Nicholas G Brown
Biographic Data
| ID | 10923324 |
|---|---|
| NAME | Nicholas G Brown |
| GIVEN NAMES | Nicholas G |
| FAMILY NAME | Brown |
| SIGNATURE | BROWN N G |
| ORCID | 0000-0002-9885-8464 |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 1 |
Musical Affect, Musical Citation, Music-Immanence
Beginning from an analysis of the anomalous position of music within Hegel’s system of aesthetics—a position that brings forth the peculiar quality of music as a medium—this essay asks how we are to conceive of musical meaning in an era when music’s relation to the market must be considered not separate from its formal specificity, but part as of the medium of music itself
The flux between sounding and sound
In this article I consider implications for the body inherent in two aspects of contemporary musical practice: normative and computer-assisted. I separate music into bodily action and resulting vibration, or the act of sounding and the material of sound. From this ground, I examine the field for an understanding of music that questions the exclusive role of listening in musical experience
The flux between sounding and sound
In this article I consider implications for the body inherent in two aspects of contemporary musical practice: normative and computer-assisted. I separate music into bodily action and resulting vibration, or the act of sounding and the material of sound. From this ground, I examine the field for an understanding of music that questions the exclusive role of listening in musical experience
The flux between sounding and sound
In this article I consider implications for the body inherent in two aspects of contemporary musical practice: normative and computer-assisted. I separate music into bodily action and resulting vibration, or the act of sounding and the material of sound. From this ground, I examine the field for an understanding of music that questions the exclusive role of listening in musical experience
Musical Affect, Musical Citation, Music-Immanence
Beginning from an analysis of the anomalous position of music within Hegel’s system of aesthetics—a position that brings forth the peculiar quality of music as a medium—this essay asks how we are to conceive of musical meaning in an era when music’s relation to the market must be considered not separate from its formal specificity, but part as of the medium of music itself
Aesthetics (2 works) · Art (2 works) · Epistemology (2 works) · Philosophy (2 works) · Visual arts (2 works) · Acoustics (1 work) · Affect (linguistics (1 work) · Cartography (1 work) · Cognitive science (1 work) · Communication (1 work)