David Clarke is Professor of Music at the University of Newcastle upon Tyne. He is a music theorist in the broadest sense, interested in analytical, philosophical, and cultural approaches to musical and meaning. These concerns have informed his work on the British composer, Michael Tippett, on whom he is a leading authority and the author of several books and essays. Similar priorities have also shaped his recent research into cultural pluralism and musical postmodernism-which has yielded articles on Eminem, 'Elvis and Darmstadt', and BBC Radio 3's 'Late Junction'. David Clarke is also a practicing musician-a violinist and conductor, and lately a vocalist in the North Indian khyal tradition.Eric Clarke is Heather Professor of Music at Oxford, and Professorial Fellow of Wadham College. He has published widely on various issues in the psychology of music, musical meaning, and the analysis of pop music, including Empirical Musicology (OUP 2004, co-edited with Nicholas Cook), Ways of Listening (OUP 2005), The Cambridge Companion to Recorded Music (CUP 2009, co-edited with Nicholas Cook, Daniel Leech-Wilkinson and John Rink) and Music and Mind in Everyday Life (OUP 2010, co-authored with Nicola Dibben and Stephanie Pitts). He was an Associate Director of the AHRC Research Centre for the History and Analysis of Recorded Music, and is an Associate Director of the successor Centre for Musical Performance as Creative Practice (2009-14). He is on a number of editorial boards, and was elected a Fellow of the British Academy in 2010.

This collection of papers, consisting of twenty well-crafted chapters, offers a variety of approaches to the topics of music and consciousness. In particular, the chapters related to embodied and especially enactive music cognition may trigger the interest of constructivists and lead to further explorations in this steadily growing field of enactive music cognition.

• 1. Music, phenomenology, time consciousness: meditations after Husserl. ; 2. Phenomenology and the hard problems of consciousness and music. ; 3. Technicity, consciousness, and musical objects. ; 4. Listening, consciousness, and the charm of the universal: what it feels like for a Lacanian. ; 5. Enactive consciousness, intertextuality, and musical free improvisation: deconstructing mythologies and finding connections. ; 6. The music of what happens: meditation and music as movement. ; 7. 'In the heard, only the heard...': music, consciousness, and Buddhism. ; 8. North Indian classical music and its links with consciousness: the case of Dhrupad. ; 9. From formalism to experience: a Jamesian perspective on music, computing, and consciousness. ; 10. Music, language, and kinds of consciousness. ; 11. Music perception and musical consciousness. ; 12. Towards a theory of proprioception as a bodily basis for consciousness in music. ; 13. Sound-action awareness in music ; 14. Music, consciousness, and the brain: music as shared experience of and embodied present ; 15. Drugs, altered states, and musical consciousness: reframing time and space ; 16. Music and ayahuasca ; 17. Consciousness and everyday music listening: trancing, dissociaiton, and absorption ; 18. Practical Consciousness and Social relation in MusEcological perspective ; 19. Public consciousness, political conscience, and memory in Latin American nueva cancion ; 20. The Psychic disintegration of a demi-god: conscious and unconscious in Striggio and Monteverdi's L'Orfeo

David Clarke is Professor of Music at the University of Newcastle upon Tyne. He is a music theorist in the broadest sense, interested in analytical, philosophical, and cultural approaches to musical and meaning. These concerns have informed his work on the British composer, Michael Tippett, on whom he is a leading authority and the author of several books and essays. Similar priorities have also shaped his recent research into cultural pluralism and musical postmodernism-which has yielded articles on Eminem, 'Elvis and Darmstadt', and BBC Radio 3's 'Late Junction'. David Clarke is also a practicing musician-a violinist and conductor, and lately a vocalist in the North Indian khyal tradition.Eric Clarke is Heather Professor of Music at Oxford, and Professorial Fellow of Wadham College. He has published widely on various issues in the psychology of music, musical meaning, and the analysis of pop music, including Empirical Musicology (OUP 2004, co-edited with Nicholas Cook), Ways of Listening (OUP 2005), The Cambridge Companion to Recorded Music (CUP 2009, co-edited with Nicholas Cook, Daniel Leech-Wilkinson and John Rink) and Music and Mind in Everyday Life (OUP 2010, co-authored with Nicola Dibben and Stephanie Pitts). He was an Associate Director of the AHRC Research Centre for the History and Analysis of Recorded Music, and is an Associate Director of the successor Centre for Musical Performance as Creative Practice (2009-14). He is on a number of editorial boards, and was elected a Fellow of the British Academy in 2010.

This collection of papers, consisting of twenty well-crafted chapters, offers a variety of approaches to the topics of music and consciousness. In particular, the chapters related to embodied and especially enactive music cognition may trigger the interest of constructivists and lead to further explorations in this steadily growing field of enactive music cognition.

• 1. Music, phenomenology, time consciousness: meditations after Husserl. ; 2. Phenomenology and the hard problems of consciousness and music. ; 3. Technicity, consciousness, and musical objects. ; 4. Listening, consciousness, and the charm of the universal: what it feels like for a Lacanian. ; 5. Enactive consciousness, intertextuality, and musical free improvisation: deconstructing mythologies and finding connections. ; 6. The music of what happens: meditation and music as movement. ; 7. 'In the heard, only the heard...': music, consciousness, and Buddhism. ; 8. North Indian classical music and its links with consciousness: the case of Dhrupad. ; 9. From formalism to experience: a Jamesian perspective on music, computing, and consciousness. ; 10. Music, language, and kinds of consciousness. ; 11. Music perception and musical consciousness. ; 12. Towards a theory of proprioception as a bodily basis for consciousness in music. ; 13. Sound-action awareness in music ; 14. Music, consciousness, and the brain: music as shared experience of and embodied present ; 15. Drugs, altered states, and musical consciousness: reframing time and space ; 16. Music and ayahuasca ; 17. Consciousness and everyday music listening: trancing, dissociaiton, and absorption ; 18. Practical Consciousness and Social relation in MusEcological perspective ; 19. Public consciousness, political conscience, and memory in Latin American nueva cancion ; 20. The Psychic disintegration of a demi-god: conscious and unconscious in Striggio and Monteverdi's L'Orfeo