Sergeant Matthew (21 results)

hardcover. Condition: Fine.

Condition: new.

Condition: New.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.

Condition: New.

Hardback. Condition: New. How does music manifest through time and, simultaneously, how does time manifest through music?For the experimental psychologist, the experience of time during music listening or performance is something that may be studied empirically. For philosophers, fundamental questions of time continue to be the subject of ongoing debate in philosophy: is time linear? What are past, present and future? What is duration and what makes a perceptual present, or moment? For the performer, musical time can exist as a subjective vehicle of expression. Although any of the three could be chosen as a starting point, the order presented in the text's structure offers a journey from empiricism to application, via contemplation. This volume deals with the complex relationship between music and time. It presents a staunchly interdisciplinary perspective defined by the terms Psychology, Philosophy and Practice. The text is divided into sections concerning "experience", "enactment" and "meaning", as points of intersection between the three primary methodologies of the title. As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals.

Hardcover. Condition: new. Hardcover. How does music manifest through time and, simultaneously, how does time manifest through music?For the experimental psychologist, the experience of time during music listening or performance is something that may be studied empirically. For philosophers, fundamental questions of time continue to be the subject of ongoing debate in philosophy: is time linear? What are past, present and future? What is duration and what makes a perceptual present, or moment? For the performer, musical time can exist as a subjective vehicle of expression. Although any of the three could be chosen as a starting point, the order presented in the text's structure offers a journey from empiricism to application, via contemplation.This volume deals with the complex relationship between music and time. It presents a staunchly interdisciplinary perspective defined by the terms Psychology, Philosophy and Practice. The text is divided into sections concerning "experience", "enactment" and "meaning", as points of intersection between the three primary methodologies of the title. As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals. How does music manifest through time and, simultaneously, how does time manifest through music? Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: New. 2022. Hardcover. . . . . .

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Hardback. Condition: New. How does music manifest through time and, simultaneously, how does time manifest through music?For the experimental psychologist, the experience of time during music listening or performance is something that may be studied empirically. For philosophers, fundamental questions of time continue to be the subject of ongoing debate in philosophy: is time linear? What are past, present and future? What is duration and what makes a perceptual present, or moment? For the performer, musical time can exist as a subjective vehicle of expression. Although any of the three could be chosen as a starting point, the order presented in the text's structure offers a journey from empiricism to application, via contemplation. This volume deals with the complex relationship between music and time. It presents a staunchly interdisciplinary perspective defined by the terms Psychology, Philosophy and Practice. The text is divided into sections concerning "experience", "enactment" and "meaning", as points of intersection between the three primary methodologies of the title. As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals.

Hardback. Condition: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condition: Brand New. 206 pages. 9.25x6.25x0.75 inches. In Stock.

Condition: New. 2022. Hardcover. . . . . . Books ship from the US and Ireland.

Hardback. Condition: New. How does music manifest through time and, simultaneously, how does time manifest through music?For the experimental psychologist, the experience of time during music listening or performance is something that may be studied empirically. For philosophers, fundamental questions of time continue to be the subject of ongoing debate in philosophy: is time linear? What are past, present and future? What is duration and what makes a perceptual present, or moment? For the performer, musical time can exist as a subjective vehicle of expression. Although any of the three could be chosen as a starting point, the order presented in the text's structure offers a journey from empiricism to application, via contemplation. This volume deals with the complex relationship between music and time. It presents a staunchly interdisciplinary perspective defined by the terms Psychology, Philosophy and Practice. The text is divided into sections concerning "experience", "enactment" and "meaning", as points of intersection between the three primary methodologies of the title. As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals.

Hardback. Condition: New. How does music manifest through time and, simultaneously, how does time manifest through music?For the experimental psychologist, the experience of time during music listening or performance is something that may be studied empirically. For philosophers, fundamental questions of time continue to be the subject of ongoing debate in philosophy: is time linear? What are past, present and future? What is duration and what makes a perceptual present, or moment? For the performer, musical time can exist as a subjective vehicle of expression. Although any of the three could be chosen as a starting point, the order presented in the text's structure offers a journey from empiricism to application, via contemplation. This volume deals with the complex relationship between music and time. It presents a staunchly interdisciplinary perspective defined by the terms Psychology, Philosophy and Practice. The text is divided into sections concerning "experience", "enactment" and "meaning", as points of intersection between the three primary methodologies of the title. As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals.

Hardcover. Condition: new. Hardcover. How does music manifest through time and, simultaneously, how does time manifest through music?For the experimental psychologist, the experience of time during music listening or performance is something that may be studied empirically. For philosophers, fundamental questions of time continue to be the subject of ongoing debate in philosophy: is time linear? What are past, present and future? What is duration and what makes a perceptual present, or moment? For the performer, musical time can exist as a subjective vehicle of expression. Although any of the three could be chosen as a starting point, the order presented in the text's structure offers a journey from empiricism to application, via contemplation.This volume deals with the complex relationship between music and time. It presents a staunchly interdisciplinary perspective defined by the terms Psychology, Philosophy and Practice. The text is divided into sections concerning "experience", "enactment" and "meaning", as points of intersection between the three primary methodologies of the title. As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals. How does music manifest through time and, simultaneously, how does time manifest through music? Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardcover. Condition: Very Good. First Edition. Adelaide, Lonnen and Cope, 1921. Octavo, 228 pages with 12 illustrations and 16 maps plus 18 plates and the printed front endpaper. Colour-pictorial cloth a little worn and bumped at the extremities, with minor loss at the head of the front joint; acidic paper discoloured as ever; a few marks to the edges; a very good copy of a book notoriously difficult to find in even decent condition because of the poor quality of the materials used in its production. Dornbusch 310; Fielding and O'Neill, page 227; Trigellis-Smith 226.

Hardcover. Condition: Good. First Edition. Adelaide, Lonnen and Cope, 1921. Octavo, 228 pages with 12 illustrations and 16 maps plus 18 plates and the printed front endpaper. Colour-pictorial cloth a little worn at the extremities and along the rear hinge (now with minimal restoration to the spine); rear board cracked down the centre, but still firm; acidic paper brittle and discoloured as ever, with trifling chips and short edge tears to a number of leaves (and a tear to one leaf neatly closed); overall a decent copy of a book notoriously difficult to find in good condition because of the poor quality of the materials used in its production. Dornbusch 310; Fielding and O'Neill, page 227; Trigellis-Smith 226.

Hardcover. Condition: Very Good. First Edition. Adelaide, Lonnen & Cope, 1921. Octavo, 228 pages with 12 illustrations and 16 maps plus 13 pages of plates and the printed front endpaper. Expertly rebound, retaining the colour-pictorial cloth (now cut into three panels and mounted on the new matching plain cloth), with replacement endpapers (closely matched in colour, with the front one a photocopy of the original printed version); slight blemishes to the retained original cloth; acidic text paper tanned (as ever); top corner tip of most leaves rounded off; a tear across one leaf expertly sealed; small and inoffensive stains and tears to some leading margins; minor signs of age and use; overall, a very good copy of a book notoriously difficult to find in halfway decent condition because of the poor quality of the materials used in its production. Provenance: 2280 Corporal Victor Clarence Sidney McGrath (a member of the battalion), with his ownership details written in ballpoint pen on the title page. Dornbusch 310; Fielding and O'Neill, page 227; Trigellis-Smith 226.