Sound, Music, Affect

Introduction: Somewhere Between the Signifying and the Sublime Marie Thompson and Ian Biddle SECTION 1 - AFFECTIVE (RE)THINKING: SOUND AS AFFECT AND AFFECT AS SOUND Non-cochlear Sound: On Affect and Exteriority - Will Schrimshaw Felt as Thought (or, musical abstraction and the semblance of affect) - eldritch Priest My Mother's Scream - Patricia Ticineto Clough SECTION 2 - HEARING, PLAYING, FEELING: MUSIC AND THE ORGANIZATION OF AFFECT So Transported: Nina Simone, 'My Sweet Lord' and the (Un)folding of Affect - Richard Elliott (I Can't Get No) Affect - John Mowitt Listening to the Talking Cure: Sprechstimme, Hypnosis, and the Sonic Organization of Affect - Clara Latham SECTION 3 - AFFECTS OF TURBULENCE Spread the Virus: Affective Prophecy in Industrial Music - Dean Lockwood Brace and Embrace: Masochism in Noise Performance - Paul Hegarty Three Screams - Marie Thompson SECTION 4 - PALLIATIVE SOUNDS AND THE MARKETING OF AFFECTION Music for Sleeping - Anahid Kassabian Relax, Feel Good, Chill Out: the Affective Distribution of Classical Music - Freya Jarman Quiet Sounds and Intimate Listening: the Politics of Tiny Seductions - Ian Biddle

Ian Biddle is senior lecturer and Head of Postgraduate Studies in Music at Newcastle University, UK. He is co-founder and co-ordinating editor (with Richard Middleton) of the journal Radical Musicologyand the author of Music, Masculinity and the Claims of History (2011). Marie Thompson is a PhD candidate at Newcastle University, UK, based jointly in ICMUS and Culture Lab. Her research interests lie primarily with avant-garde and experimental musics. She regularly performs solo as Tragic Cabaret, in the duo Ghostly Porters, and as part of Newcastle's audiovisual collective, Kira Kira.

Sound, Music, Affect is not only about these three concepts, but also much more. It weaves together politics and aesthetics and smartly pitches a valuable contribution to the debates in current cultural theory. It gives us great case studies of why thinking through "meaning" is not sufficient--we also need to account for that regime of reality that makes our knees jerk, ears bleed, hands shake and mouths open into a shout. -- Dr Jussi Parikka, Winchester School of Art, UK and author of Insect Media (2010) and What is Media Archaeology? (2012) Endorsement We all know how powerfully we can be moved by music. But we still find it hard to describe just how music affects us; it's so much easier to analyze its forms, or to speculate on what it means. The essays in this book combine affect theory with sonic cultural studies, in order to discuss the ways that we feel music, and the social and political consequences of such feelings. -- Steven Shaviro, DeRoy Professor of English, Wayne State University, US Endorsement This collection of erudite, provocative essays is likely to become a classic. An indispensable introduction to the new modes of thought about music, sound and affect, it will move conversation about sound and music firmly into productive Deleuzian realms. -- Suzanne G. Cusick, New York University, US Endorsement