Authors
David Roden
Open University (UK)
Abstract
Musicians and theorists such as the radiophonic pioneer Pierre Schaeffer, view the products of new audio technologies as devices whereby the experience of sound can be displaced from its causal origins and achieve new musical or poetic resonances. Accordingly, the listening experience associated with sonic art within this perspective is ‘acousmatic’; the process of sound generation playing no role in the description or understanding of the experience as such. In this paper I shall articulate and defend a position according to which an adequate phenomenology of auditory experience must refer to mechanisms of sound generation. This position is shown to follow from a phenomenology of sounds as located events and a physicalist account of auditory properties as features of the temporal development of such events.
Keywords Philosophy   Philosophy of Science   Developmental Psychology   Neuropsychology   Epistemology   Cognitive Psychology   Philosophy of Mind  sound  hearing  music
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DOI 10.1007/s13164-009-0002-7
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References found in this work BETA

Concepts of Supervenience.Jaegwon Kim - 1984 - Philosophy and Phenomenological Research 45 (December):153-76.
Phenomenal Character.Sydney Shoemaker - 1994 - Noûs 28 (1):21-38.
The Aesthetics of Music.Roger Scruton - 1997 - Oxford University Press.
Another Look at Color.Colin McGinn - 1996 - Journal of Philosophy 93 (11):537-53.

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Citations of this work BETA

Sounds.Roberto Casati - 2008 - Stanford Encyclopedia of Philosophy.
Prospects for Timbre Physicalism.Alistair M. C. Isaac - 2018 - Philosophical Studies 175 (2):503-529.
The Problem of Perceptual Invariance.Alessandra Buccella - 2021 - Synthese 199 (5-6):13883-13905.
Nature’s Dark Domain: An Argument for a Naturalized Phenomenology.David Roden - 2013 - Royal Institute of Philosophy Supplement 72:169-88.

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