This book is an interdisciplinary project that brings together ideas from aesthetics, philosophy, psychology, and music sociology as an expansion of German philosopher Hans-Georg Gadamer’s theory on the aesthetics of play. This way of thinking focuses on an ontology of the process of musicking rather than an ontology of discovering fixed and static musical objects. In line with this idea, the author discusses the importance of participation and involvement in this process of musicking, whether as a listener or as a performer. Christensen then goes on to critique and update Gadamer's theory by presenting incompatibilities between it and recent theories of aesthetic emotions and embodiment. He proposes that emotions are ‘constructed’ rather than ‘caused’, that the mind uses a system of ‘filters’ to respond to sonic stimuli and thus constructs (via play) aesthetic feelings and experiences. In turn, this approach provides music with a route into the development of social capital and inter-subjective communication. This work builds on the hermeneutical steps already taken by Gadamer and those before him, continuing his line of thought beyond his work.
2018. Sound and the Aesthetics of Play: A Musical Ontology of Constructed Emotions. Cham: Palgrave Macmillan, 2018.
2018. “Playing in Streams of Knowledge: multimodality in perception and action.” In An old melody in a new song: aesthetics and psychology.
Annals of Theoretical Psychology, Springer. (In Press).
2018. “Improvisation: an ideal display of imagination in embodied perception.” In The Oxford Handbook of Sound & Imagination. Oxford: Oxford
University Press. (In Press).
2016. “Preparing Empirical Methodologies to Examine Enactive, Embodied Subjects Experiencing Musical Emotions.” Danish Musicology
2015. “Virtual Distance and Soundstage, and their impacts on experienced emotional valence.” Danish Musicology Online: 101-116.
2015. “Emotional cues, emotional signals, and their contrasting effects on listener valence.” In AM '15 Proceedings of the 10th Audio Mostly on
Interaction With Sound. Association for Computing Machinery: 1-5.
2015. “Individual temporal biases, and methods composers of high-groove music use to increase beat sensation.” In Proceedings of CMMR:
2014. “Imagined time: sculpting a temporal experience for the listener”. In AM '14 Proceedings of the 9th Audio Mostly: A Conference on
Interaction With Sound. Association for Computing Machinery: 1-5.
2012. “Unfolding Time: Perceiving Speed in Music as Resulting from the Interactions of Discrete Musical Layers.” PhD diss., University of
https://eprints.soton.ac.uk/367344/ (dissertation is from page 275 onwards).
2009. “Spectral Analysis and Deconstruction.” In Contemporary Techniques and Openmusic, edited by Rozlie Hirs and Bob Gilmore. Paris:
Editions Delatour France/Ircam - Centre Pompidou: 275-283.
2018. and Brian Bemman. “Finding an ideal level of syncopation to elicit a groove response.” In preparation. Initial findings presented at 2017 SMPC conference.
Folding the unfolding brass for brass ensemble – 2018, 3 min.
I wish that there was something there for mixed ensemble and electronics – 2017, 11 min.
Self-portrait, reflection for mixed ensemble – 2016, 7 min.
This is fun for me, even if you don't think it is for flute and piano duo – 2015, 8 min.
Emptying the omission for mixed ensemble – 2015, 20 min.
Happy intervals, inevitable consequences for mixed ensemble – 2015, 7 min.
Contradictory Histories for violin & harp duo – 2013, 7 min.
Trajectories for string trio – 2013, 8 min.
Critical Distance for mixed ensemble – 2013, 14 min.
Krebs en Schütze for large ensemble – 2012, 8 min.
Hand I used to hold for large ensemble – 2011, 10 min.
Arguments Against Motion for mixed ensemble – 2011, 23 min.
The Failures of Marsyas for mixed ensemble – 2009, 9 min.
Matter for mixed ensemble – 2008, 11 min.
For Ilknur for bass clarinet – 2008, 4 min.
Cwmdonkin Drive for mixed ensemble with narrator – 2007, 12 min.
Lacking the door often requires of the window for solo cello – 2007, 6 min.
Hijway for solo tape – 2006, 2 min.
She said I could for large ensemble – 2006, rev. 2006, 6 min.
Fundere for mixed ensemble – 2006, rev 2007, 6 min.
Inclination for String Orchestra – 2005, 7 min.
To become a member you must do all of the steps for two organs – 2005, 3 min.
Twofold Refractions for 10 instruments – 2004, 9 min.
Le Lion abattu par l’homme for 3 voices and electronics – 2004, 3 min.
Caudalis for 6 trumpets – 2003, 6 min.
Time and Expectation for mixed ensemble – 2003, 6 min.
Tourniquet Mirage for orchestra – 2003, 13 min.
Seams for String Orchestra – 2000, 6 min.
Artesian Flow for large chamber ensemble – 2000, rev. 2002, 8 min.
Established time for solo trumpet – 1999, 6 min.
Entreaty and Elegia for Brass Quintet – 1999, 8 min.
Embers for Chamber Orchestra – 1998, 10 min.
Upon Billows for tape – 1998, 8 min.
remnants for two pianos – 1998, 7 min.
Inner dialogue for tape and electronics – 1997, 6 min.
Wspomnienie for Large String Orchestra – 1997, 5 min.
InterNal for Brass Choir ( 4 horns, 4 trumpets, 4 trombones, tuba, 2 perc.) – 1997, 9
String Quartet - 1996, 15 min.
In Memoriam for small ensemble (flute, trumpet, cello, piano) and chamber choir –
1996, 5 min.
So shall you be for Baritone and Cello – 1995, 6 min.
Gruppo Montebello. 2017. Canadian Composers. Etcetera Records (KTC 9006 8711801090061).
Canadian League of Composers. 2014. ISCM Canadian Section – Selected Works 2014.
May 2018 York University Music Composition Department. Composers and their Means of Approaching Different Temporal Modes of
Aesthetic Experience in their Practice.
Mar. 2018 Tokai University European Center. 3rd Dialogue between Civilizations. Composers and their Means of Approaching Different Modes
of Affective and Aesthetic Experience in their Practice.
Jan. 2018 Royal Danish Academy of Music. Composition Seminar. Music as Virtual Other? Negotiating with the broken.
Nov. 2016 Koninklijk Conservatorium. Composition Seminar. Given alongside a week of workshops & private lessons for composition
Jun. 2015 The Psycho-physiology of Meaning-making: Annual International Gatherings in Biosemiotics. Virtual Distance & Musical Valence.
May 2014 Centro Mexicano para la Música y las Artes Sonoras : Encuentro de Ensambles. Sculpting Time in the Musical Experience.
Apr. 2013 La Colmena Escuela De Músicos, Córdoba, Argentina 26 April, 2013. Pay Attention!: how the study of the listener’s attention shapes
my compositional processes.
SMPC Conference 2017. Poster. 30 July–2 August 2017
ICMC Conference 2016. Performer. 12–16 September 2016
The Dark Precursor: International Conference on Deleuze and Artistic Research. 9- 11 November, 2015
Audio Mostly 2015: A Conference on Interaction With Sound. Presenter. 7–9 October, 2015
17th Nordic Musicological Congress. Presenter. 11–14 August, 2015
11th International Symposium on Computer Music Multidisciplinary Research: Music, Mind, and Embodiment. Poster. 16–19 June, 2015
Methods in Empirical Music Research: A Workshop for Music Scholars 18–22 May, 2015
2. nordiske konference om lyd- og musikproduktion. Presenter. 12–13 May, 2015
2nd International Conference on Music and Consciousness. Presenter. 14–17 April, 2015
SMART Cognitive Science: Highlighting the contributions from the humanities to cognitive science. 25–28 March, 2015
International Conference on the Multimodal Experience of Music. Poster. 23–25 March, 2015
Lorenz Center Workshop: Music similarity: concepts, cognition and computation. Poster. 19–23 January, 2015
Audio Mostly 2014. Presenter. 1–3 October, 2014
Bias in auditory perception: Interacting Minds Conference. Presenter. 18–20 September 2014
ICMC-SMC Conference 2014. 14–20 September, 2014
ICMC Summer School: Computational Music Analysis 11–14 September, 2014
Music Emotions and Well-being: Historical and Scientific Perspectives 20 June, 2014
The Neurosciences and Music V: Cognitive Stimulation and Rehabilitation 29 May – 01 June, 2014
International Ferienkurse für Neue Musik, Darmstadt. Performer. 2010.
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