Bloomsbury Academic Cognitive Continuum of Electronic Music, The

Review The Cognitive Continuum of Electronic Music provides an excellent model for students who wish to integrate perceptual or cognitive listening experiments with their personal practice. The book contextualizes the studies, conveys the necessary details to evaluate the experimental design, and draws conclusions that are driven both empirically and through practice. The extensive bibliography covers subjects and sources that are critical to electronic music scholarship, perception, listening, cognition, and experimental design. Kerry L. Hagan, Lecturer, Digital Media and Arts Research Centre, University of Limerick, Ireland, and President of the International Computer Music Association This book traces electronic music from its infancy to the present day, acknowledging many of the field's important figures and influential developments. Building on this foundation, it draws on novel research approaches which illuminate important areas, including insights into the relationships between electronic music and the listener, thus holding potential to inform not only future studies, but also the continuing development of electronic music's creation and consumption. Tony Rigg, Music Industry Practitioner and Advisor, University of Central Lancashire, UK, and co-editor of The Evolution of Electronic Dance Music (2021) Product Description The electronic medium allows any audible sound to be contextualized as music. This brings about unique structural possibilities as spectrum, dynamics, space, and time become continuous dimensions of musical articulation. What we hear in electronic music ventures beyond what we traditionally characterize as musical sound and challenge our auditory perception on the one hand and our imagination on the other. Based on an extensive listening study conducted over four years, this book offers a comprehensive analysis of the cognitive processes involved in the experience of electronic music. It pairs artistic practice with theories from a range of disciplines to communicate how this music operates on perceptual, conceptual, and affective levels. Looking at the common and the divergent ways in which our minds respond to electronic sound, the book investigates how we build narratives from of our experience of electronic music and how we situate ourselves in them. About the Author <b>Anil Çamci</b> is a composer and professor of Performing Arts Technology at the University of Michigan, USA. His work deals with new tools and theories of worldmaking across a variety of media ranging from electronic music to virtual reality. Previously, he held positions at the University of Illinois at Chicago and Istanbul Technical University, where he founded the Sonic Arts Program. He holds an MS in Multimedia Engineering from the University of California, Santa Barbara, and a PhD in Creative and Performing Arts from Leiden University. His work has been featured throughout the world in leading conferences and journals. He has been given numerous awards including the ACM CHI Artist Grant and NIME Best Installation Prize.