Manuscript in preparation

Ever since I finished my dissertation in 2007, I have thought about writing it up as a book. Parts of the dissertation were translated and extended in the Norwegian-language textbook Musikk og bevegelse (which, by the way, is out of print but freely available as an ebook). That book focused primarily on music-related body motion and was written for the course MUS2006 at the University of Oslo. However, my action-sound theory was only partially mentioned and never properly presented in a book format.

I started on a book manuscript around ten years ago, but it has taken a long time to get it finalized. Family life, a period as Head of Department, and building up RITMO have taken up much of my time over the last decade. Last summer, I managed to complete the first draft of a book manuscript.

I am thrilled to announce that The MIT Press has accepted to publish the book. As an Open Research advocate, I am equally thrilled that the book will be published Open Access. The plan is to submit the final manuscript in August. So over the last month, I have been polishing up the text. What is the book’s content? Well, quite a lot, but here is a short summary:

What is an instrument? How is it used? How do new technologies change the way we perform and perceive music? This is a theoretical music technology book, informed by new research in embodied music cognition. The author argues that there are some fundamental differences between acoustic and electroacoustic instruments. Instruments have traditionally been sound-makers. New electroacoustic instruments are often music-makers. The book explores current and future approaches to music-making by analysing instruments. This is done through four distinctive themesmusicking, embodiment, interaction, and affectionthat all tap into different academic disciplines: music sociology, music psychology, music technology, and music aesthetics. The aim is to combine some influential existing theories from each of these domains with the author’s thinking about the future of musical engagement.

And here is a sneak peek at the table of contents:

Although I think the main structure and content are in place, there will surely be some more changes. The challenge is that as I am reading through and checking citations and references, I come across new exciting things that I want to include. But at some point, I realize that I will have to say that enough is enough…

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alexarje

Alexander Refsum Jensenius is a music researcher and research musician living in Oslo, Norway.