Abstract
The book’s (re)definition of incongruence as a lack of shared properties, and the incongruent perspective and its associated disciplinary approaches, are summarised. The analytical potential of this approach is evaluated, as are the opportunities it presents for methodological reflection, as demonstrated by brief critique of the method of data collection and analysis presented in the preceding case study chapters. The book’s recurrent themes are identified, including the relationship between broadly artistic and scientific approaches, and questions of whether perceived difference always requires resolution. This reflection highlights areas where the research could be extended and applied, illustrating its potential to facilitate further understanding of perceivers and their interactions with music in various (in)congruent contexts.
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Notes
- 1.
The previously cited Lord of the Rings example also features in this list.
- 2.
As noted in Chapter 6, there is no equivalent Mozart episode in Stephen King’s novella on which the film is based, and the decision to include the sequence can be attributed to the film’s director.
- 3.
Indeed, the term ‘perspective’ is intended to explicitly reflect the insight that can emerge through the combination of the different disciplinary approaches represented within the incongruent perspective (Ireland , 2015, p. 48).
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Ireland, D. (2018). Conclusions. In: Identifying and Interpreting Incongruent Film Music. Palgrave Studies in Audio-Visual Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-00506-1_9
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