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Book Synopsis
A techno-cognitive look at how new technologies are shaping the future of musicking.

 “Musicking” encapsulates both the making of and perception of music, so it includes both active and passive forms of musical engagement. But at its core, it is a relationship between actions and sounds, between human bodies and musical instruments. Viewing musicking through this lens and drawing on music cognition and music technology, Sound Actions proposes a model for understanding differences between traditional acoustic “sound makers” and new electro-acoustic “music makers.”
 
What is a musical instrument? How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? The answers to these pivotal questions entail a meeting point between interactive music technology and embodied music cognition

Sound Actions Conceptualizing Musical Instruments

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    A Paperback / softback by Alexander Refsum Jensenius

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      Publisher: MIT Press Ltd
      Publication Date: 13/12/2022
      ISBN13: 9780262544634, 978-0262544634
      ISBN10: 0262544636
      Also in:
      Entertainment Theory of music and musicology

      Description

      Book Synopsis
      A techno-cognitive look at how new technologies are shaping the future of musicking.

       “Musicking” encapsulates both the making of and perception of music, so it includes both active and passive forms of musical engagement. But at its core, it is a relationship between actions and sounds, between human bodies and musical instruments. Viewing musicking through this lens and drawing on music cognition and music technology, Sound Actions proposes a model for understanding differences between traditional acoustic “sound makers” and new electro-acoustic “music makers.”
       
      What is a musical instrument? How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? The answers to these pivotal questions entail a meeting point between interactive music technology and embodied music cognition

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