In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 60-63 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Constantijn Koopman University of Nijmegen and Royal Conservatory of the Hague, The Netherlands Bennett Reimer has pointed out the crucial distinction between intrinsic and extrinsic meaning or, in his terminology, between inherent and delineated meaning. He has eloquently described how feeling in music (...) can be both of the inherent type and of the delineated type and has argued that both types of meaning can coexist. There is no point in denying the validity of either of them; rather the challenge is to develop a view which allows us to combine both perspectives of musical meaning into a unified musical practice.As far as I am concerned, Reimer has succeeded in his reconciliatory approach. Therefore, rather than providing criticism, I would like further to elaborate on the subject. First, I shall examine the difference between the two types of meaning Reimer has illustrated in his examples: feeling as a part of inherent meaning and feeling as portrayed or represented. Then, I shall briefly discuss the problem of articulating these two types of meaning and its educational implications.When reflecting on inherent and delineated meaning, I find that the dichotomy [End Page 60] goes beyond the opposition between intrinsic and extrinsic. We are also dealing with different versions of the concept of meaning; different meanings of 'meaning' so to speak. In the case of feelings, actions, or objects portrayed in music we have a rather unproblematic use of the meaning concept-meaning as reference. Music functions as a meaning bearer that directs our attention to something beyond itself. Musical structure is used to represent something that exists independently of music. With Charles S. Peirce, we might say that it serves the function of an "icon." The iconic sign has a form which is similar to the thing it denotes.1 Similarity may have the form of direct resemblance but it may also may be based on analogy. I guess that both kinds of portrayal were present in the Chinese swamp battle piece. Battle sounds can easily be imitated by musical instruments and violent movement and feelings can be represented by analogous tonal movement.With inherent meaning, things are different. Feelings are not pointed to and represented by musical structure; instead they are experienced by the person who engages in music. This is in line, I suppose, with Reimer's exposition; not only does he say that feeling is contained and expressed in sounds but also that feeling is undergone by the performer and the listener. What precisely is the place of inherent feeling in music? Feelings are not contained in the sense that they require an act of decoding so that by interpreting the musical structure we can decipher its affective contents. Nor is it appropriate simply to declare that musical feelings are caused by musical perception. Such an explanation suggests that feelings are a secondary phenomenon in music, a sort of byproduct of musical cognition; first the music is conceived in a cognitive act, then feelings are released. But in fact feeling is much more directly and actively involved in musical experience; it is vital to the constitution of the musical object. For example, to appreciate the specific character and import of themes and motifs we have to sense their affective value. We realize the power of rhythms by feeling them in our body. Chords and chord progressions are perceived as subtle qualities of tension and release. Only by feeling the curve of tension and release can we appreciate how the work progresses-whether the music is moving forward or coming to closure, whether a climax is prepared or there is consolidation, whether a case of closure is partial or final. Likewise, the perception of contrasting musical episodes-like soft versus rough, supple versus stubborn, warm versus frigid-involves the participation of feeling. In short, the function of feeling contributes a major part to the constitution of the musical... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 60-63 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Constantijn Koopman University of Nijmegen and Royal Conservatory of the Hague, The Netherlands Bennett Reimer has pointed out the crucial distinction between intrinsic and extrinsic meaning or, in his terminology, between inherent and delineated meaning. He has eloquently described how feeling in music (...) can be both of the inherent type and of the delineated type and has argued that both types of meaning can coexist. There is no point in denying the validity of either of them; rather the challenge is to develop a view which allows us to combine both perspectives of musical meaning into a unified musical practice.As far as I am concerned, Reimer has succeeded in his reconciliatory approach. Therefore, rather than providing criticism, I would like further to elaborate on the subject. First, I shall examine the difference between the two types of meaning Reimer has illustrated in his examples: feeling as a part of inherent meaning and feeling as portrayed or represented. Then, I shall briefly discuss the problem of articulating these two types of meaning and its educational implications.When reflecting on inherent and delineated meaning, I find that the dichotomy [End Page 60] goes beyond the opposition between intrinsic and extrinsic. We are also dealing with different versions of the concept of meaning; different meanings of 'meaning' so to speak. In the case of feelings, actions, or objects portrayed in music we have a rather unproblematic use of the meaning concept-meaning as reference. Music functions as a meaning bearer that directs our attention to something beyond itself. Musical structure is used to represent something that exists independently of music. With Charles S. Peirce, we might say that it serves the function of an "icon." The iconic sign has a form which is similar to the thing it denotes.1 Similarity may have the form of direct resemblance but it may also may be based on analogy. I guess that both kinds of portrayal were present in the Chinese swamp battle piece. Battle sounds can easily be imitated by musical instruments and violent movement and feelings can be represented by analogous tonal movement.With inherent meaning, things are different. Feelings are not pointed to and represented by musical structure; instead they are experienced by the person who engages in music. This is in line, I suppose, with Reimer's exposition; not only does he say that feeling is contained and expressed in sounds but also that feeling is undergone by the performer and the listener. What precisely is the place of inherent feeling in music? Feelings are not contained in the sense that they require an act of decoding so that by interpreting the musical structure we can decipher its affective contents. Nor is it appropriate simply to declare that musical feelings are caused by musical perception. Such an explanation suggests that feelings are a secondary phenomenon in music, a sort of byproduct of musical cognition; first the music is conceived in a cognitive act, then feelings are released. But in fact feeling is much more directly and actively involved in musical experience; it is vital to the constitution of the musical object. For example, to appreciate the specific character and import of themes and motifs we have to sense their affective value. We realize the power of rhythms by feeling them in our body. Chords and chord progressions are perceived as subtle qualities of tension and release. Only by feeling the curve of tension and release can we appreciate how the work progresses-whether the music is moving forward or coming to closure, whether a climax is prepared or there is consolidation, whether a case of closure is partial or final. Likewise, the perception of contrasting musical episodes-like soft versus rough, supple versus stubborn, warm versus frigid-involves the participation of feeling. In short, the function of feeling contributes a major part to the constitution of the musical... (shrink)