SZodixStudyAcademic Library
ShelvesOpen access
Study · an open academic library·Metadata from OpenAlex (CC0)·Shelves·OpenAlex metadata, de-duplicated
The sonic self: Musical subjectivity and signification
0 references·16 citing·32 second hop
The sonic self: Musical subjectivity and signification (2001)The sonic self: Musical subjectivity and …Music, Encounter, Togetherness (2024)Music, Encounter, TogethernessEmbodied Expression in Popular Music (2024)Embodied Expression in Popula…Witnessing Race in the New Digital Cinema (2019)Witnessing Race in the New Di…Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes (2019)Toward a History of Digital M…The Political Economy of Streaming (2019)The Political Economy of Stre…Singing and street cries from eighteenth-century naranjera to twentieth-century violetera: aural paradigms of gender, poverty and affect (2019)Singing and street cries from…On Serving as an Expert Witness in the ‘Blurred Lines’ Case (2019)On Serving as an Expert Witne…Digital Technology and Cultural Practice (2019)Digital Technology and Cultur…Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking. By Arnie Cox (2018)Music and Embodied Cognition:…Form—Function—Content (2018)Form—Function—ContentDeterritorialising the Research Space: Artistic Research, Embodied Knowledge, and the Academy (2017)Deterritorialising the Resear…Choose Your Own Adventure Music: On the Emergence of Voice in Musical Collaboration (2016)Choose Your Own Adventure Mus…Music as Discourse (2008)Music as DiscourseThe Art of Doing (Geographies of) Music (2007)The Art of Doing (Geographies…Sensible virtual selves: Bodies, instruments and the becoming-concrete of Music (2006)Sensible virtual selves: Bodi…Latent body—plastic, malleable, inscribed: The human voice, the body and the sound of its transformation through technology (2006)Latent body—plastic, malleabl…Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective (1988)The Tacit Dimension (1997)3.2. MARXISM AND LITERATURE (2006)Qualitative methods: are you enchanted or are you alienated? (2007)The Ties That Bind: Towards Geographies of Intimacy (2008)How is space made in sound? Spatial mediation, critical phenomenology and the political agency of sound (2015)Difference and repetition (1994)Parables for the Virtual (2002)Parables for the virtual: movement, affect, sensation (2002)Naked Intimacy: Eroticism, Improvisation, and Gender (2008)Course in General Linguistics (1960)Discourse, Consciousness, and Time: The Flow and Displacement of Conscious Experience in Speaking and Writing (1994)Saying something: jazz improvisation and interaction (1997)Hollywood Cadences (2013)Key Components of Musical Discourse Analysis (2013)TRAZOM'S WIT: COMMUNICATIVE STRATEGIES IN A ‘POPULAR’ YET ‘DIFFICULT’ SONATA (2013)Classical form : a theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven (1998)Metaphors We Live By (2003)Elements of Sonata Theory (2006)Rethinking Sonata Failure: Mendelssohn’s Overture Zum Märchen von der schönen Melusine (2020)Formalising Star Clusters: Sonata Process and Breakthrough Function in the Adagio of Mahler's Tenth Symphony (2021)Reimagining Formal Functions in Post-Tonal Music (2023)Linguistic Anthropology: A Reader (2002)Acoustic Territories: Sound Culture and Everyday Life (2010)The Sound Studies Reader (2012)Understanding Media: The Extensions of Man (1964)A Thousand Plateaus: Capitalism and Schizophrenia (1989)Advances in Consumer Research (2025)The Principles of Psychology (1891)Culture and the Self: Implications for Cognition, Emotion, and Motivation (1991)The way we think: conceptual blending and the mind's hidden complexities (2002)Soundings on a Relational Epistemology: Encountering Indigenous Knowledge through Interwoven Experience (2023)
this work references cited by second hop

References

No references inside the corpus for this window.

Cited by

  • 2007The Art of Doing (Geographies of) Music159 cited
  • 2008Music as Discourse79 cited
  • 2006Sensible virtual selves: Bodies, instruments and the becoming-concrete of Music47 cited
  • 2019Digital Technology and Cultural Practice20 cited
  • 2019Singing and street cries from eighteenth-century naranjera to twentieth-century violetera: aural paradigms of gender, poverty and affect17 cited
  • 2024Music, Encounter, Togetherness17 cited
  • 2019The Political Economy of Streaming17 cited
  • 2019Witnessing Race in the New Digital Cinema16 cited
  • 2019On Serving as an Expert Witness in the ‘Blurred Lines’ Case15 cited
  • 2018Form—Function—Content13 cited
  • 2019Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes12 cited
  • 2017Deterritorialising the Research Space: Artistic Research, Embodied Knowledge, and the Academy11 cited
  • 2016Choose Your Own Adventure Music: On the Emergence of Voice in Musical Collaboration10 cited
  • 2024Embodied Expression in Popular Music7 cited
  • 2018Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking. By Arnie Cox

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work

7 cited
  • 2006Latent body—plastic, malleable, inscribed: The human voice, the body and the sound of its transformation through technology6 cited