David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Phenomenology and the Cognitive Sciences 10 (1):1-22 (2011)
This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords possibilities for, among other things, (1) emotion regulation and (2) social coordination. When we do things with music, we are engaged in the work of creating and cultivating the self, as well as creating and cultivating a shared world that we inhabit with others. I develop this thesis by first introducing the notion of a musical affordance . Next, I look at how emotional affordances in music are exploited to construct and regulate emotions. I summon empirical research on neonate music therapy to argue that this is something we emerge from the womb knowing how to do. I then look at social affordances in music, arguing that joint attention to social affordances in music alters how music is both perceived and appropriated by joint attenders within social listening contexts. In support, I describe the experience of listening to and engaging with music in a live concert setting. Thinking of music as an affordance-laden structure thus reaffirms the crucial role that music plays in constructing and regulating emotional and social experiences in everyday life
|Keywords||Music Emotion Enaction Affordance Intersubjectivity Joint attention|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
James J. Gibson (1979). The Ecological Approach to Visual Perception. Houghton Mifflin.
J. Campbell (2002). Reference and Consciousness. Oxford University Press.
Citations of this work BETA
Joel Krueger (2014). Varieties of Extended Emotions. Phenomenology and the Cognitive Sciences 13 (4):533-555.
Michiel Kamp (2014). Musical Ecologies in Video Games. Philosophy and Technology 27 (2):235-249.
Mark Reybrouck (2012). Musical Sense-Making and the Concept of Affordance: An Ecosemiotic and Experiential Approach. [REVIEW] Biosemiotics 5 (3):391-409.
Similar books and articles
Christopher Norris (ed.) (1989). Music and the Politics of Culture. St. Martin's Press.
Malcolm Budd (1985). Music and the Emotions: The Philosophical Theories. Routledge & Kegan Paul.
Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.) (2006). Music, Meaning and Media. University of Helsinki.
Leonard B. Meyer (1956). Emotion and Meaning in Music. [Chicago]University of Chicago Press.
Jeanette Bicknell (2009). Why Music Moves Us. Palgrave Macmillan.
Kathleen Marie Higgins (2012). The Music Between Us: Is Music a Universal Language? The University of Chicago Press.
Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.
Carolyn Beckingham (2009). Moribund Music: Can Classical Music Be Saved? Sussex Academic Press.
W. A. Mathieu (2010). Bridge of Waves: What Music is and How Listening to It Changes the World. Shambhala.
Added to index2010-02-24
Total downloads264 ( #3,408 of 1,724,747 )
Recent downloads (6 months)224 ( #447 of 1,724,747 )
How can I increase my downloads?