000			02858cam a2200277zu 4500
001			88871809
003			FRCYB88871809
005			20250107155540.0
006			m o d
007			cr un
008			250107s2019 fr | o|||||0|0|||eng d
020			_a9781622734153
035			_aFRCYB88871809
040			_aFR-PaCSA _ben _c _erda
100	1		_aZuccarini, Carlo
245	0	1	_aEnjoying the Operatic Voice _bA Neuropsychoanalytic Exploration of the Operatic Reception Experience _c['Zuccarini, Carlo']
264		1	_bVernon Press _c2019
300			_a p.
336			_btxt _2rdacontent
337			_bc _2rdamdedia
338			_bc _2rdacarrier
650		0	_a
700	0		_aZuccarini, Carlo
856	4	0	_2Cyberlibris _uhttps://international.scholarvox.com/netsen/book/88871809 _qtext/html _a
520			_aThere has been a long-standing and mutually-informing association between psychoanalysis, literature and the arts. Surprisingly, given the oral/aural basis of the ‘talking cure’, music has largely been overlooked by psychoanalysis. Notably, neuroscientific research investigating music reception and production has been steadily increasing in range and scope over the years. However, in order to avoid confounding factors, empirical studies have focused primarily on non-vocal music. Remarkably, operatic vocal music has not featured prominently in either field. Yet the multi-dimensional, multi-layered nature of opera, which fuses together a number of different arts, would appear to provide fertile soil for both disciplines. This book aims to fill that gap, providing a stepping stone for further research. It leverages the individual strengths of psychoanalysis and neuroscience both separately and jointly as the inter-discipline of neuropsychoanalysis. By combining various theories of mind with knowledge about music processing in the brain, this book comprehensively examines the operatic reception experience, providing an account in subjective as well as objective terms. It explores the bittersweet enjoyment of operatic vocal music, which can literally move an operaphile to tears. The explanation for this may be found in a number of subjective dynamics that are unique to the reception of opera, rather than in any distinct objective neural processes, which are common to the reception of all music. These subjective dynamics, which are recruited during neural processing, are triggered by the equally unique features of the operatic voice, in combination with a number of auxiliary elements that are specific to opera. This book will be of interest to academics in a broad range of science and arts disciplines related to music perception and performance, such as music psychology and operatic performance. It may also appeal to passionate operaphiles who wish to understand what drives their addiction!
999			_c41065 _d41065