Remy Richard Martin

Rock:The Primary Text: Developing a Musicology of Rock (3rd Edition)

This thoroughly revised third edition of Allan F. Moore's ground-breaking book, now co-authored with Remy Martin, incorporates new material on rock music theory, style change and the hermeneutic method developed in Moore¡¯s Song Means (2012). An even larger array of musicians is discussed, bringing the book right into the 21st century. Rock's 'primary text' ¨C its sounds ¨C is the focus of attention here. The authors argue for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock, punk rock, metal and subsequent styles. They also explore the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.

• Swarbrick, Dana; Martin, Remy Richard; H?ffding, Simon; Nielsen, Nanette & Vuoskoski, Jonna Katariina (2024). Audience Musical Absorption: Exploring Attention and Affect in the Live Concert Setting. Music & Science. ISSN 2059-2043. 7. doi: 10.1177/20592043241263461.
• Martin, Remy Richard & Nielsen, Nanette (2024). Enacting Musical Aesthetics: The Embodied Experience of Live Music. Music & Science. ISSN 2059-2043. 7. doi: 10.1177/20592043231225732. Show summary

  The vitality and affective potential of the live concert experience is a result of rich, cross-sensory interactions and varied participatory practices. The complexity of such entanglements has recently led philosophers to argue for an enactive, affordance-based approach that interrogates a variety of perceptual and sensory possibilities inherent in aesthetic experiences. Further, Shaun Gallagher's recent addition of the 4As (Affect, Agency, Affordance, Autonomy) to the 4Es (Embodied, Embedded, Enacted, Extended) for clarifying mind¨Cworld relations seem to have potent explanatory power for these kinds of encounters. Building on such current philosophical approaches while examining specific (and actual) live musical engagement, this article offers an interpretation of selected audience data from the MusicLab Copenhagen with the Danish String Quartet research concert to discuss particular responses from the audience physically present at the venue. Responding to neuroaesthetic approaches, we clarify the audience members¡¯ individual and collective aesthetic experience through an enactive, affordance-based approach. We suggest that what is at play in the live concert environment is a mode of attentive dynamic listening. Rather than seeking to characterize the audience as passively responding to music, a 4Es/4As approach to aesthetic experience seeks to clarify embodied-enactive audience engagement for which anticipation is a dynamic factor that enables further musical action and resonance, also for the musicians on stage.

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• Moore, Allan F. & Martin, Remy (2018). Rock: The Primary Text: Developing a Musicology of Rock (3rd Edition). Routledge. ISBN 9781472462404. 348 p. Show summary

  This thoroughly revised third edition of Allan F. Moore's ground-breaking book, now co-authored with Remy Martin, incorporates new material on rock music theory, style change and the hermeneutic method developed in Moore¡¯s Song Means (2012). An even larger array of musicians is discussed, bringing the book right into the 21st century. Rock's 'primary text' ¨C its sounds ¨C is the focus of attention here. The authors argue for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock, punk rock, metal and subsequent styles. They also explore the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.

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• Nielsen, Nanette & Martin, Remy Richard (2024). Affective framing, care, and (en)action in musical encounters.
• Martin, Remy Richard; Cross, Ian; Upham, Finn; Bishop, Laura; S?rb?, Solveig & ?land, Frederik (2023). What can one learn from more naturalistic concert research?
• Martin, Remy Richard (2023). Sensing Contexts: An Audio Walk Through the Nasjonalmuseet.
• Martin, Remy Richard (2023). Our Aesthetic Categories.
• Martin, Remy Richard (2023). Ultima Listeners.
• Martin, Remy Richard (2023). Aesthetic Resonances: Senses of Self in Rhythm, Musical Time, and Space. Show summary

  Resonance is a rich concept that is receiving significant attention in current psychology, philosophy, and neuroscience. In ecologically-oriented literature its usage centres on perceivers¡¯ adaptive detection of environmental information (Clarke, 2005; Raja, 2019). This is instructive of the modulating¡ªand enhancing¡ªnature of attention, awareness, and action. Distinct from perceptual notions of resonance in ecological psychology, physical understandings, and accounts of neural activity, appear in several related fields. These typically concern the oscillatory interactions of two systems including forms of phase locking, synchronisation, and entrainment. Elsewhere the metaphor of acoustic resonance, as manifest in political contexts, is receiving philosophical attention (James, 2019). Resonance is also a central metaphor in the context of aesthetic subjectivities. Vernacular uses of the term in response to aesthetic entanglements (¡®I resonate with this song¡¯; ¡®that artwork resonates with me¡¯) are called to mind. Adopting the ecological approach, this paper foregrounds resonance as a means of understanding the relationship between the phenomenology of music reception and underlying perceptual and affective interactions. Particularly important, self- luminous aesthetic resonances ¨C experienced as senses of agency, ownership, affirmation, and affiliation ¨C form the focus of a discussion which draws empirical support from quantitative studies of live music spectatorship and rich reports of ¡®private¡¯ music listening gathered through media- stimulated, phenomenological interviews.

• Nielsen, Nanette; Martin, Remy Richard & Bernhardt, Emil (2023). Entrainment, free will, and musicking: an enactivist perspective.
• Martin, Remy Richard & Bernhardt, Emil (2023). Entrainment, free will, and musicking: an enactivist perspective.
• Martin, Remy Richard & Bernhardt, Emil (2023). Entrainment, free will, and musicking: an enactivist perspective.
• Martin, Remy Richard (2022). Senses of Self in Rhythm and Time.
• Martin, Remy Richard (2022). Affordance and Autonomy .
• Martin, Remy Richard (2022). Music and Identity.

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