Music and Time: Psychology, Philosophy, Practice

The relationship between music and time is explored in this book, which is divided into three sections: experience, enactment, and meaning. It offers a multidisciplinary perspective and is suitable for scholars, students, and interested readers. It provides new interconnections and comparisons, presents the most comprehensive overview available, and offers answers to questions about listening and audiences at concerts, gigs, and festivals.

Format: Hardback
Length: 218 pages
Publication date: 10 June 2022
Publisher: Boydell & Brewer Ltd

The relationship between music and time is a fascinating and complex subject that has been explored by psychologists
The relationship between music and time is a fascinating and complex subject that has been explored by psychologists, philosophers, and musicians for centuries. Music has the ability to manipulate our perception of time, creating a sense of timelessness or slowing down the passage of time. Time, on the other hand, can manifest through music in various ways, such as rhythm, melody, harmony, and tempo.

For the experimental psychologist, the experience of time during music listening or performance is something that can be studied empirically. Psychologists have investigated how music affects our perception of time, including how it affects our heartbeat, breathing, and brain activity. They have found that music can slow down our heartbeat, reduce stress, and even improve our cognitive performance.

Philosophers have also been interested in the fundamental questions of time, such as whether time is linear or cyclical, and what the nature of the past, present, and future is. Some philosophers argue that time is linear, while others argue that it is cyclical. Some philosophers also explore the concept of duration, which is the length of time between two events.

For the performer, musical time can exist as a subjective vehicle of expression. Performers can manipulate the tempo, rhythm, and melody of music to create a sense of time and place. For example, a slow, melancholy melody can create a sense of nostalgia or sadness, while a fast, energetic melody can create a sense of excitement or energy.

The order presented in the text's structure offers a journey from empiricism to application, via contemplation. This volume deals with the complex relationship between music and time, presenting a staunchly interdisciplinary perspective defined by the terms Psychology, Philosophy, and Practice. The text is divided into sections concerning experience, enactment, and meaning, as points of intersection between the three primary methodologies of the title.

As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals.

In conclusion, the relationship between music and time is a complex and fascinating subject that has been explored by psychologists. Music has the ability
The relationship between music and time is a complex and fascinating subject that has been explored by psychologists. Music has the ability to manipulate our perception of time, creating a sense of timelessness or slowing down the passage of time. Time, on the other hand, can manifest through music in various ways, such as rhythm, melody, harmony, and tempo.

For the experimental psychologist, the experience of time during music listening or performance is something that can be studied empirically. Psychologists have investigated how music affects our perception of time, including how it affects our heartbeat, breathing, and brain activity. They have found that music can slow down our heartbeat, reduce stress, and even improve our cognitive performance.

Philosophers have also been interested in the fundamental questions of time, such as whether time is linear or cyclical, and what the nature of the past, present, and future is. Some philosophers argue that time is linear, while others argue that it is cyclical. Some philosophers also explore the concept of duration, which is the length of time between two events.

For the performer, musical time can exist as a subjective vehicle of expression. Performers can manipulate the tempo, rhythm, and melody of music to create a sense of time and place. For example, a slow, melancholy melody can create a sense of nostalgia or sadness, while a fast, energetic melody can create a sense of excitement or energy.

The order presented in the text's structure offers a journey from empiricism to application, via contemplation. This volume deals with the complex relationship between music and time, presenting a staunchly interdisciplinary perspective defined by the terms

The relationship between music and time is a complex and fascinating subject that has been explored by psychologists. Music has the ability to manipulate our perception of time, creating a sense of timelessness or slowing down the passage of time. Time, on the other hand, can manifest through music in various ways, such as rhythm, melody, harmony, and tempo.

For the experimental psychologist, the experience of time during music listening or performance is something that can be studied empirically. Psychologists, have investigated how music affects our perception of time, including how it affects our heartbeat, breathing, and brain activity. They have found that music can slow down our heartbeat, reduce stress, and even improve our cognitive performance.

Philosophers have also been interested in the fundamental questions of time, such as whether time is linear or cyclical, and what the nature of the past, present, and future is. Some philosophers argue that time is linear, while others argue that it is cyclical. Some philosophers also explore the concept of duration, which is the length of time between two events.

For the performer, musical time can exist as a subjective vehicle of expression. Performers can manipulate the tempo, rhythm, and melody of music to create a sense of time and place. For example, a slow, melancholy melody can create a sense of nostalgia or sadness, while a fast, energetic melody can create a sense of excitement or energy.

The order presented in the text's structure offers a journey from empiricism to application, via contemplation. This volume deals with the complex relationship between music and time, presenting a staunchly interdisciplinary perspective defined by the terms of Psychology, Philosophy, and Practice. The text is divided into sections concerning experience, enactment, and meaning, as points of intersection between the three primary methodologies of the title.

As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals.

In conclusion, the relationship between music and time is a complex and fascinating subject that has been explored by psychologists. Music has the ability to manipulate our perception of time, creating a sense of timelessness or slowing down the passage of time. Time, on the other hand, can manifest through music in various ways, such as rhythm, melody, harmony, and tempo.

Weight: 592g
Dimension: 162 x 242 x 18 (mm)
ISBN-13: 9781783277087