دانلود کتاب بدن های موسیقی، ذهن های موسیقیایی

Every known human society, past and present, engages in activities that can be described as “musical.” These activities involve singing, drumming, dancing, listening, and a range of other expressive behaviors and coordinated actions that take place in lived contexts associated with work, play, worship, ritual, entertainment, and more (Cross, 2012; Elliott, 1995; Small, 1998; Tomlinson, 2015). Songs, melodies, rhythms, and musical styles are used to reinforce feelings of belonging and identity in social groups, cultures, and communities (Blacking, 1995). Our day-to- day experiences of the world also involve all kinds of sounds, movements, and relationships that we can perceive as musical—from the noises and rhythms of the city to the sounds and movements of nature (Schafer, 1994). Music affords forms of emotional regulation and nonverbal communication, and is often employed as a therapeutic aid in both clinical and everyday contexts (DeNora, 2000; Sacks, 2007). Since the earliest days of our species, we have used music to enhance and give meaning to the various places we inhabit, from singing and dancing around a campfire or in a place of worship to the use of personal listening devices while exercising, or when traveling on buses, trains, and planes (Bull, 2000; Fritz et al., 2013; Mithen, 2005; Skånland, 2013). Music plays an important role in how we develop cultural understandings; it drives the complex and powerfully transformative experiences associated with different (e.g., religious) ceremonies, symphonic performances, or rock concerts. But it also involves more mundane phenomena we may hardly notice—like tapping one’s foot to the beat of a tune on the radio and the subtle shift in mood that may occur as one does so.