{"product_id":"music-as-a-chariot-9781138295773","title":"Music as a Chariot","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eMusic as a Chariot\u003c\/em\u003e offers a multidisciplinary perspective whose primary proposition is that theatre is a \u003ci\u003etype\u003c\/i\u003e of music. Understanding how music enables the theatre experience helps to shape our entire approach to the performing arts. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eBeginning with a discussion on the origin and nature of time, the author takes us on an evolutionary journey to discover how music, language and mimesis co-evolved, eventually coming together to produce the complex way we experience theatre. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe book integrates the evolutionary neuroscience of the human brain into this journey, offering practical implications and applications for the auditory expression of this conceptnamely the fundamental techniques artists use to create sound scores for theatre. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eWith contributions from directors, playwrights, actors and designers, \u003ci\u003eMusic as a Chariot\u003c\/i\u003e explores the use of music to carry ideas into the human soula concept that extends beyond the theatrical \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTable of Contents\u003c\/p\u003e\u003cp\u003eChapter 1: Introduction: Why this Book?\u003c\/p\u003e\u003cp\u003eIntroduction: An Ear Opening Experience\u003c\/p\u003e\u003cp\u003eOld School Aesthetics\u003c\/p\u003e\u003cp\u003eWhen Sound Gets Divorced from Music\u003c\/p\u003e\u003cp\u003eWho Should Read this Book\u003c\/p\u003e\u003cp\u003eOverview of the Book\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003ePart I: The Nature of Time\u003c\/p\u003e\u003cp\u003eChapter 2: Let There Be a Big Bang\u003c\/p\u003e\u003cp\u003eIntroduction: If a Tree Falls in the Universe…\u003c\/p\u003e\u003cp\u003eThe Nature of Light and Sound\u003c\/p\u003e\u003cp\u003eThe Evolution of Hearing and Speaking\u003c\/p\u003e\u003cp\u003eThe Evolution of the Brain Leads to the Ability to Express Emotions\u003c\/p\u003e\u003cp\u003eEyes and Ears, Space and Time\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eChapter 3: The Great Mystery of Time \u003c\/p\u003e\u003cp\u003eIntroduction: Babbling in Babelsberg\u003c\/p\u003e\u003cp\u003eThe Mammalian Invasion\u003c\/p\u003e\u003cp\u003eWe Are Such Stuff as Dreams Are Made of…\u003c\/p\u003e\u003cp\u003eThe Relativity of Time\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003ePart II: Music = Time Manipulated\u003c\/p\u003e\u003cp\u003eChapter 4: What Is Music?\u003c\/p\u003e\u003cp\u003eIntroduction: What’s in a Name?\u003c\/p\u003e\u003cp\u003eMusic Is Organized Sound\u003c\/p\u003e\u003cp\u003eNarrowing Our Definition of Music\u003c\/p\u003e\u003cp\u003eMusic Is Visual as Well as Audible\u003c\/p\u003e\u003cp\u003eThe Elements of Design\u003c\/p\u003e\u003cp\u003eEnergy Characteristics\u003c\/p\u003e\u003cp\u003eTemporal Characteristics\u003c\/p\u003e\u003cp\u003eSpatial Characteristics\u003c\/p\u003e\u003cp\u003eComplex Elements that Combine Energy in Time and Space\u003c\/p\u003e\u003cp\u003eThe Importance of These Elements of Music\u003c\/p\u003e\u003cp\u003eA Proposed Definition of Music\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eChapter 5: Primate Numbers\u003c\/p\u003e\u003cp\u003eIntroduction: Who’s on First?\u003c\/p\u003e\u003cp\u003eMusic, Language and Mimesis: The Really Early Years\u003c\/p\u003e\u003cp\u003eBipedal Primates\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003ePart III: Song = Music + Idea\u003c\/p\u003e\u003cp\u003eChapter 6: Campfire Songs (Rhythm and Entrainment)\u003c\/p\u003e\u003cp\u003eIntroduction: Welcome Homo\u003c\/p\u003e\u003cp\u003eOne Giant Leap for Mankind\u003c\/p\u003e\u003cp\u003eEarly Homo\u003c\/p\u003e\u003cp\u003eHomo Erectus\u003c\/p\u003e\u003cp\u003eRunning, Tempo, Pulse, Tactus and Entrainment\u003c\/p\u003e\u003cp\u003eTempo, Pacing, Tactus, Entrainment and Theatre Composition\u003c\/p\u003e\u003cp\u003eWhen Music Meets Mimesis\u003c\/p\u003e\u003cp\u003eConclusion\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eChapter 7: Music and Language\u003c\/p\u003e\u003cp\u003eIntroduction: \"All Theatre Starts with a Script\"\u003c\/p\u003e\u003cp\u003eBrain Gains\u003c\/p\u003e\u003cp\u003eFantastic Voyage\u003c\/p\u003e\u003cp\u003eConclusion: Song = Music + Idea\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eChapter 8: Consonance and Dissonance (The Evolution of Line)\u003c\/p\u003e\u003cp\u003eIntroduction: The Roots of Who We Become\u003c\/p\u003e\u003cp\u003eThe Evolution of Line\u003c\/p\u003e\u003cp\u003eConsonance and Dissonance\u003c\/p\u003e\u003cp\u003eWhat is Consonance and Dissonance?\u003c\/p\u003e\u003cp\u003eSubcortical Consonance and Dissonance Perception\u003c\/p\u003e\u003cp\u003eCortical Consonance and Dissonance Perception\u003c\/p\u003e\u003cp\u003eConsonance and Dissonance in Theatre\u003c\/p\u003e\u003cp\u003eLine\/Melody\u003c\/p\u003e\u003cp\u003eHarmony\u003c\/p\u003e\u003cp\u003eConclusion: Consonance and Dissonance and Time\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003ePart IV: Theatre = Song + Mimesis\u003c\/p\u003e\u003cp\u003eChapter 9: Ritual, Arousal, Reward, Ecstasy\u003c\/p\u003e\u003cp\u003eIntroduction: From High Mass to Ecstasy\u003c\/p\u003e\u003cp\u003eThe Development of Ritual, Shamanism, and (Altered States of Consciousness)\u003c\/p\u003e\u003cp\u003eThe Neuroscience of Arousal and Reward in the Altered States of Consciousness of Shamanism and Theatre\u003c\/p\u003e\u003cp\u003eIntroduction: Dreams, Altered States of Consciousness and Theatre\u003c\/p\u003e\u003cp\u003eThe Basic Neuroscience of Arousal\u003c\/p\u003e\u003cp\u003eThe Effect of Music on Physiological Systems\u003c\/p\u003e\u003cp\u003eThe Effect of Music on Psychological Systems\u003c\/p\u003e\u003cp\u003eCognitive Models for Music in Theatre\u003c\/p\u003e\u003cp\u003eRobert Thayer’s Model of Psychological Moods\u003c\/p\u003e\u003cp\u003eBerlyne’s Theory of Arousal in Aesthetics and Psychobiology\u003c\/p\u003e\u003cp\u003eConclusion: Experiments in Ecstasy\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eChapter 10: Music, Mimesis, Memory\u003c\/p\u003e\u003cp\u003eIntroduction: Traveling Backwards in Time\u003c\/p\u003e\u003cp\u003eThe New Stone Age\u003c\/p\u003e\u003cp\u003eMemory\u003c\/p\u003e\u003cp\u003eIntroduction\u003c\/p\u003e\u003cp\u003eSensory Memory\u003c\/p\u003e\u003cp\u003eLong Auditory Store\/Short Term Memory\/Working Memory\u003c\/p\u003e\u003cp\u003eLong-Term Memory\u003c\/p\u003e\u003cp\u003eCreating and Retrieving Long-Term Memories\u003c\/p\u003e\u003cp\u003eImplicit Memory\u003c\/p\u003e\u003cp\u003eExplicit Episodic Memory\u003c\/p\u003e\u003cp\u003eInvoluntary Explicit Episodic Memory\u003c\/p\u003e\u003cp\u003eAutobiographical Memory\u003c\/p\u003e\u003cp\u003eConclusion: The Origins of Theatre and the Problems of the Oral Tradition\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eChapter 11: The Bronze Age and the Invention of Writing\u003c\/p\u003e\u003cp\u003eIntroduction: Theatre Becomes Drama\u003c\/p\u003e\u003cp\u003eThe Bronze Age\u003c\/p\u003e\u003cp\u003eThe Emergence of Written Language\u003c\/p\u003e\u003cp\u003eThe Transition from Oral Tradition to Recorded History\u003c\/p\u003e\u003cp\u003eConclusion: Lost in Translation?\u003c\/p\u003e\u003cp\u003eTen Questions\u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e\u003cp\u003eChapter 12: Conclusion: Evolution and Greek Theatre\u003c\/p\u003e\u003cp\u003eIntroduction: A Case Study\u003c\/p\u003e\u003cp\u003eThe Origins of Greek Music: Music = Time Manipulated\u003c\/p\u003e\u003cp\u003eThe Development of Greek Song: Song = Music + Idea\u003c\/p\u003e\u003cp\u003eMusic as Math Made Audible: The Greeks Revisit Consonance and Dissonance\u003c\/p\u003e\u003cp\u003eThe First Autocratic Theatre: Theatre = Song + Mimesis\u003c\/p\u003e\u003cp\u003ePlato and His World\u003c\/p\u003e\u003cp\u003eAristotle’s Theatre\u003c\/p\u003e\u003cp\u003eConclusion of the Conclusion\u003c\/p\u003e\u003cp\u003eEleven Questions, Part I \u003c\/p\u003e\u003cp\u003eEleven Questions, Part II \u003c\/p\u003e\u003cp\u003eThings to Share\u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default 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