmondhalgh, David 1963- Verfasser (DE-588)140070982 aut Why music matters David Hesmondhalgh Chichester [u.a.] Wiley Blackwell 2013 VI, 198 S. txt rdacontent n rdamedia nc rdacarrier Why Music Matters; Copyright; Contents; 1 Music as Intimate and Social, Private and Public; 2 Feeling and Flourishing; 2.1 Music, Affect, Emotion; 2.2 Emotions, Narrative Play, and Music; 2.3 Human Flourishing, Aesthetic Experience, and Music; 2.4 Musical Flourishing Beyond Contemplative Cultivation; Emotional resonances in popular music; Self-cultivation as bourgeois and ethnocentric?; Beyond contemplative aesthetic experiences; 2.5 Musical Aesthetics and Bodily Experience: Dancing; 2.6 Approaches to Music and Emotion in Everyday Life: Contributions and Limitations 2.7 Problems of Self-realization in Modern Life and Their Relation to Music2.8 Competitive Individualism and Status Competition Through Music; 2.9 Review: Music's Constrained Enrichment of Lives; 3 Love and Sex; 3.1 Sex and Love and Rock and Roll; 3.2 Two Approaches to Music, Sex, and Sexuality; 3.3 The Pop-Rock Divide and Rock's Sexual Politics; 3.4 Post-War Pop's Emotional Resources; 3.5 Sex and Love on the Dance Floor; 3.6 Critiques of Countercultural Sexual Freedom; 3.7 Sex and Love in Punk, Alternative Rock, and Metal; 3.8 Sexuality in Twenty-First-Century Pop 3.9 Black Music and Racialized Sexuality4 Sociability and Place; 4.1 Ways of Being Together: Forms of Publicness; 4.2 Celebrations of Musical Participation and Their Limitations; Christopher Small and musicking; Charles Keil: Engendered feeling; 4.3 That Syncing Feeling; 4.4 Ordinary Sociability I: Singing Together; 4.5 Ordinary Sociability II : Dancing Together; 4.6 Playing Together: Amateur Musicians; 4.7 Theorizing Positive Musical Sociality; Music, time, and micro-sociality; Music and fundamental human sociality; The capabilities approach 4.8 Spectres of Capitalist Modernity Revisited: Class and Inequality4.9 Uneven Musical Development; 4.10 Elements of Thriving Musical Places; 4.11 Quality of Working Life of Professional Musicians; 5 Commonality and Cosmopolitanism; 5.1 Mediated Commonali Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Gefühl (DE-588)4019702-5 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Gesellschaft (DE-588)4020588-5 gnd rswk-swf Musik (DE-588)4040802-4 s Gefühl (DE-588)4019702-5 s DE-604 Gesellschaft (DE-588)4020588-5 s Digitalisierung BSB Muenchen 20 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026234709&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Hesmondhalgh, David 1963- Why music matters Why Music Matters; Copyright; Contents; 1 Music as Intimate and Social, Private and Public; 2 Feeling and Flourishing; 2.1 Music, Affect, Emotion; 2.2 Emotions, Narrative Play, and Music; 2.3 Human Flourishing, Aesthetic Experience, and Music; 2.4 Musical Flourishing Beyond Contemplative Cultivation; Emotional resonances in popular music; Self-cultivation as bourgeois and ethnocentric?; Beyond contemplative aesthetic experiences; 2.5 Musical Aesthetics and Bodily Experience: Dancing; 2.6 Approaches to Music and Emotion in Everyday Life: Contributions and Limitations 2.7 Problems of Self-realization in Modern Life and Their Relation to Music2.8 Competitive Individualism and Status Competition Through Music; 2.9 Review: Music's Constrained Enrichment of Lives; 3 Love and Sex; 3.1 Sex and Love and Rock and Roll; 3.2 Two Approaches to Music, Sex, and Sexuality; 3.3 The Pop-Rock Divide and Rock's Sexual Politics; 3.4 Post-War Pop's Emotional Resources; 3.5 Sex and Love on the Dance Floor; 3.6 Critiques of Countercultural Sexual Freedom; 3.7 Sex and Love in Punk, Alternative Rock, and Metal; 3.8 Sexuality in Twenty-First-Century Pop 3.9 Black Music and Racialized Sexuality4 Sociability and Place; 4.1 Ways of Being Together: Forms of Publicness; 4.2 Celebrations of Musical Participation and Their Limitations; Christopher Small and musicking; Charles Keil: Engendered feeling; 4.3 That Syncing Feeling; 4.4 Ordinary Sociability I: Singing Together; 4.5 Ordinary Sociability II : Dancing Together; 4.6 Playing Together: Amateur Musicians; 4.7 Theorizing Positive Musical Sociality; Music, time, and micro-sociality; Music and fundamental human sociality; The capabilities approach 4.8 Spectres of Capitalist Modernity Revisited: Class and Inequality4.9 Uneven Musical Development; 4.10 Elements of Thriving Musical Places; 4.11 Quality of Working Life of Professional Musicians; 5 Commonality and Cosmopolitanism; 5.1 Mediated Commonali Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Gefühl (DE-588)4019702-5 gnd Musik (DE-588)4040802-4 gnd Gesellschaft (DE-588)4020588-5 gnd |
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| title | Why music matters |
| title_auth | Why music matters |
| title_exact_search | Why music matters |
| title_full | Why music matters David Hesmondhalgh |
| title_fullStr | Why music matters David Hesmondhalgh |
| title_full_unstemmed | Why music matters David Hesmondhalgh |
| title_short | Why music matters |
| title_sort | why music matters |
| topic | Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Gefühl (DE-588)4019702-5 gnd Musik (DE-588)4040802-4 gnd Gesellschaft (DE-588)4020588-5 gnd |
| topic_facet | Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Gefühl |
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