Musical Experience

L'articolo analizza i fondamenti delle indagini percettive nell'impostazione fenomenologica. In particolare l'ambito uditivo si struttura in modalità, ricezioni ed analisi che, attraverso la critica di vari autori (Husserl, Heidegger, Dufrenne, Ihde, Schaeffer), si mostrano articolate in due direzioni (soggetto-oggetto e oggetto-soggetto). L' analisi delle componenti costitutive porta a riconoscere come ricorrente tra autori differenti quell'impostazione del problema la quale asserisce che, se da un lato non può prescindere dall'attività percettiva, come attività propria del soggetto, dall'altro questa stessa cerca una legittimità (...) emergente dalle cose stesse. La costituzione, una volta riconosciuto il darsi dell'oggetto sonoro, risiede, tuttavia, nelle attività percettive che delineano così il differenziarsi degli ascolti. (shrink)

One is occasionally reminded of Foucault's proclamation in a 1970 interview that "perhaps, one day this century will be known as Deleuzian." Less often is one compelled to update and restart with a supplementary counter-proclamation of the mathematician, David Lindley: "the twenty-first century would be a Bayesian era..." The verb tenses of both are conspicuous. // To critically attend to what is today often feared and demonized, but also revered, deployed, and commonly referred to as algorithm(s), one cannot avoid the (...) mathematical and philosophical legacies of probability. // But attending to these probabilistic or Bayesian legacies must include an undeniable theological legacy in which they remain entangled. // We are not, today, discovering quirky theological metaphors in contemporary technics. It's the other way around. The technologies are mere metaphors of past theologies. (shrink)

In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...) concept in the Kantian tradition of aesthetic theory regarding the key process in creative expression, and that is the evocation/communication of “aesthetic ideas”. (shrink)

Philosophers of music, like Charles Swann in Proust’s novel (Proust 1913/1992, p. 360), have traditionally found it difficult to utter the word ‘profound’ unironically. But this changed with Peter Kivy’s 1990 paper ‘The profundity of music’ The problem Kivy draws our attention to is this: we do call some musical works profound. However, Kivy argues, given that a work is profound only if it is about something profound and given that music (or ‘music alone’) is not about anything, this leads (...) to something of a paradox: how can music be profound if it is not about something profound. My aim in this paper is to argue that what makes a work profound is not that it is about something profound, but that it actively challenges any straightforward interpretative activity (while at the same time nudges you to keep on trying to interpret it). I argue that this line of argument is very much in tune with Kivy’s general theoretical commitment that “music alone isn’t about anything” (Kivy 1990, p. 245). (shrink)

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...) as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...) musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)

There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline Oliveros. (...) The argument made interpreting these performances is grounded in Maurice Merleau-Ponty’s phenomenology of embodiment, and Alia Al-Saji’s reception of it. This paper claims that such site-specific improvised performances can elicit a sort of hesitation in our everyday style of sensory-motor conditioning, and, concomitantly, awaken a layer of sensory living amenable to radically new sonic and behavioural configurations. (shrink)

Almost every facet of the experience of musical listening—from pitch, to rhythm, to the experience of emotion—is thought to be shaped by the meeting and thwarting of expectations. But it is unclear what kind of mental states these expectations are, what their format is, and whether they are conscious or unconscious. Here, we distinguish between different modes of musical listening, arguing that expectations play different roles in each, and we point to the need for increased collaboration between music psychologists and (...) philosophers in order to arrive at a more detailed characterisation of conscious musical experience and the role of expectations therein. (shrink)

La méthode musicale d'improvisation collective exprime une conception du jeu dont l'attitude de base démocratique et émancipatrice suggère des comparaisons avec le concept de la situation idéale du discours formulé par Jürgen Habermas. Cette présomption est expliquée plus en détail dans le cadre d'une approche introductive de l'improvisation collective comme processus de relation caractérisé par l'interactivité et la synchronicité. Après une discussion sur l'action d'improvisation en musique sous ses aspects théoriques, historiques et psychologiques, les différents stades de développement de l'improvisation (...) libre ou collective issus du free jazz dans les années 1960 seront présentés. La sublimation des formes d'expression idiomatiques et culturelles exigées par des musiciens comme Derek Bailey s'expliquera par le développement individuel d'un langage sonore caractéristique sur l'instrument en tant qu'égalisation pour les formes de dialogue asymétriques de cette situation. (shrink)

This paper is about dialogic listening as a precondition for meaningful engagement in Socratic dialogues and for music. In order to arrive at a better understanding of what constitutes dialogic listening in the context of educational philosophical dialogues, I first shed light on the practice of philosophy teaching based on Nelson & Heckmann’s neo-Socratic paradigm and link this practice to Plato’s dialogues. I then argue that the activity of listening to an interlocutor during Socratic dialogues on the one hand, and (...) listening to music on the other, may in both cases be understood as a precondition for the process of engagement and, consequently, the co-creation of meaning as a central objective to the philosophical practice. I show this by discussing both Buber and Gadamer, combining their insights into three interrelated features of dialogic listening: 1) openness, 2) reciprocity, and 3) awareness, which apply to both philosophical dialogues and music. Ultimately, I attempt to make a case for the complementary application of music in the philosophical educational practice. (shrink)

In this chapter, the embodied consciousness of clubbing and raving is considered through the theory of extended mind, according to which the mind is a distributed system where brain, body, and environment play equal parts. Building on the idea of music as affective atmosphere, a case is made for considering the vibe of a dance party as cognitively, socially, and affectively distributed. The chapter suggests that participating in the vibe affords primary musical consciousness—a kind of pre-reflexive state characterized by affective (...) and bodily knowledge—and speculates about the neural correlates of clubbing and raving by means of an analogy with brain research on psychedelic states. (shrink)

Abstract. In this article I compare a robotic gamelan sound installation (the gamelatron) and traditional gamelan, as performed in the American gamelan subculture, in order to specify the concept of atmosphere for use within ethnomusicology. I argue that at the level of affect the gamelatron and gamelan afford similar experiences that I call “atmospheres of felt- relation.” At the level of comprehension they are registered as divergent because of their differential alignment to several discursive binaries: live/recorded, human/machine, individual/group, subject/object and (...) body/prosthesis. (shrink)

In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...) with Foucauldian resistance strategies. (shrink)

Roger Scruton is one of the most relevant conservative philosophers in the British and Burkean tradition of conservatism. Our aim is to present the concept of “culture of repudiation” that is expressed in his work and to assess what are the consequences of that “culture” for Western liberal democracies. According to Scruton, the loss of a national loyalty that sustains democracy and the growing radicalization of Muslim communities in Europe are a by-product of that “culture of repudiation”.

ABSTRACT: Amongst inanimate objects, it is generally accepted that at least some art forms, such as music and painting, are capable of being genuinely expressive of emotion, even though it is difficult to understand exactly how. In contrast, although expressive properties can be attributed to non-artworks, such as natural objects or wine, it has often been claimed that such objects cannot be genuinely expressive. Focussing on wine, I argue that once we understand properly the nature of expressiveness, if we allow (...) that music can be expressive there is no good reason to withold the ability to be genuinely expressive from wine. (shrink)

This article develops a dynamic account of rhythm as ‘order‐in‐movement’ that opposes static accounts of rhythm as abstract time, as essentially a pattern of possibly unstressed sounds and silences. This dynamic account is humanistic: it focuses on music as a humanly‐produced, sonorous phenomenon, privileging the human as opposed to the abstract, or the organic or mechanical. It defends the claim that movement is the most fundamental conceptualization of music—the basic category in terms of which it is experienced—and suggests, against Scruton, (...) that music literally and not merely metaphorically moves. (shrink)

Roger Scruton's 530-page blockbuster The Aesthetics of Music was published by Oxford University Press in 1997. A paperback edition followed two years later. Neither received more than a handful of notices, a few appreciative, but some grudging and some actually hostile. As its quality has come to be recognized, and as the resentments it provoked have either died down or found newer targets, the book has gradually achieved a certain canonical, even classic, status. Students of the subject now seem to (...) feel that, however unpalatable some of its conclusions may have been, it can no longer safely be ignored. The questions, it appears, are the right ones, even if we don't care for Scruton's answers. (shrink)

(No abstract is available for this citation).

In this contribution I want to sketch a phenomenology of music, expounding and expanding the philosophy of Michel Henry. In the work of Henry, several approaches to a phenomenology of music are made. The central question of the contribution is: “What do we hear when we hear music?” It is argued that there is an unbridgeable divide between the intentional sphere of the world and its sounds and what in Henry’s philosophy is understood as Life. Music is the language of (...) Life itself and cannot be merely considered a composition of sound. Music does not imitate nor even represent the world, but is the inner movement of life itself. In this respect, Henry is close to Schopenhauer’s view on music, in which the Will is sharply contrasted to representation. However Schopenhauer’s thought needs a phenomenological elaboration in order to understand music as an immediate experience. In the article, music is compared to painting, since this is a recurring methodological theme in Henry’s thoughts on music. (shrink)

This article focuses on the issue of social support received by students of music schools in the context of their musical achievements. The theoretical part of this article contains the characteristics of factors related to the musical achievements of students; the support they receive from their environment is essential for their success in the process of musical education and their subsequent artistic career, in addition to their musical abilities and traits of personality. The research part is devoted to detailed analysis (...) of the support level received by music school students and its correlation to their level of musical achievement. Social support is analysed with a view to its structure, distinguishing the following kinds of support: emotional, evaluative, informative and instrumental received from people who are significant to the music school student and indicates the essential presence of support in the process of musical achievement. Moreover, as part of the presentation of the study, the authors introduce their original tool for measuring social support tailored to the realities of music schools - the Scale of Social Support of the Students of Music Schools. This tool may be applied in the work of educational psychologists and teachers in music schools. (shrink)

Expressive music, almost everyone agrees, evokes an emotional response of some kind in receptive listeners, at least some of the time, in at least some conditions of listening. But is such an emotional response distinctive of or unique to the music that evokes it? In other words, is there such a thing as music-specific emotion? This essay is devoted to an exploration of that question and others related to it. In the main part of the essay a sixpart component model (...) of a standard emotion is set out, and a case is made for the music-specificity of an emotional response to music of a mirroring sort, with respect to four of the six components of such emotion. In the latter part of the essay aspects of the phenomenology of the music-listening experience, and especially that of the inner sounding of music being heard, are explored further, and issues of the value, communicability, and degree of singularity of the emotional response to expressive music are addressed. (shrink)

In this article I consider the relationship between natural sounds and music. I evaluate two prominent accounts of this relationship. These accounts satisfy an important condition, the difference condition: musical sounds are different from natural sounds. However, they fail to meet an equally important condition, the interaction condition: musical sounds and natural sounds can interact in aesthetically important ways to create unified aesthetic objects. I then propose an alternative account of the relationship between natural sounds and music that meets both (...) conditions. I argue that natural sounds are distinct from music in that they express a kind of alterity or “otherness,” which occurs in two ways. It occurs referentially, because the sources of natural sounds are natural objects rather than artifactual objects, such as instruments; it also occurs acoustically, because natural sounds tend to contain more microtones than macrotones. On my account, the distinction between music and natural sounds is both conventional and vague; it therefore allows music and natural sounds to come together. (shrink)

One of the prime characteristics of the increasingly technological and interconnected world is the disappearance of analogue experience in all aspects of life. Due to technological invention, we are exposed to a variety of news and information, checking emails in private and business accounts for a significant amount of time each day. Our information-driven minds are constantly occupied by the desire to seek out more information. The ways we engage in music also have changed. We now download mp3 files and (...) listen to music on iPods. People are used to web-based, digitalized music listening.1 It is in this context that many people in the modern world are turning to indigenous forms of music that allow them to .. (shrink)

Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions (...) of musical structure and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies. (shrink)

If there is a topic on which the humanities might make a distinctive claim, it is that of consciousness—an essential aspect of human being. And within the humanities, music might make its own claims in relation to both consciousness and being human. To investigate this connection, David Clarke and Eric Clarke brought together a wide variety of contributors in the book Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. The collection contributes to debates in consciousness studies at large, but also (...) maps out areas peculiar to music and consciousness. Additionally, it lays bare the sheer multiplicity of discourses that emerges when consciousness is approached from even a single field of inquiry, such as music. If this poses a challenge for arriving at any agreed notion of consciousness, this instability is something that might be best embraced rather than ‘resolved’. While the study of music and consciousness affirms the importance of the humanities, this is not to foreclose dialogue with scientific disciplines, even as this means maintaining awareness of how the different discursive formations of the humanities and sciences may connote different—and frequently incommensurable—sensibilities and values. (shrink)